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		<title>20211222 homework</title>
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		<updated>2021-12-28T13:33:13Z</updated>

		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* Muhammad Numan 202121080002 */&lt;/p&gt;
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&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
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PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
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PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] etc.&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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闲静似娇花照水，行动如弱柳扶风。心较比干多一窍，病如西子胜三分。宝玉看罢，笑道：“这个妹妹我曾见过的。”&lt;br /&gt;
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She, who is demure as delicate flowers and act like weak willow, is more clever than Bigan(the most clever man in the Legend of Deification) and more beautiful than Xishi(the most beautiful woman in acient China). Precious Jade simled, “I have seen her.”--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:26, 26 December 2021 (UTC)&lt;br /&gt;
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Leisure is like a delicate flower shining on the water, and action is like a weak willow supporting the wind. The heart has more than one orifices than the stem, and like a disease wins Xizi. Baoyu said with a smile, &amp;quot;I've seen this sister.&amp;quot;&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 日语语言文学 女 202120081477==&lt;br /&gt;
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贾母笑道：“又胡说了，你何曾见过？”宝玉笑道：“虽没见过，却看着面善，心里倒像是远别重逢的一般。”贾母笑道：“好，好！这么更相和睦了。”&lt;br /&gt;
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Grandma Merchant smiled and said, &amp;quot;nonsense again. Have you ever seen her?&amp;quot; Baoyu said with a smile, &amp;quot;although I haven't seen her, I look good and feel like I'm far from meeting again.&amp;quot; Grandma Merchant said with a smile, &amp;quot;OK, OK! It's more harmonious.&amp;quot;&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:22, 26 December 2021 (UTC)&lt;br /&gt;
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Dowager Jia smiled and said, &amp;quot;nonsense again. Have you ever seen it?&amp;quot; Baoyu said with a smile, &amp;quot;although I haven't seen it, I look good and feel like I'm far from meeting again.&amp;quot; Dowager Jia  said with a smile, &amp;quot;OK, OK! It's more harmonious.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:18, 21 December 2021 (UTC)&lt;br /&gt;
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Grandma Merchant smiled and said, &amp;quot;Nonsense again. Have you ever seen it?&amp;quot; Precious Jade said with a smile, &amp;quot;Although I haven't seen it, I look good and feel like I'm far from meeting again.&amp;quot; Grandma Merchant said with a smile, &amp;quot;OK, OK! It's more harmonious.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:18, 21 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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宝玉便走向黛玉身边坐下，又细细打量一番，因问：“妹妹可曾读书？”黛玉道：“不曾读书，只上了一年学，些须认得几个字。”&lt;br /&gt;
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Baoyu went to Daiyu and sat down. She looked at her carefully, because she asked, &amp;quot;has your sister ever read?&amp;quot; Daiyu said, &amp;quot;I didn't study. I only studied for a year. I have to recognize a few words.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:12, 21 December 2021 (UTC)&lt;br /&gt;
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Baoyu went to Daiyu and sat down. He looked at her carefully, because he asked, &amp;quot;has you ever went to school?&amp;quot; Daiyu said, &amp;quot;I didn't go to school. I only studied for a year, so I can recognize a few words.&amp;quot;--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:13, 27 December 2021 (UTC)Chen Huini&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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宝玉又道：“妹妹尊名？”黛玉便说了名。宝玉又道：“表字？”黛玉道：“无字。”&lt;br /&gt;
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Baoyuu asked, &amp;quot;What is your name?&amp;quot; Daiyu told her name to him. Baoyu said, &amp;quot;Watch characters?&amp;quot; &amp;quot;No words,&amp;quot; Said Daiyu.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:10, 27 December 2021 (UTC)Chen Huini&lt;br /&gt;
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Baoyuu asked, &amp;quot;What is your name?&amp;quot; Daiyu told her name to him. Baoyu said, &amp;quot;What's your courtesy name?&amp;quot; &amp;quot;I don't have a courtesy name&amp;quot; Said Daiyu.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:21, 28 December 2021 (UTC)&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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宝玉笑道：“我送妹妹一字：莫若‘颦颦’二字极妙。”探春便道：“何处出典？”宝玉道：“《古今人物通考》上说：&lt;br /&gt;
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Baoyu smiled and said:&amp;quot; I want to describe you with two words—Ping Ping, and no words are better than them.&amp;quot; Tanchun then asked:&amp;quot;In which book did you find them?&amp;quot; Baoyu said:&amp;quot; On ''General Study of Ancient and Modern Characters''&amp;quot;--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:04, 20 December 2021 (UTC)&lt;br /&gt;
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Precious Jade smiled and said:&amp;quot; I want to give away two words to you—Pingping, and no words are better than them.&amp;quot; Tanchun then asked:&amp;quot;In which book did you find them?&amp;quot; Jade said:&amp;quot;''On General Study of Ancient and Modern Characters''.&amp;quot;--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:37, 22 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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‘西方有石名黛，可代画眉之墨。’况这妹妹眉尖若蹙，取这个字，岂不甚美？”探春笑道：“只怕又是杜撰。”&lt;br /&gt;
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'There is a stone in the west named Dai, it can replace the ink of painting eyebrows.' The sister's eyebrows are frown, if take this word for name, isn’t it very beautiful?&amp;quot; Tanchun laughed: &amp;quot;I'm afraid it's a fabrication again.&amp;quot;--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:29, 22 December 2021 (UTC)&lt;br /&gt;
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‘There is a stone in the west named Dai, it can replace the ink of drawing eyebrows.' Besides, her eyebrows are frown, if take this word for name, isn’t it very beautiful?&amp;quot; Tanchun laughed: &amp;quot;I'm afraid it's a fabrication again.&amp;quot;--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:33, 26 December 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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宝玉笑道：“除了《四书》，杜撰的也太多呢。”因又问黛玉：“可有玉没有？”众人都不解。&lt;br /&gt;
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Baoyu laughed and said, &amp;quot;Besides the Four Books, there are too many things made up.&amp;quot; Again he asked Daiyu, &amp;quot;Do you have any jade?&amp;quot; Everyone was puzzled.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:35, 26 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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黛玉便忖度着：“因他有玉，所以才问我的。”便答道：“我没有玉。你那玉也是件稀罕物儿，岂能人人皆有？”&lt;br /&gt;
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Mascara Jade Forest contemplated, “He asked me because he has a jade.” So she answered, “I have no jade. Your jade is a rarity. How could everyone have it?”--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 13:45, 22 December 2021 (UTC)&lt;br /&gt;
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Mascara Jade Forest presumed, “He asked me because he has a jade.” So she answered, “I have no jade. Your jade is a rarity. How could everyone have it?”--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 08:25, 23 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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宝玉听了，登时发作起狂病来，摘下那玉就狠命摔去，骂道：“什么罕物！人的高下不识，还说灵不灵呢！我也不要这劳什子！”&lt;br /&gt;
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After hearing that,Precious Jade Merchant suddenly went mad. And he took off and dropped the jade with cursing that “What the hell is a rare thing! You all say that it is divine, but it can't tell lowliness or nobleness.I won't have the waste now!” --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 12:29, 19 December 2021 (UTC)&lt;br /&gt;
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After hearing that,Precious Jade Merchant suddenly went mad. And he took off and dropped the jade with cursing that “What the hell is a rare thing! You all say that it is divine, but nobody could tell lowliness or nobleness.I won't have the waste now!” --[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:19, 26 December 2021 (UTC)==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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吓的地下众人一拥争去拾玉。贾母急的搂了宝玉道：“孽障，你生气，要打骂人容易，何苦摔那命根子？”宝玉满面泪痕，哭道：“家里姐姐妹妹都没有，单我有，我说没趣儿；&lt;br /&gt;
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The aside servants were scared and then rushed to pick up the jade.Jia's mother anxiously hugged Baoyu and said:&amp;quot; poor kid, if you are angry, why do you bother to fall the jade rahtere to beat and curse.&amp;quot;Covered with tears, Baoyu cried:&amp;quot; my beloved elder and litter sisters have no one. I'm ashamed of owning one.&amp;quot;--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:19, 26 December 2021 (UTC)&lt;br /&gt;
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All those, who stood below, were startled; and in a body they pressed forward, vying with each other as to who should pick up the gem.&lt;br /&gt;
Grandma Merchant was so distressed that she clasped Precious Jade in her embrace. &amp;quot;You child of wrath,&amp;quot; she exclaimed. &amp;quot;When you get into a passion, it's easy enough for you to beat and abuse people; but what makes you fling away that stem of life?&amp;quot;&lt;br /&gt;
Precious Jade’s face was covered with the traces of tears. &amp;quot;All my cousins here, senior as well as junior,&amp;quot; he rejoined, as he sobbed, &amp;quot;have no gem, and if it's only I to have one, there's no fun in it, I maintain! “.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 06:27, 22 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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如今来了这个神仙似的妹妹也没有：可知这不是个好东西。”贾母忙哄他道：“你这妹妹原有玉来着，因你姑妈去世时，舍不得你妹妹，无法可处，遂将他的玉带了去：&lt;br /&gt;
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And now comes this angelic sort of cousin, and she too has none, so that it's clear enough that it is no profitable thing.&amp;quot; Grandma Merchant hastened to coax him. &amp;quot;This cousin of yours,&amp;quot; she explained, &amp;quot;would, under former circumstances, have come here with a jade; and it's because your aunt felt unable, as she lay on her death-bed, to reconcile herself to the separation from your cousin, that in the absence of any remedy, she forthwith took the gem belonging to her (daughter), along with her (in the grave); --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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Now the newly arrived cousin who is as lovely as a fairy hasn't got one either, so it can't be any good.&amp;quot; &amp;quot;Your cousin did have one once,&amp;quot; said Dowager lady Chia to soothe him, &amp;quot;but when your aunt was dying she was unwilling to leave your cousin, the best she could do was to take the jade with her instead. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:49, 20 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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一则全殉葬之礼，尽你妹妹的孝心；二则你姑妈的阴灵儿也可权作见了你妹妹了。因此他说没有，也是不便自己夸张的意思啊。&lt;br /&gt;
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In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn’t want to boast about it. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:50, 20 December 2021 (UTC)&lt;br /&gt;
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In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn't want to publicise it.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 07:00, 22 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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你还不好生带上，仔细你娘知道。”说着，便向丫鬟手中接来，亲与他带上。宝玉听如此说，想了一想，也就不生别论。&lt;br /&gt;
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&amp;quot;If you don't take it with you, be careful your mother knows&amp;quot; As she spoke, she took the jade from the servant girl and adorned him herself. When Precious Jade Merchant heard her say this, he thought for a while and said nothing else.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 06:56, 22 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;You‘d better keep it  well in case your mother notices.” As she spoke, she took the jade from the maid and adorned him herself. When Precious Jade Merchant heard her saying this, he thought for a while and said nothing else. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:18, 22 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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当下奶娘来问黛玉房舍，贾母便说：“将宝玉挪出来，同我在套间暖阁里，把你林姑娘暂且安置在碧纱厨里。等过了残冬，春天再给他们收拾房屋，另作一番安置罢。”&lt;br /&gt;
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When the nanny came to ask where Mascara Jade should stay, Lady Dowager answered, “ Place Precious Jade in the warm house in my suit and settle your Miss Forest in the Green Voile House temporarily until the winter ends. In next spring, you’ll rearrange the room for them.”--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:34, 22 December 2021 (UTC)&lt;br /&gt;
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Hardly when the nanny came to ask the room of Mascara Jade, Lady Dowager said, “ Place Precious Jade in the warm house with me and settle your Miss Lin  inside the room of the partition door  temporarily until the winter ends. In next spring, you’ll rearrange the room for them.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 11:31, 26 December 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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宝玉道：“好祖宗，我就在碧纱厨外的床上很妥当，又何必出来，闹的老祖宗不得安静呢？”贾母想一想说：“也罢了。&lt;br /&gt;
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Baoyu said:” Dear grandma, I would rather stay at the bed outside the partition door, than at your room to bother you.”  The Lady Dowager said thoughtfully:”That’s Ok.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 05:38, 21 December 2021 (UTC)&lt;br /&gt;
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Presious Jade said:&amp;quot;Dear mother, I would rather stay on the bed outside the partition door rather than at grandma's to bother her.&amp;quot; The Lady Dowager said thoughtfully:&amp;quot;That's OK.&amp;quot;--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 09:06, 25 December 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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每人一个奶娘并一个丫头照管，馀者在外间上夜听唤。”一面早有熙凤命人送了一顶藕合色花帐并锦被、缎褥之类。&lt;br /&gt;
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But let each one of you have a nurse, as well as a waiting-maid to attend on you; the other servants can remain in the outside rooms and keep night watch and be ready to answer any call.&amp;quot; At an early hour, besides, Hsi-feng had sent a servant round with a grey flowered curtain, embroidered coverlets and satin quilts and other such articles.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:25, 19 December 2021 (UTC)&lt;br /&gt;
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But let each one of you have a nurse and a waiting-maid; the other servants can remain in the outside rooms and keep night watch and be ready to answer any call.&amp;quot; At an early hour, besides, Hsi-feng had sent a servant round with a grey flowered curtain, embroidered coverlets and satin quilts and other such articles.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:22, 22 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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黛玉只带了两个人来：一个是自己的奶娘王嬷嬷；一个是十岁的小丫头，名唤雪雁。贾母见雪雁甚小，一团孩气；&lt;br /&gt;
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Daiyu had brought her old Wet-nurse Nanny Wang and ten-year-old Xueyan,who had also attended her since she was a child. The Lady Dowager considered Xueyan too young;--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:17, 22 December 2021 (UTC)&lt;br /&gt;
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Daiyu had brought her old Wet-nurse Nanny Wang and ten-year-old Xueyan,who had also attended her since she was a child. The Lady Dowager considered Xueyan too young;--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 01:41, 26 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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王嬷嬷又极老：料黛玉皆不遂心，将自己身边一个二等小丫头，名唤鹦哥的与了黛玉。亦如迎春等一般：每人除自幼乳母外，另有四个教引嬷嬷；Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after  Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little page girl named Yingge. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mothers.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 14:02, 19 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after  Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little girl named Polly. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mummys.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:40, 20 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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除贴身掌管钗钏盥沐两个丫头外，另有四五个洒扫房屋、来往使役的小丫头。当下王嬷嬷与鹦哥陪侍黛玉在碧纱厨内，宝玉乳母李嬷嬷并大丫头名唤袭人的陪侍在外面大床上。&lt;br /&gt;
In addition to the two servants who are in charge of jewelry and toiletries, there are four or five little maids who sweep the house and do chores. At the moment King mammy and polly accompany daiyu in green gauze room, Baoyu’s mammy li and big maid  Xiren accompany on the big bed outside.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:37, 20 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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原来这袭人亦是贾母之婢，本名蕊珠，贾母因溺爱宝玉，恐宝玉之婢不中使，素喜蕊珠心地纯良，遂与宝玉。宝玉因知他本姓花，又曾见旧人诗句有“花气袭人”之句，遂回明贾母，即把蕊珠更名袭人。&lt;br /&gt;
This maid Xi Ren, whose real name is Rui Zhu, also belongs to Lady Dowager. Lady Dowager enjoyed Rui Zhu’s purity and kindness then assigned her to Baoyu, for Lady Dowager coddled him and worried that the maids of Baoyu not work well. Baoyu knew her last name was Hua, and saw once poetic sentence “the fragrance of flowers assails noses”, then he talked it with Lady Dowager, and then Rui Zhu was named Xi Ren.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 07:12, 20 December 2021 (UTC)&lt;br /&gt;
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This maid Xi Ren, whose real name is Rui Zhu, also belongs to Lady Dowager. Lady Dowager enjoyed Rui Zhu’s purity and kindness, then assigned her to serve Jade, for Lady Dowager coddled him and worried that the maids of Jade not professional. Jade knew her last name was Flower, and saw once a poetic sentence “the fragrance of flowers assails noses”, then he talked it with Lady Dowager. And then Rui Zhu was named Xi Ren.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 12:33, 20 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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却说袭人倒有些痴处：伏侍贾母时，心中只有贾母；如今跟了宝玉，心中又只有宝玉了。只因宝玉性情乖僻，每每规谏，见宝玉不听，心中着实忧郁。&lt;br /&gt;
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However, it is said that Hsi-jen is crazy: when seving Jia's mother, only Jia's mother is in her heart; now serving Jade, there is only Jade in her heart. Because of Jade's perverse temperament, when Jade doesn't listen to her advise, Hsi-jen is really depressed.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:11, 25 December 2021 (UTC)&lt;br /&gt;
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However, Hsi Jen had several simple traits. While in attendance upon dowager lady Chia, in her heart and her eyes there was no one but her venerable ladyship, and her alone; and now in her attendance upon Pao-yue, her heart and her eyes were again full of Pao-yue, and him alone. But as Pao-yue was of a perverse temperament and did not heed her repeated injunctions, she felt at heart exceedingly grieved.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 00:42, 21 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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是晚，宝玉、李嬷嬷已睡了，他见里面黛玉、鹦哥犹未安歇，他自卸了妆，悄悄的进来，笑问：“姑娘怎么还不安歇？”黛玉忙笑让：“姐姐请坐。”&lt;br /&gt;
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At night, after nurse Li had fallen asleep, seeing that in the inner chambers, Tai-yue and Ying Ko had not as yet retired to rest, she removed her makeup, and with gentle step walked in.&lt;br /&gt;
&amp;quot;How is it, miss，&amp;quot; she inquired smiling, &amp;quot;that you have not turned in as yet？&amp;quot;&lt;br /&gt;
Tai-yue at once put on a smile. &amp;quot;Sit down, sister, &amp;quot; she rejoined, pressing her to take a seat. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 01:37, 21 December 2021 (UTC)&lt;br /&gt;
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At night, after Master Bao and nurse Li had fallen asleep, seeing that in the inner chambers, Tai-yue and Ying Ko had not as yet retired to rest, she removed her makeup, and with gentle step walked in.&amp;quot;How is it, miss，&amp;quot; she inquired smilingly, &amp;quot;that you have not turned in as yet？&amp;quot; Tai-yue at once put on a smile. &amp;quot;Sit down, my dear sister, &amp;quot; she rejoined, leading her to take a seat.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:41, 21 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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袭人在床沿上坐了。鹦哥笑道：“林姑娘在这里伤心，自己淌眼抹泪的说：‘今儿才来了，就惹出你们哥儿的病来。倘或摔坏了那玉，岂不是因我之过？’&lt;br /&gt;
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Hsi-jen then sat by the bedside. Ying Ko ridiculed, &amp;quot;Miss Lin was feeling sad with her tears dropping down today, saying that 'It is the first day that I come here, while I have triggered the relapse of your young master. If his precious jade was truly broken apart, then I am sure to blame.&amp;quot;--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:29, 21 December 2021 (UTC)&lt;br /&gt;
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Aroma then sat by the bedside. Brother Parrot ridiculed, &amp;quot;Miss Lin feels sad with her tears dropping down today, saying that 'It is the first day that I come here, while I have triggered the relapse of your young master. If his precious jade is truly broken apart, then I'll be sure to blame.&amp;quot;--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:45, 22 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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所以伤心。我好容易劝好了。”袭人道：“姑娘快别这么着。将来只怕比这更奇怪的笑话儿还有呢。&lt;br /&gt;
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“She is therefore so sad, and I had a hard time persuading her to stop crying.” Aroma said: “Please don’t look so sad, young lady. There will be more stranger jokes in the future.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:40, 22 December 2021 (UTC)&lt;br /&gt;
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“She is therefore so sad, and I had a hard time persuading her to stop crying.” Aroma said: “Please don’t look so sad, my mistress. There will be more stranger jokes in the future.”--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 10:51, 22 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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若为他这种行状，你多心伤感，只怕你还伤感不了呢。快别多心。”黛玉道：“姐姐们说的，我记着就是了。”&lt;br /&gt;
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“If you feel sad for his behavior, I’m afraid that you can’t be so. Don’t think too much.” Daiyu said: “I will remember what our sisters has said.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 00:23, 20 December 2021 (UTC)&lt;br /&gt;
If you are so sad for him, I'm afraid you still can't be sad. Don't worry about it. &amp;quot;Dai Yu said: &amp;quot;Sisters said, I just remember. &amp;quot;--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:30, 27 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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又叙了一会，方才安歇。次早起来，省过贾母，因往王夫人处来。正值王夫人与熙凤在一处拆金陵来的书信，又有王夫人的兄嫂处遣来的两个媳妇儿来说话。&lt;br /&gt;
After narrating for a while, he rested. Woke up the next morning, saved Jia's mother, because he came to Mrs. Wang. Just as Mrs. Wang and Xifeng were at the same place to tear down the letter from Jinling, and two daughters-in-law sent by Mrs. Wang's brother-in-law to talk.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:28, 27 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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黛玉虽不知原委，探春等却晓得是议论金陵城中居住的薛家姨母之子、表兄薛蟠倚财仗势，打死人命，现在应天府案下审理。如今舅舅王子腾得了信，遣人来告诉这边，意欲唤取进京之意。&lt;br /&gt;
Although Daiyu did not know the exact cause, Tanchun and others knew that it was xue Pan, son and cousin of aunt Xue who lived in Jinling city, who killed a man by taking advantage of his wealth and power, and was now being tried by the Tianfu court. Now uncle Prince teng got the letter, send people to tell here, intended to call the meaning of Beijing.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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Although Dai Yu did not know the original commission, Tan Chun and others knew that it was a discussion of Xue Pan, the son of the Xue family's aunt and cousin Xue Pan, who lived in Jinling City, who relied on wealth and power to kill people, and now it should be tried under the Tianfu case. Now that his uncle Prince Teng had received the letter, he sent someone to tell this side, intending to summon the intention of entering the capital.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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毕竟怎的，下回分解。&lt;br /&gt;
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起复——即重新起用被停职或撤职的官员，包括因父母丧停职回家守孝及因被弹劾而遭撤职的官员。​&lt;br /&gt;
If you want to know what happened, the answer is next time&lt;br /&gt;
Reinstatement – Reinstate officials who have been suspended or removed from their posts, including those who have been suspended from their posts for the death of their parents and who have been removed from office for impeachment.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:14, 19 December 2021 (UTC)&lt;br /&gt;
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After all, I'll break it down next time.&lt;br /&gt;
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Reinstatement - reinstatement of officials who have been suspended or removed from office, including those who have been removed from office due to the death of their parents and those who have been removed from office due to impeachment.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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邸(dǐ底)报——亦称“邸抄”、“抄报”、“宫门抄”，清代或称“京报”。中国古代官方报纸的通称。&lt;br /&gt;
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Di Pao -- also known as &amp;quot;Di Copy&amp;quot;, &amp;quot;copy newspaper&amp;quot; or &amp;quot;Palace Gate Copy&amp;quot; -- is also known as &amp;quot;Beijing Newspaper&amp;quot; during the Qing Dynasty. The general name of the official newspaper in ancient China.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:23, 19 December 2021 (UTC)&lt;br /&gt;
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Di Bao -- also known as &amp;quot;Di Copy&amp;quot;, &amp;quot;copy newspaper&amp;quot; or &amp;quot;Palace Gate Copy&amp;quot; -- is also known as &amp;quot;Beijing Newspaper&amp;quot; during the Qing Dynasty. The general name of the official newspaper in ancient China.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:10, 22 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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承办者或为地方官府驻京办事机构，或为朝廷。邸报专门抄发诏令、奏章及朝政新闻，以供地方官及时了解。 邸：原指战国时各诸侯在都城的客馆，后泛指地方官府驻京办事处。​&lt;br /&gt;
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The undertaker is either the local government office in Beijing or the imperial court. The residence newspaper specially copied and issued imperial edicts, memorials and government news for local officials to understand in time. Di: it used to refer to the guest houses of various princes in the capital during the Warring States period, and later it generally refers to the offices of local officials in Beijing. ​--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:09, 22 December 2021 (UTC)&lt;br /&gt;
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The undertaker is either the local government office in Beijing or the imperial court. The &amp;quot;Di&amp;quot; newspaper(a official gazette) specially copied and issued imperial edicts, memorials and government news for local officials to understand in time.&amp;quot;Di&amp;quot;: Originally referred to the guest hall of the princes in the capital during the Warring States Period, and later generally referred to the Beijing office of the local government.    --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 14:40, 22 December 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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贱荆——亦称“拙荆”、“山荆”等。谦词。对人称自己的妻子。 荆：“荆钗布裙”的省称。&lt;br /&gt;
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&amp;quot;Jian Jing&amp;quot; ——also known as &amp;quot;Zhuo Jing&amp;quot;, &amp;quot;Shan Jing&amp;quot; etc. It's a modest word when a man mention his wife in front of others. &amp;quot;Jing&amp;quot;is a short name for &amp;quot;JingChaiBuQun&amp;quot;(the female have only a thorn for a hairpin and plain cloth for a skirt).   --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 12:36, 19 December 2021 (UTC)Liu Wei&lt;br /&gt;
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Jian Jing, also known as &amp;quot;Zhuo Jing&amp;quot;, &amp;quot;Shan Jing&amp;quot;,etc, is a humle term for quoting one's own wife. Jing is an abbreviation for &amp;quot;Jingchaibuqun&amp;quot;, that is, a thorn for a hairpin and palin cloth for a skirt.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:59, 20 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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形容妇人极为简朴的服饰。语出汉·刘向《列女传》(见《太平御览》卷七一八引)：“梁鸿妻孟光，荆钗布裙。” 荆钗：即以木棍为钗。&lt;br /&gt;
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Jing, used to ​describe women's plain, simple and unadorned clothes, is originated from a sentence in the ''Biographies of Exemplary Women'' written by Liu Xiang in the Han Dynasty (see ''Imperial Review under the Reign of Taizong in the Song Dynasty'', Vol.718): &amp;quot;Meng Guang, wife of Liang Hong has only a thorn for a hairpin and plain cloth for a skirt.&amp;quot; Jingchai means a thron for a hairpin.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:53, 20 December 2021 (UTC)&lt;br /&gt;
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Jing, used to ​describe the extremely simple dress of a woman. In Han, Liu Xiang's &amp;quot;Biography of the Female&amp;quot; (see ”Taiping Yu Lan“（Imperial Review under the Reign of Taizong in the Song Dynasty）, vol. 718): &amp;quot;Liang Hong's wife, Meng Guang, was dressed in a woven hairpin and cloth skirt.&amp;quot; Jingchai (荆钗): a wooden stick used as a hairpin.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 05:02, 22 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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内顾之忧──语出北朝魏·袁翻《安置蠕蠕表》：“且蠕蠕尚存，则高车犹有内顾之忧，未暇窥窬上国；&lt;br /&gt;
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The Worries of Internal Concern - From Yuan Fan's &amp;quot; Settlement Zoran Policy &amp;quot;, And if Zoran still existed, then Gao Che (a generic term used by the Northern Dynasties for a part of the nomadic tribes in the north of the desert) would still have internal concerns and would not have had the strength to covet the vassal states.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 04:55, 22 December 2021 (UTC)&lt;br /&gt;
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Internal Concerns – derived from Yuan Fan's &amp;quot;Policy on the Settlement of Ruru&amp;quot;. “And if Ruru survived, Gaoche would have internal concerns and would have no time to covet the territory of the Emperor.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 13:30, 25 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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若蠕蠕全灭，则高车跋扈之计，岂易可知？”(蠕蠕：“柔然”的别称，亦称“芮芮”、“茹茹”。我国古代北方少数民族名。&lt;br /&gt;
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“If Ruru was annihilated, wasn’t it easy to know the conceited plan of Gaoche?” (“Ruru”, an alternative name for Rouran Khaganate, can also be called “Ruirui” or “Ruru”. The name of an ancient northern ethnic minorities.)--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:53, 25 December 2021 (UTC)&lt;br /&gt;
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If Ruru was annihilated, would it be easy to know the conceited plan of Gaoche?&amp;quot; (“Ruru”,: an alias for Rouran Khaganate, also known as &amp;quot;Ruirui&amp;quot; and &amp;quot;Ruru&amp;quot;. The name of an ancient northern minority group in the region of China.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 11:44, 26 December 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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高车：亦称“狄历”、“敕勒”、“铁勒”、“丁零”。 我国古代北方少数民族名。)意谓因对家事或国事的顾念而担忧。&lt;br /&gt;
Gao Che: also known as Di Li, Cile, Tie Le, Ding Zero. The name of a minority group in the north of China in ancient times). It means to worry about family or national affairs.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 11:39, 26 December 2021 (UTC)&lt;br /&gt;
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Gao Che：also named as Di Li, Cile, Tie Le, Ding Zero. It’s the name of the northern Chinese minorities in the ancient time，which means worring about the national or family affairs.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 11:35, 27 December 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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这里指家庭需要照顾的人或事。​&lt;br /&gt;
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垂花门──旧时较为讲究的四合院二门。门顶如屋顶式样，其四角和前后多有下垂的雕花，故称。&lt;br /&gt;
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Here these refer to the people or the things needing caring.&lt;br /&gt;
Chui Hua door——in ancient time it refers to the decent second gate of a courtyard house.The top of the gate is like the roof，with its four corners、front and back flopping flowers，thus is called Chui Hua door&lt;br /&gt;
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This refers to the person or thing that family members need to take care of. ​&lt;br /&gt;
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Floral-Pendant Gates: It was  the second gate of a courtyard house with exquisite decoration in the old days. The top of the door was like a roof, with drooping carvings on the back and front of four corners, so it is called &amp;quot;Floral-Pendant Gates&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 11:25, 22 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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超手游廊──亦作“超手回廊”、“抄手游廊”。房廊像两手笼入袖筒，两袖成环形状，故称。&lt;br /&gt;
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Verandah Chao Shou —— also known as &amp;quot;Corridor Chao Shou&amp;quot; and &amp;quot;Cross Hand Verandah&amp;quot;. Its gallery looked like a two-handed cage into the sleeves, and the two sleeves formed a ring shape, so it was called &amp;quot;Verandah Chao Shou&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:37, 20 December 2021 (UTC)&lt;br /&gt;
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Verandah Chao Shou: It was also known as  “Corridor Chao Shou” or “Verandah Cross Hand”. Its gallery was similar to a two-handed cage into the two sleeves which formed a ring shape, so it was called “Verandah Chao Shou”. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 06:26, 22 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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穿山游廊──指与厅房两边山墙门通连的回廊。以其可由山墙门穿行，故称。 山：即房屋两侧的山墙。​&lt;br /&gt;
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Chuan Shan You Lang: A veranda or corridor connected with the gable doors on both sides of the hall. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 13:22, 19 December 2021 (UTC)&lt;br /&gt;
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Chuan Shan You Lang: It refers to the corridor connected to the door of the wall on either side of the room. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:33, 19 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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“第一个”六句──这是对迎春形象的描写。 微丰：稍胖。 腮凝新荔：形容腮帮子像荔枝般的红润。&lt;br /&gt;
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The first six lines - It is a description of Yingchun's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red as lychees.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:29, 19 December 2021 (UTC)&lt;br /&gt;
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The first six lines - It is a description of Yingchun's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red and shiny as lychees.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:21, 20 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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鼻腻鹅脂：形容鼻端像鹅脂般光润。​&lt;br /&gt;
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“第二个”七句──这是对探春形象的描写。 削肩：俗称溜肩。&lt;br /&gt;
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Bi Ni E Zhi: an idiom to describe someone’s tip of nose is as shiny and smooth as goose grease.&lt;br /&gt;
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“The second” seven lines —— this is a depiction of the look of Tanchun. Rounded shoulders: commonly known as sloping shoulders --[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:18, 20 December 2021 (UTC)&lt;br /&gt;
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Bi Ni E Zhi: a Chiniese idiom to describe someone’s tip of nose is as shiny and smooth as goose grease.&lt;br /&gt;
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“The second” seven lines —— this is a depiction of Tanchun'image. Cuted shoulders: commonly known as sloping shoulders--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 07:00, 25 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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倾斜的双肩。古人以为美人肩。&lt;br /&gt;
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长挑身材：瘦高的身材。 鸭蛋脸儿：犹如鸭蛋似的长圆形脸盘。&lt;br /&gt;
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Sloping shoulders. The ancients considered these to be the shoulders of beauty.&lt;br /&gt;
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Long, tall figure: a tall, thin figure. Duck egg face: an oblong face like a duck egg.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:32, 20 December 2021 (UTC)&lt;br /&gt;
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Sloping shoulders. The ancient people considered such shoulders as the shoulders of beauty.&lt;br /&gt;
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Long, tall figure: a tall, thin figure. Duck egg face: an oblong face like a duck egg--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 11:59, 26 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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俊眼修眉：秀美的眼睛，长长的秀眉。 顾盼神飞：左顾右盼，目光炯炯，神采飞扬。 文彩精华：光彩照人，精神十足。&lt;br /&gt;
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Jun Yan Xiu Mei: charming eyes with long and delicate eyebrows. Gu Pan Shen Fei: looking left and right, with shining eyes and soaring spirit. Wen Cai Jing Hua: being radiant and full of energy.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 11:58, 26 December 2021 (UTC)&lt;br /&gt;
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Jun Yan Xiu Mei: beautiful eyes with long and delicate eyebrows. Gu Pan Shen Fei: looking left and right, with shining eyes and soaring spirit. Wen Cai Jing Hua: being radiant and full of energy.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 01:21, 22 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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见之忘俗：意谓别人见了就会忘了俗气，变得高雅起来。形容探春一身高雅之气。​&lt;br /&gt;
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“第三个”两句──这是对惜春形象的描写。&lt;br /&gt;
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To see is to forget vulgarity: It means that when others see something or someone will forget the secular atmosphere and  become more elegant. In this sentence, it describes Tanchun has a great elegant temperament.&lt;br /&gt;
&amp;quot;The third&amp;quot; two sentences ─ thses are  the description of the image of Xi Chun.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:50, 20 December 2021 (UTC)&lt;br /&gt;
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Jian Zhi Wang Su: It means that others will forget the vulgarity and become elegant when they see it. It is used to describe Tanchun's elegance. &lt;br /&gt;
The two sentences containing “ the third” — are the image depiction of Sichun.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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形容惜春年纪尚小，身材和容貌都还没有发育成熟。​&lt;br /&gt;
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人参养荣丸──以人参、当归、黄芪、陈皮、白芍、熟地、桂心等配制而成的丸药，主治脾胃气血亏虚等症。&lt;br /&gt;
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It is used to describe the Xichun, who is still young and body and appearance are not developed.&lt;br /&gt;
Ginseng Yangrong Pill- A pill made of ginseng, angelica, astragalus, Chen Pi, Bai Shao, Shu Di, Gui Xin, etc., mainly used for treating deficiency of qi and blood in the spleen and stomach.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:22, 19 December 2021 (UTC)&lt;br /&gt;
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It is used to depict Xichun, who is still in her young age and underdeveloped stature as well as appearance.&lt;br /&gt;
Ginseng tonic bolus- a sort of pill composed of ginseng, Angelica sinensis, astragalus, tangerine peel, white paleontology root, rehmannia glutinousa, laurel heart, etc. is mainly used to treat diseases such as deficiency in spleen, stomach, qi as well as blood.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 13:00, 19 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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荣：中医指血脉。 养荣丸：似有双关之意：除了保养血脉之意外，还有保养荣誉之意，与薛宝钗的“冷香丸”相对，以寓二人的不同性格。&lt;br /&gt;
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“Rong” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meaning. Apart from the maintenance of blood, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Xue Baochai. This is the revelation of different personalities between these two people.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:45, 19 December 2021 (UTC)&lt;br /&gt;
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“Rong” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meanings. Apart from the maintenance of blood vessel, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Xue Baochai. This is the revelation of different personalities between these two people.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:27, 20 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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窄褃(kèn掯)袄──即紧身妖。 窄：瘦小。 褃：是上衣前后幅两侧接缝部分的名称。&lt;br /&gt;
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Narrow ken coat ── is a tight quilted jacket.Narrow: thin.Ken: It is the name of the seams on the front and rear sides of the jacket.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:18, 20 December 2021 (UTC)&lt;br /&gt;
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Narrow Ken coat ── namely tight quilted jacket. Narrow: thin. Ken: the name of the seams on the front and back of the jacket. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 08:50, 21 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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仪门──原指官署大门里的第二道正门。之所以称“仪门”，是因为官员至此门必须整齐仪表。&lt;br /&gt;
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Etiquette Gate ── originally refers to the second main gate in the main gate of the government office. The reason why it is called &amp;quot;Etiquette Gate&amp;quot; is because the officers must be well-groomed when he arrives. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 08:38, 21 December 2021 (UTC)&lt;br /&gt;
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Etiquette Gate--Originally, it refers to the second main door in the gate of the official office. The reason why it is called &amp;quot;Etiquette Gate&amp;quot; is that officials must be neat and tidy when they arrive at this gate.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:30, 23 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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《明会典·礼部十七·官员礼》：“新官到任之日……先至神庙祭祀毕，引至仪门前下马，具官服，从中道入。”&lt;br /&gt;
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The Ming Canon - Rituals XVII - Official Rites: &amp;quot;On the day the new official arrives, he first goes to the temple to offer sacrifice, after which he is led to dismount in front of the ceremonial gate, with his official uniform, and enters from the middle road.&amp;quot;--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:27, 23 December 2021 (UTC)&lt;br /&gt;
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The Ming Canon - Rituals XVII - Official Rites: &amp;quot;On the day the new official arrives, he first goes to the temple to offer sacrifice, after which he is led to dismount in front of the ceremonial gate, with his official uniform, and enters from the middle road.&amp;quot;--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:27, 27 December 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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又《江宁府志·建制·官署》：“其制大门之内为仪门，仪门内为莅事堂。”后加以引申，大家府第的第二道正门也称仪门。​&lt;br /&gt;
&amp;quot;Jiangning official records，organizational system，official &amp;quot;: &amp;quot;inside the system gate is the instrument gate, and inside the instrument gate is the visiting hall.&amp;quot; Later extended, the second main gate of everyone's house is also called Yimen. ​--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:12, 22 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;Jiangning official records，organizational system，government &amp;quot;: &amp;quot;inside the system gate is the etiquette gate, and inside the etiquette gate is the visiting hall.&amp;quot; Later extended, the second main gate of mansion is also called etiquette gate.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 09:52, 26 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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鹿顶耳房钻山──这里是指在正房两侧与东西厢房北侧之间建有两座平顶耳房，并在耳房山墙上开门。如此则使正房、东西耳房、东西厢房皆可相通，便于穿行，所以下句说“四通八达”。&lt;br /&gt;
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Luding Erfang Zuanshan—— it refers to two flat top ear rooms which are situated on the two sides of principal room and northern side of east and west wings and open up the door on the gable. Then it makes a connection between principal room, east and west ear room as well as east and west wings so that it is more convenient for people to pass. It is called “extend in all directions” as described below.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 02:14, 22 December 2021 (UTC)&lt;br /&gt;
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Luding Erfang Zuanshan——it refers to two flat-top ear rooms which are situated on the two sides of principal room and northern side of east and west wings and open up the door on the gable of ear rooms. Then it makes a connection between principal room, east and west ear rooms as well as east and west wings so that it is very convenient for people to pass. Therefore, it is called “accessible in all directions” as described below.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 07:44, 22 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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鹿顶：亦作“盝顶”。即平屋顶。 耳房：紧靠正房或厢房两侧并利用其山墙建造的房屋。&lt;br /&gt;
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Luding: flat roof. Ear room: a room built by using a gable on either side of a principle room or wing-room.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 02:00, 22 December 2021 (UTC)&lt;br /&gt;
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Lu Ding: this means flat roof. Er Fang: a room built by using the gable on both sides of a principle room or wing-room.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 12:13, 22 December 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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因其位于正房两侧，犹如人的两只耳朵，故称。 钻山：指打通房屋两侧的山墙，以与相邻的房屋或回廊相通。​&lt;br /&gt;
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As they are located on both sides of the main house just like people’s ears, they are called “wings”.  Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 07:45, 20 December 2021 (UTC)&lt;br /&gt;
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Because they are located on both sides of the main house just like people’s ears, they are called “wings”.  Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 05:48, 21 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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赤金九龙青地大匾──以赤金涂饰的九条雕龙为边框的黑底大匾。 九龙：古代传说龙生九子，性格各异。但说法各异。&lt;br /&gt;
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The horizontal board, which is  decorated with pink gold, night dragon and tuff - the board is black and is made of motifs of dragon and phoenix. The nine dragons: it is said that, in the ancient time, the dragon had nine sons, whose character were totally different. But there were different ideas about it.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:02, 19 December 2021 (UTC)&lt;br /&gt;
A large plaque with nine dragons painted in red gold on a black background. Nine Dragons: Ancient legend has it that dragons are born with nine sons, each with a different character. However, there are different sayings.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:36, 22 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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明·杨慎《升庵外集·动物一·龙生九子》说：“龙生九子不成龙，各有所好：囚牛，平生好音乐，今胡琴头上刻兽是其遗像；&lt;br /&gt;
Ming-Yang Shen's &amp;quot;Sheng'an Waiji - Animals I - The Nine Sons of the Dragon&amp;quot; says: &amp;quot;The nine sons of the dragon were born without becoming dragons, but each had his own interests: the prisoner bull, who was good at music in his life, and the beast carved on the head of the huqin today is his posthumous image.&lt;br /&gt;
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Yang Shen of Ming Dynasty said in &amp;quot;Sheng an Outside collection · Animal · Long Sheng Jiu Zi&amp;quot; : &amp;quot;Long sheng Jiu Zi is not a dragon, each has his own good points: prisoner ox, good music in his life, the beast carved on the head of Huqin is his portrait;  --[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:32, 26 December 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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睚毗，平生好杀，金刀柄上龙吞口是其遗像；嘲风，平生好险，今殿角走兽是其遗像；蒲牢，平生好鸣，今钟上兽纽是其遗像；&lt;br /&gt;
Yapi, who was easy to kill, has a portrait of a dragon swallowing mouth on the gold hilt.  Scene wind, life good risk, this temple corner beast is its portrait;  Pu Lao, life good Ming, this bell on the beast new is its portrait; --[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:28, 26 December 2021 (UTC)&lt;br /&gt;
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Yapi, who likes killing, so the image of a dragon swallowing mouth on the gold hilt is its portrait. Chaofeng, who likes being at risk, so the image of the temple corner beast is its portrait; Pulao, who likes chirping, so the image of the bell on the beast new is its portrait.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 11:34, 26 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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狻猊，平生好坐，今佛座狮子是其遗像；霸下，平生好负重，今碑座兽是其遗像；陛犴，平生好讼，今狱门上狮子头是其遗像；&lt;br /&gt;
Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 07:02, 20 December 2021 (UTC)&lt;br /&gt;
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Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:25, 20 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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屓屭，平生好文，今碑两旁龙是其遗像；蚩吻，平生好吞，今殿脊兽头是其遗像。”明·焦竑《玉堂丛语·卷一·文学》则说：&lt;br /&gt;
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The clamshell, life is good literature, today the two sides of the monument dragon is its image; Chi kiss, life is good swallow, today the temple ridge beast head is its image.&amp;quot; Ming - Jiao Hong &amp;quot;Yu Tang Congye - Volume 1 - Literature&amp;quot; said.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:24, 20 December 2021 (UTC)&lt;br /&gt;
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The clamshel is good at writing, nowadays the two sides of the monument dragon is its portrait; Chi Zhewen is good at swallowing, nowadays the temple ridge beast head is its portrait.&amp;quot; Ming - Jiao Hong &amp;quot;Yu Tang Congye - Volume 1 - Literature&amp;quot; said.--[[User:Xiong Min|Xiong Min]] ([[User talk:Xiong Min|talk]]) 06:53, 27 December 2021 (UTC)&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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“俗传龙生九子不成龙，各有所好……一曰赑屭，形似龟，好负重，今石碑下龟趺是也；二曰螭吻，形似兽，性好望，今屋上兽头是也；&lt;br /&gt;
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“ It is said that the nine sons of dragons are not born into dragons, and each has its own features...One is Bixi shaped like a tortoise, and it is so heavy. It is also a tortoise under the stone tablet; the second is Liwen shaped like a beast, and it is well-known.&lt;br /&gt;
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&amp;quot;It is said that the nine sons of dragons are not born into dragons, and each has its own features...One is Bi'xi, whose shapes like a tortoise, and it likes carrying heavy things. It is also a tortoise under the stone tablet; The second is Li'wen, whose shapes like a beast, and it is well-known, It often apperas in roof.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:39, 26 December 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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三曰蒲牢，形似龙而小，性好叫吼，今钟上纽是也；四曰狴犴，形似虎，有威力，故立于狱门；五曰饕餮，好饮食，故立于鼎盖；&lt;br /&gt;
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The third one is Pu'lao, who looks like a dragon but is small and easy to roar, and it often appeared in chime. The fourth was Bi'an, who looks like a tiger and is so powerful that he stand in the door of the prison. The fifth is Tao'tie, like eating food, so stand in tripod cover;--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:32, 26 December 2021 (UTC)&lt;br /&gt;
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The third one is Pu'lao, who looks like a dragon but is small and easy to roar, and it often appeared in chime. The fourth was Bi'an, who looks like a tiger and is so powerful that he stands in the door of the prison. The fifth is Tao'tie, like eating food, so stands in tripod cover;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:47, 26 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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六曰，性好水，故立于桥柱；七曰睚毗，性好杀，故立于刀环；八曰金猊，形似狮，性好烟火，故立于香炉；&lt;br /&gt;
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The sixth is good at water, so it stands on the bridge column; The seventh is called Ya Zi, good at killing, so it stands in the knife ring; The eighth is Jin Ni, like a lion, has a good nature of fireworks, so it stands in the incense burner;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:04, 26 December 2021 (UTC)&lt;br /&gt;
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The sixth is good at water, so it stands on the bridge column; The seventh is called Ya Zi, --[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:47, 27 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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九曰椒图，形似螺蚌，性好闭，故立于门铺首。”明·沈德符《万历野获编·卷七·内阁·龙子》又说：“长沙李文正公在阁，孝宗忽下御札，问龙生九子之详。&lt;br /&gt;
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The ninth is called Jiao Tu, which is shaped like a screw and likes to close its mouth, so it is used as decoration on the door. Shen Defu of the Ming Dynasty, in his book ''Wanli Ye Huo, Vol.7, Cabinet, Longzi,'' also said, &amp;quot;When Duke Li Wenzheng of Changsha was in the cabinet, Emperor Xiaozong suddenly got down to ask the details of the birth of nine longzi.&lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 13:30, 21 December 2021 (UTC)&lt;br /&gt;
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When Duke Li Wenzheng of Changsha was in the pavilion, Emperor Xiaozong suddenly sent a royal letter and asked about the details of Long Sheng's nine sons.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 07:32, 26 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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文正对云：‘其子蒲牢好鸣，今为钟上钮鼻；囚牛好音，今为胡琴头刻兽；睚眦好杀，今为刀剑上吞口；&lt;br /&gt;
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Wen Zheng said , &amp;quot;his son Pu Lao likes roaring，the dragon shaped animal button on the Hong Zhong is its relic; The Qiu Niu loves music all his life. He often squats on the head of the piano to enjoy the music of plucking strings, so his portrait is engraved on the head of the HuQin; Ya Ci is the second child. He is aggressive and likes killing all his life，and swallow a sword with his mouth.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 07:29, 26 December 2021 (UTC)&lt;br /&gt;
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Wen Zheng said , &amp;quot;his son Pu Lao likes roaring，and often appears on the bell; Qiu Niu loves music all his life,accordingly, he becomes a decoration for music instrument, such as two-stringed bowed violin (huqin); Ya Ci likes fighting and killing，people see him as the patron saint of weapons, so he often appears on the weapons.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:08, 26 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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嘲风好险，今为殿阁走兽；狻猊好坐，今为佛座骑象；霸下好负重，今为碑碣石趺；&lt;br /&gt;
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Chao Feng loves adventure,he now often appears on the corner on the housetop; Suan Ni loves sitting quietly, his image is often found in temples as the mount of Buddha; Bi xi has the power of strength. He loves to carry heavy stuff to show off his magic energy, so under the stele can people see his appearing.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:12, 26 December 2021 (UTC)&lt;br /&gt;
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Chao Feng loves adventure. It's the small decorative animal on the eaves of the housetop; Suan Ni loves sitting quietly. Its image is often found in temples as the mount of Buddha; Bi xi has the power of strength. He loves to carry heavy stuff to show off his magic energy, so under the stele can people see his appearing.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 11:30, 26 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（ 语言学） 女 202120081541==&lt;br /&gt;
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狴犴好讼，今为狱户首镇压；屓屭好文，今为碑两旁蜿蜒；蚩吻好吞，今为殿脊兽头。’”&lt;br /&gt;
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Bi An is eager for justice and righteousness and can distinguish right from wrong. Now they generally stand on both sides of the lobby of the government office to deter those who violate the law and discipline. Bi Xi, which is fond of reading and writing articles, is gentle. And now it’s the animal winding around on both sides of the stele. Chi Wen which has the ability of swallowing fire becomes the beast heads at both ends of the palace roof. --[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 07:24, 26 December 2021 (UTC)&lt;br /&gt;
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Bi An is eager for justice and righteousness and can distinguish right from wrong. Now it generally stands on both sides of the lobby of the government office to deter those who violate the law and discipline. Bi Xi, which is fond of reading and writing articles, is gentle. And now it’s the animal winding around on both sides of the stele. Chi Wen, who has the ability of swallowing fire, becomes the beast heads at both ends of the palace roof. --[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 11:14, 26 December 2021 (UTC)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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此外，明·陈仁锡《潜确类书》、明·胡侍《真珠船·龙生九子》、清·褚人获《坚瓠十集·龙九子》、清·高士奇《天禄识馀·龙种》，对九龙的名称、性格、用途的说法也各不相同，可见出于民间传说。世人多用作装饰，以示祥瑞。​&lt;br /&gt;
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In addition, the names, characters and uses of the Dragon's nine sons, which can be seen from folklore, are also different in ''Reference Book of Qian Que'' by Chen Renxi of Ming Dynasty, ''Zhenzhu Boat·The Nine Sons of the Dragon'' by Hu Shi of Ming Dynasty,''Jian Hu's Collection-Vol.10·The Nine Sons of the Dragon'' by Chu Renhuo of Qing Dynasty and ''Tian Lu Shi Yu· Dragon Species'' by Gao Shiqi of Qing Dynasty. People often use the images of the Dragon's nine sons as decoration, to show good luck. --[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:53, 23 December 2021 (UTC)&lt;br /&gt;
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In addition, the names, characters and usages of the Dragon's nine sons, which can be seen from folklore, also differ in ''Reference Book of Qian Que'' by Chen Renxi of Ming Dynasty, ''Zhenzhu Boat·The Nine Sons of the Dragon'' by Hu Shi of Ming Dynasty,''Jian Hu's Collection-Vol.10·The Nine Sons of the Dragon'' by Chu Renhuo of Qing Dynasty and ''Tian Lu Shi Yu· Dragon Species'' by Gao Shiqi of Qing Dynasty. People often use the images of the Dragon's nine sons as decoration show auspiciousness.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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万幾宸(chén辰)翰之宝──此为皇帝印章所刻的文字。 万幾：国家纷繁复杂的政务。典出《尚书·虞书·皋陶谟》：“兢兢业业，一日二日万幾。”&lt;br /&gt;
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The treature of the emporer's notes of handling affairs──This was the inscription on the emperor's seal. Wanji: Country's compliccated government affairs. It was recorded in ''ShangShu·YuShu·The Srategy of Gao Tao'':&amp;quot;Be cautious and practical. There were thousands of complicated government affairs needed to be handled.&amp;quot;&lt;br /&gt;
[ ''ShangShu·YuShu·The Srategy of Gao Tao'' were important documents that recorded the plans and deliberations of emperors and ministers.]&lt;br /&gt;
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The treasure of the Emperor's seal and ink imprint──This refers to the inscription on the emperor's seal. Wanji: Country's complicated executive affairs. It was what's recorded in ''Gao Tao Mo, Book Yu, The Book of History'', which is &amp;quot;Be cautious and practical. There were thousands of complicated government affairs needed to be handled.&amp;quot;--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 14:31, 26 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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孔颖达传云：“幾，微也，言当戒惧万事之微。”意谓尽管政务繁重，也不能忽略任何小事。亦称“万机”。&lt;br /&gt;
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Kong Yingda said: &amp;quot;Ji, which refers to the slighest thing, meaning that should be aware of the very small things.&amp;quot; It means that despite the arduous government affairs, no small things can be ignored. Also known as &amp;quot;Wan Ji&amp;quot;.&lt;br /&gt;
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Kong Yingda's biography said: &amp;quot;The word Ji means that before saying something one should fear the smallest of all things.&amp;quot; This means that despite the heavy workload of the government, one should not neglect any small matters. It is also referred to as &amp;quot;ten thousand business&amp;quot;.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 10:00, 26 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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典出《汉书·百官公卿表上》：“相国、丞相皆秦官，金印紫绶，掌丞天子，助理万机。”这里是形容皇帝日理万机，政务繁忙。&lt;br /&gt;
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The allusion is from ''Han Shu: The List of Hundred Officials（Previous）'': &amp;quot;The Minister of State and the Prime Minister were both Qin officials, with gold seals and purple ribbons, and were in charge of the Emperor and assisted in all affairs.&amp;quot; This is a description of the emperor's busy schedule of affairs.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 09:24, 25 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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The allusion is from Han Shu: The List of Hundred Officials（Previous）: &amp;quot;The Ministers of State and the Prime Ministers were Qin officials, with golden seals and purple ribbons, and they were in charge of the Emperor and assisted in all affairs.&amp;quot; Here is the description of the emperor's busy schedule of affairs.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 12:37, 25 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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宸：“北宸”的省称。即北极星。因皇帝上朝坐北朝南，遂为皇帝的代称。翰：本义是羽毛，因古代以羽毛为笔，引申为墨迹(书写的字)。&lt;br /&gt;
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Chen:is short for &amp;quot;Beichen&amp;quot;, that is, the Polaris, which was the alternative name of the Emperors because they sat in the North and faced the South in the imperial court. Han：the original meaning is feather, because in ancient times, feather was used as a pen，and it extended the meanig to ink（written words）.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 12:29, 22 December 2021 (UTC)&lt;br /&gt;
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Chen: short for &amp;quot;Beichen&amp;quot;, is the Polaris, which was the alternative name of the Emperors because they sat facing the South in the imperial court. Han：the original meaning was feather, because in ancient times, feather was used as a pen，which extended the meaning to ink（written words）.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 08:45, 24 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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宝：这里指皇帝的印章。上古天子、诸侯均以圭璧制印，故称“宝”。唐以后只有帝、后之印可称“宝”。​&lt;br /&gt;
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Bao refers to the emperors' seals. In ancient time, emperors and dukes all had their seals made of Gui and Bi(precious jade),from which it derived the name &amp;quot;Bao&amp;quot;. After Tang Dynasty, &amp;quot;Bao&amp;quot; was used exclusively by the emperors and empresses.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:02, 24 December 2021 (UTC)&lt;br /&gt;
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Bao refers to the emperors' seals in the article. In ancient time, emperors and dukes all had their seals made of Gui and Bi(precious jade),from which it derived the name &amp;quot;Bao&amp;quot;. Since Tang Dynasty, &amp;quot;Bao&amp;quot; was used exclusively to describe the seals of the emperors and empresses.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 09:32, 25 December 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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“座上”对联──珠玑：本义为珠宝，引申为名贵装饰。 昭日月：形容装饰光亮如日月。 昭：明亮。&lt;br /&gt;
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Couplet &amp;quot;above the seat&amp;quot;─ Gem's original meaning is jewelry, which extended for precious decorations. Zhao Riyue means the decorations as bright as the sun and the moon. Zhao means brightness.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:21, 22 December 2021 (UTC)&lt;br /&gt;
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Couplet &amp;quot;above the seat&amp;quot;─ Gem's original meaning is jewelry, which extended for precious decorations. Zhao Riyue means the decorations as bright as the sun and the moon. Zhao means brightness.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 12:44, 26 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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黼黻(fǔ fú府服)：泛指绣有华美花纹的礼服。《晏子春秋·谏下十五》：“公衣黼黻之衣，素绣之裳，一衣而王采具焉。” 黼：黑白相间的斧形花纹。&lt;br /&gt;
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Fu Fu (f incarnation fu fu clothing) : refers to embroidered with colorful decorative pattern of the dress. &amp;quot;Yan Zi Spring And Autumn · Jian Next 15&amp;quot; : &amp;quot;I: gongclothes: both clothes, plain embroidered clothes, one dress and Wang CAI yan.&amp;quot; I: black and white axe shape.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 12:43, 26 December 2021 (UTC)&lt;br /&gt;
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Fu Fu (f incarnation fu fu clothing) : refers to embroidered with colorful decorative pattern of the dress. &amp;quot;Yan Zi Spring And Autumn · Jian Next 15&amp;quot; : &amp;quot;I: gongclothes: both clothes, plain embroidered clothes, one dress and Wang CAI yan.&amp;quot; I: black and white axe shape.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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黻：黑与青相间的亚形花纹。 焕烟霞：形容绣服放射出如烟如霞的光彩，绚丽多姿。 焕：放射光彩。此联形容主宾皆珠光宝气，服饰华丽。&lt;br /&gt;
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Fu: black and blue sub-pattern. Huan Yanxia: to describe the embroidered clothing radiates the radiance of smoke and clouds. Huan: radiate brilliance. This couplet describes the guests of honor are glittering jewels, gorgeous clothes.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 11:17, 26 December 2021 (UTC)&lt;br /&gt;
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Fu: black and green sub shaped pattern. Huanyanxia: to describe that the embroidered clothes radiate smoke like glow, gorgeous and colorful. Huan: radiate brilliance. This couplet describes the guests of honor are glittering jewels, gorgeous clothes.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 11:30, 26 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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汝窑美人觚(gū孤)──出自著名汝窑的一种盛酒器。 汝窑：即北宋汝州瓷窑。因其青瓷器皿质量特佳，多为贡品，故名闻天下，后世成为收藏珍品。&lt;br /&gt;
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Ruyao Beauty Gu-- A wine container from the famous Ruyao. Ruyao: Ruzhou porcelain kiln in the Northern Song Dynasty. Because its celadon ware is of excellent quality and mostly tribute, it is famous all over the world and has become a collection treasure in future generations.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 09:59, 26 December 2021 (UTC)&lt;br /&gt;
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Beauty porcelain（mei ren gu）-- A wine container from the famous Ruyao. Ru kiln: Ruzhou porcelain kiln in the Northern Song Dynasty. Because its celadon ware is of excellent quality and mostly tribute, it is famous all over the world and has become a collection treasure in future generations.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:34, 26 December 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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美人觚：因其体长腰细，形似美人，故名。​&lt;br /&gt;
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椅搭──又称“椅披”。是一种长方形织物的椅用装饰品。因搭或披在椅背和椅坐上，故名。​&lt;br /&gt;
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Beauty porcelain（mei ren gu）: so named because of its long waist and resemblance to a beauty. &lt;br /&gt;
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Chairs（Yi da） - also known as 'chairs'（Yi pi）. This is a rectangular fabric chair upholstery. The name is derived from the fact that it is placed on the back of the chair or on the seat of the chair.&lt;br /&gt;
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Beauty porcelain ：so named because of its long body and slender waist and resemblance to a beauty. &lt;br /&gt;
Chairs（Yi da） - also known as 'chairs'（Yi pi）. This is a rectangular fabric chair upholstery. The name is derived from the fact that it is placed on the back of the chair or on the seat of the chair.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:12, 26 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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掐牙——是一种装饰性衣服花边。即以锦缎等折叠成细条，镶嵌在衣边上，以为美观。 掐：嵌入之意。&lt;br /&gt;
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Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: embedded.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 12:30, 19 December 2021 (UTC)&lt;br /&gt;
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Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: it means “embedded”.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 08:04, 20 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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牙：即“牙子”。器物突出的边沿。​&lt;br /&gt;
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《四书》──即《论语》、《孟子》、《大学》、《中庸》(后两种原为《礼记》中的两篇)。&lt;br /&gt;
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“Ya”: also called &amp;quot;Ya Zi&amp;quot; in Chinese. It means the protruding edge of an object. &lt;br /&gt;
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''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books from ''The Book of Rites'').--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:22, 19 December 2021 (UTC)&lt;br /&gt;
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''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books chosen from ''The Book of Rites'').--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 01:18, 22 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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宋代朱熹选定并定名《四书》，遂成为元、明、清三代科举考试的必读之书。​&lt;br /&gt;
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抹额：原指束在额上的头巾。其起源似乎很早。&lt;br /&gt;
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During the Song dynasty, Zhu xi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.&lt;br /&gt;
Mo E: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.&lt;br /&gt;
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During the Song dynasty, Zhu xi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.&lt;br /&gt;
Headband: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:25, 22 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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宋·高承《事物纪原·戎容兵械·抹额》引《二仪实录》曰：“禹娶涂山之夕，大风雷电，中有甲卒千人，其不披甲者，以红绡帕抹其头额，云海神来朝。&lt;br /&gt;
Song Gaocheng quoted the ''Record of Eryi'' in his book ''Things Documentary-Armed Soldiers-Headband'': “When Yu married the Tushan lady, there was a strong wind, thunder and rain. There were a thousand soldiers in gear, and those who were not wore equipment bound a thin red handkerchiefs on their foreheads in anticipation of the arrival of the god of clouds.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:21, 22 December 2021 (UTC)&lt;br /&gt;
Song Gaocheng quoted the ''Record of Eryi'' in his book ''Things Documentary-Armed Soldiers-Headband'': “When Yu married Tu Shan,under the cicumstance of a strong wind, together with thunder and lighting, there were a thousand soldiers who were not equipped with armor but decorated their foreheads with a thin red handkerchiefs in anticipation of the arrival of the god of clouds.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:42, 22 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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禹问之，对曰：‘此武士之首服也。’秦始皇至海上，有神朝，皆抹额、绯衫、大口袴。侍卫自此抹额，遂为军容之服。&lt;br /&gt;
Yu asked and replied, &amp;quot;this is the surrender of a warrior.&amp;quot; When the first emperor of Qin went to the sea, there was the divine Dynasty where people  wore red upper garment and loose trousers and decorated with smear. Since then, bodyguards decorated their forehead with smear, which has become a kind of military costume.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:17, 19 December 2021 (UTC)&lt;br /&gt;
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Yu asked, and said, ‘this is the first choice for samurai. When Qin Shihuang arrived at the sea, there was a dynasty, and all the people here wiped their foreheads, crimson shirts, and hakama. Since then, the guards wiped their foreheads and became the uniforms of the military.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 11:04, 22 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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可知原为军人的标志。后普及到一般男子，平民以布巾束发，富人用金箍束发，兼为头饰。​&lt;br /&gt;
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箭袖──亦称“箭衣”。&lt;br /&gt;
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It can be seen that it was originally a symbol of a soldier. Later, it was promoted to be used by ordinary men. Common people used cloth towels to tie their hair, and the rich used gold hoops to tie their hair, which also served as headwear. ​&lt;br /&gt;
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Arrow sleeve ─ ─ also known as &amp;quot;arrow suit&amp;quot;.&lt;br /&gt;
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It was a sign of soldiers. Later, it was popularized to ordinary men. Common people tied their hair with cloth towels, and the rich tied their hair with gold hoops, which was also used as headwear. ​&lt;br /&gt;
Arrow Sleeves - also known as &amp;quot;Arrow Suit&amp;quot;.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:13, 24 December 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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是一种窄袖长袍。其袖口呈斜切状，朝手背的袖口长，朝手心的袖口短，便于射箭，故名。其斜袖口又形似马蹄，故又称马蹄袖。&lt;br /&gt;
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It's a kind of robe with narrow sleeves. Its cuffs were  in a diagonal cut shape. The cuffs facing the back of the hand are long and the cuffs facing the palm are short, which is convenient for archery, so it is named Arrow Sleeves. Its oblique cuff is also shaped like a horseshoe, so it is also called horseshoe sleeve.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:55, 20 December 2021 (UTC)&lt;br /&gt;
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It's a kind of robe with narrow sleeves. Its cuffs were in diagonal cut shape. The cuffs facing the back of the hand are long and the cuffs facing the palm are short, which is convenient for archery, so it is named Arrow Sleeves. Its oblique cuff is also shaped like horseshoe, so it is also called horseshoe sleeve.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 14:08, 26 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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后成为一种服式，不射箭的男子也穿。​&lt;br /&gt;
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“倒像”两句──似有双关之意：一者暗指贾宝玉的化身神瑛侍者在太虚幻境用甘露浇灌林黛玉的化身绛珠仙草；&lt;br /&gt;
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Later, it became a sort of clothing style, which can also worn by men who did not shoot arrows. ​The two sentences of &amp;quot;inverted image&amp;quot; seem to have a double meaning: one alluded to Jia Baoyu’s incarnation Shenying waiter watering Lin Daiyu’s incarnation—— the celestial grass with nectar in the Tai Xu fantasy.&lt;br /&gt;
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Later, it became a kind of clothing style, which was also worn by men who did not shoot arrows. ​&lt;br /&gt;
Two sentences of &amp;quot;inverted image&amp;quot; -- there seems to be a pun: one implies that Jia Baoyu's incarnation Shenying waiter watered Lin Daiyu's incarnation Jiangzhu fairy grass with nectar in Taixu fantasy;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 11:03, 20 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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再者隐寓二人心有灵犀一点通，一见锺情。下文贾宝玉说“这个妹妹我曾见过的”、“心里倒像是远别重逢的一般”，其用意同此。​&lt;br /&gt;
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In addition, it implies that the two people share the same heartand fall in love at first sight. Below, Jia Baoyu said that &amp;quot;I have seen this sister&amp;quot; and &amp;quot;I feel like I am far from meeting again&amp;quot;. His intention is the same. ​&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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请安──这里指的是清代一种见面问好的特殊礼仪：&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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男子须在口称“请某某安”的同时，右膝弯曲或跪地(俗称打千)；&lt;br /&gt;
A man must bend his right knee or kneel on the ground while showing respect.&lt;br /&gt;
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==Mariam Toure 2020GBJ002301==&lt;br /&gt;
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女子则在口称“请某某安”的同时，双手扶左膝，右腿微屈，身体半蹲。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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寄名锁──旧时父母为保佑幼儿长命百岁，让幼儿作僧、道的“寄名”弟子，并在幼儿项下悬挂锁形饰物，谓之“寄名锁”。&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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面如傅粉──语本南朝宋·刘义庆《世说新语·容止》：&lt;br /&gt;
Face like Fu Powder- Yu Ben Southern Dynasty Song Liu Yiqing&amp;quot;, &amp;quot;The New Language of the World&amp;quot; (世說新語容止):&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 13:33, 28 December 2021 (UTC)&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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“何平叔(晏)美姿仪，面至白。&lt;br /&gt;
&amp;quot;Uncle He Ping's face is white and beautiful.&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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魏明帝疑其傅粉，正夏月，与热汤饼。&lt;br /&gt;
Weiming Siuyuy Full, Full Day, with hot soup.&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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既啖，大汗出，以朱衣自拭，色转皎然。”&lt;br /&gt;
Both, but sweat, to Zhu Jiazi, the color turned. &amp;quot;&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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(皎然：洁白貌。)原指何晏的脸上好像抹了香粉般洁白。&lt;br /&gt;
English: (Jiao Ran: pure and white appearance.) The original means, He Yan's face it's like white as powdered.&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
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引申以泛喻男子姿容洁白秀美。&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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《西江月》二词──即按照《西江月》词牌填写的两首(也称“阕”)词。&lt;br /&gt;
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Two words in &amp;quot;Westlake Moon&amp;quot; According，Fill in two poems (also known as &amp;quot;Que&amp;quot;) in the poem of &amp;quot;Westlake Moon&amp;quot;.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:45, 21 December 2021 (UTC)&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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词：原本指歌曲中的文词，后来文词与曲调分离，遂变成文体之一。&lt;br /&gt;
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Words: Originally refers to the words in the song. Later, the words and the tune were separated and became one of the styles.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:33, 21 December 2021 (UTC)&lt;br /&gt;
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Word: It originally referred to the words in a song. In time, the words and the tune separated and became one of the styles. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:14, 19 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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但仍须按曲填词，于是发展出许多词牌，每个词牌都有字数、句数、韵脚等规定，还有双调、长调、小令之别。&lt;br /&gt;
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However, it is still necessary to fill in the lyrics according to the tune. So many poems have been developed. Each poem has a word count, sentence count, rhymes and other provisions, as well as the difference between two-tone, long tune, and short meter.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:10, 19 December 2021 (UTC)&lt;br /&gt;
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However, it is still necessary to fill in lyrics according to the tune, so many lyric cards have been developed. Each lyric card has regulations on the number of words, sentences, and rhymes, as well as the differences between double tune, long tune, and short meter. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:58, 21 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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故作词谓之“填词”，就是按照词牌的规范填写文字，不可越雷池一步。&lt;br /&gt;
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The preceding phrase &amp;quot;filling in words&amp;quot; means to fill in the words in accordance with the specifications of the words and phrases, and do not go beyond those criteria. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:56, 21 December 2021 (UTC)&lt;br /&gt;
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The preceding phrase &amp;quot;filling in words&amp;quot; means to fill in the words in accordance with the specifications of the words and phrases, and do not overstep the prescribed limit. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:23, 22 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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《西江月》就是词牌之一。本书用了不少词牌，以下不再一一注释。​&lt;br /&gt;
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&amp;quot;Westlake Moon&amp;quot; is one of the poems. This book uses a lot of words, so I won’t annotate them one by one below. ​--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 08:59, 22 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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&amp;quot;Westlake Moon&amp;quot; is one of the tune names of poem. There are a lot of tune names in the book, which will not annotated one by one below.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:49, 26 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Atta Ur Rahman</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211222_homework&amp;diff=134372</id>
		<title>20211222 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211222_homework&amp;diff=134372"/>
		<updated>2021-12-26T15:55:41Z</updated>

		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* Atta Ur Rahman 202121080003 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
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PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
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PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] etc.&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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闲静似娇花照水，行动如弱柳扶风。心较比干多一窍，病如西子胜三分。宝玉看罢，笑道：“这个妹妹我曾见过的。”&lt;br /&gt;
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She, who is demure as delicate flowers and act like weak willow, is more clever than Bigan(the most clever man in the Legend of Deification) and more beautiful than Xishi(the most beautiful woman in acient China). Precious Jade simled, “I have seen her.”--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:26, 26 December 2021 (UTC)&lt;br /&gt;
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Leisure is like a delicate flower shining on the water, and action is like a weak willow supporting the wind. The heart has more than one orifices than the stem, and like a disease wins Xizi. Baoyu said with a smile, &amp;quot;I've seen this sister.&amp;quot;&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 日语语言文学 女 202120081477==&lt;br /&gt;
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贾母笑道：“又胡说了，你何曾见过？”宝玉笑道：“虽没见过，却看着面善，心里倒像是远别重逢的一般。”贾母笑道：“好，好！这么更相和睦了。”&lt;br /&gt;
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Grandma Merchant smiled and said, &amp;quot;nonsense again. Have you ever seen her?&amp;quot; Baoyu said with a smile, &amp;quot;although I haven't seen her, I look good and feel like I'm far from meeting again.&amp;quot; Grandma Merchant said with a smile, &amp;quot;OK, OK! It's more harmonious.&amp;quot;&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:22, 26 December 2021 (UTC)&lt;br /&gt;
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Dowager Jia smiled and said, &amp;quot;nonsense again. Have you ever seen it?&amp;quot; Baoyu said with a smile, &amp;quot;although I haven't seen it, I look good and feel like I'm far from meeting again.&amp;quot; Dowager Jia  said with a smile, &amp;quot;OK, OK! It's more harmonious.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:18, 21 December 2021 (UTC)&lt;br /&gt;
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Grandma Merchant smiled and said, &amp;quot;Nonsense again. Have you ever seen it?&amp;quot; Precious Jade said with a smile, &amp;quot;Although I haven't seen it, I look good and feel like I'm far from meeting again.&amp;quot; Grandma Merchant said with a smile, &amp;quot;OK, OK! It's more harmonious.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:18, 21 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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宝玉便走向黛玉身边坐下，又细细打量一番，因问：“妹妹可曾读书？”黛玉道：“不曾读书，只上了一年学，些须认得几个字。”&lt;br /&gt;
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Baoyu went to Daiyu and sat down. She looked at her carefully, because she asked, &amp;quot;has your sister ever read?&amp;quot; Daiyu said, &amp;quot;I didn't study. I only studied for a year. I have to recognize a few words.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:12, 21 December 2021 (UTC)&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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宝玉又道：“妹妹尊名？”黛玉便说了名。宝玉又道：“表字？”黛玉道：“无字。”&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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宝玉笑道：“我送妹妹一字：莫若‘颦颦’二字极妙。”探春便道：“何处出典？”宝玉道：“《古今人物通考》上说：&lt;br /&gt;
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Baoyu smiled and said:&amp;quot; I want to describe you with two words—Ping Ping, and no words are better than them.&amp;quot; Tanchun then asked:&amp;quot;In which book did you find them?&amp;quot; Baoyu said:&amp;quot; On ''General Study of Ancient and Modern Characters''&amp;quot;--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:04, 20 December 2021 (UTC)&lt;br /&gt;
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Precious Jade smiled and said:&amp;quot; I want to give away two words to you—Pingping, and no words are better than them.&amp;quot; Tanchun then asked:&amp;quot;In which book did you find them?&amp;quot; Jade said:&amp;quot;''On General Study of Ancient and Modern Characters''.&amp;quot;--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:37, 22 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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‘西方有石名黛，可代画眉之墨。’况这妹妹眉尖若蹙，取这个字，岂不甚美？”探春笑道：“只怕又是杜撰。”&lt;br /&gt;
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'There is a stone in the west named Dai, it can replace the ink of painting eyebrows.' The sister's eyebrows are frown, if take this word for name, isn’t it very beautiful?&amp;quot; Tanchun laughed: &amp;quot;I'm afraid it's a fabrication again.&amp;quot;--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:29, 22 December 2021 (UTC)&lt;br /&gt;
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‘There is a stone in the west named Dai, it can replace the ink of drawing eyebrows.' Besides, her eyebrows are frown, if take this word for name, isn’t it very beautiful?&amp;quot; Tanchun laughed: &amp;quot;I'm afraid it's a fabrication again.&amp;quot;--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:33, 26 December 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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宝玉笑道：“除了《四书》，杜撰的也太多呢。”因又问黛玉：“可有玉没有？”众人都不解。&lt;br /&gt;
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Baoyu laughed and said, &amp;quot;Besides the Four Books, there are too many things made up.&amp;quot; Again he asked Daiyu, &amp;quot;Do you have any jade?&amp;quot; Everyone was puzzled.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:35, 26 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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黛玉便忖度着：“因他有玉，所以才问我的。”便答道：“我没有玉。你那玉也是件稀罕物儿，岂能人人皆有？”&lt;br /&gt;
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Mascara Jade Forest contemplated, “He asked me because he has a jade.” So she answered, “I have no jade. Your jade is a rarity. How could everyone have it?”--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 13:45, 22 December 2021 (UTC)&lt;br /&gt;
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Mascara Jade Forest presumed, “He asked me because he has a jade.” So she answered, “I have no jade. Your jade is a rarity. How could everyone have it?”--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 08:25, 23 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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宝玉听了，登时发作起狂病来，摘下那玉就狠命摔去，骂道：“什么罕物！人的高下不识，还说灵不灵呢！我也不要这劳什子！”&lt;br /&gt;
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After hearing that,Precious Jade Merchant suddenly went mad. And he took off and dropped the jade with cursing that “What the hell is a rare thing! You all say that it is divine, but it can't tell lowliness or nobleness.I won't have the waste now!” --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 12:29, 19 December 2021 (UTC)&lt;br /&gt;
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After hearing that,Precious Jade Merchant suddenly went mad. And he took off and dropped the jade with cursing that “What the hell is a rare thing! You all say that it is divine, but nobody could tell lowliness or nobleness.I won't have the waste now!” --[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:19, 26 December 2021 (UTC)==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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吓的地下众人一拥争去拾玉。贾母急的搂了宝玉道：“孽障，你生气，要打骂人容易，何苦摔那命根子？”宝玉满面泪痕，哭道：“家里姐姐妹妹都没有，单我有，我说没趣儿；&lt;br /&gt;
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The aside servants were scared and then rushed to pick up the jade.Jia's mother anxiously hugged Baoyu and said:&amp;quot; poor kid, if you are angry, why do you bother to fall the jade rahtere to beat and curse.&amp;quot;Covered with tears, Baoyu cried:&amp;quot; my beloved elder and litter sisters have no one. I'm ashamed of owning one.&amp;quot;--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:19, 26 December 2021 (UTC)&lt;br /&gt;
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All those, who stood below, were startled; and in a body they pressed forward, vying with each other as to who should pick up the gem.&lt;br /&gt;
Grandma Merchant was so distressed that she clasped Precious Jade in her embrace. &amp;quot;You child of wrath,&amp;quot; she exclaimed. &amp;quot;When you get into a passion, it's easy enough for you to beat and abuse people; but what makes you fling away that stem of life?&amp;quot;&lt;br /&gt;
Precious Jade’s face was covered with the traces of tears. &amp;quot;All my cousins here, senior as well as junior,&amp;quot; he rejoined, as he sobbed, &amp;quot;have no gem, and if it's only I to have one, there's no fun in it, I maintain! “.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 06:27, 22 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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如今来了这个神仙似的妹妹也没有：可知这不是个好东西。”贾母忙哄他道：“你这妹妹原有玉来着，因你姑妈去世时，舍不得你妹妹，无法可处，遂将他的玉带了去：&lt;br /&gt;
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And now comes this angelic sort of cousin, and she too has none, so that it's clear enough that it is no profitable thing.&amp;quot; Grandma Merchant hastened to coax him. &amp;quot;This cousin of yours,&amp;quot; she explained, &amp;quot;would, under former circumstances, have come here with a jade; and it's because your aunt felt unable, as she lay on her death-bed, to reconcile herself to the separation from your cousin, that in the absence of any remedy, she forthwith took the gem belonging to her (daughter), along with her (in the grave); --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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Now the newly arrived cousin who is as lovely as a fairy hasn't got one either, so it can't be any good.&amp;quot; &amp;quot;Your cousin did have one once,&amp;quot; said Dowager lady Chia to soothe him, &amp;quot;but when your aunt was dying she was unwilling to leave your cousin, the best she could do was to take the jade with her instead. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:49, 20 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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一则全殉葬之礼，尽你妹妹的孝心；二则你姑妈的阴灵儿也可权作见了你妹妹了。因此他说没有，也是不便自己夸张的意思啊。&lt;br /&gt;
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In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn’t want to boast about it. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:50, 20 December 2021 (UTC)&lt;br /&gt;
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In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn't want to publicise it.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 07:00, 22 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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你还不好生带上，仔细你娘知道。”说着，便向丫鬟手中接来，亲与他带上。宝玉听如此说，想了一想，也就不生别论。&lt;br /&gt;
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&amp;quot;If you don't take it with you, be careful your mother knows&amp;quot; As she spoke, she took the jade from the servant girl and adorned him herself. When Precious Jade Merchant heard her say this, he thought for a while and said nothing else.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 06:56, 22 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;You‘d better keep it  well in case your mother notices.” As she spoke, she took the jade from the maid and adorned him herself. When Precious Jade Merchant heard her saying this, he thought for a while and said nothing else. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:18, 22 December 2021 (UTC)&lt;br /&gt;
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&amp;lt;nowiki&amp;gt;Insert non-formatted text here&amp;lt;/nowiki&amp;gt;==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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当下奶娘来问黛玉房舍，贾母便说：“将宝玉挪出来，同我在套间暖阁里，把你林姑娘暂且安置在碧纱厨里。等过了残冬，春天再给他们收拾房屋，另作一番安置罢。”&lt;br /&gt;
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When the nanny came to ask where Mascara Jade should stay, Lady Dowager answered, “ Place Precious Jade in the warm house in my suit and settle your Miss Forest in the Green Voile House temporarily until the winter ends. In next spring, you’ll rearrange the room for them.”--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:34, 22 December 2021 (UTC)&lt;br /&gt;
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Hardly when the nanny came to ask the room of Mascara Jade, Lady Dowager said, “ Place Precious Jade in the warm house with me and settle your Miss Lin  inside the room of the partition door  temporarily until the winter ends. In next spring, you’ll rearrange the room for them.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 11:31, 26 December 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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宝玉道：“好祖宗，我就在碧纱厨外的床上很妥当，又何必出来，闹的老祖宗不得安静呢？”贾母想一想说：“也罢了。&lt;br /&gt;
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Baoyu said:” Dear grandma, I would rather stay at the bed outside the partition door, than at your room to bother you.”  The Lady Dowager said thoughtfully:”That’s Ok.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 05:38, 21 December 2021 (UTC)&lt;br /&gt;
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Presious Jade said:&amp;quot;Dear mother, I would rather stay on the bed outside the partition door rather than at grandma's to bother her.&amp;quot; The Lady Dowager said thoughtfully:&amp;quot;That's OK.&amp;quot;--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 09:06, 25 December 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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每人一个奶娘并一个丫头照管，馀者在外间上夜听唤。”一面早有熙凤命人送了一顶藕合色花帐并锦被、缎褥之类。&lt;br /&gt;
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But let each one of you have a nurse, as well as a waiting-maid to attend on you; the other servants can remain in the outside rooms and keep night watch and be ready to answer any call.&amp;quot; At an early hour, besides, Hsi-feng had sent a servant round with a grey flowered curtain, embroidered coverlets and satin quilts and other such articles.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:25, 19 December 2021 (UTC)&lt;br /&gt;
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But let each one of you have a nurse and a waiting-maid; the other servants can remain in the outside rooms and keep night watch and be ready to answer any call.&amp;quot; At an early hour, besides, Hsi-feng had sent a servant round with a grey flowered curtain, embroidered coverlets and satin quilts and other such articles.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:22, 22 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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黛玉只带了两个人来：一个是自己的奶娘王嬷嬷；一个是十岁的小丫头，名唤雪雁。贾母见雪雁甚小，一团孩气；&lt;br /&gt;
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Daiyu had brought her old Wet-nurse Nanny Wang and ten-year-old Xueyan,who had also attended her since she was a child. The Lady Dowager considered Xueyan too young;--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:17, 22 December 2021 (UTC)&lt;br /&gt;
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Daiyu had brought her old Wet-nurse Nanny Wang and ten-year-old Xueyan,who had also attended her since she was a child. The Lady Dowager considered Xueyan too young;--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 01:41, 26 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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王嬷嬷又极老：料黛玉皆不遂心，将自己身边一个二等小丫头，名唤鹦哥的与了黛玉。亦如迎春等一般：每人除自幼乳母外，另有四个教引嬷嬷；Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after  Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little page girl named Yingge. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mothers.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 14:02, 19 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after  Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little girl named Polly. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mummys.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:40, 20 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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除贴身掌管钗钏盥沐两个丫头外，另有四五个洒扫房屋、来往使役的小丫头。当下王嬷嬷与鹦哥陪侍黛玉在碧纱厨内，宝玉乳母李嬷嬷并大丫头名唤袭人的陪侍在外面大床上。&lt;br /&gt;
In addition to the two servants who are in charge of jewelry and toiletries, there are four or five little maids who sweep the house and do chores. At the moment King mammy and polly accompany daiyu in green gauze room, Baoyu’s mammy li and big maid  Xiren accompany on the big bed outside.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:37, 20 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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原来这袭人亦是贾母之婢，本名蕊珠，贾母因溺爱宝玉，恐宝玉之婢不中使，素喜蕊珠心地纯良，遂与宝玉。宝玉因知他本姓花，又曾见旧人诗句有“花气袭人”之句，遂回明贾母，即把蕊珠更名袭人。&lt;br /&gt;
This maid Xi Ren, whose real name is Rui Zhu, also belongs to Lady Dowager. Lady Dowager enjoyed Rui Zhu’s purity and kindness then assigned her to Baoyu, for Lady Dowager coddled him and worried that the maids of Baoyu not work well. Baoyu knew her last name was Hua, and saw once poetic sentence “the fragrance of flowers assails noses”, then he talked it with Lady Dowager, and then Rui Zhu was named Xi Ren.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 07:12, 20 December 2021 (UTC)&lt;br /&gt;
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This maid Xi Ren, whose real name is Rui Zhu, also belongs to Lady Dowager. Lady Dowager enjoyed Rui Zhu’s purity and kindness, then assigned her to serve Jade, for Lady Dowager coddled him and worried that the maids of Jade not professional. Jade knew her last name was Flower, and saw once a poetic sentence “the fragrance of flowers assails noses”, then he talked it with Lady Dowager. And then Rui Zhu was named Xi Ren.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 12:33, 20 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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却说袭人倒有些痴处：伏侍贾母时，心中只有贾母；如今跟了宝玉，心中又只有宝玉了。只因宝玉性情乖僻，每每规谏，见宝玉不听，心中着实忧郁。&lt;br /&gt;
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However, it is said that Hsi-jen is crazy: when seving Jia's mother, only Jia's mother is in her heart; now serving Jade, there is only Jade in her heart. Because of Jade's perverse temperament, when Jade doesn't listen to her advise, Hsi-jen is really depressed.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:11, 25 December 2021 (UTC)&lt;br /&gt;
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However, Hsi Jen had several simple traits. While in attendance upon dowager lady Chia, in her heart and her eyes there was no one but her venerable ladyship, and her alone; and now in her attendance upon Pao-yue, her heart and her eyes were again full of Pao-yue, and him alone. But as Pao-yue was of a perverse temperament and did not heed her repeated injunctions, she felt at heart exceedingly grieved.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 00:42, 21 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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是晚，宝玉、李嬷嬷已睡了，他见里面黛玉、鹦哥犹未安歇，他自卸了妆，悄悄的进来，笑问：“姑娘怎么还不安歇？”黛玉忙笑让：“姐姐请坐。”&lt;br /&gt;
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At night, after nurse Li had fallen asleep, seeing that in the inner chambers, Tai-yue and Ying Ko had not as yet retired to rest, she removed her makeup, and with gentle step walked in.&lt;br /&gt;
&amp;quot;How is it, miss，&amp;quot; she inquired smiling, &amp;quot;that you have not turned in as yet？&amp;quot;&lt;br /&gt;
Tai-yue at once put on a smile. &amp;quot;Sit down, sister, &amp;quot; she rejoined, pressing her to take a seat. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 01:37, 21 December 2021 (UTC)&lt;br /&gt;
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At night, after Master Bao and nurse Li had fallen asleep, seeing that in the inner chambers, Tai-yue and Ying Ko had not as yet retired to rest, she removed her makeup, and with gentle step walked in.&amp;quot;How is it, miss，&amp;quot; she inquired smilingly, &amp;quot;that you have not turned in as yet？&amp;quot; Tai-yue at once put on a smile. &amp;quot;Sit down, my dear sister, &amp;quot; she rejoined, leading her to take a seat.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:41, 21 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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袭人在床沿上坐了。鹦哥笑道：“林姑娘在这里伤心，自己淌眼抹泪的说：‘今儿才来了，就惹出你们哥儿的病来。倘或摔坏了那玉，岂不是因我之过？’&lt;br /&gt;
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Hsi-jen then sat by the bedside. Ying Ko ridiculed, &amp;quot;Miss Lin was feeling sad with her tears dropping down today, saying that 'It is the first day that I come here, while I have triggered the relapse of your young master. If his precious jade was truly broken apart, then I am sure to blame.&amp;quot;--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:29, 21 December 2021 (UTC)&lt;br /&gt;
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Aroma then sat by the bedside. Brother Parrot ridiculed, &amp;quot;Miss Lin feels sad with her tears dropping down today, saying that 'It is the first day that I come here, while I have triggered the relapse of your young master. If his precious jade is truly broken apart, then I'll be sure to blame.&amp;quot;--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:45, 22 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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所以伤心。我好容易劝好了。”袭人道：“姑娘快别这么着。将来只怕比这更奇怪的笑话儿还有呢。&lt;br /&gt;
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“She is therefore so sad, and I had a hard time persuading her to stop crying.” Aroma said: “Please don’t look so sad, young lady. There will be more stranger jokes in the future.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:40, 22 December 2021 (UTC)&lt;br /&gt;
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“She is therefore so sad, and I had a hard time persuading her to stop crying.” Aroma said: “Please don’t look so sad, my mistress. There will be more stranger jokes in the future.”--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 10:51, 22 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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若为他这种行状，你多心伤感，只怕你还伤感不了呢。快别多心。”黛玉道：“姐姐们说的，我记着就是了。”&lt;br /&gt;
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“If you feel sad for his behavior, I’m afraid that you can’t be so. Don’t think too much.” Daiyu said: “I will remember what our sisters has said.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 00:23, 20 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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又叙了一会，方才安歇。次早起来，省过贾母，因往王夫人处来。正值王夫人与熙凤在一处拆金陵来的书信，又有王夫人的兄嫂处遣来的两个媳妇儿来说话。&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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黛玉虽不知原委，探春等却晓得是议论金陵城中居住的薛家姨母之子、表兄薛蟠倚财仗势，打死人命，现在应天府案下审理。如今舅舅王子腾得了信，遣人来告诉这边，意欲唤取进京之意。&lt;br /&gt;
Although Daiyu did not know the exact cause, Tanchun and others knew that it was xue Pan, son and cousin of aunt Xue who lived in Jinling city, who killed a man by taking advantage of his wealth and power, and was now being tried by the Tianfu court. Now uncle Prince teng got the letter, send people to tell here, intended to call the meaning of Beijing.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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Although Dai Yu did not know the original commission, Tan Chun and others knew that it was a discussion of Xue Pan, the son of the Xue family's aunt and cousin Xue Pan, who lived in Jinling City, who relied on wealth and power to kill people, and now it should be tried under the Tianfu case. Now that his uncle Prince Teng had received the letter, he sent someone to tell this side, intending to summon the intention of entering the capital.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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毕竟怎的，下回分解。&lt;br /&gt;
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起复——即重新起用被停职或撤职的官员，包括因父母丧停职回家守孝及因被弹劾而遭撤职的官员。​&lt;br /&gt;
If you want to know what happened, the answer is next time&lt;br /&gt;
Reinstatement – Reinstate officials who have been suspended or removed from their posts, including those who have been suspended from their posts for the death of their parents and who have been removed from office for impeachment.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:14, 19 December 2021 (UTC)&lt;br /&gt;
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After all, I'll break it down next time.&lt;br /&gt;
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Reinstatement - reinstatement of officials who have been suspended or removed from office, including those who have been removed from office due to the death of their parents and those who have been removed from office due to impeachment.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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邸(dǐ底)报——亦称“邸抄”、“抄报”、“宫门抄”，清代或称“京报”。中国古代官方报纸的通称。&lt;br /&gt;
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Di Pao -- also known as &amp;quot;Di Copy&amp;quot;, &amp;quot;copy newspaper&amp;quot; or &amp;quot;Palace Gate Copy&amp;quot; -- is also known as &amp;quot;Beijing Newspaper&amp;quot; during the Qing Dynasty. The general name of the official newspaper in ancient China.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:23, 19 December 2021 (UTC)&lt;br /&gt;
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Di Bao -- also known as &amp;quot;Di Copy&amp;quot;, &amp;quot;copy newspaper&amp;quot; or &amp;quot;Palace Gate Copy&amp;quot; -- is also known as &amp;quot;Beijing Newspaper&amp;quot; during the Qing Dynasty. The general name of the official newspaper in ancient China.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:10, 22 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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承办者或为地方官府驻京办事机构，或为朝廷。邸报专门抄发诏令、奏章及朝政新闻，以供地方官及时了解。 邸：原指战国时各诸侯在都城的客馆，后泛指地方官府驻京办事处。​&lt;br /&gt;
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The undertaker is either the local government office in Beijing or the imperial court. The residence newspaper specially copied and issued imperial edicts, memorials and government news for local officials to understand in time. Di: it used to refer to the guest houses of various princes in the capital during the Warring States period, and later it generally refers to the offices of local officials in Beijing. ​--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:09, 22 December 2021 (UTC)&lt;br /&gt;
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The undertaker is either the local government office in Beijing or the imperial court. The &amp;quot;Di&amp;quot; newspaper(a official gazette) specially copied and issued imperial edicts, memorials and government news for local officials to understand in time.&amp;quot;Di&amp;quot;: Originally referred to the guest hall of the princes in the capital during the Warring States Period, and later generally referred to the Beijing office of the local government.    --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 14:40, 22 December 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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贱荆——亦称“拙荆”、“山荆”等。谦词。对人称自己的妻子。 荆：“荆钗布裙”的省称。&lt;br /&gt;
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&amp;quot;Jian Jing&amp;quot; ——also known as &amp;quot;Zhuo Jing&amp;quot;, &amp;quot;Shan Jing&amp;quot; etc. It's a modest word when a man mention his wife in front of others. &amp;quot;Jing&amp;quot;is a short name for &amp;quot;JingChaiBuQun&amp;quot;(the female have only a thorn for a hairpin and plain cloth for a skirt).   --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 12:36, 19 December 2021 (UTC)Liu Wei&lt;br /&gt;
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Jian Jing, also known as &amp;quot;Zhuo Jing&amp;quot;, &amp;quot;Shan Jing&amp;quot;,etc, is a humle term for quoting one's own wife. Jing is an abbreviation for &amp;quot;Jingchaibuqun&amp;quot;, that is, a thorn for a hairpin and palin cloth for a skirt.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:59, 20 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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形容妇人极为简朴的服饰。语出汉·刘向《列女传》(见《太平御览》卷七一八引)：“梁鸿妻孟光，荆钗布裙。” 荆钗：即以木棍为钗。&lt;br /&gt;
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Jing, used to ​describe women's plain, simple and unadorned clothes, is originated from a sentence in the ''Biographies of Exemplary Women'' written by Liu Xiang in the Han Dynasty (see ''Imperial Review under the Reign of Taizong in the Song Dynasty'', Vol.718): &amp;quot;Meng Guang, wife of Liang Hong has only a thorn for a hairpin and plain cloth for a skirt.&amp;quot; Jingchai means a thron for a hairpin.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:53, 20 December 2021 (UTC)&lt;br /&gt;
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Jing, used to ​describe the extremely simple dress of a woman. In Han, Liu Xiang's &amp;quot;Biography of the Female&amp;quot; (see ”Taiping Yu Lan“（Imperial Review under the Reign of Taizong in the Song Dynasty）, vol. 718): &amp;quot;Liang Hong's wife, Meng Guang, was dressed in a woven hairpin and cloth skirt.&amp;quot; Jingchai (荆钗): a wooden stick used as a hairpin.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 05:02, 22 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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内顾之忧──语出北朝魏·袁翻《安置蠕蠕表》：“且蠕蠕尚存，则高车犹有内顾之忧，未暇窥窬上国；&lt;br /&gt;
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The Worries of Internal Concern - From Yuan Fan's &amp;quot; Settlement Zoran Policy &amp;quot;, And if Zoran still existed, then Gao Che (a generic term used by the Northern Dynasties for a part of the nomadic tribes in the north of the desert) would still have internal concerns and would not have had the strength to covet the vassal states.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 04:55, 22 December 2021 (UTC)&lt;br /&gt;
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Internal Concerns – derived from Yuan Fan's &amp;quot;Policy on the Settlement of Ruru&amp;quot;. “And if Ruru survived, Gaoche would have internal concerns and would have no time to covet the territory of the Emperor.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 13:30, 25 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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若蠕蠕全灭，则高车跋扈之计，岂易可知？”(蠕蠕：“柔然”的别称，亦称“芮芮”、“茹茹”。我国古代北方少数民族名。&lt;br /&gt;
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“If Ruru was annihilated, wasn’t it easy to know the conceited plan of Gaoche?” (“Ruru”, an alternative name for Rouran Khaganate, can also be called “Ruirui” or “Ruru”. The name of an ancient northern ethnic minorities.)--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:53, 25 December 2021 (UTC)&lt;br /&gt;
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If Ruru was annihilated, would it be easy to know the conceited plan of Gaoche?&amp;quot; (“Ruru”,: an alias for Rouran Khaganate, also known as &amp;quot;Ruirui&amp;quot; and &amp;quot;Ruru&amp;quot;. The name of an ancient northern minority group in the region of China.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 11:44, 26 December 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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高车：亦称“狄历”、“敕勒”、“铁勒”、“丁零”。 我国古代北方少数民族名。)意谓因对家事或国事的顾念而担忧。&lt;br /&gt;
Gao Che: also known as Di Li, Cile, Tie Le, Ding Zero. The name of a minority group in the north of China in ancient times). It means to worry about family or national affairs.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 11:39, 26 December 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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这里指家庭需要照顾的人或事。​&lt;br /&gt;
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垂花门──旧时较为讲究的四合院二门。门顶如屋顶式样，其四角和前后多有下垂的雕花，故称。&lt;br /&gt;
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This refers to the person or thing that family members need to take care of. ​&lt;br /&gt;
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Floral-Pendant Gates: It was  the second gate of a courtyard house with exquisite decoration in the old days. The top of the door was like a roof, with drooping carvings on the back and front of four corners, so it is called &amp;quot;Floral-Pendant Gates&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 11:25, 22 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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超手游廊──亦作“超手回廊”、“抄手游廊”。房廊像两手笼入袖筒，两袖成环形状，故称。&lt;br /&gt;
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Verandah Chao Shou —— also known as &amp;quot;Corridor Chao Shou&amp;quot; and &amp;quot;Cross Hand Verandah&amp;quot;. Its gallery looked like a two-handed cage into the sleeves, and the two sleeves formed a ring shape, so it was called &amp;quot;Verandah Chao Shou&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:37, 20 December 2021 (UTC)&lt;br /&gt;
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Verandah Chao Shou: It was also known as  “Corridor Chao Shou” or “Verandah Cross Hand”. Its gallery was similar to a two-handed cage into the two sleeves which formed a ring shape, so it was called “Verandah Chao Shou”. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 06:26, 22 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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穿山游廊──指与厅房两边山墙门通连的回廊。以其可由山墙门穿行，故称。 山：即房屋两侧的山墙。​&lt;br /&gt;
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Chuan Shan You Lang: A veranda or corridor connected with the gable doors on both sides of the hall. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 13:22, 19 December 2021 (UTC)&lt;br /&gt;
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Chuan Shan You Lang: It refers to the corridor connected to the door of the wall on either side of the room. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:33, 19 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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“第一个”六句──这是对迎春形象的描写。 微丰：稍胖。 腮凝新荔：形容腮帮子像荔枝般的红润。&lt;br /&gt;
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The first six lines - It is a description of Yingchun's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red as lychees.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:29, 19 December 2021 (UTC)&lt;br /&gt;
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The first six lines - It is a description of Yingchun's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red and shiny as lychees.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:21, 20 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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鼻腻鹅脂：形容鼻端像鹅脂般光润。​&lt;br /&gt;
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“第二个”七句──这是对探春形象的描写。 削肩：俗称溜肩。&lt;br /&gt;
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Bi Ni E Zhi: an idiom to describe someone’s tip of nose is as shiny and smooth as goose grease.&lt;br /&gt;
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“The second” seven lines —— this is a depiction of the look of Tanchun. Rounded shoulders: commonly known as sloping shoulders --[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:18, 20 December 2021 (UTC)&lt;br /&gt;
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Bi Ni E Zhi: a Chiniese idiom to describe someone’s tip of nose is as shiny and smooth as goose grease.&lt;br /&gt;
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“The second” seven lines —— this is a depiction of Tanchun'image. Cuted shoulders: commonly known as sloping shoulders--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 07:00, 25 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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倾斜的双肩。古人以为美人肩。&lt;br /&gt;
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长挑身材：瘦高的身材。 鸭蛋脸儿：犹如鸭蛋似的长圆形脸盘。&lt;br /&gt;
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Sloping shoulders. The ancients considered these to be the shoulders of beauty.&lt;br /&gt;
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Long, tall figure: a tall, thin figure. Duck egg face: an oblong face like a duck egg.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:32, 20 December 2021 (UTC)&lt;br /&gt;
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Sloping shoulders. The ancient people considered such shoulders as the shoulders of beauty.&lt;br /&gt;
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Long, tall figure: a tall, thin figure. Duck egg face: an oblong face like a duck egg--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 11:59, 26 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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俊眼修眉：秀美的眼睛，长长的秀眉。 顾盼神飞：左顾右盼，目光炯炯，神采飞扬。 文彩精华：光彩照人，精神十足。&lt;br /&gt;
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Jun Yan Xiu Mei: charming eyes with long and delicate eyebrows. Gu Pan Shen Fei: looking left and right, with shining eyes and soaring spirit. Wen Cai Jing Hua: being radiant and full of energy.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 11:58, 26 December 2021 (UTC)&lt;br /&gt;
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Jun Yan Xiu Mei: beautiful eyes with long and delicate eyebrows. Gu Pan Shen Fei: looking left and right, with shining eyes and soaring spirit. Wen Cai Jing Hua: being radiant and full of energy.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 01:21, 22 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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见之忘俗：意谓别人见了就会忘了俗气，变得高雅起来。形容探春一身高雅之气。​&lt;br /&gt;
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“第三个”两句──这是对惜春形象的描写。&lt;br /&gt;
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To see is to forget vulgarity: It means that when others see something or someone will forget the secular atmosphere and  become more elegant. In this sentence, it describes Tanchun has a great elegant temperament.&lt;br /&gt;
&amp;quot;The third&amp;quot; two sentences ─ thses are  the description of the image of Xi Chun.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:50, 20 December 2021 (UTC)&lt;br /&gt;
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Jian Zhi Wang Su: It means that others will forget the vulgarity and become elegant when they see it. It is used to describe Tanchun's elegance. &lt;br /&gt;
The two sentences containing “ the third” — are the image depiction of Sichun.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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形容惜春年纪尚小，身材和容貌都还没有发育成熟。​&lt;br /&gt;
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人参养荣丸──以人参、当归、黄芪、陈皮、白芍、熟地、桂心等配制而成的丸药，主治脾胃气血亏虚等症。&lt;br /&gt;
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It is used to describe the Xichun, who is still young and body and appearance are not developed.&lt;br /&gt;
Ginseng Yangrong Pill- A pill made of ginseng, angelica, astragalus, Chen Pi, Bai Shao, Shu Di, Gui Xin, etc., mainly used for treating deficiency of qi and blood in the spleen and stomach.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:22, 19 December 2021 (UTC)&lt;br /&gt;
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It is used to depict Xichun, who is still in her young age and underdeveloped stature as well as appearance.&lt;br /&gt;
Ginseng tonic bolus- a sort of pill composed of ginseng, Angelica sinensis, astragalus, tangerine peel, white paleontology root, rehmannia glutinousa, laurel heart, etc. is mainly used to treat diseases such as deficiency in spleen, stomach, qi as well as blood.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 13:00, 19 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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荣：中医指血脉。 养荣丸：似有双关之意：除了保养血脉之意外，还有保养荣誉之意，与薛宝钗的“冷香丸”相对，以寓二人的不同性格。&lt;br /&gt;
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“Rong” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meaning. Apart from the maintenance of blood, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Xue Baochai. This is the revelation of different personalities between these two people.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:45, 19 December 2021 (UTC)&lt;br /&gt;
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“Rong” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meanings. Apart from the maintenance of blood vessel, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Xue Baochai. This is the revelation of different personalities between these two people.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:27, 20 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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窄褃(kèn掯)袄──即紧身妖。 窄：瘦小。 褃：是上衣前后幅两侧接缝部分的名称。&lt;br /&gt;
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Narrow ken coat ── is a tight quilted jacket.Narrow: thin.Ken: It is the name of the seams on the front and rear sides of the jacket.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:18, 20 December 2021 (UTC)&lt;br /&gt;
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Narrow Ken coat ── namely tight quilted jacket. Narrow: thin. Ken: the name of the seams on the front and back of the jacket. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 08:50, 21 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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仪门──原指官署大门里的第二道正门。之所以称“仪门”，是因为官员至此门必须整齐仪表。&lt;br /&gt;
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Etiquette Gate ── originally refers to the second main gate in the main gate of the government office. The reason why it is called &amp;quot;Etiquette Gate&amp;quot; is because the officers must be well-groomed when he arrives. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 08:38, 21 December 2021 (UTC)&lt;br /&gt;
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Etiquette Gate--Originally, it refers to the second main door in the gate of the official office. The reason why it is called &amp;quot;Etiquette Gate&amp;quot; is that officials must be neat and tidy when they arrive at this gate.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:30, 23 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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《明会典·礼部十七·官员礼》：“新官到任之日……先至神庙祭祀毕，引至仪门前下马，具官服，从中道入。”&lt;br /&gt;
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The Ming Canon - Rituals XVII - Official Rites: &amp;quot;On the day the new official arrives, he first goes to the temple to offer sacrifice, after which he is led to dismount in front of the ceremonial gate, with his official uniform, and enters from the middle road.&amp;quot;--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:27, 23 December 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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又《江宁府志·建制·官署》：“其制大门之内为仪门，仪门内为莅事堂。”后加以引申，大家府第的第二道正门也称仪门。​&lt;br /&gt;
&amp;quot;Jiangning official records，organizational system，official &amp;quot;: &amp;quot;inside the system gate is the instrument gate, and inside the instrument gate is the visiting hall.&amp;quot; Later extended, the second main gate of everyone's house is also called Yimen. ​--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:12, 22 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;Jiangning official records，organizational system，government &amp;quot;: &amp;quot;inside the system gate is the etiquette gate, and inside the etiquette gate is the visiting hall.&amp;quot; Later extended, the second main gate of mansion is also called etiquette gate.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 09:52, 26 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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鹿顶耳房钻山──这里是指在正房两侧与东西厢房北侧之间建有两座平顶耳房，并在耳房山墙上开门。如此则使正房、东西耳房、东西厢房皆可相通，便于穿行，所以下句说“四通八达”。&lt;br /&gt;
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Luding Erfang Zuanshan—— it refers to two flat top ear rooms which are situated on the two sides of principal room and northern side of east and west wings and open up the door on the gable. Then it makes a connection between principal room, east and west ear room as well as east and west wings so that it is more convenient for people to pass. It is called “extend in all directions” as described below.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 02:14, 22 December 2021 (UTC)&lt;br /&gt;
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Luding Erfang Zuanshan——it refers to two flat-top ear rooms which are situated on the two sides of principal room and northern side of east and west wings and open up the door on the gable of ear rooms. Then it makes a connection between principal room, east and west ear rooms as well as east and west wings so that it is very convenient for people to pass. Therefore, it is called “accessible in all directions” as described below.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 07:44, 22 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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鹿顶：亦作“盝顶”。即平屋顶。 耳房：紧靠正房或厢房两侧并利用其山墙建造的房屋。&lt;br /&gt;
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Luding: flat roof. Ear room: a room built by using a gable on either side of a principle room or wing-room.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 02:00, 22 December 2021 (UTC)&lt;br /&gt;
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Lu Ding: this means flat roof. Er Fang: a room built by using the gable on both sides of a principle room or wing-room.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 12:13, 22 December 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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因其位于正房两侧，犹如人的两只耳朵，故称。 钻山：指打通房屋两侧的山墙，以与相邻的房屋或回廊相通。​&lt;br /&gt;
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As they are located on both sides of the main house just like people’s ears, they are called “wings”.  Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 07:45, 20 December 2021 (UTC)&lt;br /&gt;
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Because they are located on both sides of the main house just like people’s ears, they are called “wings”.  Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 05:48, 21 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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赤金九龙青地大匾──以赤金涂饰的九条雕龙为边框的黑底大匾。 九龙：古代传说龙生九子，性格各异。但说法各异。&lt;br /&gt;
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The horizontal board, which is  decorated with pink gold, night dragon and tuff - the board is black and is made of motifs of dragon and phoenix. The nine dragons: it is said that, in the ancient time, the dragon had nine sons, whose character were totally different. But there were different ideas about it.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:02, 19 December 2021 (UTC)&lt;br /&gt;
A large plaque with nine dragons painted in red gold on a black background. Nine Dragons: Ancient legend has it that dragons are born with nine sons, each with a different character. However, there are different sayings.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:36, 22 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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明·杨慎《升庵外集·动物一·龙生九子》说：“龙生九子不成龙，各有所好：囚牛，平生好音乐，今胡琴头上刻兽是其遗像；&lt;br /&gt;
Ming-Yang Shen's &amp;quot;Sheng'an Waiji - Animals I - The Nine Sons of the Dragon&amp;quot; says: &amp;quot;The nine sons of the dragon were born without becoming dragons, but each had his own interests: the prisoner bull, who was good at music in his life, and the beast carved on the head of the huqin today is his posthumous image.&lt;br /&gt;
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Yang Shen of Ming Dynasty said in &amp;quot;Sheng an Outside collection · Animal · Long Sheng Jiu Zi&amp;quot; : &amp;quot;Long sheng Jiu Zi is not a dragon, each has his own good points: prisoner ox, good music in his life, the beast carved on the head of Huqin is his portrait;  --[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:32, 26 December 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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睚毗，平生好杀，金刀柄上龙吞口是其遗像；嘲风，平生好险，今殿角走兽是其遗像；蒲牢，平生好鸣，今钟上兽纽是其遗像；&lt;br /&gt;
Yapi, who was easy to kill, has a portrait of a dragon swallowing mouth on the gold hilt.  Scene wind, life good risk, this temple corner beast is its portrait;  Pu Lao, life good Ming, this bell on the beast new is its portrait; --[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:28, 26 December 2021 (UTC)&lt;br /&gt;
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Yapi, who likes killing, so the image of a dragon swallowing mouth on the gold hilt is its portrait. Chaofeng, who likes being at risk, so the image of the temple corner beast is its portrait; Pulao, who likes chirping, so the image of the bell on the beast new is its portrait.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 11:34, 26 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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狻猊，平生好坐，今佛座狮子是其遗像；霸下，平生好负重，今碑座兽是其遗像；陛犴，平生好讼，今狱门上狮子头是其遗像；&lt;br /&gt;
Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 07:02, 20 December 2021 (UTC)&lt;br /&gt;
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Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:25, 20 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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屓屭，平生好文，今碑两旁龙是其遗像；蚩吻，平生好吞，今殿脊兽头是其遗像。”明·焦竑《玉堂丛语·卷一·文学》则说：&lt;br /&gt;
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The clamshell, life is good literature, today the two sides of the monument dragon is its image; Chi kiss, life is good swallow, today the temple ridge beast head is its image.&amp;quot; Ming - Jiao Hong &amp;quot;Yu Tang Congye - Volume 1 - Literature&amp;quot; said.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:24, 20 December 2021 (UTC)&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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“俗传龙生九子不成龙，各有所好……一曰赑屭，形似龟，好负重，今石碑下龟趺是也；二曰螭吻，形似兽，性好望，今屋上兽头是也；&lt;br /&gt;
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“ It is said that the nine sons of dragons are not born into dragons, and each has its own features...One is Bixi shaped like a tortoise, and it is so heavy. It is also a tortoise under the stone tablet; the second is Liwen shaped like a beast, and it is well-known.&lt;br /&gt;
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&amp;quot;It is said that the nine sons of dragons are not born into dragons, and each has its own features...One is Bi'xi, whose shapes like a tortoise, and it likes carrying heavy things. It is also a tortoise under the stone tablet; The second is Li'wen, whose shapes like a beast, and it is well-known, It often apperas in roof.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:39, 26 December 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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三曰蒲牢，形似龙而小，性好叫吼，今钟上纽是也；四曰狴犴，形似虎，有威力，故立于狱门；五曰饕餮，好饮食，故立于鼎盖；&lt;br /&gt;
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The third one is Pu'lao, who looks like a dragon but is small and easy to roar, and it often appeared in chime. The fourth was Bi'an, who looks like a tiger and is so powerful that he stand in the door of the prison. The fifth is Tao'tie, like eating food, so stand in tripod cover;--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:32, 26 December 2021 (UTC)&lt;br /&gt;
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The third one is Pu'lao, who looks like a dragon but is small and easy to roar, and it often appeared in chime. The fourth was Bi'an, who looks like a tiger and is so powerful that he stands in the door of the prison. The fifth is Tao'tie, like eating food, so stands in tripod cover;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:47, 26 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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六曰，性好水，故立于桥柱；七曰睚毗，性好杀，故立于刀环；八曰金猊，形似狮，性好烟火，故立于香炉；&lt;br /&gt;
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The sixth is good at water, so it stands on the bridge column; The seventh is called Ya Zi, good at killing, so it stands in the knife ring; The eighth is Jin Ni, like a lion, has a good nature of fireworks, so it stands in the incense burner;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:04, 26 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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九曰椒图，形似螺蚌，性好闭，故立于门铺首。”明·沈德符《万历野获编·卷七·内阁·龙子》又说：“长沙李文正公在阁，孝宗忽下御札，问龙生九子之详。&lt;br /&gt;
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The ninth is called Jiao Tu, which is shaped like a screw and likes to close its mouth, so it is used as decoration on the door. Shen Defu of the Ming Dynasty, in his book ''Wanli Ye Huo, Vol.7, Cabinet, Longzi,'' also said, &amp;quot;When Duke Li Wenzheng of Changsha was in the cabinet, Emperor Xiaozong suddenly got down to ask the details of the birth of nine longzi.&lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 13:30, 21 December 2021 (UTC)&lt;br /&gt;
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When Duke Li Wenzheng of Changsha was in the pavilion, Emperor Xiaozong suddenly sent a royal letter and asked about the details of Long Sheng's nine sons.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 07:32, 26 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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文正对云：‘其子蒲牢好鸣，今为钟上钮鼻；囚牛好音，今为胡琴头刻兽；睚眦好杀，今为刀剑上吞口；&lt;br /&gt;
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Wen Zheng said , &amp;quot;his son Pu Lao likes roaring，the dragon shaped animal button on the Hong Zhong is its relic; The Qiu Niu loves music all his life. He often squats on the head of the piano to enjoy the music of plucking strings, so his portrait is engraved on the head of the HuQin; Ya Ci is the second child. He is aggressive and likes killing all his life，and swallow a sword with his mouth.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 07:29, 26 December 2021 (UTC)&lt;br /&gt;
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Wen Zheng said , &amp;quot;his son Pu Lao likes roaring，and often appears on the bell; Qiu Niu loves music all his life,accordingly, he becomes a decoration for music instrument, such as two-stringed bowed violin (huqin); Ya Ci likes fighting and killing，people see him as the patron saint of weapons, so he often appears on the weapons.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:08, 26 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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嘲风好险，今为殿阁走兽；狻猊好坐，今为佛座骑象；霸下好负重，今为碑碣石趺；&lt;br /&gt;
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Chao Feng loves adventure,he now often appears on the corner on the housetop; Suan Ni loves sitting quietly, his image is often found in temples as the mount of Buddha; Bi xi has the power of strength. He loves to carry heavy stuff to show off his magic energy, so under the stele can people see his appearing.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:12, 26 December 2021 (UTC)&lt;br /&gt;
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Chao Feng loves adventure. It's the small decorative animal on the eaves of the housetop; Suan Ni loves sitting quietly. Its image is often found in temples as the mount of Buddha; Bi xi has the power of strength. He loves to carry heavy stuff to show off his magic energy, so under the stele can people see his appearing.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 11:30, 26 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（ 语言学） 女 202120081541==&lt;br /&gt;
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狴犴好讼，今为狱户首镇压；屓屭好文，今为碑两旁蜿蜒；蚩吻好吞，今为殿脊兽头。’”&lt;br /&gt;
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Bi An is eager for justice and righteousness and can distinguish right from wrong. Now they generally stand on both sides of the lobby of the government office to deter those who violate the law and discipline. Bi Xi, which is fond of reading and writing articles, is gentle. And now it’s the animal winding around on both sides of the stele. Chi Wen which has the ability of swallowing fire becomes the beast heads at both ends of the palace roof. --[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 07:24, 26 December 2021 (UTC)&lt;br /&gt;
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Bi An is eager for justice and righteousness and can distinguish right from wrong. Now it generally stands on both sides of the lobby of the government office to deter those who violate the law and discipline. Bi Xi, which is fond of reading and writing articles, is gentle. And now it’s the animal winding around on both sides of the stele. Chi Wen, who has the ability of swallowing fire, becomes the beast heads at both ends of the palace roof. --[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 11:14, 26 December 2021 (UTC)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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此外，明·陈仁锡《潜确类书》、明·胡侍《真珠船·龙生九子》、清·褚人获《坚瓠十集·龙九子》、清·高士奇《天禄识馀·龙种》，对九龙的名称、性格、用途的说法也各不相同，可见出于民间传说。世人多用作装饰，以示祥瑞。​&lt;br /&gt;
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In addition, the names, characters and uses of the Dragon's nine sons, which can be seen from folklore, are also different in ''Reference Book of Qian Que'' by Chen Renxi of Ming Dynasty, ''Zhenzhu Boat·The Nine Sons of the Dragon'' by Hu Shi of Ming Dynasty,''Jian Hu's Collection-Vol.10·The Nine Sons of the Dragon'' by Chu Renhuo of Qing Dynasty and ''Tian Lu Shi Yu· Dragon Species'' by Gao Shiqi of Qing Dynasty. People often use the images of the Dragon's nine sons as decoration, to show good luck. --[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:53, 23 December 2021 (UTC)&lt;br /&gt;
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In addition, the names, characters and usages of the Dragon's nine sons, which can be seen from folklore, also differ in ''Reference Book of Qian Que'' by Chen Renxi of Ming Dynasty, ''Zhenzhu Boat·The Nine Sons of the Dragon'' by Hu Shi of Ming Dynasty,''Jian Hu's Collection-Vol.10·The Nine Sons of the Dragon'' by Chu Renhuo of Qing Dynasty and ''Tian Lu Shi Yu· Dragon Species'' by Gao Shiqi of Qing Dynasty. People often use the images of the Dragon's nine sons as decoration show auspiciousness.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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万幾宸(chén辰)翰之宝──此为皇帝印章所刻的文字。 万幾：国家纷繁复杂的政务。典出《尚书·虞书·皋陶谟》：“兢兢业业，一日二日万幾。”&lt;br /&gt;
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The treature of the emporer's notes of handling affairs──This was the inscription on the emperor's seal. Wanji: Country's compliccated government affairs. It was recorded in ''ShangShu·YuShu·The Srategy of Gao Tao'':&amp;quot;Be cautious and practical. There were thousands of complicated government affairs needed to be handled.&amp;quot;&lt;br /&gt;
[ ''ShangShu·YuShu·The Srategy of Gao Tao'' were important documents that recorded the plans and deliberations of emperors and ministers.]&lt;br /&gt;
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The treasure of the Emperor's seal and ink imprint──This refers to the inscription on the emperor's seal. Wanji: Country's complicated executive affairs. It was what's recorded in ''Gao Tao Mo, Book Yu, The Book of History'', which is &amp;quot;Be cautious and practical. There were thousands of complicated government affairs needed to be handled.&amp;quot;--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 14:31, 26 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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孔颖达传云：“幾，微也，言当戒惧万事之微。”意谓尽管政务繁重，也不能忽略任何小事。亦称“万机”。&lt;br /&gt;
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Kong Yingda said: &amp;quot;Ji, which refers to the slighest thing, meaning that should be aware of the very small things.&amp;quot; It means that despite the arduous government affairs, no small things can be ignored. Also known as &amp;quot;Wan Ji&amp;quot;.&lt;br /&gt;
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Kong Yingda's biography said: &amp;quot;The word Ji means that before saying something one should fear the smallest of all things.&amp;quot; This means that despite the heavy workload of the government, one should not neglect any small matters. It is also referred to as &amp;quot;ten thousand business&amp;quot;.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 10:00, 26 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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典出《汉书·百官公卿表上》：“相国、丞相皆秦官，金印紫绶，掌丞天子，助理万机。”这里是形容皇帝日理万机，政务繁忙。&lt;br /&gt;
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The allusion is from ''Han Shu: The List of Hundred Officials（Previous）'': &amp;quot;The Minister of State and the Prime Minister were both Qin officials, with gold seals and purple ribbons, and were in charge of the Emperor and assisted in all affairs.&amp;quot; This is a description of the emperor's busy schedule of affairs.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 09:24, 25 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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The allusion is from Han Shu: The List of Hundred Officials（Previous）: &amp;quot;The Ministers of State and the Prime Ministers were Qin officials, with golden seals and purple ribbons, and they were in charge of the Emperor and assisted in all affairs.&amp;quot; Here is the description of the emperor's busy schedule of affairs.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 12:37, 25 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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宸：“北宸”的省称。即北极星。因皇帝上朝坐北朝南，遂为皇帝的代称。翰：本义是羽毛，因古代以羽毛为笔，引申为墨迹(书写的字)。&lt;br /&gt;
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Chen:is short for &amp;quot;Beichen&amp;quot;, that is, the Polaris, which was the alternative name of the Emperors because they sat in the North and faced the South in the imperial court. Han：the original meaning is feather, because in ancient times, feather was used as a pen，and it extended the meanig to ink（written words）.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 12:29, 22 December 2021 (UTC)&lt;br /&gt;
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Chen: short for &amp;quot;Beichen&amp;quot;, is the Polaris, which was the alternative name of the Emperors because they sat facing the South in the imperial court. Han：the original meaning was feather, because in ancient times, feather was used as a pen，which extended the meaning to ink（written words）.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 08:45, 24 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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宝：这里指皇帝的印章。上古天子、诸侯均以圭璧制印，故称“宝”。唐以后只有帝、后之印可称“宝”。​&lt;br /&gt;
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Bao refers to the emperors' seals. In ancient time, emperors and dukes all had their seals made of Gui and Bi(precious jade),from which it derived the name &amp;quot;Bao&amp;quot;. After Tang Dynasty, &amp;quot;Bao&amp;quot; was used exclusively by the emperors and empresses.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:02, 24 December 2021 (UTC)&lt;br /&gt;
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Bao refers to the emperors' seals in the article. In ancient time, emperors and dukes all had their seals made of Gui and Bi(precious jade),from which it derived the name &amp;quot;Bao&amp;quot;. Since Tang Dynasty, &amp;quot;Bao&amp;quot; was used exclusively to describe the seals of the emperors and empresses.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 09:32, 25 December 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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“座上”对联──珠玑：本义为珠宝，引申为名贵装饰。 昭日月：形容装饰光亮如日月。 昭：明亮。&lt;br /&gt;
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Couplet &amp;quot;above the seat&amp;quot;─ Gem's original meaning is jewelry, which extended for precious decorations. Zhao Riyue means the decorations as bright as the sun and the moon. Zhao means brightness.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:21, 22 December 2021 (UTC)&lt;br /&gt;
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Couplet &amp;quot;above the seat&amp;quot;─ Gem's original meaning is jewelry, which extended for precious decorations. Zhao Riyue means the decorations as bright as the sun and the moon. Zhao means brightness.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 12:44, 26 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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黼黻(fǔ fú府服)：泛指绣有华美花纹的礼服。《晏子春秋·谏下十五》：“公衣黼黻之衣，素绣之裳，一衣而王采具焉。” 黼：黑白相间的斧形花纹。&lt;br /&gt;
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Fu Fu (f incarnation fu fu clothing) : refers to embroidered with colorful decorative pattern of the dress. &amp;quot;Yan Zi Spring And Autumn · Jian Next 15&amp;quot; : &amp;quot;I: gongclothes: both clothes, plain embroidered clothes, one dress and Wang CAI yan.&amp;quot; I: black and white axe shape.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 12:43, 26 December 2021 (UTC)&lt;br /&gt;
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Fu Fu (f incarnation fu fu clothing) : refers to embroidered with colorful decorative pattern of the dress. &amp;quot;Yan Zi Spring And Autumn · Jian Next 15&amp;quot; : &amp;quot;I: gongclothes: both clothes, plain embroidered clothes, one dress and Wang CAI yan.&amp;quot; I: black and white axe shape.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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黻：黑与青相间的亚形花纹。 焕烟霞：形容绣服放射出如烟如霞的光彩，绚丽多姿。 焕：放射光彩。此联形容主宾皆珠光宝气，服饰华丽。&lt;br /&gt;
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Fu: black and blue sub-pattern. Huan Yanxia: to describe the embroidered clothing radiates the radiance of smoke and clouds. Huan: radiate brilliance. This couplet describes the guests of honor are glittering jewels, gorgeous clothes.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 11:17, 26 December 2021 (UTC)&lt;br /&gt;
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Fu: black and green sub shaped pattern. Huanyanxia: to describe that the embroidered clothes radiate smoke like glow, gorgeous and colorful. Huan: radiate brilliance. This couplet describes the guests of honor are glittering jewels, gorgeous clothes.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 11:30, 26 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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汝窑美人觚(gū孤)──出自著名汝窑的一种盛酒器。 汝窑：即北宋汝州瓷窑。因其青瓷器皿质量特佳，多为贡品，故名闻天下，后世成为收藏珍品。&lt;br /&gt;
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Ruyao Beauty Gu-- A wine container from the famous Ruyao. Ruyao: Ruzhou porcelain kiln in the Northern Song Dynasty. Because its celadon ware is of excellent quality and mostly tribute, it is famous all over the world and has become a collection treasure in future generations.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 09:59, 26 December 2021 (UTC)&lt;br /&gt;
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Beauty porcelain（mei ren gu）-- A wine container from the famous Ruyao. Ru kiln: Ruzhou porcelain kiln in the Northern Song Dynasty. Because its celadon ware is of excellent quality and mostly tribute, it is famous all over the world and has become a collection treasure in future generations.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:34, 26 December 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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美人觚：因其体长腰细，形似美人，故名。​&lt;br /&gt;
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椅搭──又称“椅披”。是一种长方形织物的椅用装饰品。因搭或披在椅背和椅坐上，故名。​&lt;br /&gt;
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Beauty porcelain（mei ren gu）: so named because of its long waist and resemblance to a beauty. &lt;br /&gt;
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Chairs（Yi da） - also known as 'chairs'（Yi pi）. This is a rectangular fabric chair upholstery. The name is derived from the fact that it is placed on the back of the chair or on the seat of the chair.&lt;br /&gt;
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Beauty porcelain ：so named because of its long body and slender waist and resemblance to a beauty. &lt;br /&gt;
Chairs（Yi da） - also known as 'chairs'（Yi pi）. This is a rectangular fabric chair upholstery. The name is derived from the fact that it is placed on the back of the chair or on the seat of the chair.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:12, 26 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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掐牙——是一种装饰性衣服花边。即以锦缎等折叠成细条，镶嵌在衣边上，以为美观。 掐：嵌入之意。&lt;br /&gt;
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Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: embedded.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 12:30, 19 December 2021 (UTC)&lt;br /&gt;
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Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: it means “embedded”.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 08:04, 20 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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牙：即“牙子”。器物突出的边沿。​&lt;br /&gt;
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《四书》──即《论语》、《孟子》、《大学》、《中庸》(后两种原为《礼记》中的两篇)。&lt;br /&gt;
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“Ya”: also called &amp;quot;Ya Zi&amp;quot; in Chinese. It means the protruding edge of an object. &lt;br /&gt;
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''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books from ''The Book of Rites'').--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:22, 19 December 2021 (UTC)&lt;br /&gt;
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''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books chosen from ''The Book of Rites'').--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 01:18, 22 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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宋代朱熹选定并定名《四书》，遂成为元、明、清三代科举考试的必读之书。​&lt;br /&gt;
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抹额：原指束在额上的头巾。其起源似乎很早。&lt;br /&gt;
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During the Song dynasty, Zhu xi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.&lt;br /&gt;
Mo E: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.&lt;br /&gt;
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During the Song dynasty, Zhu xi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.&lt;br /&gt;
Headband: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:25, 22 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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宋·高承《事物纪原·戎容兵械·抹额》引《二仪实录》曰：“禹娶涂山之夕，大风雷电，中有甲卒千人，其不披甲者，以红绡帕抹其头额，云海神来朝。&lt;br /&gt;
Song Gaocheng quoted the ''Record of Eryi'' in his book ''Things Documentary-Armed Soldiers-Headband'': “When Yu married the Tushan lady, there was a strong wind, thunder and rain. There were a thousand soldiers in gear, and those who were not wore equipment bound a thin red handkerchiefs on their foreheads in anticipation of the arrival of the god of clouds.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:21, 22 December 2021 (UTC)&lt;br /&gt;
Song Gaocheng quoted the ''Record of Eryi'' in his book ''Things Documentary-Armed Soldiers-Headband'': “When Yu married Tu Shan,under the cicumstance of a strong wind, together with thunder and lighting, there were a thousand soldiers who were not equipped with armor but decorated their foreheads with a thin red handkerchiefs in anticipation of the arrival of the god of clouds.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:42, 22 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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禹问之，对曰：‘此武士之首服也。’秦始皇至海上，有神朝，皆抹额、绯衫、大口袴。侍卫自此抹额，遂为军容之服。&lt;br /&gt;
Yu asked and replied, &amp;quot;this is the surrender of a warrior.&amp;quot; When the first emperor of Qin went to the sea, there was the divine Dynasty where people  wore red upper garment and loose trousers and decorated with smear. Since then, bodyguards decorated their forehead with smear, which has become a kind of military costume.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:17, 19 December 2021 (UTC)&lt;br /&gt;
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Yu asked, and said, ‘this is the first choice for samurai. When Qin Shihuang arrived at the sea, there was a dynasty, and all the people here wiped their foreheads, crimson shirts, and hakama. Since then, the guards wiped their foreheads and became the uniforms of the military.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 11:04, 22 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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可知原为军人的标志。后普及到一般男子，平民以布巾束发，富人用金箍束发，兼为头饰。​&lt;br /&gt;
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箭袖──亦称“箭衣”。&lt;br /&gt;
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It can be seen that it was originally a symbol of a soldier. Later, it was promoted to be used by ordinary men. Common people used cloth towels to tie their hair, and the rich used gold hoops to tie their hair, which also served as headwear. ​&lt;br /&gt;
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Arrow sleeve ─ ─ also known as &amp;quot;arrow suit&amp;quot;.&lt;br /&gt;
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It was a sign of soldiers. Later, it was popularized to ordinary men. Common people tied their hair with cloth towels, and the rich tied their hair with gold hoops, which was also used as headwear. ​&lt;br /&gt;
Arrow Sleeves - also known as &amp;quot;Arrow Suit&amp;quot;.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:13, 24 December 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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是一种窄袖长袍。其袖口呈斜切状，朝手背的袖口长，朝手心的袖口短，便于射箭，故名。其斜袖口又形似马蹄，故又称马蹄袖。&lt;br /&gt;
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It's a kind of robe with narrow sleeves. Its cuffs were  in a diagonal cut shape. The cuffs facing the back of the hand are long and the cuffs facing the palm are short, which is convenient for archery, so it is named Arrow Sleeves. Its oblique cuff is also shaped like a horseshoe, so it is also called horseshoe sleeve.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:55, 20 December 2021 (UTC)&lt;br /&gt;
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It's a kind of robe with narrow sleeves. Its cuffs were in diagonal cut shape. The cuffs facing the back of the hand are long and the cuffs facing the palm are short, which is convenient for archery, so it is named Arrow Sleeves. Its oblique cuff is also shaped like horseshoe, so it is also called horseshoe sleeve.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 14:08, 26 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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后成为一种服式，不射箭的男子也穿。​&lt;br /&gt;
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“倒像”两句──似有双关之意：一者暗指贾宝玉的化身神瑛侍者在太虚幻境用甘露浇灌林黛玉的化身绛珠仙草；&lt;br /&gt;
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Later, it became a sort of clothing style, which can also worn by men who did not shoot arrows. ​The two sentences of &amp;quot;inverted image&amp;quot; seem to have a double meaning: one alluded to Jia Baoyu’s incarnation Shenying waiter watering Lin Daiyu’s incarnation—— the celestial grass with nectar in the Tai Xu fantasy.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Later, it became a kind of clothing style, which was also worn by men who did not shoot arrows. ​&lt;br /&gt;
Two sentences of &amp;quot;inverted image&amp;quot; -- there seems to be a pun: one implies that Jia Baoyu's incarnation Shenying waiter watered Lin Daiyu's incarnation Jiangzhu fairy grass with nectar in Taixu fantasy;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 11:03, 20 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
&lt;br /&gt;
再者隐寓二人心有灵犀一点通，一见锺情。下文贾宝玉说“这个妹妹我曾见过的”、“心里倒像是远别重逢的一般”，其用意同此。​&lt;br /&gt;
&lt;br /&gt;
In addition, it implies that the two people share the same heartand fall in love at first sight. Below, Jia Baoyu said that &amp;quot;I have seen this sister&amp;quot; and &amp;quot;I feel like I am far from meeting again&amp;quot;. His intention is the same. ​&lt;br /&gt;
&lt;br /&gt;
==Nadia 202011080004==&lt;br /&gt;
&lt;br /&gt;
请安──这里指的是清代一种见面问好的特殊礼仪：&lt;br /&gt;
&lt;br /&gt;
==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
&lt;br /&gt;
男子须在口称“请某某安”的同时，右膝弯曲或跪地(俗称打千)；&lt;br /&gt;
A man must bend his right knee or kneel on the ground while showing respect.&lt;br /&gt;
&lt;br /&gt;
==Mariam Toure 2020GBJ002301==&lt;br /&gt;
&lt;br /&gt;
女子则在口称“请某某安”的同时，双手扶左膝，右腿微屈，身体半蹲。&lt;br /&gt;
&lt;br /&gt;
==Rouabah Soumaya 202121080001==&lt;br /&gt;
&lt;br /&gt;
寄名锁──旧时父母为保佑幼儿长命百岁，让幼儿作僧、道的“寄名”弟子，并在幼儿项下悬挂锁形饰物，谓之“寄名锁”。&lt;br /&gt;
&lt;br /&gt;
==Muhammad Numan 202121080002==&lt;br /&gt;
&lt;br /&gt;
面如傅粉──语本南朝宋·刘义庆《世说新语·容止》：&lt;br /&gt;
&lt;br /&gt;
==Atta Ur Rahman 202121080003==&lt;br /&gt;
&lt;br /&gt;
“何平叔(晏)美姿仪，面至白。&lt;br /&gt;
&amp;quot;Uncle He Ping's face is white and beautiful.&lt;br /&gt;
&lt;br /&gt;
==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
&lt;br /&gt;
魏明帝疑其傅粉，正夏月，与热汤饼。&lt;br /&gt;
&lt;br /&gt;
==Zohaib Chand 202121080005==&lt;br /&gt;
&lt;br /&gt;
既啖，大汗出，以朱衣自拭，色转皎然。”&lt;br /&gt;
&lt;br /&gt;
==Jawad Ahmad 202121080006==&lt;br /&gt;
&lt;br /&gt;
(皎然：洁白貌。)原指何晏的脸上好像抹了香粉般洁白。&lt;br /&gt;
English: (Jiao Ran: pure and white appearance.) The original means, He Yan's face it's like white as powdered.&lt;br /&gt;
&lt;br /&gt;
==Nizam Uddin 202121080007==&lt;br /&gt;
&lt;br /&gt;
引申以泛喻男子姿容洁白秀美。&lt;br /&gt;
&lt;br /&gt;
==Öncü 202121080008==&lt;br /&gt;
&lt;br /&gt;
《西江月》二词──即按照《西江月》词牌填写的两首(也称“阕”)词。&lt;br /&gt;
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Two words in &amp;quot;Westlake Moon&amp;quot; According，Fill in two poems (also known as &amp;quot;Que&amp;quot;) in the poem of &amp;quot;Westlake Moon&amp;quot;.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:45, 21 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Akira Jantarat 202121080009==&lt;br /&gt;
&lt;br /&gt;
词：原本指歌曲中的文词，后来文词与曲调分离，遂变成文体之一。&lt;br /&gt;
&lt;br /&gt;
Words: Originally refers to the words in the song. Later, the words and the tune were separated and became one of the styles.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:33, 21 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Word: It originally referred to the words in a song. In time, the words and the tune separated and became one of the styles. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:14, 19 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Benjamin Wellsand 202111080118==&lt;br /&gt;
&lt;br /&gt;
但仍须按曲填词，于是发展出许多词牌，每个词牌都有字数、句数、韵脚等规定，还有双调、长调、小令之别。&lt;br /&gt;
&lt;br /&gt;
However, it is still necessary to fill in the lyrics according to the tune. So many poems have been developed. Each poem has a word count, sentence count, rhymes and other provisions, as well as the difference between two-tone, long tune, and short meter.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:10, 19 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
However, it is still necessary to fill in lyrics according to the tune, so many lyric cards have been developed. Each lyric card has regulations on the number of words, sentences, and rhymes, as well as the differences between double tune, long tune, and short meter. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:58, 21 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Asep Budiman 202111080020==&lt;br /&gt;
&lt;br /&gt;
故作词谓之“填词”，就是按照词牌的规范填写文字，不可越雷池一步。&lt;br /&gt;
&lt;br /&gt;
The preceding phrase &amp;quot;filling in words&amp;quot; means to fill in the words in accordance with the specifications of the words and phrases, and do not go beyond those criteria. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:56, 21 December 2021 (UTC)&lt;br /&gt;
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The preceding phrase &amp;quot;filling in words&amp;quot; means to fill in the words in accordance with the specifications of the words and phrases, and do not overstep the prescribed limit. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:23, 22 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
&lt;br /&gt;
==Ei Mon Kyaw 202111080021==&lt;br /&gt;
&lt;br /&gt;
《西江月》就是词牌之一。本书用了不少词牌，以下不再一一注释。​&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Westlake Moon&amp;quot; is one of the poems. This book uses a lot of words, so I won’t annotate them one by one below. ​--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 08:59, 22 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Westlake Moon&amp;quot; is one of the tune names of poem. There are a lot of tune names in the book, which will not annotated one by one below.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:49, 26 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Atta Ur Rahman</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Trans_Type_EN_11&amp;diff=133600</id>
		<title>Trans Type EN 11</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Trans_Type_EN_11&amp;diff=133600"/>
		<updated>2021-12-15T17:23:36Z</updated>

		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* Conclusion and Recommendations */&lt;/p&gt;
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&lt;div&gt;=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
Atta Ur Rahman,Hunan Normal University, China&lt;br /&gt;
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[[Trans_Type_EN_11]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
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===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies, Translation Procedures, Culture-Specific Items, Newmark&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012:37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær 2015:10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005:9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004:1). Translation is essential for cultures and languages to exchange information. Newmark defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects(Newmark 1988:2). Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
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Nida indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style(Nida 1964:32). Larson has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context(Larson 1998:23).&lt;br /&gt;
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Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”(Snell-Hornby 1988:33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957:167). By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
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The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003:16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
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This study is aimed to probe Newmark's translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988:81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.&lt;br /&gt;
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===Translation and Culture===&lt;br /&gt;
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2. Translation and Culture &lt;br /&gt;
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Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
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The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988:7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988:5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988:7).  &lt;br /&gt;
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In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language”(Catford 1965:20). According to Venuti translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader”(Venuti 1995:18). Schjoldager stated that“a translation is a text that expresses what another text has expressed in another language”(Schjoldager 2008:19). Culture is a complex whole which includes knowledge,belief,art,law,morals,customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014:2). Hermanns contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures(Hermanns 1999:22) Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014:2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001:328). &lt;br /&gt;
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Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
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2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
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Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora,fauna,food,clothes,housing, work,leisure,politics,law,and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988:327) Christine Nord names them “culturemes” (Nord 1997:9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012:1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Davies 2003:17), others choose cultural words (Newmark 2003;87) or culture-bound phenomena/concepts (Newmark 2003:7). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker 1992:21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988:94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988:95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988:95).&lt;br /&gt;
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2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
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The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85:22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003:16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.&lt;br /&gt;
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===Types of Translation ===&lt;br /&gt;
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3. Types of Translation &lt;br /&gt;
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Newmark determines 8 types of translation which are: &lt;br /&gt;
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3.1 Word-for-Word Translation &lt;br /&gt;
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This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
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3.2 Literal translation &lt;br /&gt;
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In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
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3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
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3.4 Semantic Translation &lt;br /&gt;
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Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
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3.5 Adaptation &lt;br /&gt;
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This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015:15). &lt;br /&gt;
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3.6 Free Translation &lt;br /&gt;
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The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
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3.7 Idiomatic Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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3.8 Communicative Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original(Newmark 1988: 18).&lt;br /&gt;
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===Translation Strategies  ===&lt;br /&gt;
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4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
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4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela translators need to choose several strategies based on the source language culture and target culture. Shee distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, she tries to command by the level of their intercultural intervention. She divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies).(Aixela 1996:86)&lt;br /&gt;
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4.1.1. Conservation: &lt;br /&gt;
In conservation,the less compelling process includes repetition,orthographic adaptation,linguistic translation,extratextual gloss and intratextual gloss. &lt;br /&gt;
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4.1.1.1 Repetition:In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus,the translator keeps as much as possible the original reference (Aixela 1996:61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
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4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
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4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
&lt;br /&gt;
4.1.1.4 Extra-textual Gloss: Here,the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes,endings,words,ideas,translators in dictionaries, italics and so on. &lt;br /&gt;
&lt;br /&gt;
4.1.1.5 Intra-textual Gloss:It's like the past but the translator feels that he/she can include the globe as an indirect part of the text,not to distract the reader. &lt;br /&gt;
&lt;br /&gt;
4.2.1 Substitution &lt;br /&gt;
In substitution, According Aixela “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here&amp;quot;(Aixela 1996:87)&lt;br /&gt;
&lt;br /&gt;
4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
&lt;br /&gt;
4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
&lt;br /&gt;
4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela 1997:63). &lt;br /&gt;
&lt;br /&gt;
4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Ketabi 2015:8). &lt;br /&gt;
&lt;br /&gt;
4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela 1996;64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
&lt;br /&gt;
4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela 1997:43). &lt;br /&gt;
&lt;br /&gt;
4.3 Mona Baker's Translation Strategies &lt;br /&gt;
Baker's strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation.Baker She suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies(Baker 1992;90) which are the following: &lt;br /&gt;
&lt;br /&gt;
4.3.1 Translation by a more general word: According to Baker,this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
&lt;br /&gt;
4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
&lt;br /&gt;
4.3.3 Translation by cultural substitution:This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
&lt;br /&gt;
4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
&lt;br /&gt;
4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
&lt;br /&gt;
4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
&lt;br /&gt;
4.3.7 Translation by omission: Losing phrases or words that are not vital to text development.&lt;br /&gt;
&lt;br /&gt;
4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view,however,Baker,s translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
&lt;br /&gt;
===Cultural Categories  ===&lt;br /&gt;
&lt;br /&gt;
5. Cultural categories &lt;br /&gt;
 &lt;br /&gt;
5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
&lt;br /&gt;
5.1.2 Material culture &lt;br /&gt;
&lt;br /&gt;
Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.”(Newmark 1988:90)  &lt;br /&gt;
&lt;br /&gt;
5.1.3 Social culture &lt;br /&gt;
&lt;br /&gt;
The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
&lt;br /&gt;
5.1.4 Organisation &lt;br /&gt;
&lt;br /&gt;
Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
 &lt;br /&gt;
5.2 Newmark Classification CSIs &lt;br /&gt;
&lt;br /&gt;
Newmark established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items. (Newmark 1988:97) &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
 &lt;br /&gt;
Verse No. &lt;br /&gt;
&lt;br /&gt;
Terms        	English Translation 	Categories &lt;br /&gt;
&lt;br /&gt;
1 	 الۡکِتٰبِ 	            Book            	Material culture &lt;br /&gt;
&lt;br /&gt;
2 	 قرُۡءٰنًا 	            Quran            Material culture &lt;br /&gt;
&lt;br /&gt;
3 	  الۡقَصَصِ 	         Narration 	         Gesture &lt;br /&gt;
&lt;br /&gt;
4 	  رَايَۡتُ 	            Dream             	Habit &lt;br /&gt;
&lt;br /&gt;
5 	 کَوۡکَبًا	             Stars            	Ecology &lt;br /&gt;
&lt;br /&gt;
6 	 ال َّ شمۡسَ 	          Sun              	Ecology &lt;br /&gt;
&lt;br /&gt;
7 	 الۡقَمَرَ 	           Moon              	Ecology &lt;br /&gt;
&lt;br /&gt;
8 	 الۡاحََادِيۡثِ 	         Events 	          Organization &lt;br /&gt;
&lt;br /&gt;
9 	 يعَۡقوُۡبَ 	       House of Yaqub 	     Material culture &lt;br /&gt;
&lt;br /&gt;
10 	 يعَۡقوُۡبَ 	           Yaqub 	 &lt;br /&gt;
&lt;br /&gt;
11 	 ابِۡرٰہيِۡمَ 	        Ibrahim 	 &lt;br /&gt;
&lt;br /&gt;
12 	 اِسۡحٰقَ            	Ishaq 	 &lt;br /&gt;
&lt;br /&gt;
13 	 اقۡتلُوُا          	Kill 	           Social culture &lt;br /&gt;
&lt;br /&gt;
14 	 ارَۡضًا	           Earth            	Ecology &lt;br /&gt;
&lt;br /&gt;
15 	 الۡجُبِّ            Pit 	             Ecology &lt;br /&gt;
&lt;br /&gt;
16 	 ال َّ س َّ يارَةِ    	Wayfares 	 &lt;br /&gt;
&lt;br /&gt;
17 	 يٰۤابََانَا	       Father 	 &lt;br /&gt;
&lt;br /&gt;
18 	 َّ يرۡتعَۡ 	        Eat 	            Social culture &lt;br /&gt;
&lt;br /&gt;
19 	 وَ يَلۡعَبۡ 	       Play           	 Social culture &lt;br /&gt;
&lt;br /&gt;
20 	 لَحٰفِظُوۡنَ 	      Guard 	           Social culture &lt;br /&gt;
&lt;br /&gt;
21 	 وَ اخََافُ 	      Fear 	             Habit &lt;br /&gt;
&lt;br /&gt;
22 	 الذِئّۡبُ 	      Wolf 	             Ecology &lt;br /&gt;
&lt;br /&gt;
23 	 عِشَاءًٓ 	       Nightfall 	        Ecology &lt;br /&gt;
&lt;br /&gt;
24 	 َّ يبۡکُوۡنَ 	      Weeping 	         Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	      Belongings 	       Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	        Shirt           	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	      Water drawer     	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ         	Bucket           	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	     Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	    Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	           Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ          	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ        	   Land 	           Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	         Prime             age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ         	Door             Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	       Master         	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	      Evil 	            Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ     	Lewdness 	          Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	        Servant 	        Organization   &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996:31)“translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by Newmark (1988)“translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.”(Newmark 1988:81)&lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation,then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions.&lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity,as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts,the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term,and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part,but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9.&lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark's strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study's purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy, proposed by Newmark, was employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because of ST culturally loaaded words. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face          in the process of their translation.&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However,the translator must be competent in using the translation procedures to provide an accurate translation.-&lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
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Al Saleh, R. A. (2019). An Application of Newmark's Procedures to Muhammad Abul Quasem's Alleman, J. C. Bee. W. Ulitkin, I. Files, F., Zetzsche, J., Chatonnet-Marton, P. &amp;amp; y del Árbol, E. V. Translation Strategies. &lt;br /&gt;
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Al-Sofi, B. B. M. A., &amp;amp; Abouabdulqader, H. (2020). Bridging the gap between translation and culture: towards a cultural dimension of translation. International journal of linguistics, literature and culture, 6(1), 1-13. &lt;br /&gt;
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Bush, P. (1998) &amp;quot;Literary Translation.&amp;quot; In: M. Baker, ed. Routledge Encyclopedia of Translation Studies, London: Routledge, pp.127-130. &lt;br /&gt;
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Catford. J. C. (1965). A linguistic theory of translation. Oxford: Oxford University Press. &lt;br /&gt;
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Issa, A. L. S. M., &amp;amp; Hammood, L. H. R.- Quranic-Specific Phrases under the Study of Translation; Significance and Applications. &lt;br /&gt;
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Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
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Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
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Lustig, Myron, W. and Koeser, Joline  (2003), Intercultural Competence: Interpersonal Communication Across Cultures, Boston: Allyn and Bacon. &lt;br /&gt;
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eds. Text and Technology. Philadelphia/Amsterdam: John Benjamins Publishing Company. pp.213-32. &lt;br /&gt;
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Conveying Culture-Specific-Items in Young Adult Literature from English into Persian. International Journal of Humanities and Cultural Studies (IJHCS) ISSN 23565926, 1853-1873. &lt;br /&gt;
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Explained. Manchester: St. Jerome. Accessed 10 November. 2018. Google Books Schjoldager, A. (2008). Understanding translation. Academica: Århus. &lt;br /&gt;
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		<author><name>Atta Ur Rahman</name></author>
	</entry>
	<entry>
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		<title>Trans Type EN 11</title>
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		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* Analysis and Discussion */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
Atta Ur Rahman,Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_11]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies, Translation Procedures, Culture-Specific Items, Newmark&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012:37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær 2015:10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005:9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004:1). Translation is essential for cultures and languages to exchange information. Newmark defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects(Newmark 1988:2). Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
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Nida indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style(Nida 1964:32). Larson has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context(Larson 1998:23).&lt;br /&gt;
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Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”(Snell-Hornby 1988:33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957:167). By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
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The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003:16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
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This study is aimed to probe Newmark's translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988:81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.&lt;br /&gt;
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===Translation and Culture===&lt;br /&gt;
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2. Translation and Culture &lt;br /&gt;
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Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
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The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988:7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988:5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988:7).  &lt;br /&gt;
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In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language”(Catford 1965:20). According to Venuti translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader”(Venuti 1995:18). Schjoldager stated that“a translation is a text that expresses what another text has expressed in another language”(Schjoldager 2008:19). Culture is a complex whole which includes knowledge,belief,art,law,morals,customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014:2). Hermanns contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures(Hermanns 1999:22) Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014:2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001:328). &lt;br /&gt;
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Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
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2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
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Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora,fauna,food,clothes,housing, work,leisure,politics,law,and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988:327) Christine Nord names them “culturemes” (Nord 1997:9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012:1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Davies 2003:17), others choose cultural words (Newmark 2003;87) or culture-bound phenomena/concepts (Newmark 2003:7). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker 1992:21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988:94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988:95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988:95).&lt;br /&gt;
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2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
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The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85:22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003:16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.&lt;br /&gt;
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===Types of Translation ===&lt;br /&gt;
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3. Types of Translation &lt;br /&gt;
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Newmark determines 8 types of translation which are: &lt;br /&gt;
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3.1 Word-for-Word Translation &lt;br /&gt;
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This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
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3.2 Literal translation &lt;br /&gt;
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In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
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3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
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3.4 Semantic Translation &lt;br /&gt;
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Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
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3.5 Adaptation &lt;br /&gt;
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This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015:15). &lt;br /&gt;
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3.6 Free Translation &lt;br /&gt;
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The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
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3.7 Idiomatic Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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3.8 Communicative Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original(Newmark 1988: 18).&lt;br /&gt;
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===Translation Strategies  ===&lt;br /&gt;
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4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
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4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela translators need to choose several strategies based on the source language culture and target culture. Shee distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, she tries to command by the level of their intercultural intervention. She divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies).(Aixela 1996:86)&lt;br /&gt;
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4.1.1. Conservation: &lt;br /&gt;
In conservation,the less compelling process includes repetition,orthographic adaptation,linguistic translation,extratextual gloss and intratextual gloss. &lt;br /&gt;
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4.1.1.1 Repetition:In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus,the translator keeps as much as possible the original reference (Aixela 1996:61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
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4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
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4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
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4.1.1.4 Extra-textual Gloss: Here,the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes,endings,words,ideas,translators in dictionaries, italics and so on. &lt;br /&gt;
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4.1.1.5 Intra-textual Gloss:It's like the past but the translator feels that he/she can include the globe as an indirect part of the text,not to distract the reader. &lt;br /&gt;
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4.2.1 Substitution &lt;br /&gt;
In substitution, According Aixela “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here&amp;quot;(Aixela 1996:87)&lt;br /&gt;
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4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
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4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
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4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela 1997:63). &lt;br /&gt;
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4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Ketabi 2015:8). &lt;br /&gt;
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4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela 1996;64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
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4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela 1997:43). &lt;br /&gt;
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4.3 Mona Baker's Translation Strategies &lt;br /&gt;
Baker's strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation.Baker She suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies(Baker 1992;90) which are the following: &lt;br /&gt;
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4.3.1 Translation by a more general word: According to Baker,this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
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4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
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4.3.3 Translation by cultural substitution:This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
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4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
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4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
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4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
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4.3.7 Translation by omission: Losing phrases or words that are not vital to text development.&lt;br /&gt;
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4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view,however,Baker,s translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
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===Cultural Categories  ===&lt;br /&gt;
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5. Cultural categories &lt;br /&gt;
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5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
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5.1.2 Material culture &lt;br /&gt;
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Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.”(Newmark 1988:90)  &lt;br /&gt;
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5.1.3 Social culture &lt;br /&gt;
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The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
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5.1.4 Organisation &lt;br /&gt;
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Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
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5.2 Newmark Classification CSIs &lt;br /&gt;
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Newmark established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items. (Newmark 1988:97) &lt;br /&gt;
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5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
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Terms        	English Translation 	Categories &lt;br /&gt;
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1 	 الۡکِتٰبِ 	            Book            	Material culture &lt;br /&gt;
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2 	 قرُۡءٰنًا 	            Quran            Material culture &lt;br /&gt;
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3 	  الۡقَصَصِ 	         Narration 	         Gesture &lt;br /&gt;
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4 	  رَايَۡتُ 	            Dream             	Habit &lt;br /&gt;
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5 	 کَوۡکَبًا	             Stars            	Ecology &lt;br /&gt;
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6 	 ال َّ شمۡسَ 	          Sun              	Ecology &lt;br /&gt;
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7 	 الۡقَمَرَ 	           Moon              	Ecology &lt;br /&gt;
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8 	 الۡاحََادِيۡثِ 	         Events 	          Organization &lt;br /&gt;
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9 	 يعَۡقوُۡبَ 	       House of Yaqub 	     Material culture &lt;br /&gt;
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10 	 يعَۡقوُۡبَ 	           Yaqub 	 &lt;br /&gt;
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11 	 ابِۡرٰہيِۡمَ 	        Ibrahim 	 &lt;br /&gt;
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12 	 اِسۡحٰقَ            	Ishaq 	 &lt;br /&gt;
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13 	 اقۡتلُوُا          	Kill 	           Social culture &lt;br /&gt;
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14 	 ارَۡضًا	           Earth            	Ecology &lt;br /&gt;
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15 	 الۡجُبِّ            Pit 	             Ecology &lt;br /&gt;
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16 	 ال َّ س َّ يارَةِ    	Wayfares 	 &lt;br /&gt;
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17 	 يٰۤابََانَا	       Father 	 &lt;br /&gt;
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18 	 َّ يرۡتعَۡ 	        Eat 	            Social culture &lt;br /&gt;
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19 	 وَ يَلۡعَبۡ 	       Play           	 Social culture &lt;br /&gt;
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20 	 لَحٰفِظُوۡنَ 	      Guard 	           Social culture &lt;br /&gt;
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21 	 وَ اخََافُ 	      Fear 	             Habit &lt;br /&gt;
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22 	 الذِئّۡبُ 	      Wolf 	             Ecology &lt;br /&gt;
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23 	 عِشَاءًٓ 	       Nightfall 	        Ecology &lt;br /&gt;
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24 	 َّ يبۡکُوۡنَ 	      Weeping 	         Habit &lt;br /&gt;
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25 	 مَتاَعِنَا	      Belongings 	       Material culture &lt;br /&gt;
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26 	 قمَِيۡصِہٖ 	        Shirt           	Material culture &lt;br /&gt;
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27 	 وَارِدہَمُۡ 	      Water drawer     	Material culture &lt;br /&gt;
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28 	 دلَۡوَهٗ         	Bucket           	Material culture &lt;br /&gt;
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29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	     Material culture &lt;br /&gt;
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30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	    Material culture &lt;br /&gt;
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31 	 مِّصۡرَ 	           Egypt 	 &lt;br /&gt;
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32 	 لِامۡرَاتَِہٖۤ          	Wife 	 &lt;br /&gt;
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33 	 الۡارَۡضِ        	   Land 	           Ecology &lt;br /&gt;
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34 	 اشَُدَّ هٗۤ 	         Prime             age 	 &lt;br /&gt;
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35 	 الۡابَۡوَابَ         	Door             Material culture &lt;br /&gt;
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36 	 مَعَاذَ ّٰ  ِ 	       Master         	Organization &lt;br /&gt;
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37 	 ال ُّ سوۡٓءَ 	      Evil 	            Habit &lt;br /&gt;
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38 	 الۡفَحۡشَاءَؕٓ     	Lewdness 	          Habit &lt;br /&gt;
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39 	 عِبَادِنَا	        Servant 	        Organization   &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996:31)“translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by Newmark (1988)“translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.”(Newmark 1988:81)&lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation,then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions.&lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity,as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts,the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term,and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part,but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9.&lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark's strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study's purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy, proposed by Newmark, was employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because of ST culturally loaaded words. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face          in the process of their translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However,the translator must be competent in using the translation procedures to provide an accurate translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abdi, H. (2019). Translating culture-specific items (CSIs) as a conundrum for Iranian MA translation students: Considering the level of study. Journal of new advances in English Language Teaching and Applied Linguistics, 1(1), 88-109. &lt;br /&gt;
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Aguado-Gimenez, P., &amp;amp; Pérez-Paredes, P. F. (2005). Translation-strategies use: A classroombased examination of Baker’s taxonomy. Meta: journal des traducteurs/Meta: &lt;br /&gt;
Translators' Journal, 50(1), 294-311. &lt;br /&gt;
&lt;br /&gt;
Ahmadi, M. R.S and Nosrati, Fatemah. (2012). Domestication and Foreignization Strategies in Translation of Culture-Specific Items. Translations of English-Persian Children’s Literature. San Francisco: Grin Publishing. Google Books. &lt;br /&gt;
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Al Saleh, R. A. (2019). An Application of Newmark's Procedures to Muhammad Abul Quasem's Alleman, J. C. Bee. W. Ulitkin, I. Files, F., Zetzsche, J., Chatonnet-Marton, P. &amp;amp; y del Árbol, E. V. Translation Strategies. &lt;br /&gt;
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Al-Sofi, B. B. M. A., &amp;amp; Abouabdulqader, H. (2020). Bridging the gap between translation and culture: towards a cultural dimension of translation. International journal of linguistics, literature and culture, 6(1), 1-13. &lt;br /&gt;
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Baker, M., 1992. In Other Words: A Coursebook on Translation. London: Routledge, p.20–42. &lt;br /&gt;
&lt;br /&gt;
Blažytė, D., &amp;amp; Liubinienė, V. (2016). Culture-specific items (CSI) and their translation strategies in Martin Lindstrom’s&amp;quot; Brand sense&amp;quot;. Kalbų studijos, (29), 42-57. &lt;br /&gt;
&lt;br /&gt;
Bush, P. (1998) &amp;quot;Literary Translation.&amp;quot; In: M. Baker, ed. Routledge Encyclopedia of Translation Studies, London: Routledge, pp.127-130. &lt;br /&gt;
&lt;br /&gt;
Catford. J. C. (1965). A linguistic theory of translation. Oxford: Oxford University Press. &lt;br /&gt;
English Translation of Mohammad Al-Ghazali's Islamic Guidance.Literature and Culture, 6(1), 1-13. &lt;br /&gt;
&lt;br /&gt;
Gečaitė, L. (2020). Culture-Specific Items and Their Translation Strategies in Victoria Hislop's Novel The Sunrise.” (2020). &lt;br /&gt;
&lt;br /&gt;
Hassan, B. E. A. (2014). Between English and Arabic: A practical course in translation. &lt;br /&gt;
Cambridge Scholars Publishing. &lt;br /&gt;
&lt;br /&gt;
Hermans, T. (1999). Translation in systems. Manchester: St. Jerome Publication  House, J. (Ed.). (2014). Translation: a multidisciplinary approach. Springer. &lt;br /&gt;
Issa, A. L. S. M., &amp;amp; Hammood, L. H. R.- Quranic-Specific Phrases under the Study of Translation; Significance and Applications. &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. (33), p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. 33, p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Lambert, J. (1998) Literary Translation. In: M. Baker, ed. Routledge Encyclopedia of Translation Studies. London: Routledge, 130-134. &lt;br /&gt;
&lt;br /&gt;
Landers, Clifford E. (2001) Literary Translation: A practical guide. New Jersey University Press: Multilingual Maters. &lt;br /&gt;
&lt;br /&gt;
Lustig, Myron, W. and Koeser, Joline  (2003), Intercultural Competence: Interpersonal Communication Across Cultures, Boston: Allyn and Bacon. &lt;br /&gt;
&lt;br /&gt;
Malmkjær, K. (1993). Who Can Make Nice A Better Word Than Pretty? Collocation, Translation, and Psycholoinguistics. In: Baker, M., Francis, G. and Tognini-Bonelli, E. &lt;br /&gt;
eds. Text and Technology. Philadelphia/Amsterdam: John Benjamins Publishing Company. pp.213-32. &lt;br /&gt;
&lt;br /&gt;
Mosavat, S., &amp;amp; Rahimpour, S. (2016). The Most and Least Used Translation Strategies for &lt;br /&gt;
Conveying Culture-Specific-Items in Young Adult Literature from English into Persian. International Journal of Humanities and Cultural Studies (IJHCS) ISSN 23565926, 1853-1873. &lt;br /&gt;
&lt;br /&gt;
Munday, J. (1997). Systems in Translation: A computer-assisted systemic approach to the analysis of translation of García Márquez. Ph.D thesis, University of Bradford. &lt;br /&gt;
&lt;br /&gt;
Newmark, P. (2001). A Textbook of Translation. Shanghai: Shanghai Foreign Language &lt;br /&gt;
Education Press &lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. (1988). A Textbook of Translation. New Jersey: Prentice-Halls &lt;br /&gt;
&lt;br /&gt;
Nord, Christiane. (1997). Translating as a Purposeful Activity: Functionalist Approaches &lt;br /&gt;
Explained. Manchester: St. Jerome. Accessed 10 November. 2018. Google Books Schjoldager, A. (2008). Understanding translation. Academica: Århus. &lt;br /&gt;
&lt;br /&gt;
Silalahi, M., &amp;amp; Lubis, S. (2013). Translation Procedures of Cultural Terms Found In Sejarah Bilingual For Students of Senior High School. &lt;br /&gt;
Valipoor, K., &amp;amp; andAzizeh Chalak, H. H. T. (2019). Cultural-specific items in translation of the Holy Quran by Irving: 43-51. &lt;br /&gt;
&lt;br /&gt;
Venuti, L. (1995). The translator’s invisibility: A history of translation. London and New York: &lt;br /&gt;
Routledge &lt;br /&gt;
&lt;br /&gt;
Widiarto, O. V. V. (2016). The translation procedures of cultural expressions applied in a game of thrones translated into Perebutan Tahta novel by Barokah Ruziati (Doctoral dissertation, Dian Nuswantoro University).&lt;/div&gt;</summary>
		<author><name>Atta Ur Rahman</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Trans_Type_EN_11&amp;diff=133597</id>
		<title>Trans Type EN 11</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Trans_Type_EN_11&amp;diff=133597"/>
		<updated>2021-12-15T17:21:27Z</updated>

		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* Translation Procedure */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
Atta Ur Rahman,Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_11]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies, Translation Procedures, Culture-Specific Items, Newmark&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012:37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær 2015:10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005:9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004:1). Translation is essential for cultures and languages to exchange information. Newmark defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects(Newmark 1988:2). Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
&lt;br /&gt;
Nida indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style(Nida 1964:32). Larson has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context(Larson 1998:23).&lt;br /&gt;
&lt;br /&gt;
Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”(Snell-Hornby 1988:33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957:167). By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
&lt;br /&gt;
The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003:16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
&lt;br /&gt;
This study is aimed to probe Newmark's translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988:81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.&lt;br /&gt;
&lt;br /&gt;
===Translation and Culture===&lt;br /&gt;
&lt;br /&gt;
2. Translation and Culture &lt;br /&gt;
&lt;br /&gt;
Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
&lt;br /&gt;
The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988:7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988:5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988:7).  &lt;br /&gt;
&lt;br /&gt;
In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language”(Catford 1965:20). According to Venuti translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader”(Venuti 1995:18). Schjoldager stated that“a translation is a text that expresses what another text has expressed in another language”(Schjoldager 2008:19). Culture is a complex whole which includes knowledge,belief,art,law,morals,customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014:2). Hermanns contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures(Hermanns 1999:22) Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014:2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001:328). &lt;br /&gt;
&lt;br /&gt;
Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
&lt;br /&gt;
2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
&lt;br /&gt;
Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora,fauna,food,clothes,housing, work,leisure,politics,law,and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988:327) Christine Nord names them “culturemes” (Nord 1997:9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012:1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Davies 2003:17), others choose cultural words (Newmark 2003;87) or culture-bound phenomena/concepts (Newmark 2003:7). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker 1992:21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988:94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988:95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988:95).&lt;br /&gt;
&lt;br /&gt;
2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
&lt;br /&gt;
The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85:22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003:16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.&lt;br /&gt;
&lt;br /&gt;
===Types of Translation ===&lt;br /&gt;
&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
&lt;br /&gt;
Newmark determines 8 types of translation which are: &lt;br /&gt;
 &lt;br /&gt;
3.1 Word-for-Word Translation &lt;br /&gt;
&lt;br /&gt;
This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
&lt;br /&gt;
3.2 Literal translation &lt;br /&gt;
&lt;br /&gt;
In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
&lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
&lt;br /&gt;
3.4 Semantic Translation &lt;br /&gt;
&lt;br /&gt;
Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
&lt;br /&gt;
3.5 Adaptation &lt;br /&gt;
&lt;br /&gt;
This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015:15). &lt;br /&gt;
&lt;br /&gt;
3.6 Free Translation &lt;br /&gt;
&lt;br /&gt;
The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
&lt;br /&gt;
3.7 Idiomatic Translation &lt;br /&gt;
&lt;br /&gt;
This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
&lt;br /&gt;
3.8 Communicative Translation &lt;br /&gt;
&lt;br /&gt;
This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original(Newmark 1988: 18).&lt;br /&gt;
&lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
===Translation Strategies  ===&lt;br /&gt;
&lt;br /&gt;
4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
&lt;br /&gt;
4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela translators need to choose several strategies based on the source language culture and target culture. Shee distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, she tries to command by the level of their intercultural intervention. She divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies).(Aixela 1996:86)&lt;br /&gt;
&lt;br /&gt;
4.1.1. Conservation: &lt;br /&gt;
In conservation,the less compelling process includes repetition,orthographic adaptation,linguistic translation,extratextual gloss and intratextual gloss. &lt;br /&gt;
&lt;br /&gt;
4.1.1.1 Repetition:In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus,the translator keeps as much as possible the original reference (Aixela 1996:61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
&lt;br /&gt;
4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
&lt;br /&gt;
4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
&lt;br /&gt;
4.1.1.4 Extra-textual Gloss: Here,the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes,endings,words,ideas,translators in dictionaries, italics and so on. &lt;br /&gt;
&lt;br /&gt;
4.1.1.5 Intra-textual Gloss:It's like the past but the translator feels that he/she can include the globe as an indirect part of the text,not to distract the reader. &lt;br /&gt;
&lt;br /&gt;
4.2.1 Substitution &lt;br /&gt;
In substitution, According Aixela “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here&amp;quot;(Aixela 1996:87)&lt;br /&gt;
&lt;br /&gt;
4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
&lt;br /&gt;
4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
&lt;br /&gt;
4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela 1997:63). &lt;br /&gt;
&lt;br /&gt;
4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Ketabi 2015:8). &lt;br /&gt;
&lt;br /&gt;
4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela 1996;64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
&lt;br /&gt;
4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela 1997:43). &lt;br /&gt;
&lt;br /&gt;
4.3 Mona Baker's Translation Strategies &lt;br /&gt;
Baker's strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation.Baker She suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies(Baker 1992;90) which are the following: &lt;br /&gt;
&lt;br /&gt;
4.3.1 Translation by a more general word: According to Baker,this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
&lt;br /&gt;
4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
&lt;br /&gt;
4.3.3 Translation by cultural substitution:This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
&lt;br /&gt;
4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
&lt;br /&gt;
4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
&lt;br /&gt;
4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
&lt;br /&gt;
4.3.7 Translation by omission: Losing phrases or words that are not vital to text development.&lt;br /&gt;
&lt;br /&gt;
4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view,however,Baker,s translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
&lt;br /&gt;
===Cultural Categories  ===&lt;br /&gt;
&lt;br /&gt;
5. Cultural categories &lt;br /&gt;
 &lt;br /&gt;
5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
&lt;br /&gt;
5.1.2 Material culture &lt;br /&gt;
&lt;br /&gt;
Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.”(Newmark 1988:90)  &lt;br /&gt;
&lt;br /&gt;
5.1.3 Social culture &lt;br /&gt;
&lt;br /&gt;
The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
&lt;br /&gt;
5.1.4 Organisation &lt;br /&gt;
&lt;br /&gt;
Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
 &lt;br /&gt;
5.2 Newmark Classification CSIs &lt;br /&gt;
&lt;br /&gt;
Newmark established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items. (Newmark 1988:97) &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
 &lt;br /&gt;
Verse No. &lt;br /&gt;
&lt;br /&gt;
Terms        	English Translation 	Categories &lt;br /&gt;
&lt;br /&gt;
1 	 الۡکِتٰبِ 	            Book            	Material culture &lt;br /&gt;
&lt;br /&gt;
2 	 قرُۡءٰنًا 	            Quran            Material culture &lt;br /&gt;
&lt;br /&gt;
3 	  الۡقَصَصِ 	         Narration 	         Gesture &lt;br /&gt;
&lt;br /&gt;
4 	  رَايَۡتُ 	            Dream             	Habit &lt;br /&gt;
&lt;br /&gt;
5 	 کَوۡکَبًا	             Stars            	Ecology &lt;br /&gt;
&lt;br /&gt;
6 	 ال َّ شمۡسَ 	          Sun              	Ecology &lt;br /&gt;
&lt;br /&gt;
7 	 الۡقَمَرَ 	           Moon              	Ecology &lt;br /&gt;
&lt;br /&gt;
8 	 الۡاحََادِيۡثِ 	         Events 	          Organization &lt;br /&gt;
&lt;br /&gt;
9 	 يعَۡقوُۡبَ 	       House of Yaqub 	     Material culture &lt;br /&gt;
&lt;br /&gt;
10 	 يعَۡقوُۡبَ 	           Yaqub 	 &lt;br /&gt;
&lt;br /&gt;
11 	 ابِۡرٰہيِۡمَ 	        Ibrahim 	 &lt;br /&gt;
&lt;br /&gt;
12 	 اِسۡحٰقَ            	Ishaq 	 &lt;br /&gt;
&lt;br /&gt;
13 	 اقۡتلُوُا          	Kill 	           Social culture &lt;br /&gt;
&lt;br /&gt;
14 	 ارَۡضًا	           Earth            	Ecology &lt;br /&gt;
&lt;br /&gt;
15 	 الۡجُبِّ            Pit 	             Ecology &lt;br /&gt;
&lt;br /&gt;
16 	 ال َّ س َّ يارَةِ    	Wayfares 	 &lt;br /&gt;
&lt;br /&gt;
17 	 يٰۤابََانَا	       Father 	 &lt;br /&gt;
&lt;br /&gt;
18 	 َّ يرۡتعَۡ 	        Eat 	            Social culture &lt;br /&gt;
&lt;br /&gt;
19 	 وَ يَلۡعَبۡ 	       Play           	 Social culture &lt;br /&gt;
&lt;br /&gt;
20 	 لَحٰفِظُوۡنَ 	      Guard 	           Social culture &lt;br /&gt;
&lt;br /&gt;
21 	 وَ اخََافُ 	      Fear 	             Habit &lt;br /&gt;
&lt;br /&gt;
22 	 الذِئّۡبُ 	      Wolf 	             Ecology &lt;br /&gt;
&lt;br /&gt;
23 	 عِشَاءًٓ 	       Nightfall 	        Ecology &lt;br /&gt;
&lt;br /&gt;
24 	 َّ يبۡکُوۡنَ 	      Weeping 	         Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	      Belongings 	       Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	        Shirt           	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	      Water drawer     	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ         	Bucket           	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	     Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	    Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	           Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ          	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ        	   Land 	           Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	         Prime             age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ         	Door             Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	       Master         	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	      Evil 	            Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ     	Lewdness 	          Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	        Servant 	        Organization   &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996:31)“translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by Newmark (1988)“translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.”(Newmark 1988:81)&lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation,then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions.&lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity,as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts,the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term,and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part,but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:01, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark's strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study's purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy, proposed by Newmark, was employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because of ST culturally loaaded words. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face          in the process of their translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However,the translator must be competent in using the translation procedures to provide an accurate translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
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Routledge &lt;br /&gt;
&lt;br /&gt;
Widiarto, O. V. V. (2016). The translation procedures of cultural expressions applied in a game of thrones translated into Perebutan Tahta novel by Barokah Ruziati (Doctoral dissertation, Dian Nuswantoro University).&lt;/div&gt;</summary>
		<author><name>Atta Ur Rahman</name></author>
	</entry>
	<entry>
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		<title>Trans Type EN 11</title>
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		<updated>2021-12-15T17:19:46Z</updated>

		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* Cultural Categories */&lt;/p&gt;
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&lt;div&gt;=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
Atta Ur Rahman,Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_11]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
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===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies, Translation Procedures, Culture-Specific Items, Newmark&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012:37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær 2015:10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005:9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004:1). Translation is essential for cultures and languages to exchange information. Newmark defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects(Newmark 1988:2). Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
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Nida indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style(Nida 1964:32). Larson has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context(Larson 1998:23).&lt;br /&gt;
&lt;br /&gt;
Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”(Snell-Hornby 1988:33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957:167). By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
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The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003:16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
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This study is aimed to probe Newmark's translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988:81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.&lt;br /&gt;
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===Translation and Culture===&lt;br /&gt;
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2. Translation and Culture &lt;br /&gt;
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Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
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The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988:7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988:5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988:7).  &lt;br /&gt;
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In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language”(Catford 1965:20). According to Venuti translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader”(Venuti 1995:18). Schjoldager stated that“a translation is a text that expresses what another text has expressed in another language”(Schjoldager 2008:19). Culture is a complex whole which includes knowledge,belief,art,law,morals,customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014:2). Hermanns contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures(Hermanns 1999:22) Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014:2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001:328). &lt;br /&gt;
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Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
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2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
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Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora,fauna,food,clothes,housing, work,leisure,politics,law,and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988:327) Christine Nord names them “culturemes” (Nord 1997:9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012:1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Davies 2003:17), others choose cultural words (Newmark 2003;87) or culture-bound phenomena/concepts (Newmark 2003:7). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker 1992:21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988:94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988:95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988:95).&lt;br /&gt;
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2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
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The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85:22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003:16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.&lt;br /&gt;
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===Types of Translation ===&lt;br /&gt;
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3. Types of Translation &lt;br /&gt;
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Newmark determines 8 types of translation which are: &lt;br /&gt;
 &lt;br /&gt;
3.1 Word-for-Word Translation &lt;br /&gt;
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This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
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3.2 Literal translation &lt;br /&gt;
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In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
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3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
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3.4 Semantic Translation &lt;br /&gt;
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Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
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3.5 Adaptation &lt;br /&gt;
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This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015:15). &lt;br /&gt;
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3.6 Free Translation &lt;br /&gt;
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The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
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3.7 Idiomatic Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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3.8 Communicative Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original(Newmark 1988: 18).&lt;br /&gt;
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===Translation Strategies  ===&lt;br /&gt;
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4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
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4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela translators need to choose several strategies based on the source language culture and target culture. Shee distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, she tries to command by the level of their intercultural intervention. She divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies).(Aixela 1996:86)&lt;br /&gt;
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4.1.1. Conservation: &lt;br /&gt;
In conservation,the less compelling process includes repetition,orthographic adaptation,linguistic translation,extratextual gloss and intratextual gloss. &lt;br /&gt;
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4.1.1.1 Repetition:In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus,the translator keeps as much as possible the original reference (Aixela 1996:61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
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4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
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4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
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4.1.1.4 Extra-textual Gloss: Here,the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes,endings,words,ideas,translators in dictionaries, italics and so on. &lt;br /&gt;
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4.1.1.5 Intra-textual Gloss:It's like the past but the translator feels that he/she can include the globe as an indirect part of the text,not to distract the reader. &lt;br /&gt;
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4.2.1 Substitution &lt;br /&gt;
In substitution, According Aixela “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here&amp;quot;(Aixela 1996:87)&lt;br /&gt;
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4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
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4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
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4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela 1997:63). &lt;br /&gt;
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4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Ketabi 2015:8). &lt;br /&gt;
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4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela 1996;64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
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4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela 1997:43). &lt;br /&gt;
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4.3 Mona Baker's Translation Strategies &lt;br /&gt;
Baker's strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation.Baker She suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies(Baker 1992;90) which are the following: &lt;br /&gt;
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4.3.1 Translation by a more general word: According to Baker,this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
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4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
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4.3.3 Translation by cultural substitution:This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
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4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
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4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
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4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
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4.3.7 Translation by omission: Losing phrases or words that are not vital to text development.&lt;br /&gt;
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4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view,however,Baker,s translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
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===Cultural Categories  ===&lt;br /&gt;
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5. Cultural categories &lt;br /&gt;
 &lt;br /&gt;
5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
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5.1.2 Material culture &lt;br /&gt;
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Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.”(Newmark 1988:90)  &lt;br /&gt;
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5.1.3 Social culture &lt;br /&gt;
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The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
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5.1.4 Organisation &lt;br /&gt;
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Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
 &lt;br /&gt;
5.2 Newmark Classification CSIs &lt;br /&gt;
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Newmark established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items. (Newmark 1988:97) &lt;br /&gt;
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5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
 &lt;br /&gt;
Verse No. &lt;br /&gt;
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Terms        	English Translation 	Categories &lt;br /&gt;
&lt;br /&gt;
1 	 الۡکِتٰبِ 	            Book            	Material culture &lt;br /&gt;
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2 	 قرُۡءٰنًا 	            Quran            Material culture &lt;br /&gt;
&lt;br /&gt;
3 	  الۡقَصَصِ 	         Narration 	         Gesture &lt;br /&gt;
&lt;br /&gt;
4 	  رَايَۡتُ 	            Dream             	Habit &lt;br /&gt;
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5 	 کَوۡکَبًا	             Stars            	Ecology &lt;br /&gt;
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6 	 ال َّ شمۡسَ 	          Sun              	Ecology &lt;br /&gt;
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7 	 الۡقَمَرَ 	           Moon              	Ecology &lt;br /&gt;
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8 	 الۡاحََادِيۡثِ 	         Events 	          Organization &lt;br /&gt;
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9 	 يعَۡقوُۡبَ 	       House of Yaqub 	     Material culture &lt;br /&gt;
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10 	 يعَۡقوُۡبَ 	           Yaqub 	 &lt;br /&gt;
&lt;br /&gt;
11 	 ابِۡرٰہيِۡمَ 	        Ibrahim 	 &lt;br /&gt;
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12 	 اِسۡحٰقَ            	Ishaq 	 &lt;br /&gt;
&lt;br /&gt;
13 	 اقۡتلُوُا          	Kill 	           Social culture &lt;br /&gt;
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14 	 ارَۡضًا	           Earth            	Ecology &lt;br /&gt;
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15 	 الۡجُبِّ            Pit 	             Ecology &lt;br /&gt;
&lt;br /&gt;
16 	 ال َّ س َّ يارَةِ    	Wayfares 	 &lt;br /&gt;
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17 	 يٰۤابََانَا	       Father 	 &lt;br /&gt;
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18 	 َّ يرۡتعَۡ 	        Eat 	            Social culture &lt;br /&gt;
&lt;br /&gt;
19 	 وَ يَلۡعَبۡ 	       Play           	 Social culture &lt;br /&gt;
&lt;br /&gt;
20 	 لَحٰفِظُوۡنَ 	      Guard 	           Social culture &lt;br /&gt;
&lt;br /&gt;
21 	 وَ اخََافُ 	      Fear 	             Habit &lt;br /&gt;
&lt;br /&gt;
22 	 الذِئّۡبُ 	      Wolf 	             Ecology &lt;br /&gt;
&lt;br /&gt;
23 	 عِشَاءًٓ 	       Nightfall 	        Ecology &lt;br /&gt;
&lt;br /&gt;
24 	 َّ يبۡکُوۡنَ 	      Weeping 	         Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	      Belongings 	       Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	        Shirt           	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	      Water drawer     	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ         	Bucket           	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	     Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	    Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	           Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ          	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ        	   Land 	           Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	         Prime             age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ         	Door             Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	       Master         	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	      Evil 	            Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ     	Lewdness 	          Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	        Servant 	        Organization   &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996:31)“translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by Newmark (1988)“translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.”(Newmark 1988:81)&lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation,then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:55, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity,as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts,the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term,and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part,but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:01, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark's strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study's purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy, proposed by Newmark, was employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because of ST culturally loaaded words. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face          in the process of their translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However,the translator must be competent in using the translation procedures to provide an accurate translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abdi, H. (2019). Translating culture-specific items (CSIs) as a conundrum for Iranian MA translation students: Considering the level of study. Journal of new advances in English Language Teaching and Applied Linguistics, 1(1), 88-109. &lt;br /&gt;
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Aguado-Gimenez, P., &amp;amp; Pérez-Paredes, P. F. (2005). Translation-strategies use: A classroombased examination of Baker’s taxonomy. Meta: journal des traducteurs/Meta: &lt;br /&gt;
Translators' Journal, 50(1), 294-311. &lt;br /&gt;
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Ahmadi, M. R.S and Nosrati, Fatemah. (2012). Domestication and Foreignization Strategies in Translation of Culture-Specific Items. Translations of English-Persian Children’s Literature. San Francisco: Grin Publishing. Google Books. &lt;br /&gt;
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Al Saleh, R. A. (2019). An Application of Newmark's Procedures to Muhammad Abul Quasem's Alleman, J. C. Bee. W. Ulitkin, I. Files, F., Zetzsche, J., Chatonnet-Marton, P. &amp;amp; y del Árbol, E. V. Translation Strategies. &lt;br /&gt;
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Al-Sofi, B. B. M. A., &amp;amp; Abouabdulqader, H. (2020). Bridging the gap between translation and culture: towards a cultural dimension of translation. International journal of linguistics, literature and culture, 6(1), 1-13. &lt;br /&gt;
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Baker, M., 1992. In Other Words: A Coursebook on Translation. London: Routledge, p.20–42. &lt;br /&gt;
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Blažytė, D., &amp;amp; Liubinienė, V. (2016). Culture-specific items (CSI) and their translation strategies in Martin Lindstrom’s&amp;quot; Brand sense&amp;quot;. Kalbų studijos, (29), 42-57. &lt;br /&gt;
&lt;br /&gt;
Bush, P. (1998) &amp;quot;Literary Translation.&amp;quot; In: M. Baker, ed. Routledge Encyclopedia of Translation Studies, London: Routledge, pp.127-130. &lt;br /&gt;
&lt;br /&gt;
Catford. J. C. (1965). A linguistic theory of translation. Oxford: Oxford University Press. &lt;br /&gt;
English Translation of Mohammad Al-Ghazali's Islamic Guidance.Literature and Culture, 6(1), 1-13. &lt;br /&gt;
&lt;br /&gt;
Gečaitė, L. (2020). Culture-Specific Items and Their Translation Strategies in Victoria Hislop's Novel The Sunrise.” (2020). &lt;br /&gt;
&lt;br /&gt;
Hassan, B. E. A. (2014). Between English and Arabic: A practical course in translation. &lt;br /&gt;
Cambridge Scholars Publishing. &lt;br /&gt;
&lt;br /&gt;
Hermans, T. (1999). Translation in systems. Manchester: St. Jerome Publication  House, J. (Ed.). (2014). Translation: a multidisciplinary approach. Springer. &lt;br /&gt;
Issa, A. L. S. M., &amp;amp; Hammood, L. H. R.- Quranic-Specific Phrases under the Study of Translation; Significance and Applications. &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. (33), p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. 33, p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Lambert, J. (1998) Literary Translation. In: M. Baker, ed. Routledge Encyclopedia of Translation Studies. London: Routledge, 130-134. &lt;br /&gt;
&lt;br /&gt;
Landers, Clifford E. (2001) Literary Translation: A practical guide. New Jersey University Press: Multilingual Maters. &lt;br /&gt;
&lt;br /&gt;
Lustig, Myron, W. and Koeser, Joline  (2003), Intercultural Competence: Interpersonal Communication Across Cultures, Boston: Allyn and Bacon. &lt;br /&gt;
&lt;br /&gt;
Malmkjær, K. (1993). Who Can Make Nice A Better Word Than Pretty? Collocation, Translation, and Psycholoinguistics. In: Baker, M., Francis, G. and Tognini-Bonelli, E. &lt;br /&gt;
eds. Text and Technology. Philadelphia/Amsterdam: John Benjamins Publishing Company. pp.213-32. &lt;br /&gt;
&lt;br /&gt;
Mosavat, S., &amp;amp; Rahimpour, S. (2016). The Most and Least Used Translation Strategies for &lt;br /&gt;
Conveying Culture-Specific-Items in Young Adult Literature from English into Persian. International Journal of Humanities and Cultural Studies (IJHCS) ISSN 23565926, 1853-1873. &lt;br /&gt;
&lt;br /&gt;
Munday, J. (1997). Systems in Translation: A computer-assisted systemic approach to the analysis of translation of García Márquez. Ph.D thesis, University of Bradford. &lt;br /&gt;
&lt;br /&gt;
Newmark, P. (2001). A Textbook of Translation. Shanghai: Shanghai Foreign Language &lt;br /&gt;
Education Press &lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. (1988). A Textbook of Translation. New Jersey: Prentice-Halls &lt;br /&gt;
&lt;br /&gt;
Nord, Christiane. (1997). Translating as a Purposeful Activity: Functionalist Approaches &lt;br /&gt;
Explained. Manchester: St. Jerome. Accessed 10 November. 2018. Google Books Schjoldager, A. (2008). Understanding translation. Academica: Århus. &lt;br /&gt;
&lt;br /&gt;
Silalahi, M., &amp;amp; Lubis, S. (2013). Translation Procedures of Cultural Terms Found In Sejarah Bilingual For Students of Senior High School. &lt;br /&gt;
Valipoor, K., &amp;amp; andAzizeh Chalak, H. H. T. (2019). Cultural-specific items in translation of the Holy Quran by Irving: 43-51. &lt;br /&gt;
&lt;br /&gt;
Venuti, L. (1995). The translator’s invisibility: A history of translation. London and New York: &lt;br /&gt;
Routledge &lt;br /&gt;
&lt;br /&gt;
Widiarto, O. V. V. (2016). The translation procedures of cultural expressions applied in a game of thrones translated into Perebutan Tahta novel by Barokah Ruziati (Doctoral dissertation, Dian Nuswantoro University).&lt;/div&gt;</summary>
		<author><name>Atta Ur Rahman</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Trans_Type_EN_11&amp;diff=133594</id>
		<title>Trans Type EN 11</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Trans_Type_EN_11&amp;diff=133594"/>
		<updated>2021-12-15T17:14:13Z</updated>

		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* Translation Strategies */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
Atta Ur Rahman,Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_11]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies, Translation Procedures, Culture-Specific Items, Newmark&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012:37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær 2015:10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005:9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004:1). Translation is essential for cultures and languages to exchange information. Newmark defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects(Newmark 1988:2). Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
&lt;br /&gt;
Nida indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style(Nida 1964:32). Larson has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context(Larson 1998:23).&lt;br /&gt;
&lt;br /&gt;
Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”(Snell-Hornby 1988:33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957:167). By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
&lt;br /&gt;
The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003:16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
&lt;br /&gt;
This study is aimed to probe Newmark's translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988:81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.&lt;br /&gt;
&lt;br /&gt;
===Translation and Culture===&lt;br /&gt;
&lt;br /&gt;
2. Translation and Culture &lt;br /&gt;
&lt;br /&gt;
Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
&lt;br /&gt;
The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988:7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988:5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988:7).  &lt;br /&gt;
&lt;br /&gt;
In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language”(Catford 1965:20). According to Venuti translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader”(Venuti 1995:18). Schjoldager stated that“a translation is a text that expresses what another text has expressed in another language”(Schjoldager 2008:19). Culture is a complex whole which includes knowledge,belief,art,law,morals,customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014:2). Hermanns contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures(Hermanns 1999:22) Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014:2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001:328). &lt;br /&gt;
&lt;br /&gt;
Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
&lt;br /&gt;
2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
&lt;br /&gt;
Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora,fauna,food,clothes,housing, work,leisure,politics,law,and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988:327) Christine Nord names them “culturemes” (Nord 1997:9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012:1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Davies 2003:17), others choose cultural words (Newmark 2003;87) or culture-bound phenomena/concepts (Newmark 2003:7). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker 1992:21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988:94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988:95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988:95).&lt;br /&gt;
&lt;br /&gt;
2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
&lt;br /&gt;
The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85:22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003:16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.&lt;br /&gt;
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===Types of Translation ===&lt;br /&gt;
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3. Types of Translation &lt;br /&gt;
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Newmark determines 8 types of translation which are: &lt;br /&gt;
 &lt;br /&gt;
3.1 Word-for-Word Translation &lt;br /&gt;
&lt;br /&gt;
This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
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3.2 Literal translation &lt;br /&gt;
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In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
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3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
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3.4 Semantic Translation &lt;br /&gt;
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Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
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3.5 Adaptation &lt;br /&gt;
&lt;br /&gt;
This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015:15). &lt;br /&gt;
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3.6 Free Translation &lt;br /&gt;
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The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
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3.7 Idiomatic Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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3.8 Communicative Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original(Newmark 1988: 18).&lt;br /&gt;
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===Translation Strategies  ===&lt;br /&gt;
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4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
&lt;br /&gt;
4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela translators need to choose several strategies based on the source language culture and target culture. Shee distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, she tries to command by the level of their intercultural intervention. She divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies).(Aixela 1996:86)&lt;br /&gt;
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4.1.1. Conservation: &lt;br /&gt;
In conservation,the less compelling process includes repetition,orthographic adaptation,linguistic translation,extratextual gloss and intratextual gloss. &lt;br /&gt;
&lt;br /&gt;
4.1.1.1 Repetition:In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus,the translator keeps as much as possible the original reference (Aixela 1996:61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
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4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
&lt;br /&gt;
4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
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4.1.1.4 Extra-textual Gloss: Here,the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes,endings,words,ideas,translators in dictionaries, italics and so on. &lt;br /&gt;
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4.1.1.5 Intra-textual Gloss:It's like the past but the translator feels that he/she can include the globe as an indirect part of the text,not to distract the reader. &lt;br /&gt;
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4.2.1 Substitution &lt;br /&gt;
In substitution, According Aixela “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here&amp;quot;(Aixela 1996:87)&lt;br /&gt;
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4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
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4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
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4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela 1997:63). &lt;br /&gt;
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4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Ketabi 2015:8). &lt;br /&gt;
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4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela 1996;64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
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4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela 1997:43). &lt;br /&gt;
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4.3 Mona Baker's Translation Strategies &lt;br /&gt;
Baker's strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation.Baker She suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies(Baker 1992;90) which are the following: &lt;br /&gt;
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4.3.1 Translation by a more general word: According to Baker,this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
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4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
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4.3.3 Translation by cultural substitution:This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
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4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
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4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
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4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
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4.3.7 Translation by omission: Losing phrases or words that are not vital to text development.&lt;br /&gt;
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4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view,however,Baker,s translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
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===Cultural Categories  ===&lt;br /&gt;
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5. Cultural categories &lt;br /&gt;
 &lt;br /&gt;
5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
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5.1.2 Material culture &lt;br /&gt;
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Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.”(Newmark 1988:90)  &lt;br /&gt;
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5.1.3 Social culture &lt;br /&gt;
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The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
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5.1.4 Organisation &lt;br /&gt;
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Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
 &lt;br /&gt;
5.2 Newmark Classification CSIs &lt;br /&gt;
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Newmark established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items. (Newmark 1988:97) --[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:50, 13 December 2021 (UTC)&lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
 &lt;br /&gt;
Verse No. &lt;br /&gt;
&lt;br /&gt;
Terms        	English Translation 	Categories &lt;br /&gt;
&lt;br /&gt;
1 	 الۡکِتٰبِ 	            Book            	Material culture &lt;br /&gt;
&lt;br /&gt;
2 	 قرُۡءٰنًا 	            Quran            Material culture &lt;br /&gt;
&lt;br /&gt;
3 	  الۡقَصَصِ 	         Narration 	         Gesture &lt;br /&gt;
&lt;br /&gt;
4 	  رَايَۡتُ 	            Dream             	Habit &lt;br /&gt;
&lt;br /&gt;
5 	 کَوۡکَبًا	             Stars            	Ecology &lt;br /&gt;
&lt;br /&gt;
6 	 ال َّ شمۡسَ 	          Sun              	Ecology &lt;br /&gt;
&lt;br /&gt;
7 	 الۡقَمَرَ 	           Moon              	Ecology &lt;br /&gt;
&lt;br /&gt;
8 	 الۡاحََادِيۡثِ 	         Events 	          Organization &lt;br /&gt;
&lt;br /&gt;
9 	 يعَۡقوُۡبَ 	       House of Yaqub 	     Material culture &lt;br /&gt;
&lt;br /&gt;
10 	 يعَۡقوُۡبَ 	           Yaqub 	 &lt;br /&gt;
&lt;br /&gt;
11 	 ابِۡرٰہيِۡمَ 	        Ibrahim 	 &lt;br /&gt;
&lt;br /&gt;
12 	 اِسۡحٰقَ            	Ishaq 	 &lt;br /&gt;
&lt;br /&gt;
13 	 اقۡتلُوُا          	Kill 	           Social culture &lt;br /&gt;
&lt;br /&gt;
14 	 ارَۡضًا	           Earth            	Ecology &lt;br /&gt;
&lt;br /&gt;
15 	 الۡجُبِّ            Pit 	             Ecology &lt;br /&gt;
&lt;br /&gt;
16 	 ال َّ س َّ يارَةِ    	Wayfares 	 &lt;br /&gt;
&lt;br /&gt;
17 	 يٰۤابََانَا	       Father 	 &lt;br /&gt;
&lt;br /&gt;
18 	 َّ يرۡتعَۡ 	        Eat 	            Social culture &lt;br /&gt;
&lt;br /&gt;
19 	 وَ يَلۡعَبۡ 	       Play           	 Social culture &lt;br /&gt;
&lt;br /&gt;
20 	 لَحٰفِظُوۡنَ 	      Guard 	           Social culture &lt;br /&gt;
&lt;br /&gt;
21 	 وَ اخََافُ 	      Fear 	             Habit &lt;br /&gt;
&lt;br /&gt;
22 	 الذِئّۡبُ 	      Wolf 	             Ecology &lt;br /&gt;
&lt;br /&gt;
23 	 عِشَاءًٓ 	       Nightfall 	        Ecology &lt;br /&gt;
&lt;br /&gt;
24 	 َّ يبۡکُوۡنَ 	      Weeping 	         Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	      Belongings 	       Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	        Shirt           	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	      Water drawer     	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ         	Bucket           	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	     Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	    Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	           Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ          	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ        	   Land 	           Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	         Prime             age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ         	Door             Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	       Master         	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	      Evil 	            Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ     	Lewdness 	          Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	        Servant 	        Organization   &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996:31)“translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by Newmark (1988)“translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.”(Newmark 1988:81)&lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation,then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:55, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity,as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts,the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term,and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part,but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:01, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark's strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study's purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy, proposed by Newmark, was employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because of ST culturally loaaded words. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face          in the process of their translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However,the translator must be competent in using the translation procedures to provide an accurate translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
Gečaitė, L. (2020). Culture-Specific Items and Their Translation Strategies in Victoria Hislop's Novel The Sunrise.” (2020). &lt;br /&gt;
&lt;br /&gt;
Hassan, B. E. A. (2014). Between English and Arabic: A practical course in translation. &lt;br /&gt;
Cambridge Scholars Publishing. &lt;br /&gt;
&lt;br /&gt;
Hermans, T. (1999). Translation in systems. Manchester: St. Jerome Publication  House, J. (Ed.). (2014). Translation: a multidisciplinary approach. Springer. &lt;br /&gt;
Issa, A. L. S. M., &amp;amp; Hammood, L. H. R.- Quranic-Specific Phrases under the Study of Translation; Significance and Applications. &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. (33), p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. 33, p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Lambert, J. (1998) Literary Translation. In: M. Baker, ed. Routledge Encyclopedia of Translation Studies. London: Routledge, 130-134. &lt;br /&gt;
&lt;br /&gt;
Landers, Clifford E. (2001) Literary Translation: A practical guide. New Jersey University Press: Multilingual Maters. &lt;br /&gt;
&lt;br /&gt;
Lustig, Myron, W. and Koeser, Joline  (2003), Intercultural Competence: Interpersonal Communication Across Cultures, Boston: Allyn and Bacon. &lt;br /&gt;
&lt;br /&gt;
Malmkjær, K. (1993). Who Can Make Nice A Better Word Than Pretty? Collocation, Translation, and Psycholoinguistics. In: Baker, M., Francis, G. and Tognini-Bonelli, E. &lt;br /&gt;
eds. Text and Technology. Philadelphia/Amsterdam: John Benjamins Publishing Company. pp.213-32. &lt;br /&gt;
&lt;br /&gt;
Mosavat, S., &amp;amp; Rahimpour, S. (2016). The Most and Least Used Translation Strategies for &lt;br /&gt;
Conveying Culture-Specific-Items in Young Adult Literature from English into Persian. International Journal of Humanities and Cultural Studies (IJHCS) ISSN 23565926, 1853-1873. &lt;br /&gt;
&lt;br /&gt;
Munday, J. (1997). Systems in Translation: A computer-assisted systemic approach to the analysis of translation of García Márquez. Ph.D thesis, University of Bradford. &lt;br /&gt;
&lt;br /&gt;
Newmark, P. (2001). A Textbook of Translation. Shanghai: Shanghai Foreign Language &lt;br /&gt;
Education Press &lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. (1988). A Textbook of Translation. New Jersey: Prentice-Halls &lt;br /&gt;
&lt;br /&gt;
Nord, Christiane. (1997). Translating as a Purposeful Activity: Functionalist Approaches &lt;br /&gt;
Explained. Manchester: St. Jerome. Accessed 10 November. 2018. Google Books Schjoldager, A. (2008). Understanding translation. Academica: Århus. &lt;br /&gt;
&lt;br /&gt;
Silalahi, M., &amp;amp; Lubis, S. (2013). Translation Procedures of Cultural Terms Found In Sejarah Bilingual For Students of Senior High School. &lt;br /&gt;
Valipoor, K., &amp;amp; andAzizeh Chalak, H. H. T. (2019). Cultural-specific items in translation of the Holy Quran by Irving: 43-51. &lt;br /&gt;
&lt;br /&gt;
Venuti, L. (1995). The translator’s invisibility: A history of translation. London and New York: &lt;br /&gt;
Routledge &lt;br /&gt;
&lt;br /&gt;
Widiarto, O. V. V. (2016). The translation procedures of cultural expressions applied in a game of thrones translated into Perebutan Tahta novel by Barokah Ruziati (Doctoral dissertation, Dian Nuswantoro University).&lt;/div&gt;</summary>
		<author><name>Atta Ur Rahman</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Trans_Type_EN_11&amp;diff=133592</id>
		<title>Trans Type EN 11</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Trans_Type_EN_11&amp;diff=133592"/>
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		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* Types of Translation */&lt;/p&gt;
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&lt;div&gt;=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
Atta Ur Rahman,Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_11]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies, Translation Procedures, Culture-Specific Items, Newmark&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012:37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær 2015:10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005:9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004:1). Translation is essential for cultures and languages to exchange information. Newmark defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects(Newmark 1988:2). Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
&lt;br /&gt;
Nida indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style(Nida 1964:32). Larson has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context(Larson 1998:23).&lt;br /&gt;
&lt;br /&gt;
Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”(Snell-Hornby 1988:33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957:167). By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
&lt;br /&gt;
The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003:16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
&lt;br /&gt;
This study is aimed to probe Newmark's translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988:81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.&lt;br /&gt;
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===Translation and Culture===&lt;br /&gt;
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2. Translation and Culture &lt;br /&gt;
&lt;br /&gt;
Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
&lt;br /&gt;
The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988:7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988:5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988:7).  &lt;br /&gt;
&lt;br /&gt;
In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language”(Catford 1965:20). According to Venuti translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader”(Venuti 1995:18). Schjoldager stated that“a translation is a text that expresses what another text has expressed in another language”(Schjoldager 2008:19). Culture is a complex whole which includes knowledge,belief,art,law,morals,customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014:2). Hermanns contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures(Hermanns 1999:22) Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014:2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001:328). &lt;br /&gt;
&lt;br /&gt;
Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
&lt;br /&gt;
2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
&lt;br /&gt;
Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora,fauna,food,clothes,housing, work,leisure,politics,law,and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988:327) Christine Nord names them “culturemes” (Nord 1997:9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012:1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Davies 2003:17), others choose cultural words (Newmark 2003;87) or culture-bound phenomena/concepts (Newmark 2003:7). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker 1992:21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988:94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988:95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988:95).&lt;br /&gt;
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2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
&lt;br /&gt;
The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85:22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003:16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.&lt;br /&gt;
&lt;br /&gt;
===Types of Translation ===&lt;br /&gt;
&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
&lt;br /&gt;
Newmark determines 8 types of translation which are: &lt;br /&gt;
 &lt;br /&gt;
3.1 Word-for-Word Translation &lt;br /&gt;
&lt;br /&gt;
This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
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3.2 Literal translation &lt;br /&gt;
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In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
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3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
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3.4 Semantic Translation &lt;br /&gt;
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Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
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3.5 Adaptation &lt;br /&gt;
&lt;br /&gt;
This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015:15). &lt;br /&gt;
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3.6 Free Translation &lt;br /&gt;
&lt;br /&gt;
The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
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3.7 Idiomatic Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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3.8 Communicative Translation &lt;br /&gt;
&lt;br /&gt;
This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original(Newmark 1988: 18).&lt;br /&gt;
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 &lt;br /&gt;
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===Translation Strategies  ===&lt;br /&gt;
&lt;br /&gt;
4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
&lt;br /&gt;
4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela translators need to choose several strategies based on the source language culture and target culture. Shee distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, she tries to command by the level of their intercultural intervention. She divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies).(Aixela 1996:86)&lt;br /&gt;
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4.1.1. Conservation: &lt;br /&gt;
In conservation,the less compelling process includes repetition,orthographic adaptation,linguistic translation,extratextual gloss and intratextual gloss. &lt;br /&gt;
&lt;br /&gt;
4.1.1.1 Repetition:In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus,the translator keeps as much as possible the original reference (Aixela 1996:61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
&lt;br /&gt;
4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
&lt;br /&gt;
4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
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4.1.1.4 Extra-textual Gloss: Here,the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes,endings,words,ideas,translators in dictionaries, italics and so on. &lt;br /&gt;
&lt;br /&gt;
4.1.1.5 Intra-textual Gloss:It's like the past but the translator feels that he/she can include the globe as an indirect part of the text,not to distract the reader. &lt;br /&gt;
&lt;br /&gt;
4.2.1 Substitution &lt;br /&gt;
In substitution, According Aixela “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here&amp;quot;(Aixela 1996:87)--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:40, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
&lt;br /&gt;
4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
&lt;br /&gt;
4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela 1997:63). &lt;br /&gt;
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4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Ketabi 2015:8). &lt;br /&gt;
&lt;br /&gt;
4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela 1996;64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
&lt;br /&gt;
4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela 1997:43). &lt;br /&gt;
&lt;br /&gt;
4.3 Mona Baker's Translation Strategies &lt;br /&gt;
Baker's strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation.Baker She suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies(Baker 1992;90) which are the following: &lt;br /&gt;
&lt;br /&gt;
4.3.1 Translation by a more general word: According to Baker,this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
&lt;br /&gt;
4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
&lt;br /&gt;
4.3.3 Translation by cultural substitution:This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
&lt;br /&gt;
4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
&lt;br /&gt;
4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
&lt;br /&gt;
4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
&lt;br /&gt;
4.3.7 Translation by omission: Losing phrases or words that are not vital to text development.&lt;br /&gt;
&lt;br /&gt;
4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view,however,Baker,s translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:40, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Cultural Categories  ===&lt;br /&gt;
&lt;br /&gt;
5. Cultural categories &lt;br /&gt;
 &lt;br /&gt;
5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
&lt;br /&gt;
5.1.2 Material culture &lt;br /&gt;
&lt;br /&gt;
Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.”(Newmark 1988:90)  &lt;br /&gt;
&lt;br /&gt;
5.1.3 Social culture &lt;br /&gt;
&lt;br /&gt;
The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
&lt;br /&gt;
5.1.4 Organisation &lt;br /&gt;
&lt;br /&gt;
Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
 &lt;br /&gt;
5.2 Newmark Classification CSIs &lt;br /&gt;
&lt;br /&gt;
Newmark established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items. (Newmark 1988:97) --[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:50, 13 December 2021 (UTC)&lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
 &lt;br /&gt;
Verse No. &lt;br /&gt;
&lt;br /&gt;
Terms        	English Translation 	Categories &lt;br /&gt;
&lt;br /&gt;
1 	 الۡکِتٰبِ 	            Book            	Material culture &lt;br /&gt;
&lt;br /&gt;
2 	 قرُۡءٰنًا 	            Quran            Material culture &lt;br /&gt;
&lt;br /&gt;
3 	  الۡقَصَصِ 	         Narration 	         Gesture &lt;br /&gt;
&lt;br /&gt;
4 	  رَايَۡتُ 	            Dream             	Habit &lt;br /&gt;
&lt;br /&gt;
5 	 کَوۡکَبًا	             Stars            	Ecology &lt;br /&gt;
&lt;br /&gt;
6 	 ال َّ شمۡسَ 	          Sun              	Ecology &lt;br /&gt;
&lt;br /&gt;
7 	 الۡقَمَرَ 	           Moon              	Ecology &lt;br /&gt;
&lt;br /&gt;
8 	 الۡاحََادِيۡثِ 	         Events 	          Organization &lt;br /&gt;
&lt;br /&gt;
9 	 يعَۡقوُۡبَ 	       House of Yaqub 	     Material culture &lt;br /&gt;
&lt;br /&gt;
10 	 يعَۡقوُۡبَ 	           Yaqub 	 &lt;br /&gt;
&lt;br /&gt;
11 	 ابِۡرٰہيِۡمَ 	        Ibrahim 	 &lt;br /&gt;
&lt;br /&gt;
12 	 اِسۡحٰقَ            	Ishaq 	 &lt;br /&gt;
&lt;br /&gt;
13 	 اقۡتلُوُا          	Kill 	           Social culture &lt;br /&gt;
&lt;br /&gt;
14 	 ارَۡضًا	           Earth            	Ecology &lt;br /&gt;
&lt;br /&gt;
15 	 الۡجُبِّ            Pit 	             Ecology &lt;br /&gt;
&lt;br /&gt;
16 	 ال َّ س َّ يارَةِ    	Wayfares 	 &lt;br /&gt;
&lt;br /&gt;
17 	 يٰۤابََانَا	       Father 	 &lt;br /&gt;
&lt;br /&gt;
18 	 َّ يرۡتعَۡ 	        Eat 	            Social culture &lt;br /&gt;
&lt;br /&gt;
19 	 وَ يَلۡعَبۡ 	       Play           	 Social culture &lt;br /&gt;
&lt;br /&gt;
20 	 لَحٰفِظُوۡنَ 	      Guard 	           Social culture &lt;br /&gt;
&lt;br /&gt;
21 	 وَ اخََافُ 	      Fear 	             Habit &lt;br /&gt;
&lt;br /&gt;
22 	 الذِئّۡبُ 	      Wolf 	             Ecology &lt;br /&gt;
&lt;br /&gt;
23 	 عِشَاءًٓ 	       Nightfall 	        Ecology &lt;br /&gt;
&lt;br /&gt;
24 	 َّ يبۡکُوۡنَ 	      Weeping 	         Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	      Belongings 	       Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	        Shirt           	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	      Water drawer     	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ         	Bucket           	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	     Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	    Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	           Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ          	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ        	   Land 	           Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	         Prime             age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ         	Door             Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	       Master         	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	      Evil 	            Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ     	Lewdness 	          Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	        Servant 	        Organization   &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996:31)“translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by Newmark (1988)“translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.”(Newmark 1988:81)&lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation,then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:55, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity,as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts,the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term,and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part,but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:01, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark's strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study's purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy, proposed by Newmark, was employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because of ST culturally loaaded words. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face          in the process of their translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However,the translator must be competent in using the translation procedures to provide an accurate translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abdi, H. (2019). Translating culture-specific items (CSIs) as a conundrum for Iranian MA translation students: Considering the level of study. Journal of new advances in English Language Teaching and Applied Linguistics, 1(1), 88-109. &lt;br /&gt;
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Aguado-Gimenez, P., &amp;amp; Pérez-Paredes, P. F. (2005). Translation-strategies use: A classroombased examination of Baker’s taxonomy. Meta: journal des traducteurs/Meta: &lt;br /&gt;
Translators' Journal, 50(1), 294-311. &lt;br /&gt;
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Ahmadi, M. R.S and Nosrati, Fatemah. (2012). Domestication and Foreignization Strategies in Translation of Culture-Specific Items. Translations of English-Persian Children’s Literature. San Francisco: Grin Publishing. Google Books. &lt;br /&gt;
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Al Saleh, R. A. (2019). An Application of Newmark's Procedures to Muhammad Abul Quasem's Alleman, J. C. Bee. W. Ulitkin, I. Files, F., Zetzsche, J., Chatonnet-Marton, P. &amp;amp; y del Árbol, E. V. Translation Strategies. &lt;br /&gt;
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Al-Sofi, B. B. M. A., &amp;amp; Abouabdulqader, H. (2020). Bridging the gap between translation and culture: towards a cultural dimension of translation. International journal of linguistics, literature and culture, 6(1), 1-13. &lt;br /&gt;
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Baker, M., 1992. In Other Words: A Coursebook on Translation. London: Routledge, p.20–42. &lt;br /&gt;
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Blažytė, D., &amp;amp; Liubinienė, V. (2016). Culture-specific items (CSI) and their translation strategies in Martin Lindstrom’s&amp;quot; Brand sense&amp;quot;. Kalbų studijos, (29), 42-57. &lt;br /&gt;
&lt;br /&gt;
Bush, P. (1998) &amp;quot;Literary Translation.&amp;quot; In: M. Baker, ed. Routledge Encyclopedia of Translation Studies, London: Routledge, pp.127-130. &lt;br /&gt;
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Catford. J. C. (1965). A linguistic theory of translation. Oxford: Oxford University Press. &lt;br /&gt;
English Translation of Mohammad Al-Ghazali's Islamic Guidance.Literature and Culture, 6(1), 1-13. &lt;br /&gt;
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Gečaitė, L. (2020). Culture-Specific Items and Their Translation Strategies in Victoria Hislop's Novel The Sunrise.” (2020). &lt;br /&gt;
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Hassan, B. E. A. (2014). Between English and Arabic: A practical course in translation. &lt;br /&gt;
Cambridge Scholars Publishing. &lt;br /&gt;
&lt;br /&gt;
Hermans, T. (1999). Translation in systems. Manchester: St. Jerome Publication  House, J. (Ed.). (2014). Translation: a multidisciplinary approach. Springer. &lt;br /&gt;
Issa, A. L. S. M., &amp;amp; Hammood, L. H. R.- Quranic-Specific Phrases under the Study of Translation; Significance and Applications. &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. (33), p. 83-87). &lt;br /&gt;
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Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. 33, p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Lambert, J. (1998) Literary Translation. In: M. Baker, ed. Routledge Encyclopedia of Translation Studies. London: Routledge, 130-134. &lt;br /&gt;
&lt;br /&gt;
Landers, Clifford E. (2001) Literary Translation: A practical guide. New Jersey University Press: Multilingual Maters. &lt;br /&gt;
&lt;br /&gt;
Lustig, Myron, W. and Koeser, Joline  (2003), Intercultural Competence: Interpersonal Communication Across Cultures, Boston: Allyn and Bacon. &lt;br /&gt;
&lt;br /&gt;
Malmkjær, K. (1993). Who Can Make Nice A Better Word Than Pretty? Collocation, Translation, and Psycholoinguistics. In: Baker, M., Francis, G. and Tognini-Bonelli, E. &lt;br /&gt;
eds. Text and Technology. Philadelphia/Amsterdam: John Benjamins Publishing Company. pp.213-32. &lt;br /&gt;
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Mosavat, S., &amp;amp; Rahimpour, S. (2016). The Most and Least Used Translation Strategies for &lt;br /&gt;
Conveying Culture-Specific-Items in Young Adult Literature from English into Persian. International Journal of Humanities and Cultural Studies (IJHCS) ISSN 23565926, 1853-1873. &lt;br /&gt;
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Munday, J. (1997). Systems in Translation: A computer-assisted systemic approach to the analysis of translation of García Márquez. Ph.D thesis, University of Bradford. &lt;br /&gt;
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Newmark, P. (2001). A Textbook of Translation. Shanghai: Shanghai Foreign Language &lt;br /&gt;
Education Press &lt;br /&gt;
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Newmark, Peter. (1988). A Textbook of Translation. New Jersey: Prentice-Halls &lt;br /&gt;
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Nord, Christiane. (1997). Translating as a Purposeful Activity: Functionalist Approaches &lt;br /&gt;
Explained. Manchester: St. Jerome. Accessed 10 November. 2018. Google Books Schjoldager, A. (2008). Understanding translation. Academica: Århus. &lt;br /&gt;
&lt;br /&gt;
Silalahi, M., &amp;amp; Lubis, S. (2013). Translation Procedures of Cultural Terms Found In Sejarah Bilingual For Students of Senior High School. &lt;br /&gt;
Valipoor, K., &amp;amp; andAzizeh Chalak, H. H. T. (2019). Cultural-specific items in translation of the Holy Quran by Irving: 43-51. &lt;br /&gt;
&lt;br /&gt;
Venuti, L. (1995). The translator’s invisibility: A history of translation. London and New York: &lt;br /&gt;
Routledge &lt;br /&gt;
&lt;br /&gt;
Widiarto, O. V. V. (2016). The translation procedures of cultural expressions applied in a game of thrones translated into Perebutan Tahta novel by Barokah Ruziati (Doctoral dissertation, Dian Nuswantoro University).&lt;/div&gt;</summary>
		<author><name>Atta Ur Rahman</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Trans_Type_EN_11&amp;diff=133591</id>
		<title>Trans Type EN 11</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Trans_Type_EN_11&amp;diff=133591"/>
		<updated>2021-12-15T17:06:20Z</updated>

		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* Translation and Culture */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
Atta Ur Rahman,Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_11]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies, Translation Procedures, Culture-Specific Items, Newmark&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012:37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær 2015:10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005:9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004:1). Translation is essential for cultures and languages to exchange information. Newmark defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects(Newmark 1988:2). Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
&lt;br /&gt;
Nida indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style(Nida 1964:32). Larson has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context(Larson 1998:23).&lt;br /&gt;
&lt;br /&gt;
Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”(Snell-Hornby 1988:33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957:167). By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
&lt;br /&gt;
The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003:16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
&lt;br /&gt;
This study is aimed to probe Newmark's translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988:81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.&lt;br /&gt;
&lt;br /&gt;
===Translation and Culture===&lt;br /&gt;
&lt;br /&gt;
2. Translation and Culture &lt;br /&gt;
&lt;br /&gt;
Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
&lt;br /&gt;
The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988:7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988:5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988:7).  &lt;br /&gt;
&lt;br /&gt;
In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language”(Catford 1965:20). According to Venuti translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader”(Venuti 1995:18). Schjoldager stated that“a translation is a text that expresses what another text has expressed in another language”(Schjoldager 2008:19). Culture is a complex whole which includes knowledge,belief,art,law,morals,customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014:2). Hermanns contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures(Hermanns 1999:22) Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014:2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001:328). &lt;br /&gt;
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Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
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2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
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Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora,fauna,food,clothes,housing, work,leisure,politics,law,and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988:327) Christine Nord names them “culturemes” (Nord 1997:9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012:1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Davies 2003:17), others choose cultural words (Newmark 2003;87) or culture-bound phenomena/concepts (Newmark 2003:7). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker 1992:21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988:94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988:95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988:95).&lt;br /&gt;
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2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
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The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85:22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003:16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.&lt;br /&gt;
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===Types of Translation ===&lt;br /&gt;
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3. Types of Translation &lt;br /&gt;
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Newmark determines 8 types of translation which are: &lt;br /&gt;
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3.1 Word-for-Word Translation &lt;br /&gt;
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This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
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3.2 Literal translation &lt;br /&gt;
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In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
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3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
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3.4 Semantic Translation &lt;br /&gt;
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Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
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3.5 Adaptation &lt;br /&gt;
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This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015:15). &lt;br /&gt;
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3.6 Free Translation &lt;br /&gt;
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The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
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3.7 Idiomatic Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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3.8 Communicative Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original(Newmark 1988: 18).&lt;br /&gt;
--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:05, 13 December 2021 (UTC) &lt;br /&gt;
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===Translation Strategies  ===&lt;br /&gt;
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4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
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4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela translators need to choose several strategies based on the source language culture and target culture. Shee distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, she tries to command by the level of their intercultural intervention. She divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies).(Aixela 1996:86)&lt;br /&gt;
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4.1.1. Conservation: &lt;br /&gt;
In conservation,the less compelling process includes repetition,orthographic adaptation,linguistic translation,extratextual gloss and intratextual gloss. &lt;br /&gt;
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4.1.1.1 Repetition:In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus,the translator keeps as much as possible the original reference (Aixela 1996:61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
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4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
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4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
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4.1.1.4 Extra-textual Gloss: Here,the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes,endings,words,ideas,translators in dictionaries, italics and so on. &lt;br /&gt;
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4.1.1.5 Intra-textual Gloss:It's like the past but the translator feels that he/she can include the globe as an indirect part of the text,not to distract the reader. &lt;br /&gt;
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4.2.1 Substitution &lt;br /&gt;
In substitution, According Aixela “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here&amp;quot;(Aixela 1996:87)--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:40, 13 December 2021 (UTC) &lt;br /&gt;
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4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
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4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
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4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela 1997:63). &lt;br /&gt;
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4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Ketabi 2015:8). &lt;br /&gt;
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4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela 1996;64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
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4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela 1997:43). &lt;br /&gt;
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4.3 Mona Baker's Translation Strategies &lt;br /&gt;
Baker's strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation.Baker She suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies(Baker 1992;90) which are the following: &lt;br /&gt;
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4.3.1 Translation by a more general word: According to Baker,this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
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4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
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4.3.3 Translation by cultural substitution:This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
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4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
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4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
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4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
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4.3.7 Translation by omission: Losing phrases or words that are not vital to text development.&lt;br /&gt;
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4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view,however,Baker,s translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
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===Cultural Categories  ===&lt;br /&gt;
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5. Cultural categories &lt;br /&gt;
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5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
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5.1.2 Material culture &lt;br /&gt;
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Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.”(Newmark 1988:90)  &lt;br /&gt;
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5.1.3 Social culture &lt;br /&gt;
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The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
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5.1.4 Organisation &lt;br /&gt;
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Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
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5.2 Newmark Classification CSIs &lt;br /&gt;
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Newmark established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items. (Newmark 1988:97) --[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:50, 13 December 2021 (UTC)&lt;br /&gt;
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5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
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Verse No. &lt;br /&gt;
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Terms        	English Translation 	Categories &lt;br /&gt;
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1 	 الۡکِتٰبِ 	            Book            	Material culture &lt;br /&gt;
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2 	 قرُۡءٰنًا 	            Quran            Material culture &lt;br /&gt;
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3 	  الۡقَصَصِ 	         Narration 	         Gesture &lt;br /&gt;
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4 	  رَايَۡتُ 	            Dream             	Habit &lt;br /&gt;
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5 	 کَوۡکَبًا	             Stars            	Ecology &lt;br /&gt;
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6 	 ال َّ شمۡسَ 	          Sun              	Ecology &lt;br /&gt;
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7 	 الۡقَمَرَ 	           Moon              	Ecology &lt;br /&gt;
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8 	 الۡاحََادِيۡثِ 	         Events 	          Organization &lt;br /&gt;
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9 	 يعَۡقوُۡبَ 	       House of Yaqub 	     Material culture &lt;br /&gt;
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10 	 يعَۡقوُۡبَ 	           Yaqub 	 &lt;br /&gt;
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11 	 ابِۡرٰہيِۡمَ 	        Ibrahim 	 &lt;br /&gt;
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12 	 اِسۡحٰقَ            	Ishaq 	 &lt;br /&gt;
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13 	 اقۡتلُوُا          	Kill 	           Social culture &lt;br /&gt;
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14 	 ارَۡضًا	           Earth            	Ecology &lt;br /&gt;
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15 	 الۡجُبِّ            Pit 	             Ecology &lt;br /&gt;
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16 	 ال َّ س َّ يارَةِ    	Wayfares 	 &lt;br /&gt;
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17 	 يٰۤابََانَا	       Father 	 &lt;br /&gt;
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18 	 َّ يرۡتعَۡ 	        Eat 	            Social culture &lt;br /&gt;
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19 	 وَ يَلۡعَبۡ 	       Play           	 Social culture &lt;br /&gt;
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20 	 لَحٰفِظُوۡنَ 	      Guard 	           Social culture &lt;br /&gt;
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21 	 وَ اخََافُ 	      Fear 	             Habit &lt;br /&gt;
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22 	 الذِئّۡبُ 	      Wolf 	             Ecology &lt;br /&gt;
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23 	 عِشَاءًٓ 	       Nightfall 	        Ecology &lt;br /&gt;
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24 	 َّ يبۡکُوۡنَ 	      Weeping 	         Habit &lt;br /&gt;
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25 	 مَتاَعِنَا	      Belongings 	       Material culture &lt;br /&gt;
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26 	 قمَِيۡصِہٖ 	        Shirt           	Material culture &lt;br /&gt;
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27 	 وَارِدہَمُۡ 	      Water drawer     	Material culture &lt;br /&gt;
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28 	 دلَۡوَهٗ         	Bucket           	Material culture &lt;br /&gt;
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29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	     Material culture &lt;br /&gt;
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30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	    Material culture &lt;br /&gt;
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31 	 مِّصۡرَ 	           Egypt 	 &lt;br /&gt;
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32 	 لِامۡرَاتَِہٖۤ          	Wife 	 &lt;br /&gt;
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33 	 الۡارَۡضِ        	   Land 	           Ecology &lt;br /&gt;
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34 	 اشَُدَّ هٗۤ 	         Prime             age 	 &lt;br /&gt;
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35 	 الۡابَۡوَابَ         	Door             Material culture &lt;br /&gt;
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36 	 مَعَاذَ ّٰ  ِ 	       Master         	Organization &lt;br /&gt;
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37 	 ال ُّ سوۡٓءَ 	      Evil 	            Habit &lt;br /&gt;
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38 	 الۡفَحۡشَاءَؕٓ     	Lewdness 	          Habit &lt;br /&gt;
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39 	 عِبَادِنَا	        Servant 	        Organization   &lt;br /&gt;
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40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
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41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
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42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
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43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
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44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
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45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
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46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
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47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
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48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
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49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
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50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
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51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
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52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
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53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
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54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
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55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
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56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
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57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
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58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
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59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
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60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
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61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
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62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
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63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
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64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
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65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996:31)“translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by Newmark (1988)“translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.”(Newmark 1988:81)&lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation,then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:55, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity,as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts,the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term,and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part,but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:01, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark's strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study's purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy, proposed by Newmark, was employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because of ST culturally loaaded words. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face          in the process of their translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However,the translator must be competent in using the translation procedures to provide an accurate translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abdi, H. (2019). Translating culture-specific items (CSIs) as a conundrum for Iranian MA translation students: Considering the level of study. Journal of new advances in English Language Teaching and Applied Linguistics, 1(1), 88-109. &lt;br /&gt;
&lt;br /&gt;
Aguado-Gimenez, P., &amp;amp; Pérez-Paredes, P. F. (2005). Translation-strategies use: A classroombased examination of Baker’s taxonomy. Meta: journal des traducteurs/Meta: &lt;br /&gt;
Translators' Journal, 50(1), 294-311. &lt;br /&gt;
&lt;br /&gt;
Ahmadi, M. R.S and Nosrati, Fatemah. (2012). Domestication and Foreignization Strategies in Translation of Culture-Specific Items. Translations of English-Persian Children’s Literature. San Francisco: Grin Publishing. Google Books. &lt;br /&gt;
&lt;br /&gt;
Al Saleh, R. A. (2019). An Application of Newmark's Procedures to Muhammad Abul Quasem's Alleman, J. C. Bee. W. Ulitkin, I. Files, F., Zetzsche, J., Chatonnet-Marton, P. &amp;amp; y del Árbol, E. V. Translation Strategies. &lt;br /&gt;
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Al-Sofi, B. B. M. A., &amp;amp; Abouabdulqader, H. (2020). Bridging the gap between translation and culture: towards a cultural dimension of translation. International journal of linguistics, literature and culture, 6(1), 1-13. &lt;br /&gt;
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Baker, M., 1992. In Other Words: A Coursebook on Translation. London: Routledge, p.20–42. &lt;br /&gt;
&lt;br /&gt;
Blažytė, D., &amp;amp; Liubinienė, V. (2016). Culture-specific items (CSI) and their translation strategies in Martin Lindstrom’s&amp;quot; Brand sense&amp;quot;. Kalbų studijos, (29), 42-57. &lt;br /&gt;
&lt;br /&gt;
Bush, P. (1998) &amp;quot;Literary Translation.&amp;quot; In: M. Baker, ed. Routledge Encyclopedia of Translation Studies, London: Routledge, pp.127-130. &lt;br /&gt;
&lt;br /&gt;
Catford. J. C. (1965). A linguistic theory of translation. Oxford: Oxford University Press. &lt;br /&gt;
English Translation of Mohammad Al-Ghazali's Islamic Guidance.Literature and Culture, 6(1), 1-13. &lt;br /&gt;
&lt;br /&gt;
Gečaitė, L. (2020). Culture-Specific Items and Their Translation Strategies in Victoria Hislop's Novel The Sunrise.” (2020). &lt;br /&gt;
&lt;br /&gt;
Hassan, B. E. A. (2014). Between English and Arabic: A practical course in translation. &lt;br /&gt;
Cambridge Scholars Publishing. &lt;br /&gt;
&lt;br /&gt;
Hermans, T. (1999). Translation in systems. Manchester: St. Jerome Publication  House, J. (Ed.). (2014). Translation: a multidisciplinary approach. Springer. &lt;br /&gt;
Issa, A. L. S. M., &amp;amp; Hammood, L. H. R.- Quranic-Specific Phrases under the Study of Translation; Significance and Applications. &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. (33), p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. 33, p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Lambert, J. (1998) Literary Translation. In: M. Baker, ed. Routledge Encyclopedia of Translation Studies. London: Routledge, 130-134. &lt;br /&gt;
&lt;br /&gt;
Landers, Clifford E. (2001) Literary Translation: A practical guide. New Jersey University Press: Multilingual Maters. &lt;br /&gt;
&lt;br /&gt;
Lustig, Myron, W. and Koeser, Joline  (2003), Intercultural Competence: Interpersonal Communication Across Cultures, Boston: Allyn and Bacon. &lt;br /&gt;
&lt;br /&gt;
Malmkjær, K. (1993). Who Can Make Nice A Better Word Than Pretty? Collocation, Translation, and Psycholoinguistics. In: Baker, M., Francis, G. and Tognini-Bonelli, E. &lt;br /&gt;
eds. Text and Technology. Philadelphia/Amsterdam: John Benjamins Publishing Company. pp.213-32. &lt;br /&gt;
&lt;br /&gt;
Mosavat, S., &amp;amp; Rahimpour, S. (2016). The Most and Least Used Translation Strategies for &lt;br /&gt;
Conveying Culture-Specific-Items in Young Adult Literature from English into Persian. International Journal of Humanities and Cultural Studies (IJHCS) ISSN 23565926, 1853-1873. &lt;br /&gt;
&lt;br /&gt;
Munday, J. (1997). Systems in Translation: A computer-assisted systemic approach to the analysis of translation of García Márquez. Ph.D thesis, University of Bradford. &lt;br /&gt;
&lt;br /&gt;
Newmark, P. (2001). A Textbook of Translation. Shanghai: Shanghai Foreign Language &lt;br /&gt;
Education Press &lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. (1988). A Textbook of Translation. New Jersey: Prentice-Halls &lt;br /&gt;
&lt;br /&gt;
Nord, Christiane. (1997). Translating as a Purposeful Activity: Functionalist Approaches &lt;br /&gt;
Explained. Manchester: St. Jerome. Accessed 10 November. 2018. Google Books Schjoldager, A. (2008). Understanding translation. Academica: Århus. &lt;br /&gt;
&lt;br /&gt;
Silalahi, M., &amp;amp; Lubis, S. (2013). Translation Procedures of Cultural Terms Found In Sejarah Bilingual For Students of Senior High School. &lt;br /&gt;
Valipoor, K., &amp;amp; andAzizeh Chalak, H. H. T. (2019). Cultural-specific items in translation of the Holy Quran by Irving: 43-51. &lt;br /&gt;
&lt;br /&gt;
Venuti, L. (1995). The translator’s invisibility: A history of translation. London and New York: &lt;br /&gt;
Routledge &lt;br /&gt;
&lt;br /&gt;
Widiarto, O. V. V. (2016). The translation procedures of cultural expressions applied in a game of thrones translated into Perebutan Tahta novel by Barokah Ruziati (Doctoral dissertation, Dian Nuswantoro University).&lt;/div&gt;</summary>
		<author><name>Atta Ur Rahman</name></author>
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		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* Introduction */&lt;/p&gt;
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&lt;div&gt;=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
Atta Ur Rahman,Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_11]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies, Translation Procedures, Culture-Specific Items, Newmark&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012:37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær 2015:10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005:9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004:1). Translation is essential for cultures and languages to exchange information. Newmark defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects(Newmark 1988:2). Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
&lt;br /&gt;
Nida indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style(Nida 1964:32). Larson has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context(Larson 1998:23).&lt;br /&gt;
&lt;br /&gt;
Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”(Snell-Hornby 1988:33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957:167). By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
&lt;br /&gt;
The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003:16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
&lt;br /&gt;
This study is aimed to probe Newmark's translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988:81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.&lt;br /&gt;
&lt;br /&gt;
===Translation and Culture===&lt;br /&gt;
&lt;br /&gt;
2. Translation and Culture &lt;br /&gt;
&lt;br /&gt;
Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
&lt;br /&gt;
The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988:7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988:5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988:7).  &lt;br /&gt;
&lt;br /&gt;
In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language”(Catford 1965:20). According to Venuti translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader”(Venuti 1995:18). Schjoldager stated that“a translation is a text that expresses what another text has expressed in another language”(Schjoldager 2008:19). Culture is a complex whole which includes knowledge,belief,art,law,morals,customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014:2). Hermanns contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures(Hermanns 1999:22) Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014:2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001:328). &lt;br /&gt;
&lt;br /&gt;
Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
&lt;br /&gt;
2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
&lt;br /&gt;
Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora,fauna,food,clothes,housing, work,leisure,politics,law,and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988:327) Christine Nord names them “culturemes” (Nord 1997:9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012:1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Davies 2003:17), others choose cultural words (Newmark 2003;87) or culture-bound phenomena/concepts (Newmark 2003:7). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker 1992:21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988:94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988:95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988:95).--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:02, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
&lt;br /&gt;
The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85:22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003:16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:02, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Types of Translation ===&lt;br /&gt;
&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
&lt;br /&gt;
Newmark determines 8 types of translation which are: &lt;br /&gt;
 &lt;br /&gt;
3.1 Word-for-Word Translation &lt;br /&gt;
&lt;br /&gt;
This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
&lt;br /&gt;
3.2 Literal translation &lt;br /&gt;
&lt;br /&gt;
In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
&lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
&lt;br /&gt;
3.4 Semantic Translation &lt;br /&gt;
&lt;br /&gt;
Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
&lt;br /&gt;
3.5 Adaptation &lt;br /&gt;
&lt;br /&gt;
This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015:15). &lt;br /&gt;
&lt;br /&gt;
3.6 Free Translation &lt;br /&gt;
&lt;br /&gt;
The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
&lt;br /&gt;
3.7 Idiomatic Translation &lt;br /&gt;
&lt;br /&gt;
This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
&lt;br /&gt;
3.8 Communicative Translation &lt;br /&gt;
&lt;br /&gt;
This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original(Newmark 1988: 18).&lt;br /&gt;
--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:05, 13 December 2021 (UTC) &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
===Translation Strategies  ===&lt;br /&gt;
&lt;br /&gt;
4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
&lt;br /&gt;
4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela translators need to choose several strategies based on the source language culture and target culture. Shee distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, she tries to command by the level of their intercultural intervention. She divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies).(Aixela 1996:86)&lt;br /&gt;
&lt;br /&gt;
4.1.1. Conservation: &lt;br /&gt;
In conservation,the less compelling process includes repetition,orthographic adaptation,linguistic translation,extratextual gloss and intratextual gloss. &lt;br /&gt;
&lt;br /&gt;
4.1.1.1 Repetition:In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus,the translator keeps as much as possible the original reference (Aixela 1996:61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
&lt;br /&gt;
4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
&lt;br /&gt;
4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
&lt;br /&gt;
4.1.1.4 Extra-textual Gloss: Here,the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes,endings,words,ideas,translators in dictionaries, italics and so on. &lt;br /&gt;
&lt;br /&gt;
4.1.1.5 Intra-textual Gloss:It's like the past but the translator feels that he/she can include the globe as an indirect part of the text,not to distract the reader. &lt;br /&gt;
&lt;br /&gt;
4.2.1 Substitution &lt;br /&gt;
In substitution, According Aixela “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here&amp;quot;(Aixela 1996:87)--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:40, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
&lt;br /&gt;
4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
&lt;br /&gt;
4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela 1997:63). &lt;br /&gt;
&lt;br /&gt;
4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Ketabi 2015:8). &lt;br /&gt;
&lt;br /&gt;
4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela 1996;64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
&lt;br /&gt;
4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela 1997:43). &lt;br /&gt;
&lt;br /&gt;
4.3 Mona Baker's Translation Strategies &lt;br /&gt;
Baker's strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation.Baker She suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies(Baker 1992;90) which are the following: &lt;br /&gt;
&lt;br /&gt;
4.3.1 Translation by a more general word: According to Baker,this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
&lt;br /&gt;
4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
&lt;br /&gt;
4.3.3 Translation by cultural substitution:This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
&lt;br /&gt;
4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
&lt;br /&gt;
4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
&lt;br /&gt;
4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
&lt;br /&gt;
4.3.7 Translation by omission: Losing phrases or words that are not vital to text development.&lt;br /&gt;
&lt;br /&gt;
4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view,however,Baker,s translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:40, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Cultural Categories  ===&lt;br /&gt;
&lt;br /&gt;
5. Cultural categories &lt;br /&gt;
 &lt;br /&gt;
5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
&lt;br /&gt;
5.1.2 Material culture &lt;br /&gt;
&lt;br /&gt;
Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.”(Newmark 1988:90)  &lt;br /&gt;
&lt;br /&gt;
5.1.3 Social culture &lt;br /&gt;
&lt;br /&gt;
The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
&lt;br /&gt;
5.1.4 Organisation &lt;br /&gt;
&lt;br /&gt;
Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
 &lt;br /&gt;
5.2 Newmark Classification CSIs &lt;br /&gt;
&lt;br /&gt;
Newmark established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items. (Newmark 1988:97) --[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:50, 13 December 2021 (UTC)&lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
 &lt;br /&gt;
Verse No. &lt;br /&gt;
&lt;br /&gt;
Terms        	English Translation 	Categories &lt;br /&gt;
&lt;br /&gt;
1 	 الۡکِتٰبِ 	            Book            	Material culture &lt;br /&gt;
&lt;br /&gt;
2 	 قرُۡءٰنًا 	            Quran            Material culture &lt;br /&gt;
&lt;br /&gt;
3 	  الۡقَصَصِ 	         Narration 	         Gesture &lt;br /&gt;
&lt;br /&gt;
4 	  رَايَۡتُ 	            Dream             	Habit &lt;br /&gt;
&lt;br /&gt;
5 	 کَوۡکَبًا	             Stars            	Ecology &lt;br /&gt;
&lt;br /&gt;
6 	 ال َّ شمۡسَ 	          Sun              	Ecology &lt;br /&gt;
&lt;br /&gt;
7 	 الۡقَمَرَ 	           Moon              	Ecology &lt;br /&gt;
&lt;br /&gt;
8 	 الۡاحََادِيۡثِ 	         Events 	          Organization &lt;br /&gt;
&lt;br /&gt;
9 	 يعَۡقوُۡبَ 	       House of Yaqub 	     Material culture &lt;br /&gt;
&lt;br /&gt;
10 	 يعَۡقوُۡبَ 	           Yaqub 	 &lt;br /&gt;
&lt;br /&gt;
11 	 ابِۡرٰہيِۡمَ 	        Ibrahim 	 &lt;br /&gt;
&lt;br /&gt;
12 	 اِسۡحٰقَ            	Ishaq 	 &lt;br /&gt;
&lt;br /&gt;
13 	 اقۡتلُوُا          	Kill 	           Social culture &lt;br /&gt;
&lt;br /&gt;
14 	 ارَۡضًا	           Earth            	Ecology &lt;br /&gt;
&lt;br /&gt;
15 	 الۡجُبِّ            Pit 	             Ecology &lt;br /&gt;
&lt;br /&gt;
16 	 ال َّ س َّ يارَةِ    	Wayfares 	 &lt;br /&gt;
&lt;br /&gt;
17 	 يٰۤابََانَا	       Father 	 &lt;br /&gt;
&lt;br /&gt;
18 	 َّ يرۡتعَۡ 	        Eat 	            Social culture &lt;br /&gt;
&lt;br /&gt;
19 	 وَ يَلۡعَبۡ 	       Play           	 Social culture &lt;br /&gt;
&lt;br /&gt;
20 	 لَحٰفِظُوۡنَ 	      Guard 	           Social culture &lt;br /&gt;
&lt;br /&gt;
21 	 وَ اخََافُ 	      Fear 	             Habit &lt;br /&gt;
&lt;br /&gt;
22 	 الذِئّۡبُ 	      Wolf 	             Ecology &lt;br /&gt;
&lt;br /&gt;
23 	 عِشَاءًٓ 	       Nightfall 	        Ecology &lt;br /&gt;
&lt;br /&gt;
24 	 َّ يبۡکُوۡنَ 	      Weeping 	         Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	      Belongings 	       Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	        Shirt           	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	      Water drawer     	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ         	Bucket           	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	     Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	    Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	           Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ          	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ        	   Land 	           Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	         Prime             age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ         	Door             Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	       Master         	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	      Evil 	            Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ     	Lewdness 	          Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	        Servant 	        Organization   &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996:31)“translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by Newmark (1988)“translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.”(Newmark 1988:81)&lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation,then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:55, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity,as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts,the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term,and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part,but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:01, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark's strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study's purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy, proposed by Newmark, was employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because of ST culturally loaaded words. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face          in the process of their translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However,the translator must be competent in using the translation procedures to provide an accurate translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
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		<author><name>Atta Ur Rahman</name></author>
	</entry>
	<entry>
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		<title>Trans Type EN 11</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Trans_Type_EN_11&amp;diff=133581"/>
		<updated>2021-12-15T16:46:51Z</updated>

		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* Conclusion and Recommendations */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
Atta Ur Rahman,Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_11]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies, Translation Procedures, Culture-Specific Items, Newmark&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012:37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær 2015:10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005:9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004:1). Translation is essential for cultures and languages to exchange information. Newmark defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects(Newmark 1988:2). Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
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Nida indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style(Nida 1964:32). Larson has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context(Larson 1998:23).--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:41, 13 December 2021 (UTC) &lt;br /&gt;
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Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”(Snell-Hornby 1988:33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957:167). By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
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The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003:16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
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This study is aimed to probe Newmark's translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988:81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:41, 13 December 2021 (UTC)&lt;br /&gt;
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===Translation and Culture===&lt;br /&gt;
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2. Translation and Culture &lt;br /&gt;
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Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
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The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988:7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988:5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988:7).  &lt;br /&gt;
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In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language”(Catford 1965:20). According to Venuti translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader”(Venuti 1995:18). Schjoldager stated that“a translation is a text that expresses what another text has expressed in another language”(Schjoldager 2008:19). Culture is a complex whole which includes knowledge,belief,art,law,morals,customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014:2). Hermanns contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures(Hermanns 1999:22) Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014:2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001:328). &lt;br /&gt;
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Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
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2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
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Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora,fauna,food,clothes,housing, work,leisure,politics,law,and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988:327) Christine Nord names them “culturemes” (Nord 1997:9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012:1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Davies 2003:17), others choose cultural words (Newmark 2003;87) or culture-bound phenomena/concepts (Newmark 2003:7). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker 1992:21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988:94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988:95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988:95).--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:02, 13 December 2021 (UTC)&lt;br /&gt;
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2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
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The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85:22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003:16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:02, 13 December 2021 (UTC)&lt;br /&gt;
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===Types of Translation ===&lt;br /&gt;
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3. Types of Translation &lt;br /&gt;
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Newmark determines 8 types of translation which are: &lt;br /&gt;
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3.1 Word-for-Word Translation &lt;br /&gt;
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This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
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3.2 Literal translation &lt;br /&gt;
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In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
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3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
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3.4 Semantic Translation &lt;br /&gt;
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Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
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3.5 Adaptation &lt;br /&gt;
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This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015:15). &lt;br /&gt;
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3.6 Free Translation &lt;br /&gt;
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The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
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3.7 Idiomatic Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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3.8 Communicative Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original(Newmark 1988: 18).&lt;br /&gt;
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===Translation Strategies  ===&lt;br /&gt;
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4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
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4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela translators need to choose several strategies based on the source language culture and target culture. Shee distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, she tries to command by the level of their intercultural intervention. She divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies).(Aixela 1996:86)&lt;br /&gt;
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4.1.1. Conservation: &lt;br /&gt;
In conservation,the less compelling process includes repetition,orthographic adaptation,linguistic translation,extratextual gloss and intratextual gloss. &lt;br /&gt;
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4.1.1.1 Repetition:In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus,the translator keeps as much as possible the original reference (Aixela 1996:61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
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4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
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4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
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4.1.1.4 Extra-textual Gloss: Here,the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes,endings,words,ideas,translators in dictionaries, italics and so on. &lt;br /&gt;
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4.1.1.5 Intra-textual Gloss:It's like the past but the translator feels that he/she can include the globe as an indirect part of the text,not to distract the reader. &lt;br /&gt;
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4.2.1 Substitution &lt;br /&gt;
In substitution, According Aixela “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here&amp;quot;(Aixela 1996:87)--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:40, 13 December 2021 (UTC) &lt;br /&gt;
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4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
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4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
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4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela 1997:63). &lt;br /&gt;
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4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Ketabi 2015:8). &lt;br /&gt;
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4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela 1996;64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
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4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela 1997:43). &lt;br /&gt;
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4.3 Mona Baker's Translation Strategies &lt;br /&gt;
Baker's strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation.Baker She suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies(Baker 1992;90) which are the following: &lt;br /&gt;
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4.3.1 Translation by a more general word: According to Baker,this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
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4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
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4.3.3 Translation by cultural substitution:This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
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4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
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4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
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4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
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4.3.7 Translation by omission: Losing phrases or words that are not vital to text development.&lt;br /&gt;
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4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view,however,Baker,s translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:40, 13 December 2021 (UTC)&lt;br /&gt;
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===Cultural Categories  ===&lt;br /&gt;
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5. Cultural categories &lt;br /&gt;
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5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
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5.1.2 Material culture &lt;br /&gt;
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Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.”(Newmark 1988:90)  &lt;br /&gt;
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5.1.3 Social culture &lt;br /&gt;
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The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
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5.1.4 Organisation &lt;br /&gt;
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Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
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5.2 Newmark Classification CSIs &lt;br /&gt;
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Newmark established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items. (Newmark 1988:97) --[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:50, 13 December 2021 (UTC)&lt;br /&gt;
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5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
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Terms        	English Translation 	Categories &lt;br /&gt;
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1 	 الۡکِتٰبِ 	            Book            	Material culture &lt;br /&gt;
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2 	 قرُۡءٰنًا 	            Quran            Material culture &lt;br /&gt;
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3 	  الۡقَصَصِ 	         Narration 	         Gesture &lt;br /&gt;
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4 	  رَايَۡتُ 	            Dream             	Habit &lt;br /&gt;
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5 	 کَوۡکَبًا	             Stars            	Ecology &lt;br /&gt;
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6 	 ال َّ شمۡسَ 	          Sun              	Ecology &lt;br /&gt;
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7 	 الۡقَمَرَ 	           Moon              	Ecology &lt;br /&gt;
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8 	 الۡاحََادِيۡثِ 	         Events 	          Organization &lt;br /&gt;
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9 	 يعَۡقوُۡبَ 	       House of Yaqub 	     Material culture &lt;br /&gt;
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10 	 يعَۡقوُۡبَ 	           Yaqub 	 &lt;br /&gt;
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11 	 ابِۡرٰہيِۡمَ 	        Ibrahim 	 &lt;br /&gt;
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12 	 اِسۡحٰقَ            	Ishaq 	 &lt;br /&gt;
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13 	 اقۡتلُوُا          	Kill 	           Social culture &lt;br /&gt;
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14 	 ارَۡضًا	           Earth            	Ecology &lt;br /&gt;
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15 	 الۡجُبِّ            Pit 	             Ecology &lt;br /&gt;
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16 	 ال َّ س َّ يارَةِ    	Wayfares 	 &lt;br /&gt;
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17 	 يٰۤابََانَا	       Father 	 &lt;br /&gt;
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18 	 َّ يرۡتعَۡ 	        Eat 	            Social culture &lt;br /&gt;
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19 	 وَ يَلۡعَبۡ 	       Play           	 Social culture &lt;br /&gt;
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20 	 لَحٰفِظُوۡنَ 	      Guard 	           Social culture &lt;br /&gt;
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21 	 وَ اخََافُ 	      Fear 	             Habit &lt;br /&gt;
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22 	 الذِئّۡبُ 	      Wolf 	             Ecology &lt;br /&gt;
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23 	 عِشَاءًٓ 	       Nightfall 	        Ecology &lt;br /&gt;
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24 	 َّ يبۡکُوۡنَ 	      Weeping 	         Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	      Belongings 	       Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	        Shirt           	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	      Water drawer     	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ         	Bucket           	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	     Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	    Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	           Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ          	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ        	   Land 	           Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	         Prime             age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ         	Door             Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	       Master         	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	      Evil 	            Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ     	Lewdness 	          Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	        Servant 	        Organization   &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996:31)“translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by Newmark (1988)“translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.”(Newmark 1988:81)&lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation,then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:55, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity,as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts,the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term,and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part,but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:01, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark's strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study's purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy, proposed by Newmark, was employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because of ST culturally loaaded words. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face          in the process of their translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However,the translator must be competent in using the translation procedures to provide an accurate translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abdi, H. (2019). Translating culture-specific items (CSIs) as a conundrum for Iranian MA translation students: Considering the level of study. Journal of new advances in English Language Teaching and Applied Linguistics, 1(1), 88-109. &lt;br /&gt;
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Aguado-Gimenez, P., &amp;amp; Pérez-Paredes, P. F. (2005). Translation-strategies use: A classroombased examination of Baker’s taxonomy. Meta: journal des traducteurs/Meta: &lt;br /&gt;
Translators' Journal, 50(1), 294-311. &lt;br /&gt;
&lt;br /&gt;
Ahmadi, M. R.S and Nosrati, Fatemah. (2012). Domestication and Foreignization Strategies in Translation of Culture-Specific Items. Translations of English-Persian Children’s Literature. San Francisco: Grin Publishing. Google Books. &lt;br /&gt;
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Al Saleh, R. A. (2019). An Application of Newmark's Procedures to Muhammad Abul Quasem's Alleman, J. C. Bee. W. Ulitkin, I. Files, F., Zetzsche, J., Chatonnet-Marton, P. &amp;amp; y del Árbol, E. V. Translation Strategies. &lt;br /&gt;
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Al-Sofi, B. B. M. A., &amp;amp; Abouabdulqader, H. (2020). Bridging the gap between translation and culture: towards a cultural dimension of translation. International journal of linguistics, literature and culture, 6(1), 1-13. &lt;br /&gt;
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Baker, M., 1992. In Other Words: A Coursebook on Translation. London: Routledge, p.20–42. &lt;br /&gt;
&lt;br /&gt;
Blažytė, D., &amp;amp; Liubinienė, V. (2016). Culture-specific items (CSI) and their translation strategies in Martin Lindstrom’s&amp;quot; Brand sense&amp;quot;. Kalbų studijos, (29), 42-57. &lt;br /&gt;
&lt;br /&gt;
Bush, P. (1998) &amp;quot;Literary Translation.&amp;quot; In: M. Baker, ed. Routledge Encyclopedia of Translation Studies, London: Routledge, pp.127-130. &lt;br /&gt;
&lt;br /&gt;
Catford. J. C. (1965). A linguistic theory of translation. Oxford: Oxford University Press. &lt;br /&gt;
English Translation of Mohammad Al-Ghazali's Islamic Guidance.Literature and Culture, 6(1), 1-13. &lt;br /&gt;
&lt;br /&gt;
Gečaitė, L. (2020). Culture-Specific Items and Their Translation Strategies in Victoria Hislop's Novel The Sunrise.” (2020). &lt;br /&gt;
&lt;br /&gt;
Hassan, B. E. A. (2014). Between English and Arabic: A practical course in translation. &lt;br /&gt;
Cambridge Scholars Publishing. &lt;br /&gt;
&lt;br /&gt;
Hermans, T. (1999). Translation in systems. Manchester: St. Jerome Publication  House, J. (Ed.). (2014). Translation: a multidisciplinary approach. Springer. &lt;br /&gt;
Issa, A. L. S. M., &amp;amp; Hammood, L. H. R.- Quranic-Specific Phrases under the Study of Translation; Significance and Applications. &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. (33), p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. 33, p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Lambert, J. (1998) Literary Translation. In: M. Baker, ed. Routledge Encyclopedia of Translation Studies. London: Routledge, 130-134. &lt;br /&gt;
&lt;br /&gt;
Landers, Clifford E. (2001) Literary Translation: A practical guide. New Jersey University Press: Multilingual Maters. &lt;br /&gt;
&lt;br /&gt;
Lustig, Myron, W. and Koeser, Joline  (2003), Intercultural Competence: Interpersonal Communication Across Cultures, Boston: Allyn and Bacon. &lt;br /&gt;
&lt;br /&gt;
Malmkjær, K. (1993). Who Can Make Nice A Better Word Than Pretty? Collocation, Translation, and Psycholoinguistics. In: Baker, M., Francis, G. and Tognini-Bonelli, E. &lt;br /&gt;
eds. Text and Technology. Philadelphia/Amsterdam: John Benjamins Publishing Company. pp.213-32. &lt;br /&gt;
&lt;br /&gt;
Mosavat, S., &amp;amp; Rahimpour, S. (2016). The Most and Least Used Translation Strategies for &lt;br /&gt;
Conveying Culture-Specific-Items in Young Adult Literature from English into Persian. International Journal of Humanities and Cultural Studies (IJHCS) ISSN 23565926, 1853-1873. &lt;br /&gt;
&lt;br /&gt;
Munday, J. (1997). Systems in Translation: A computer-assisted systemic approach to the analysis of translation of García Márquez. Ph.D thesis, University of Bradford. &lt;br /&gt;
&lt;br /&gt;
Newmark, P. (2001). A Textbook of Translation. Shanghai: Shanghai Foreign Language &lt;br /&gt;
Education Press &lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. (1988). A Textbook of Translation. New Jersey: Prentice-Halls &lt;br /&gt;
&lt;br /&gt;
Nord, Christiane. (1997). Translating as a Purposeful Activity: Functionalist Approaches &lt;br /&gt;
Explained. Manchester: St. Jerome. Accessed 10 November. 2018. Google Books Schjoldager, A. (2008). Understanding translation. Academica: Århus. &lt;br /&gt;
&lt;br /&gt;
Silalahi, M., &amp;amp; Lubis, S. (2013). Translation Procedures of Cultural Terms Found In Sejarah Bilingual For Students of Senior High School. &lt;br /&gt;
Valipoor, K., &amp;amp; andAzizeh Chalak, H. H. T. (2019). Cultural-specific items in translation of the Holy Quran by Irving: 43-51. &lt;br /&gt;
&lt;br /&gt;
Venuti, L. (1995). The translator’s invisibility: A history of translation. London and New York: &lt;br /&gt;
Routledge &lt;br /&gt;
&lt;br /&gt;
Widiarto, O. V. V. (2016). The translation procedures of cultural expressions applied in a game of thrones translated into Perebutan Tahta novel by Barokah Ruziati (Doctoral dissertation, Dian Nuswantoro University).&lt;/div&gt;</summary>
		<author><name>Atta Ur Rahman</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Trans_Type_EN_11&amp;diff=133560</id>
		<title>Trans Type EN 11</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Trans_Type_EN_11&amp;diff=133560"/>
		<updated>2021-12-15T16:15:56Z</updated>

		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* Cultural Categories */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
Atta Ur Rahman,Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_11]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies, Translation Procedures, Culture-Specific Items, Newmark&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012:37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær 2015:10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005:9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004:1). Translation is essential for cultures and languages to exchange information. Newmark defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects(Newmark 1988:2). Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
&lt;br /&gt;
Nida indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style(Nida 1964:32). Larson has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context(Larson 1998:23).--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:41, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”(Snell-Hornby 1988:33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957:167). By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
&lt;br /&gt;
The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003:16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
&lt;br /&gt;
This study is aimed to probe Newmark's translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988:81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:41, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Translation and Culture===&lt;br /&gt;
&lt;br /&gt;
2. Translation and Culture &lt;br /&gt;
&lt;br /&gt;
Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
&lt;br /&gt;
The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988:7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988:5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988:7).  &lt;br /&gt;
&lt;br /&gt;
In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language”(Catford 1965:20). According to Venuti translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader”(Venuti 1995:18). Schjoldager stated that“a translation is a text that expresses what another text has expressed in another language”(Schjoldager 2008:19). Culture is a complex whole which includes knowledge,belief,art,law,morals,customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014:2). Hermanns contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures(Hermanns 1999:22) Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014:2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001:328). &lt;br /&gt;
&lt;br /&gt;
Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
&lt;br /&gt;
2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
&lt;br /&gt;
Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora,fauna,food,clothes,housing, work,leisure,politics,law,and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988:327) Christine Nord names them “culturemes” (Nord 1997:9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012:1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Davies 2003:17), others choose cultural words (Newmark 2003;87) or culture-bound phenomena/concepts (Newmark 2003:7). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker 1992:21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988:94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988:95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988:95).--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:02, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
&lt;br /&gt;
The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85:22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003:16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:02, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Types of Translation ===&lt;br /&gt;
&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
&lt;br /&gt;
Newmark determines 8 types of translation which are: &lt;br /&gt;
 &lt;br /&gt;
3.1 Word-for-Word Translation &lt;br /&gt;
&lt;br /&gt;
This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
&lt;br /&gt;
3.2 Literal translation &lt;br /&gt;
&lt;br /&gt;
In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
&lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
&lt;br /&gt;
3.4 Semantic Translation &lt;br /&gt;
&lt;br /&gt;
Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
&lt;br /&gt;
3.5 Adaptation &lt;br /&gt;
&lt;br /&gt;
This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015:15). &lt;br /&gt;
&lt;br /&gt;
3.6 Free Translation &lt;br /&gt;
&lt;br /&gt;
The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
&lt;br /&gt;
3.7 Idiomatic Translation &lt;br /&gt;
&lt;br /&gt;
This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
&lt;br /&gt;
3.8 Communicative Translation &lt;br /&gt;
&lt;br /&gt;
This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original(Newmark 1988: 18).&lt;br /&gt;
--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:05, 13 December 2021 (UTC) &lt;br /&gt;
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&lt;br /&gt;
===Translation Strategies  ===&lt;br /&gt;
&lt;br /&gt;
4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
&lt;br /&gt;
4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela translators need to choose several strategies based on the source language culture and target culture. Shee distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, she tries to command by the level of their intercultural intervention. She divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies).(Aixela 1996:86)&lt;br /&gt;
&lt;br /&gt;
4.1.1. Conservation: &lt;br /&gt;
In conservation,the less compelling process includes repetition,orthographic adaptation,linguistic translation,extratextual gloss and intratextual gloss. &lt;br /&gt;
&lt;br /&gt;
4.1.1.1 Repetition:In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus,the translator keeps as much as possible the original reference (Aixela 1996:61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
&lt;br /&gt;
4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
&lt;br /&gt;
4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
&lt;br /&gt;
4.1.1.4 Extra-textual Gloss: Here,the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes,endings,words,ideas,translators in dictionaries, italics and so on. &lt;br /&gt;
&lt;br /&gt;
4.1.1.5 Intra-textual Gloss:It's like the past but the translator feels that he/she can include the globe as an indirect part of the text,not to distract the reader. &lt;br /&gt;
&lt;br /&gt;
4.2.1 Substitution &lt;br /&gt;
In substitution, According Aixela “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here&amp;quot;(Aixela 1996:87)--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:40, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
&lt;br /&gt;
4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
&lt;br /&gt;
4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela 1997:63). &lt;br /&gt;
&lt;br /&gt;
4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Ketabi 2015:8). &lt;br /&gt;
&lt;br /&gt;
4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela 1996;64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
&lt;br /&gt;
4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela 1997:43). &lt;br /&gt;
&lt;br /&gt;
4.3 Mona Baker's Translation Strategies &lt;br /&gt;
Baker's strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation.Baker She suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies(Baker 1992;90) which are the following: &lt;br /&gt;
&lt;br /&gt;
4.3.1 Translation by a more general word: According to Baker,this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
&lt;br /&gt;
4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
&lt;br /&gt;
4.3.3 Translation by cultural substitution:This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
&lt;br /&gt;
4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
&lt;br /&gt;
4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
&lt;br /&gt;
4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
&lt;br /&gt;
4.3.7 Translation by omission: Losing phrases or words that are not vital to text development.&lt;br /&gt;
&lt;br /&gt;
4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view,however,Baker,s translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:40, 13 December 2021 (UTC)&lt;br /&gt;
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===Cultural Categories  ===&lt;br /&gt;
&lt;br /&gt;
5. Cultural categories &lt;br /&gt;
 &lt;br /&gt;
5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
&lt;br /&gt;
5.1.2 Material culture &lt;br /&gt;
&lt;br /&gt;
Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.”(Newmark 1988:90)  &lt;br /&gt;
&lt;br /&gt;
5.1.3 Social culture &lt;br /&gt;
&lt;br /&gt;
The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
&lt;br /&gt;
5.1.4 Organisation &lt;br /&gt;
&lt;br /&gt;
Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
 &lt;br /&gt;
5.2 Newmark Classification CSIs &lt;br /&gt;
&lt;br /&gt;
Newmark established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items. (Newmark 1988:97) --[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:50, 13 December 2021 (UTC)&lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
 &lt;br /&gt;
Verse No. &lt;br /&gt;
&lt;br /&gt;
Terms        	English Translation 	Categories &lt;br /&gt;
&lt;br /&gt;
1 	 الۡکِتٰبِ 	            Book            	Material culture &lt;br /&gt;
&lt;br /&gt;
2 	 قرُۡءٰنًا 	            Quran            Material culture &lt;br /&gt;
&lt;br /&gt;
3 	  الۡقَصَصِ 	         Narration 	         Gesture &lt;br /&gt;
&lt;br /&gt;
4 	  رَايَۡتُ 	            Dream             	Habit &lt;br /&gt;
&lt;br /&gt;
5 	 کَوۡکَبًا	             Stars            	Ecology &lt;br /&gt;
&lt;br /&gt;
6 	 ال َّ شمۡسَ 	          Sun              	Ecology &lt;br /&gt;
&lt;br /&gt;
7 	 الۡقَمَرَ 	           Moon              	Ecology &lt;br /&gt;
&lt;br /&gt;
8 	 الۡاحََادِيۡثِ 	         Events 	          Organization &lt;br /&gt;
&lt;br /&gt;
9 	 يعَۡقوُۡبَ 	       House of Yaqub 	     Material culture &lt;br /&gt;
&lt;br /&gt;
10 	 يعَۡقوُۡبَ 	           Yaqub 	 &lt;br /&gt;
&lt;br /&gt;
11 	 ابِۡرٰہيِۡمَ 	        Ibrahim 	 &lt;br /&gt;
&lt;br /&gt;
12 	 اِسۡحٰقَ            	Ishaq 	 &lt;br /&gt;
&lt;br /&gt;
13 	 اقۡتلُوُا          	Kill 	           Social culture &lt;br /&gt;
&lt;br /&gt;
14 	 ارَۡضًا	           Earth            	Ecology &lt;br /&gt;
&lt;br /&gt;
15 	 الۡجُبِّ            Pit 	             Ecology &lt;br /&gt;
&lt;br /&gt;
16 	 ال َّ س َّ يارَةِ    	Wayfares 	 &lt;br /&gt;
&lt;br /&gt;
17 	 يٰۤابََانَا	       Father 	 &lt;br /&gt;
&lt;br /&gt;
18 	 َّ يرۡتعَۡ 	        Eat 	            Social culture &lt;br /&gt;
&lt;br /&gt;
19 	 وَ يَلۡعَبۡ 	       Play           	 Social culture &lt;br /&gt;
&lt;br /&gt;
20 	 لَحٰفِظُوۡنَ 	      Guard 	           Social culture &lt;br /&gt;
&lt;br /&gt;
21 	 وَ اخََافُ 	      Fear 	             Habit &lt;br /&gt;
&lt;br /&gt;
22 	 الذِئّۡبُ 	      Wolf 	             Ecology &lt;br /&gt;
&lt;br /&gt;
23 	 عِشَاءًٓ 	       Nightfall 	        Ecology &lt;br /&gt;
&lt;br /&gt;
24 	 َّ يبۡکُوۡنَ 	      Weeping 	         Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	      Belongings 	       Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	        Shirt           	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	      Water drawer     	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ         	Bucket           	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	     Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	    Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	           Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ          	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ        	   Land 	           Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	         Prime             age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ         	Door             Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	       Master         	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	      Evil 	            Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ     	Lewdness 	          Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	        Servant 	        Organization   &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996:31)“translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by Newmark (1988)“translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.”(Newmark 1988:81)&lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation,then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:55, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity,as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts,the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term,and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part,but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:01, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark's strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However,the translator must be competent in using the translation procedures to provide an accurate translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
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&lt;br /&gt;
Aguado-Gimenez, P., &amp;amp; Pérez-Paredes, P. F. (2005). Translation-strategies use: A classroombased examination of Baker’s taxonomy. Meta: journal des traducteurs/Meta: &lt;br /&gt;
Translators' Journal, 50(1), 294-311. &lt;br /&gt;
&lt;br /&gt;
Ahmadi, M. R.S and Nosrati, Fatemah. (2012). Domestication and Foreignization Strategies in Translation of Culture-Specific Items. Translations of English-Persian Children’s Literature. San Francisco: Grin Publishing. Google Books. &lt;br /&gt;
&lt;br /&gt;
Al Saleh, R. A. (2019). An Application of Newmark's Procedures to Muhammad Abul Quasem's Alleman, J. C. Bee. W. Ulitkin, I. Files, F., Zetzsche, J., Chatonnet-Marton, P. &amp;amp; y del Árbol, E. V. Translation Strategies. &lt;br /&gt;
&lt;br /&gt;
Al-Sofi, B. B. M. A., &amp;amp; Abouabdulqader, H. (2020). Bridging the gap between translation and culture: towards a cultural dimension of translation. International journal of linguistics, literature and culture, 6(1), 1-13. &lt;br /&gt;
&lt;br /&gt;
Baker, M., 1992. In Other Words: A Coursebook on Translation. London: Routledge, p.20–42. &lt;br /&gt;
&lt;br /&gt;
Blažytė, D., &amp;amp; Liubinienė, V. (2016). Culture-specific items (CSI) and their translation strategies in Martin Lindstrom’s&amp;quot; Brand sense&amp;quot;. Kalbų studijos, (29), 42-57. &lt;br /&gt;
&lt;br /&gt;
Bush, P. (1998) &amp;quot;Literary Translation.&amp;quot; In: M. Baker, ed. Routledge Encyclopedia of Translation Studies, London: Routledge, pp.127-130. &lt;br /&gt;
&lt;br /&gt;
Catford. J. C. (1965). A linguistic theory of translation. Oxford: Oxford University Press. &lt;br /&gt;
English Translation of Mohammad Al-Ghazali's Islamic Guidance.Literature and Culture, 6(1), 1-13. &lt;br /&gt;
&lt;br /&gt;
Gečaitė, L. (2020). Culture-Specific Items and Their Translation Strategies in Victoria Hislop's Novel The Sunrise.” (2020). &lt;br /&gt;
&lt;br /&gt;
Hassan, B. E. A. (2014). Between English and Arabic: A practical course in translation. &lt;br /&gt;
Cambridge Scholars Publishing. &lt;br /&gt;
&lt;br /&gt;
Hermans, T. (1999). Translation in systems. Manchester: St. Jerome Publication  House, J. (Ed.). (2014). Translation: a multidisciplinary approach. Springer. &lt;br /&gt;
Issa, A. L. S. M., &amp;amp; Hammood, L. H. R.- Quranic-Specific Phrases under the Study of Translation; Significance and Applications. &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. (33), p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. 33, p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Lambert, J. (1998) Literary Translation. In: M. Baker, ed. Routledge Encyclopedia of Translation Studies. London: Routledge, 130-134. &lt;br /&gt;
&lt;br /&gt;
Landers, Clifford E. (2001) Literary Translation: A practical guide. New Jersey University Press: Multilingual Maters. &lt;br /&gt;
&lt;br /&gt;
Lustig, Myron, W. and Koeser, Joline  (2003), Intercultural Competence: Interpersonal Communication Across Cultures, Boston: Allyn and Bacon. &lt;br /&gt;
&lt;br /&gt;
Malmkjær, K. (1993). Who Can Make Nice A Better Word Than Pretty? Collocation, Translation, and Psycholoinguistics. In: Baker, M., Francis, G. and Tognini-Bonelli, E. &lt;br /&gt;
eds. Text and Technology. Philadelphia/Amsterdam: John Benjamins Publishing Company. pp.213-32. &lt;br /&gt;
&lt;br /&gt;
Mosavat, S., &amp;amp; Rahimpour, S. (2016). The Most and Least Used Translation Strategies for &lt;br /&gt;
Conveying Culture-Specific-Items in Young Adult Literature from English into Persian. International Journal of Humanities and Cultural Studies (IJHCS) ISSN 23565926, 1853-1873. &lt;br /&gt;
&lt;br /&gt;
Munday, J. (1997). Systems in Translation: A computer-assisted systemic approach to the analysis of translation of García Márquez. Ph.D thesis, University of Bradford. &lt;br /&gt;
&lt;br /&gt;
Newmark, P. (2001). A Textbook of Translation. Shanghai: Shanghai Foreign Language &lt;br /&gt;
Education Press &lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. (1988). A Textbook of Translation. New Jersey: Prentice-Halls &lt;br /&gt;
&lt;br /&gt;
Nord, Christiane. (1997). Translating as a Purposeful Activity: Functionalist Approaches &lt;br /&gt;
Explained. Manchester: St. Jerome. Accessed 10 November. 2018. Google Books Schjoldager, A. (2008). Understanding translation. Academica: Århus. &lt;br /&gt;
&lt;br /&gt;
Silalahi, M., &amp;amp; Lubis, S. (2013). Translation Procedures of Cultural Terms Found In Sejarah Bilingual For Students of Senior High School. &lt;br /&gt;
Valipoor, K., &amp;amp; andAzizeh Chalak, H. H. T. (2019). Cultural-specific items in translation of the Holy Quran by Irving: 43-51. &lt;br /&gt;
&lt;br /&gt;
Venuti, L. (1995). The translator’s invisibility: A history of translation. London and New York: &lt;br /&gt;
Routledge &lt;br /&gt;
&lt;br /&gt;
Widiarto, O. V. V. (2016). The translation procedures of cultural expressions applied in a game of thrones translated into Perebutan Tahta novel by Barokah Ruziati (Doctoral dissertation, Dian Nuswantoro University).&lt;/div&gt;</summary>
		<author><name>Atta Ur Rahman</name></author>
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		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* Introduction */&lt;/p&gt;
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&lt;div&gt;=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
Atta Ur Rahman,Hunan Normal University, China&lt;br /&gt;
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[[Trans_Type_EN_11]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies, Translation Procedures, Culture-Specific Items, Newmark&lt;br /&gt;
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===Introduction===&lt;br /&gt;
&lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012:37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær 2015:10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005:9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004:1). Translation is essential for cultures and languages to exchange information. Newmark defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects(Newmark 1988:2). Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
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Nida indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style(Nida 1964:32). Larson has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context(Larson 1998:23).--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:41, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”(Snell-Hornby 1988:33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957:167). By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
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The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003:16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
&lt;br /&gt;
This study is aimed to probe Newmark's translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988:81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:41, 13 December 2021 (UTC)&lt;br /&gt;
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===Translation and Culture===&lt;br /&gt;
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2. Translation and Culture &lt;br /&gt;
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Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
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The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988:7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988:5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988:7).  &lt;br /&gt;
&lt;br /&gt;
In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language”(Catford 1965:20). According to Venuti translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader”(Venuti 1995:18). Schjoldager stated that“a translation is a text that expresses what another text has expressed in another language”(Schjoldager 2008:19). Culture is a complex whole which includes knowledge,belief,art,law,morals,customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014:2). Hermanns contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures(Hermanns 1999:22) Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014:2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001:328). &lt;br /&gt;
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Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
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2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
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Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora,fauna,food,clothes,housing, work,leisure,politics,law,and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988:327) Christine Nord names them “culturemes” (Nord 1997:9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012:1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Davies 2003:17), others choose cultural words (Newmark 2003;87) or culture-bound phenomena/concepts (Newmark 2003:7). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker 1992:21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988:94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988:95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988:95).--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:02, 13 December 2021 (UTC)&lt;br /&gt;
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2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
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The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85:22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003:16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:02, 13 December 2021 (UTC)&lt;br /&gt;
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===Types of Translation ===&lt;br /&gt;
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3. Types of Translation &lt;br /&gt;
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Newmark determines 8 types of translation which are: &lt;br /&gt;
 &lt;br /&gt;
3.1 Word-for-Word Translation &lt;br /&gt;
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This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
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3.2 Literal translation &lt;br /&gt;
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In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
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3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
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3.4 Semantic Translation &lt;br /&gt;
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Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
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3.5 Adaptation &lt;br /&gt;
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This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015:15). &lt;br /&gt;
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3.6 Free Translation &lt;br /&gt;
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The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
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3.7 Idiomatic Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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3.8 Communicative Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original(Newmark 1988: 18).&lt;br /&gt;
--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:05, 13 December 2021 (UTC) &lt;br /&gt;
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===Translation Strategies  ===&lt;br /&gt;
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4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
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4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela translators need to choose several strategies based on the source language culture and target culture. Shee distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, she tries to command by the level of their intercultural intervention. She divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies).(Aixela 1996:86)&lt;br /&gt;
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4.1.1. Conservation: &lt;br /&gt;
In conservation,the less compelling process includes repetition,orthographic adaptation,linguistic translation,extratextual gloss and intratextual gloss. &lt;br /&gt;
&lt;br /&gt;
4.1.1.1 Repetition:In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus,the translator keeps as much as possible the original reference (Aixela 1996:61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
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4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
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4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
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4.1.1.4 Extra-textual Gloss: Here,the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes,endings,words,ideas,translators in dictionaries, italics and so on. &lt;br /&gt;
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4.1.1.5 Intra-textual Gloss:It's like the past but the translator feels that he/she can include the globe as an indirect part of the text,not to distract the reader. &lt;br /&gt;
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4.2.1 Substitution &lt;br /&gt;
In substitution, According Aixela “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here&amp;quot;(Aixela 1996:87)--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:40, 13 December 2021 (UTC) &lt;br /&gt;
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4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
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4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
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4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela 1997:63). &lt;br /&gt;
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4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Ketabi 2015:8). &lt;br /&gt;
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4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela 1996;64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
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4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela 1997:43). &lt;br /&gt;
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4.3 Mona Baker's Translation Strategies &lt;br /&gt;
Baker's strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation.Baker She suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies(Baker 1992;90) which are the following: &lt;br /&gt;
&lt;br /&gt;
4.3.1 Translation by a more general word: According to Baker,this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
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4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
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4.3.3 Translation by cultural substitution:This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
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4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
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4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
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4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
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4.3.7 Translation by omission: Losing phrases or words that are not vital to text development.&lt;br /&gt;
&lt;br /&gt;
4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view,however,Baker,s translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:40, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Cultural Categories  ===&lt;br /&gt;
&lt;br /&gt;
5. Cultural categories &lt;br /&gt;
 &lt;br /&gt;
5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
&lt;br /&gt;
5.1.2 Material culture &lt;br /&gt;
&lt;br /&gt;
Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.”(Newmark 1988:90)  &lt;br /&gt;
&lt;br /&gt;
5.1.3 Social culture &lt;br /&gt;
&lt;br /&gt;
The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
&lt;br /&gt;
5.1.4 Organisation &lt;br /&gt;
&lt;br /&gt;
Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
 &lt;br /&gt;
5.2 Newmark Classification CSIs &lt;br /&gt;
&lt;br /&gt;
Newmark established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items. (Newmark 1988:97) --[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:50, 13 December 2021 (UTC)&lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
 &lt;br /&gt;
Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
&lt;br /&gt;
2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
&lt;br /&gt;
3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
&lt;br /&gt;
4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
&lt;br /&gt;
5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
&lt;br /&gt;
6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
&lt;br /&gt;
7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
&lt;br /&gt;
8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
&lt;br /&gt;
9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
&lt;br /&gt;
10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
&lt;br /&gt;
11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
&lt;br /&gt;
12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
&lt;br /&gt;
13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
&lt;br /&gt;
14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
&lt;br /&gt;
16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
&lt;br /&gt;
17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
&lt;br /&gt;
18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
&lt;br /&gt;
19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
&lt;br /&gt;
20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
&lt;br /&gt;
21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
&lt;br /&gt;
22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
&lt;br /&gt;
23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
&lt;br /&gt;
24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996:31)“translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by Newmark (1988)“translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.”(Newmark 1988:81)&lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation,then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:55, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity,as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts,the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term,and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part,but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:01, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark's strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However,the translator must be competent in using the translation procedures to provide an accurate translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
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Aguado-Gimenez, P., &amp;amp; Pérez-Paredes, P. F. (2005). Translation-strategies use: A classroombased examination of Baker’s taxonomy. Meta: journal des traducteurs/Meta: &lt;br /&gt;
Translators' Journal, 50(1), 294-311. &lt;br /&gt;
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Ahmadi, M. R.S and Nosrati, Fatemah. (2012). Domestication and Foreignization Strategies in Translation of Culture-Specific Items. Translations of English-Persian Children’s Literature. San Francisco: Grin Publishing. Google Books. &lt;br /&gt;
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Al Saleh, R. A. (2019). An Application of Newmark's Procedures to Muhammad Abul Quasem's Alleman, J. C. Bee. W. Ulitkin, I. Files, F., Zetzsche, J., Chatonnet-Marton, P. &amp;amp; y del Árbol, E. V. Translation Strategies. &lt;br /&gt;
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Al-Sofi, B. B. M. A., &amp;amp; Abouabdulqader, H. (2020). Bridging the gap between translation and culture: towards a cultural dimension of translation. International journal of linguistics, literature and culture, 6(1), 1-13. &lt;br /&gt;
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Baker, M., 1992. In Other Words: A Coursebook on Translation. London: Routledge, p.20–42. &lt;br /&gt;
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Blažytė, D., &amp;amp; Liubinienė, V. (2016). Culture-specific items (CSI) and their translation strategies in Martin Lindstrom’s&amp;quot; Brand sense&amp;quot;. Kalbų studijos, (29), 42-57. &lt;br /&gt;
&lt;br /&gt;
Bush, P. (1998) &amp;quot;Literary Translation.&amp;quot; In: M. Baker, ed. Routledge Encyclopedia of Translation Studies, London: Routledge, pp.127-130. &lt;br /&gt;
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Catford. J. C. (1965). A linguistic theory of translation. Oxford: Oxford University Press. &lt;br /&gt;
English Translation of Mohammad Al-Ghazali's Islamic Guidance.Literature and Culture, 6(1), 1-13. &lt;br /&gt;
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Gečaitė, L. (2020). Culture-Specific Items and Their Translation Strategies in Victoria Hislop's Novel The Sunrise.” (2020). &lt;br /&gt;
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Hassan, B. E. A. (2014). Between English and Arabic: A practical course in translation. &lt;br /&gt;
Cambridge Scholars Publishing. &lt;br /&gt;
&lt;br /&gt;
Hermans, T. (1999). Translation in systems. Manchester: St. Jerome Publication  House, J. (Ed.). (2014). Translation: a multidisciplinary approach. Springer. &lt;br /&gt;
Issa, A. L. S. M., &amp;amp; Hammood, L. H. R.- Quranic-Specific Phrases under the Study of Translation; Significance and Applications. &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. (33), p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. 33, p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Lambert, J. (1998) Literary Translation. In: M. Baker, ed. Routledge Encyclopedia of Translation Studies. London: Routledge, 130-134. &lt;br /&gt;
&lt;br /&gt;
Landers, Clifford E. (2001) Literary Translation: A practical guide. New Jersey University Press: Multilingual Maters. &lt;br /&gt;
&lt;br /&gt;
Lustig, Myron, W. and Koeser, Joline  (2003), Intercultural Competence: Interpersonal Communication Across Cultures, Boston: Allyn and Bacon. &lt;br /&gt;
&lt;br /&gt;
Malmkjær, K. (1993). Who Can Make Nice A Better Word Than Pretty? Collocation, Translation, and Psycholoinguistics. In: Baker, M., Francis, G. and Tognini-Bonelli, E. &lt;br /&gt;
eds. Text and Technology. Philadelphia/Amsterdam: John Benjamins Publishing Company. pp.213-32. &lt;br /&gt;
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Mosavat, S., &amp;amp; Rahimpour, S. (2016). The Most and Least Used Translation Strategies for &lt;br /&gt;
Conveying Culture-Specific-Items in Young Adult Literature from English into Persian. International Journal of Humanities and Cultural Studies (IJHCS) ISSN 23565926, 1853-1873. &lt;br /&gt;
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Munday, J. (1997). Systems in Translation: A computer-assisted systemic approach to the analysis of translation of García Márquez. Ph.D thesis, University of Bradford. &lt;br /&gt;
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Newmark, P. (2001). A Textbook of Translation. Shanghai: Shanghai Foreign Language &lt;br /&gt;
Education Press &lt;br /&gt;
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Newmark, Peter. (1988). A Textbook of Translation. New Jersey: Prentice-Halls &lt;br /&gt;
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Nord, Christiane. (1997). Translating as a Purposeful Activity: Functionalist Approaches &lt;br /&gt;
Explained. Manchester: St. Jerome. Accessed 10 November. 2018. Google Books Schjoldager, A. (2008). Understanding translation. Academica: Århus. &lt;br /&gt;
&lt;br /&gt;
Silalahi, M., &amp;amp; Lubis, S. (2013). Translation Procedures of Cultural Terms Found In Sejarah Bilingual For Students of Senior High School. &lt;br /&gt;
Valipoor, K., &amp;amp; andAzizeh Chalak, H. H. T. (2019). Cultural-specific items in translation of the Holy Quran by Irving: 43-51. &lt;br /&gt;
&lt;br /&gt;
Venuti, L. (1995). The translator’s invisibility: A history of translation. London and New York: &lt;br /&gt;
Routledge &lt;br /&gt;
&lt;br /&gt;
Widiarto, O. V. V. (2016). The translation procedures of cultural expressions applied in a game of thrones translated into Perebutan Tahta novel by Barokah Ruziati (Doctoral dissertation, Dian Nuswantoro University).&lt;/div&gt;</summary>
		<author><name>Atta Ur Rahman</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Trans_Type_EN_11&amp;diff=133546</id>
		<title>Trans Type EN 11</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Trans_Type_EN_11&amp;diff=133546"/>
		<updated>2021-12-15T15:39:10Z</updated>

		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* Key Words */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
Atta Ur Rahman,Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_11]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies, Translation Procedures, Culture-Specific Items, Newmark&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012:37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær 2015:10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005:9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004:1). Translation is essential for cultures and languages to exchange information. Newmark defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects(Newmark 1988:2). Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
&lt;br /&gt;
Nida indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style(Nida 1964:32). Larson has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context(Larson 1998:23).--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:41, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”(Snell-Hornby 1988:33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957:167). By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
&lt;br /&gt;
The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003:16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
&lt;br /&gt;
This study is aimed to probe Newmark's translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988:81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:41, 13 December 2021 (UTC)&lt;br /&gt;
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===Translation and Culture===&lt;br /&gt;
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2. Translation and Culture &lt;br /&gt;
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Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
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The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988:7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988:5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988:7).  &lt;br /&gt;
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In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language”(Catford 1965:20). According to Venuti translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader”(Venuti 1995:18). Schjoldager stated that“a translation is a text that expresses what another text has expressed in another language”(Schjoldager 2008:19). Culture is a complex whole which includes knowledge,belief,art,law,morals,customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014:2). Hermanns contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures(Hermanns 1999:22) Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014:2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001:328). &lt;br /&gt;
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Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
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2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
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Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora,fauna,food,clothes,housing, work,leisure,politics,law,and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988:327) Christine Nord names them “culturemes” (Nord 1997:9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012:1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Davies 2003:17), others choose cultural words (Newmark 2003;87) or culture-bound phenomena/concepts (Newmark 2003:7). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker 1992:21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988:94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988:95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988:95).--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:02, 13 December 2021 (UTC)&lt;br /&gt;
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2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
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The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85:22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003:16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:02, 13 December 2021 (UTC)&lt;br /&gt;
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===Types of Translation ===&lt;br /&gt;
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3. Types of Translation &lt;br /&gt;
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Newmark determines 8 types of translation which are: &lt;br /&gt;
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3.1 Word-for-Word Translation &lt;br /&gt;
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This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
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3.2 Literal translation &lt;br /&gt;
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In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
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3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
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3.4 Semantic Translation &lt;br /&gt;
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Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
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3.5 Adaptation &lt;br /&gt;
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This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015:15). &lt;br /&gt;
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3.6 Free Translation &lt;br /&gt;
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The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
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3.7 Idiomatic Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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3.8 Communicative Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original(Newmark 1988: 18).&lt;br /&gt;
--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:05, 13 December 2021 (UTC) &lt;br /&gt;
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===Translation Strategies  ===&lt;br /&gt;
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4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
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4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela translators need to choose several strategies based on the source language culture and target culture. Shee distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, she tries to command by the level of their intercultural intervention. She divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies).(Aixela 1996:86)&lt;br /&gt;
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4.1.1. Conservation: &lt;br /&gt;
In conservation,the less compelling process includes repetition,orthographic adaptation,linguistic translation,extratextual gloss and intratextual gloss. &lt;br /&gt;
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4.1.1.1 Repetition:In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus,the translator keeps as much as possible the original reference (Aixela 1996:61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
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4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
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4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
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4.1.1.4 Extra-textual Gloss: Here,the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes,endings,words,ideas,translators in dictionaries, italics and so on. &lt;br /&gt;
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4.1.1.5 Intra-textual Gloss:It's like the past but the translator feels that he/she can include the globe as an indirect part of the text,not to distract the reader. &lt;br /&gt;
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4.2.1 Substitution &lt;br /&gt;
In substitution, According Aixela “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here&amp;quot;(Aixela 1996:87)--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:40, 13 December 2021 (UTC) &lt;br /&gt;
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4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
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4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
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4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela 1997:63). &lt;br /&gt;
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4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Ketabi 2015:8). &lt;br /&gt;
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4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela 1996;64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
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4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela 1997:43). &lt;br /&gt;
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4.3 Mona Baker's Translation Strategies &lt;br /&gt;
Baker's strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation.Baker She suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies(Baker 1992;90) which are the following: &lt;br /&gt;
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4.3.1 Translation by a more general word: According to Baker,this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
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4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
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4.3.3 Translation by cultural substitution:This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
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4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
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4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
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4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
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4.3.7 Translation by omission: Losing phrases or words that are not vital to text development.&lt;br /&gt;
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4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view,however,Baker,s translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:40, 13 December 2021 (UTC)&lt;br /&gt;
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===Cultural Categories  ===&lt;br /&gt;
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5. Cultural categories &lt;br /&gt;
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5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
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5.1.2 Material culture &lt;br /&gt;
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Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.”(Newmark 1988:90)  &lt;br /&gt;
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5.1.3 Social culture &lt;br /&gt;
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The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
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5.1.4 Organisation &lt;br /&gt;
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Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
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5.2 Newmark Classification CSIs &lt;br /&gt;
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Newmark established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items. (Newmark 1988:97) --[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:50, 13 December 2021 (UTC)&lt;br /&gt;
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5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
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Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
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2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
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3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
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4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
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5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
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6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
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7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
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8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
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9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
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10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
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11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
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12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
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13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
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14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
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15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
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16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
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17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
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18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
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19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
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20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
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21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
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22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
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23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
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24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
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25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
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26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
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27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
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28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
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29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
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30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
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31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
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32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
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33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
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34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
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35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
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36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
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37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
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38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
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39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
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40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
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41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
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42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
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43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
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44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
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45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
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46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
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47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
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48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
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49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
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50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996:31)“translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by Newmark (1988)“translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.”(Newmark 1988:81)&lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation,then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:55, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity,as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts,the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term,and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part,but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:01, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark's strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However,the translator must be competent in using the translation procedures to provide an accurate translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abdi, H. (2019). Translating culture-specific items (CSIs) as a conundrum for Iranian MA translation students: Considering the level of study. Journal of new advances in English Language Teaching and Applied Linguistics, 1(1), 88-109. &lt;br /&gt;
&lt;br /&gt;
Aguado-Gimenez, P., &amp;amp; Pérez-Paredes, P. F. (2005). Translation-strategies use: A classroombased examination of Baker’s taxonomy. Meta: journal des traducteurs/Meta: &lt;br /&gt;
Translators' Journal, 50(1), 294-311. &lt;br /&gt;
&lt;br /&gt;
Ahmadi, M. R.S and Nosrati, Fatemah. (2012). Domestication and Foreignization Strategies in Translation of Culture-Specific Items. Translations of English-Persian Children’s Literature. San Francisco: Grin Publishing. Google Books. &lt;br /&gt;
&lt;br /&gt;
Al Saleh, R. A. (2019). An Application of Newmark's Procedures to Muhammad Abul Quasem's Alleman, J. C. Bee. W. Ulitkin, I. Files, F., Zetzsche, J., Chatonnet-Marton, P. &amp;amp; y del Árbol, E. V. Translation Strategies. &lt;br /&gt;
&lt;br /&gt;
Al-Sofi, B. B. M. A., &amp;amp; Abouabdulqader, H. (2020). Bridging the gap between translation and culture: towards a cultural dimension of translation. International journal of linguistics, literature and culture, 6(1), 1-13. &lt;br /&gt;
&lt;br /&gt;
Baker, M., 1992. In Other Words: A Coursebook on Translation. London: Routledge, p.20–42. &lt;br /&gt;
&lt;br /&gt;
Blažytė, D., &amp;amp; Liubinienė, V. (2016). Culture-specific items (CSI) and their translation strategies in Martin Lindstrom’s&amp;quot; Brand sense&amp;quot;. Kalbų studijos, (29), 42-57. &lt;br /&gt;
&lt;br /&gt;
Bush, P. (1998) &amp;quot;Literary Translation.&amp;quot; In: M. Baker, ed. Routledge Encyclopedia of Translation Studies, London: Routledge, pp.127-130. &lt;br /&gt;
&lt;br /&gt;
Catford. J. C. (1965). A linguistic theory of translation. Oxford: Oxford University Press. &lt;br /&gt;
English Translation of Mohammad Al-Ghazali's Islamic Guidance.Literature and Culture, 6(1), 1-13. &lt;br /&gt;
&lt;br /&gt;
Gečaitė, L. (2020). Culture-Specific Items and Their Translation Strategies in Victoria Hislop's Novel The Sunrise.” (2020). &lt;br /&gt;
&lt;br /&gt;
Hassan, B. E. A. (2014). Between English and Arabic: A practical course in translation. &lt;br /&gt;
Cambridge Scholars Publishing. &lt;br /&gt;
&lt;br /&gt;
Hermans, T. (1999). Translation in systems. Manchester: St. Jerome Publication  House, J. (Ed.). (2014). Translation: a multidisciplinary approach. Springer. &lt;br /&gt;
Issa, A. L. S. M., &amp;amp; Hammood, L. H. R.- Quranic-Specific Phrases under the Study of Translation; Significance and Applications. &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. (33), p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. 33, p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Lambert, J. (1998) Literary Translation. In: M. Baker, ed. Routledge Encyclopedia of Translation Studies. London: Routledge, 130-134. &lt;br /&gt;
&lt;br /&gt;
Landers, Clifford E. (2001) Literary Translation: A practical guide. New Jersey University Press: Multilingual Maters. &lt;br /&gt;
&lt;br /&gt;
Lustig, Myron, W. and Koeser, Joline  (2003), Intercultural Competence: Interpersonal Communication Across Cultures, Boston: Allyn and Bacon. &lt;br /&gt;
&lt;br /&gt;
Malmkjær, K. (1993). Who Can Make Nice A Better Word Than Pretty? Collocation, Translation, and Psycholoinguistics. In: Baker, M., Francis, G. and Tognini-Bonelli, E. &lt;br /&gt;
eds. Text and Technology. Philadelphia/Amsterdam: John Benjamins Publishing Company. pp.213-32. &lt;br /&gt;
&lt;br /&gt;
Mosavat, S., &amp;amp; Rahimpour, S. (2016). The Most and Least Used Translation Strategies for &lt;br /&gt;
Conveying Culture-Specific-Items in Young Adult Literature from English into Persian. International Journal of Humanities and Cultural Studies (IJHCS) ISSN 23565926, 1853-1873. &lt;br /&gt;
&lt;br /&gt;
Munday, J. (1997). Systems in Translation: A computer-assisted systemic approach to the analysis of translation of García Márquez. Ph.D thesis, University of Bradford. &lt;br /&gt;
&lt;br /&gt;
Newmark, P. (2001). A Textbook of Translation. Shanghai: Shanghai Foreign Language &lt;br /&gt;
Education Press &lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. (1988). A Textbook of Translation. New Jersey: Prentice-Halls &lt;br /&gt;
&lt;br /&gt;
Nord, Christiane. (1997). Translating as a Purposeful Activity: Functionalist Approaches &lt;br /&gt;
Explained. Manchester: St. Jerome. Accessed 10 November. 2018. Google Books Schjoldager, A. (2008). Understanding translation. Academica: Århus. &lt;br /&gt;
&lt;br /&gt;
Silalahi, M., &amp;amp; Lubis, S. (2013). Translation Procedures of Cultural Terms Found In Sejarah Bilingual For Students of Senior High School. &lt;br /&gt;
Valipoor, K., &amp;amp; andAzizeh Chalak, H. H. T. (2019). Cultural-specific items in translation of the Holy Quran by Irving: 43-51. &lt;br /&gt;
&lt;br /&gt;
Venuti, L. (1995). The translator’s invisibility: A history of translation. London and New York: &lt;br /&gt;
Routledge &lt;br /&gt;
&lt;br /&gt;
Widiarto, O. V. V. (2016). The translation procedures of cultural expressions applied in a game of thrones translated into Perebutan Tahta novel by Barokah Ruziati (Doctoral dissertation, Dian Nuswantoro University).&lt;/div&gt;</summary>
		<author><name>Atta Ur Rahman</name></author>
	</entry>
	<entry>
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		<title>20211215 homework</title>
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		<updated>2021-12-14T03:29:36Z</updated>

		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* Muhammad Numan 202121080002 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
&lt;br /&gt;
==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
&lt;br /&gt;
鼎：古代食器。胡羼(chàn忏) ──胡闹。 羼：本义为群羊杂居。引申为杂乱不纯，乱七八糟。​&lt;br /&gt;
&lt;br /&gt;
Tripod (Ding in Chinese): ancient food utensil. Hu Chan in Chinese means nonsense. Chan in Chinese originally means that the sheep live together, whose extensive meaning is mess.&lt;br /&gt;
----&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Tripod: ancient food utensil. Hi Chan - nonsense. The original meaning is that sheep live together. It is extended meaning to be messy, impure and messy.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:25, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
&lt;br /&gt;
抓──即“抓周”，亦称“试儿”、“试周”。旧俗于婴儿满周岁时，父母摆列各种小件器物，任其抓取，以测试其秉性、智愚、志趣。此俗始于江南，后亦传到北方。&lt;br /&gt;
&lt;br /&gt;
Grasping -- namely &amp;quot;grasping the week&amp;quot;, also known as &amp;quot;trying the child&amp;quot; and &amp;quot;trying the week&amp;quot;. The old custom is that when a baby reaches the age of one year, his parents arrange all kinds of small objects and let him grab them to test his temperament, intelligence and interest. This custom began in the south of the Yangtze River and later spread to the north.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:23, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Catch ─ ─ means &amp;quot;catch the week&amp;quot;, also known as &amp;quot;test&amp;quot; and &amp;quot;test week&amp;quot;. The old custom is when the baby reaches one year old, the parents arrange all kinds of small utensils and let them grab them to test their disposition, wisdom and ambition. This custom began in the south of the Yangtze River and then spread to the north.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:41, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
&lt;br /&gt;
事见北朝周·颜之推《颜氏家训·风操》：“江南风俗，儿生一期(年)，为制新衣，盥浴装饰，男则用弓矢纸笔，女则刀尺针缕(线)，并加饮食之物及珍宝服玩，置之儿前，观其发意所取，以验贪亷智愚，名之为试儿。”&lt;br /&gt;
&lt;br /&gt;
It is said in Yan's family instructions and customs by Yan Zhitui of the Northern Dynasty that &amp;quot;the custom in the south of the Yangtze River was born in the first year. It was to make new clothes and decorate bathrooms. Men used bows and arrows, paper and pens, women used knives, rulers, needles and threads (lines), and played with food and precious clothes. They were placed in front of their children and looked at what they wanted to take to test their greed, wisdom and stupidity. They were called test children.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:37, 11 December 2021 (UTC)&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
&lt;br /&gt;
(宋·赵彦卫《云麓漫钞》卷二也有相同记载)又宋·叶真《爱日斋丛钞》卷一：“《玉壶野史》记曹武惠王(曹彬)始生周晬日，父母以百玩之具罗于席，观其所取。&lt;br /&gt;
&lt;br /&gt;
==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
&lt;br /&gt;
武惠王左手提干戈，右手提俎豆，斯须取一印，馀无所视。曹，真定人。江南遗俗乃在此(指真定)，今俗谓试周是也。”​&lt;br /&gt;
&lt;br /&gt;
Lord Wuhui holds weapons with his left hand and dinnerware in his right hand.Then he looks at a seal and graps it without seeing anything else.Lord Wuhui, whose first name is Cao, comes from Zhen Ding county. The place is called Shi Zhou now, on whiche Jiang Nan's old cities lay.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:23, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
&lt;br /&gt;
致知格物──语出《礼记·大学》：“致知在格物，格物而后知至。”意谓要想获得知识，必须探究事物的道理。 致：获得，取得。&lt;br /&gt;
&lt;br /&gt;
Zhi Zhi Ge Wu- ''From The Book of Rites·Daxue'': &amp;quot;Zhizhi lies in Gewu, and after Gewu, knowledge arrives.&amp;quot; It means that in order to gain knowledge, one must inquire into the truth of things. Zhi: To acquire, to obtain.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:18, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
&lt;br /&gt;
格：推究，探究，探讨。​尧……张──尧、舜、禹、汤、文、武，即唐尧、虞舜、夏禹、成汤、周文王、周武王，是从上古至西周的明君；&lt;br /&gt;
Ge: means deduction, exploration and discussion. Yao...Zhang──Yao, Shun, Yu, Tang, Wen, Wu, namely Tang Yao, Yu Shun, Xia Yu, Cheng Tang, Emperor Wen of Zhou Dynasty, Emperor Wu of Zhou Dynasty, they are all wise emperors from ancient times to the Zhou Dynasty;--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 13:11, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
&lt;br /&gt;
周、召，即周公旦、召公奭，都是西周的贤相；孔、孟，即孔丘(通称孔子)、孟轲(通称孟子)，都是儒学的创始人；董、韩、周、程、朱、张，即汉代董仲舒、唐代韩愈、北宋周敦颐、北宋程颢和程颐兄弟、南宋朱熹、北宋张载，都是儒学理论家。&lt;br /&gt;
&lt;br /&gt;
Zhou, called the Duke of Zhou, and Zhao, called Duke of Shi, are both talented prime ministers (in feudal China); Kong (generally called Confucius) and Meng (generally called Mencius) are both founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 07:19, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Zhou and Zhao are respectively the Duke of Zhou and the Duke of Shi and both are talented prime ministers of the Western Zhou Dynasty; both Kong (generally called Confucius) and Meng (generally called Mencius) are  founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 08:09, 12 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
&lt;br /&gt;
这些人皆是儒家竭力推崇的人物。蚩尤……秦桧──蚩尤、共工，都是传说中上古最凶恶的部族首领；桀、纣、始皇，即夏桀、商纣王、秦始皇，都是登峰造极的暴君；&lt;br /&gt;
&lt;br /&gt;
All these people are strong recommended by confucianists such as Chi You(a mythological warrior engaged in fighting with the Yellow Emperor), Qin Hui (a traitor in the Song dynasty in Chinese history)and so on. Among them both Chi You and Gong Gong (the water god in ancient Chinses history and the devil of floods) are the most ferocious tribal chief in the Chinese legend;and all Xia Jie, Shang Zhou and Qin Shi Huang, being respectively the emperor Jie of Xia Dynasty，the emperor Zhou of Shang Dynasty and the first emperor of Qin Dynasty, are extremely tyrannical.&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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王莽、曹操、桓温、安禄山、秦桧，他们分别是汉代、三国、东晋、唐代、南宋人，都是大奸臣乃至叛逆之贼。​许由……朝云──许由，传说他是上古时为了逃避帝位而终生隐居的贤人；陶潜(即陶渊明)、阮籍、嵇康、刘伶，都是魏晋时期著名文学家及不与流俗同低昂的独行之士；&lt;br /&gt;
&lt;br /&gt;
==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
&lt;br /&gt;
王谢二族，指东晋王导和谢安，都是显贵；顾虎头，即顾恺之，字虎头，是东晋名画家；陈后主、唐明皇、宋徽宗，都是有才气的风流皇帝；&lt;br /&gt;
&lt;br /&gt;
The Two families of Wang and Xie, namely Wang Dao and Xie An, were both nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and  Emperor Huizong of Song were all talented and romantic emperors.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 10:07, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
The Two families of Wang and Xie, namely Wang Dao and Xie An, were both of the nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and Emperor Huizong of Song were all talented and romantic emperors. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:02, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
&lt;br /&gt;
刘庭芝即刘希夷(字庭芝)、温飞卿即温庭筠(字飞卿)，都是唐代名诗人；米南宫即米芾(南宫为世称)，是北宋名画家；石曼卿即石延年(字曼卿)、柳蓍卿即柳永(字蓍卿)、秦少游即秦观(字少游)，都是北宋著名文学家；&lt;br /&gt;
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Liu Tingzhi, or Liu Xiyi (courtesy name Tingzhi), Wen Feiqin refers orWen Tingyun (courtesy name Feiqing) are both famous poets of the Tang Dynasty. Mi Nangong, or Mi Fu (nickname Nangong), was a famous painter of the Northern Song Dynasty; Shi Manqing, or Shi Yannian (courtesy name Manqing), Liu Yaoqing, or Liu Yong (courtesy name Yaoqing), and Qin Shaoyou, or Qin Guan (courtesy name Shaoyou), were famous literary scholars of the Northern Song Dynasty.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:03, 13 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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倪云林即倪瓒，字云林，是元代名画家；唐伯虎即唐寅(字伯虎)、祝枝山即祝允明(字枝山)，都是明代名画家、文学家；李龟年(唐代人)、黄幡绰(唐代人)、敬新磨(五代后唐人)，都是名艺人；&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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卓文君(已见第一回注)、红拂(先为隋相杨素的侍女，后私奔李靖，也是前蜀·杜光庭《虬髯客传》中的女主人公)、薛涛(唐代才妓)、崔莺(即唐·元稹《会真记》、元·王实甫《西厢记》中的崔莺莺)、朝云(宋代名妓)，他们都是以才貌流芳的名女。​&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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成则公侯败则贼──意谓成功的人便能获得公爵、侯爵之类的高官显爵，失败的人便被看作贼寇。表示世上并无公理，世人不讲是非，只论成功与失败，即只以成败论英雄。这里化用了“败则盗贼，成则帝王”。​&lt;br /&gt;
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Success makes the Duke while failure makes the theif ——which means that, If one is successful, he will be worshipped as the Duke. While one is unsuccessful, he will be despised as the thief. It expresses that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”&lt;br /&gt;
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The winner is Duke, the looser is theif means that the person who succeeded would be entitled like Duke and who failed would be dispised as a theif. It presents that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:58, 12 December 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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出自宋·邓牧《君道》：“嘻！天下何常之有？败则盗贼，成则帝王。”东床──指女婿。典出《晋书·王羲之传》、南朝宋·刘义庆《世说新语·雅量》：晋朝太尉郗鉴派人至丞相王导家相婿，王丞相令其到东厢房随意挑选。&lt;br /&gt;
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It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying &amp;quot;how can the world be immutable! The loser is the thief, and the winner is the emperor.&amp;quot;  Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography&amp;quot; and Liu Yiqing's &amp;quot;Shi Shuo Xin Yu · Elegance&amp;quot; (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an underlying to the prime minister Wang Dao's house for taking in a son-in-law, and Prime Minister Wang invite him to choose at will in the east wing.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:43, 12 December 2021 (UTC)&lt;br /&gt;
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It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying &amp;quot;how can the world be immutable! The loser is the thief, and the winner is the emperor.&amp;quot; Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography&amp;quot; and Liu Yiqing's &amp;quot;Shi Shuo Xin Yu · Elegance&amp;quot; (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an official to the prime minister Wang Dao's house choosing a son-in-law, and Prime Minister Wang invited him to choose at will in the east wing room.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:51, 12 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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此人过去一看，见王家诸郎皆很矜持，唯独王羲之坦腹躺在东床之上，毫不在乎。此人回报，郗鉴即选中王羲之为婿。后世即以“东床”、“东床坦腹”、“东床客”、“东床娇客”等代指女婿。​&lt;br /&gt;
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The man looked over and saw that all the  lords of Wang family were very reserved, except Wang Xizhi, who was lying on the east bed and didn't care, showing his belly. In return, Xi Jian chose Wang Xizhi as his son-in-law. Later generations referred to the son-in-law with &amp;quot;East Bed&amp;quot;, &amp;quot;East Bed Man Showing Belly&amp;quot;, &amp;quot;East Bed Guest&amp;quot;, &amp;quot;East Bed Distinguished Guest&amp;quot; and so on.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 04:59, 12 December 2021 (UTC)&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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退了一舍之地──意谓退避三十里。形容退居其后，不敢与争。 一舍：三十里。 这里化用了“退避三舍”之典。&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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典出《左传·僖公二十三年》：春秋时，晋国公子重耳出奔至楚，楚成王礼遇之，因问道：“公子若反(返)晋国，则何以报不谷？”重耳对曰：“若以君之灵，得反晋国，晋、楚治兵，遇于中原，其辟(避)君三舍。”&lt;br /&gt;
This story comes from ''Zuo Zhuan · Xi public twenty three years'': During the Spring and Autumn Period (777-476 BC), Childe Chong Er of the state of Jin went to the state of Chu. King Cheng of Chu gave a banquet for Chong er and asked, &amp;quot;If childe returns to the state of Jin, how will you repay me? Chong Er answered, &amp;quot;If I can return to the state of Jin, if the troops of the state of Jin and the state of Chu meet each other in the Central Plains, I will ask the troops of the state of Jin to retreat 90 li.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 06:56, 12 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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后重耳返国为君，晋、楚城濮(在今山东省鄄城县西南)之战，重耳遵守诺言，晋军果“退三舍以辟之”。&lt;br /&gt;
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第三回&lt;br /&gt;
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托内兄如海荐西宾 接外孙贾母惜孤女&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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却说雨村忙回头看时，不是别人，乃是当日同僚一案参革的张如圭。他系此地人，革后家居，今打听得都中奏准起复旧员之信，他便四下里寻情找门路，忽遇见雨村，故忙道喜。二人见了礼，张如圭便将此信告知雨村。&lt;br /&gt;
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Yue-ts'un, turning round in a hurry, perceived that the speaker was no other than a certain Chang Ju-kuei, an old colleague of his, who had been denounced and deprived of office, on account of some case or other; a native of that district, who had, since his degradation, resided in his home.Having come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could, in every nook and corner, to obtain influence, and to find the means (of righting his position,) when he, unexpectedly, came across Yue-ts'un, to whom he therefore lost no time in offering his congratulations. The two friends exchanged the conventional salutations, and Chang Ju-kuei communicated the tidings to Yue-ts'un.&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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雨村欢喜，忙忙叙了两句，各自别去回家。冷子兴听得此言，便忙献计，令雨村央求林如海，转向都中去央烦贾政。雨村领其意而别，回至馆中，忙寻邸报看真确了。次日，面谋之如海。如海道：“天缘凑巧。&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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因贱荆去世，都中家岳母念及小女无人依傍，前已遣了男女、船只来接，因小女未曾大痊，故尚未行。此刻正思送女进京。因向蒙教训之恩，未经酬报，遇此机会，岂有不尽心图报之理？弟已预筹之，修下荐书一封，托内兄务为周全，方可稍尽弟之鄙诚；&lt;br /&gt;
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Since my wife has passed away, my mother-in-law has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 08:15, 11 December 2021 (UTC)&lt;br /&gt;
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Since my wife has passed away, my mother-in-law who lives in the capital worried that my daughter has no one to rely on. So she has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:43, 12 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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即有所费，弟于内家信中写明，不劳吾兄多虑。”雨村一面打恭，谢不释口；一面又问：“不知令亲大人现居何职？只怕晚生草率，不敢进谒。”如海笑道：“若论舍亲，与尊兄犹系一家，乃荣公之孙：大内兄现袭一等将军之职，名赦，字恩侯；&lt;br /&gt;
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“As for the possible costs, I will explain in the letter. You don’t need to worry about it.” Yu Cun bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Ru Hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Origin Merchant. My eldest brother is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:38, 12 December 2021 (UTC)&lt;br /&gt;
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“As for the possible costs, I will explain in the letter. You needn’t to worry about it.” Yu Cun bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Ru Hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Ronggong. The eldest brother of my wife is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 23:46, 12 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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二内兄名政，字存周，现任工部员外郎，其为人谦恭厚道，大有祖父遗风，非膏粱轻薄之流，故弟致书烦托，否则不但有污尊兄清操，即弟亦不屑为矣。”雨村听了，心下方信了昨日子兴之言，于是又谢了林如海。&lt;br /&gt;
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“The second brother of my wife named Zheng, his style name is Cunzhou. He is the Yuanwai official of the Ministry of Works in feudal China. He is moderate and kind, has the dignity of his grandfather, and is not the flimsy type. Therefore, my brother sent a letter to me. Otherwise, I will not only pollute my brother's operation, but also despise my brother.” After hearing this, Yuchun had believed the words of Zixing yesterday, therefore, he thanked Lin Ruhai again. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 01:27, 12 December 2021 (UTC)&lt;br /&gt;
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The second brother-in-law is named Zheng, and the word is kept in Zhou. He is currently a member of the Ministry of Engineering. He is courteous and kind. He has a grandfather's legacy. He is not anointing and frivolous. Disdainful. &amp;quot;Yucun listened, and believed in Xing's words from yesterday, so he thanked Lin Ruhai again.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:12, 12 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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如海又说：“择了出月初二日小女入都，吾兄即同路而往，岂不两便？”雨村唯唯听命，心中十分得意。如海遂打点礼物并饯行之事，雨村一一领了。那女学生原不忍离亲而去，无奈他外祖母必欲其往，且兼如海说：“汝父年已半百，再无续室之意；&lt;br /&gt;
Ruhai also said: &amp;quot;I chose the girl to enter the capital on the second day of the lunar month, and my brother will go the same way. Isn't it both convenient?&amp;quot; Yucun obeyed,and RuHai was very satisfied . Ruhai then took some gifts and walked away, and Yucun took them one by one. The girl student couldn't bear to leave her relatives, but his grandmother wanted to go there. She also said like the sea: &amp;quot;Your father is half a hundred years old, and there is no intention to remarry.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:11, 12 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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且汝多病，年又极小，上无亲母教养，下无姊妹扶持。今去依傍外祖母及舅氏姊妹，正好减我内顾之忧，如何不去？”黛玉听了，方洒泪拜别，随了奶娘及荣府中几个老妇登舟而去。雨村另有船只，带了两个小童，依附黛玉而行。&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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一日到了京都，雨村先整了衣冠，带着童仆，拿了宗侄的名帖，至荣府门上投了。彼时贾政已看了妹丈之书，即忙请入相会。见雨村相貌魁伟，言谈不俗；且这贾政最喜的是读书人，礼贤下士，拯溺救危，大有祖风；况又系妹丈致意：因此优待雨村，更又不同。&lt;br /&gt;
One day, when YuCun arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At this time Jia Zheng had seen his brother-in-law's letter, immediately invited him to come in to meet. Yucun looked tall and handsome and talked well. And Jia Zheng most like scholar, courtesy, saving, great predecessors style; Therefore, Jia Zheng is very good to Yucun. He is different from others.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 08:18, 11 December 2021 (UTC)&lt;br /&gt;
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One day, when YuCun arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At this time Jia Zheng had received  his brother-in-law's letter, immediately invited him to come in to meet. Yucun looked tall and handsome and talked well. And Jia Zheng most like scholar, courtesy, saving, great predecessors style; Therefore, Jia Zheng is very good to Yucun. He is different from others.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 11:51, 13 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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便极力帮助，题奏之日，谋了一个复职。不上两月，便选了金陵应天府，辞了贾政，择日到任去了，不在话下。且说黛玉自那日弃舟登岸时，便有荣府打发轿子并拉行李车辆伺候。这黛玉尝听得母亲说，他外祖母家与别人家不同。&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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他近日所见的这几个三等的仆妇，吃穿用度，已是不凡；何况今至其家，都要步步留心，时时在意，不要多说一句话，不可多行一步路，恐被人耻笑了去。自上了轿，进了城，从纱窗中瞧了一瞧，其街市之繁华，人烟之阜盛，自非别处可比。&lt;br /&gt;
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In the past few days, she has been deeply impressed by the food, clothing and behavior of the low- ranking attendants who accompanied her. She decided that in their new home, she must always be vigilant and carefully weigh every word so as not to be ridiculed for any stupid mistake. When she carried into the city, she peeped out through the gauze window on her chair at the bustling and crowded streets, which she had never seen before.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 08:32, 11 December 2021 (UTC)&lt;br /&gt;
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The three-class servants she had seen recently have an extraordinary cost of food and clothing. What's more, since got on the sedan chair and entered the city, the prosperous market and the populousness of the city through the screen window were not comparable to other places. when coming to grandmother's mansion must pay attention to every step and be cautious with words so as not to be ridiculed by others. Daiyu thought.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:56, 12 December 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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又行了半日，忽见街北蹲着两个大石狮子，三间兽头大门，门前列坐着十来个华冠丽服之人。正门不开，只东、西两角门有人出入。正门之上有一匾，匾上大书“敕造宁国府”五个大字。黛玉想道：“这是外祖的长房了。”&lt;br /&gt;
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After half day, there are two large stone lions squatting on the north side of the street, three gates decorated with beast head, and a dozen people in gorgeous crowns and clothes are sitting in front of the gate. The main gate is closing, only the east and west corners enterences are accessible. There is a plaque above the main gate with five big characters &amp;quot;Ningguo Mansion&amp;quot;.  &amp;quot;That must be grandfather's the first son's mansion.&amp;quot;Daiyu thought.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:39, 12 December 2021 (UTC)Liu Wei&lt;br /&gt;
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After another half-day walk, they came to a street with two huge stone lions crouching on the north side and three gates decorated with beast head, in front of which ten or more people in gorgeous crowns and clothes were sitting. The main gate was shut, with only people passing in and out of the other two smaller gates. On a board above the main gate was written in big characters &amp;quot;Ningguo Mansion Built at Imperial Command&amp;quot;. Daiyu realized that this must be where the elder branch of her grandmather's family lived.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:40, 13 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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又往西不远，照样也是三间大门，方是荣国府，却不进正门，只由西角门而进。轿子抬着走了一箭之远，将转弯时便歇了轿，后面的婆子也都下来了。另换了四个眉目秀洁的十七八岁的小厮上来抬着轿子，众婆子步下跟随。&lt;br /&gt;
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A little further to the west they came to another three gates. This was the Rong Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:09, 12 December 2021 (UTC)&lt;br /&gt;
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Not far to the west is the same three-room gate, which is the Rongguo Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:26, 12 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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至一垂花门前落下，那小厮俱肃然退出。众婆子上前打起轿帘，扶黛玉下了轿。黛玉扶着婆子的手，进了垂花门，两边是超手游廊，正中是穿堂，当地放着一个紫檀架子大理石屏风。转过屏风，小小三间厅房。&lt;br /&gt;
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When the palanquin was dropped in front of a pendant door, the attendants all retired in silence. The ladies came forward and raised the curtain of the palanquin and helped Daiyu out of the palanquin. The two sides of the door are overhand corridors, and the centre is a hall with a marble screen on a rosewood frame. Turning past the screen, there is a small three-room hall.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:22, 12 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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厅后便是正房大院：正面五间上房，皆是雕梁画栋；两边穿山游廊、厢房，挂着各色鹦鹉、画眉等雀鸟。台阶上坐着几个穿红着绿的丫头，一见他们来了，都笑迎上来道：“刚才老太太还念诵呢，可巧就来了。”于是三四人争着打帘子。一面听得人说：“林姑娘来了。”&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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黛玉方进房，只见两个人扶着一位鬓发如银的老母迎上来。黛玉知是外祖母了，正欲下拜，早被外祖母抱住，搂入怀中，“心肝儿肉”叫着大哭起来。当下侍立之人无不下泪，黛玉也哭个不休。众人慢慢解劝，那黛玉方拜见了外祖母。&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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贾母方一一指与黛玉道：“这是你大舅母。这是二舅母。这是你先前珠大哥的媳妇珠大嫂子。”黛玉一一拜见。贾母又说：“请姑娘们。今日远客来了，可以不必上学去。”众人答应了一声，便去了两个。&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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不一时，只见三个奶妈并五六个丫鬟，拥着三位姑娘来了：第一个肌肤微丰，身材合中，腮凝新荔，鼻腻鹅脂，温柔沉默，观之可亲；第二个削肩细腰，长挑身材，鸭蛋脸儿，俊眼修眉，顾盼神飞，文彩精华，见之忘俗；&lt;br /&gt;
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In a little while, three grannies and five or six servant girls turned up, clustering with three ladies. The first was somewhere plump in figure and of average height; her cheek was in beautiful shape, like a fresh lichee; her nose was glossy like the goose grease; she was gentle and quiet in nature, who looks very friendly. The second  was thin and tall with an oval face, sparking eyes and long eyebrows; her elegance and quick-witted mind tickle people’s fancy, letting them forget everything vulgar.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 08:11, 11 December 2021 (UTC)&lt;br /&gt;
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After a while, the three young ladies showed up, escorted by three wet nurses and five or six maids. The first was slightly plump and of medium height; her cheeks were as smooth and soft as the newly ripened lichees, and her nose was as glossy as goose fat. She was tender and reticent, and looked very affable. The second had drooping shoulders and a slender waist; she was tall and slim, with an oval face, bright and piercing eyes as well as delicate eyebrows. She seemed elegant, quick-witted and in high spirits, with a display of distinctive charm. People who looked at her were to forget everything vulgar and tawdry.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 23:42, 11 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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第三个身量未足，形容尚小：其钗环裙袄，三人皆是一样的妆束。黛玉忙起身，迎上来见礼，互相厮认，归了坐位。丫鬟送上茶来。不过叙些黛玉之母如何得病，如何请医服药，如何送死发丧。不免贾母又伤感起来，因说：“我这些女孩儿，所疼的独有你母亲。&lt;br /&gt;
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The third one was not yet fully grown, and she still had the face of a child. All the three young ladies were dressed in similar garments, that is, the tunics and the skirts with the same bracelets and head ornaments. Daiyu hastily rose to greet politely these cousins, and then they introduced to and acquainted with each other, after which they took seats while the maids served the tea. All their talk now was about Daiyu's mother: the culprit for her illness, the medicine that the doctors prescribed for treating her disease, and the conduction of her funeral and mourning ceremonies. Inevitably, the Lady Dowager couldn't help being affected painfully. &amp;quot;Of all my chilren I loved your mother best,&amp;quot; she told Daiyu.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 07:49, 11 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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今一旦先我而亡，不得见面，怎不伤心！”说着，携了黛玉的手，又哭起来。众人都忙相劝慰，方略略止住。众人见黛玉年纪虽小，其举止言谈不俗；身体面貌虽弱不胜衣，却有一段风流态度，便知他有不足之症。&lt;br /&gt;
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Once she died before me, I could not see her again. She said, taking Daiyu's hand, and cried again. Everyone was busy trying to console her, and soon she slightly stopped. They saw that although Daiyu was young, her manner and speech were not ordinary; although her health was weak, she had graceful and elegant manner, so they knew that she had a disease of deficiency.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 08:43, 11 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;Once she died before me, it is so sad that I could not see her again.&amp;quot; she said, taking Daiyu's hand, and cried again. Everyone was trying to console her, and then she slightly stopped. They saw that although Daiyu was young, her manner and speech were not ordinary; although she was weak, she had graceful and elegant gestures, so they learned that she had a disease of deficiency.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:35, 12 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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因问：“常服何药？为何不治好了？”黛玉道：“我自来如此，从会吃饭时便吃药到如今了，经过多少名医，总未见效。那一年我才三岁，记得来了一个癞头和尚，说要化我去出家，我父母自是不从。&lt;br /&gt;
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So they asked:&amp;quot; What medicine do you usually take? Why doesn't it work?&amp;quot; Daiyu replied:&amp;quot; I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous daocters cannot contribute to my illness.When I was three years old, a monk with favus on the head came to persuade me to become a nun,but my parents declined him.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 08:07, 11 December 2021 (UTC)&lt;br /&gt;
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They then asked, &amp;quot;What medicines do you take regularly? Why can't you cure your illness?&amp;quot; Daiyu said, &amp;quot;I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous docters cannot contribute to my illness. I was only three years old when I remember a mangy monk came and said he wanted to convert me to a monk, but my parents refused.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:29, 13 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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他又说：‘既舍不得他，但只怕他的病，一生也不能好的；若要好时，除非从此以后，总不许见哭声，除父母之外，凡有外亲，一概不见，方可平安了此一生。’这和尚疯疯癫癫，说了这些不经之谈，也没人理他。&lt;br /&gt;
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The monk said, &amp;quot;if you can't bear to part with her she'll probably nerver get well. The only remedy is to keep her from hearing weeping and from seeing any relatives apart from her father and mother. That's her only hope of having a quiet life.&amp;quot; No one paid any attention, of course, to such crazy talk.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:24, 13 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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如今还是吃人参养荣丸。”贾母道：“这正好，我这里正配丸药呢，叫他们多配一料就是了。”一语未完，只听后院中有笑语声，说：“我来迟了，没得迎接远客。”黛玉思忖道：“这些人个个皆敛声屏气如此，这来者是谁，这样放诞无礼？”&lt;br /&gt;
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Now Lin Daiyu is still taking ginseng pills.And Grandma Jia said:&amp;quot; What a coincidence! The pills are making now, I just tell them to add one.&amp;quot; The words have not been finished, but there is a laugh in the back yard, which said:&amp;quot; I come late and fail to welcome our distinguished guest.&amp;quot; Daiyu thought: all people here are holding their breath, who is this person that is so arrogant and rude?--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 08:19, 11 December 2021 (UTC)&lt;br /&gt;
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Now Lin Daiyu is still taking ginseng pills. And Grandmother Jia said:&amp;quot; It just so happens that I have been asking them to dispense the pills, just asking them to do one more portion.&amp;quot; The words are not  finished, but there is a laugh in the back yard, which said:&amp;quot; I am late and fail to welcome our distinguished guest.&amp;quot; Daiyu thought: “all people here are holding their breath, who is this person that is so arrogant and rude?”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:33, 12 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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心下想时，只见一群媳妇、丫鬟拥着一个丽人，从后房进来。这个人打扮与姑娘们不同，彩绣辉煌，恍若神妃仙子：头上戴着金丝八宝攒珠髻，绾着朝阳五凤挂珠钗；项上戴着赤金盘螭缨络圈；身上穿着缕金百蝶穿花大红云缎窄褃袄，外罩五彩刻丝石青银鼠褂；&lt;br /&gt;
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While Lin Daiyu is still thinking about it, a group of daughters-in-law and maids cluster around a beauty coming in from the back room. She dresses up differently from other girls, with colorful embroidery splendor, and looks like a divine concubine or a fairy: wearing a gold silk beads bun decorated with eight treasures and the five phoenix hairpin hanging with beads on the head; a red gold coiled chi dragon tassel ring around the neck; the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and the outer coat with decorations of the multicolored engraved silk stone green silver mouse.  --[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:34, 12 December 2021 (UTC)&lt;br /&gt;
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Lin Daiyu was still thinking about it when she saw a group of daughters-in-law and maids embracing a beautiful woman who came in from the back room. This woman dresses differently from the girls,  with colorful embroidery splendor,  and looks like a divine concubine fairy: wearing a gold silk eight treasure save beads bun and the sunrise five phoenix hanging beads hairpin on the head; a red gold coiled chi dragon tassel ring around the neck; wearing the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and  the outer coat with decorations of the multicolored engraved silk stone green silver mouse.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:47, 11 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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下着翡翠撒花洋绉裙。一双丹凤三角眼，两弯柳叶吊梢眉。身量苗条，体格风骚。粉面含春威不露，丹唇未启笑先闻。黛玉连忙起身接见。贾母笑道：“你不认得他。他是我们这里有名的一个泼辣货，南京所谓‘辣子’，你只叫他‘凤辣子’就是了。”&lt;br /&gt;
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Wang Xifeng wore a jadeite flowered dress underneath, with a pair of phoenix triangle eyes and two curved willow hanging eyebrows. Her figure is slim and her physique is flirtatious. She can be described with “ the face is delicate and beautiful, spirited character of her is not revealed in the appearance, red lips beautiful, not yet open mouth first heard her laugh”. Lin Daiyu hastily got up to curtsy to  her. Lady Dowager said with a smile, &amp;quot;You do not recognize her. She is famous for her boldness and vigorousness  here, she is truly the 'chilli woman' in Nanjing dialect, you can just call her ' chilli Feng'.&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:35, 11 December 2021 (UTC)&lt;br /&gt;
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Wang Xifeng, characterized by a pair of phoenix triangle eyes and two curved willow hanging eyebrows, wore an emerald flowered crepe skirt. She was slender and coquettish, with a delicate face and a smiling lip. Daiyu promptly rose quickly to greet her. Lady Dowager said with a smile: “ you don’t know him. He is famous for her fierceness and toughness, namely the so-called Nanjing chilli. So you can just call him ‘Chilli Feng’.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:48, 11 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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黛玉正不知以何称呼，众姊妹都忙告诉黛玉道：“这是琏二嫂子。”黛玉虽不曾识面，听见他母亲说过：大舅贾赦之子贾琏，娶的就是二舅母王氏的内侄女，自幼假充男儿教养，叫做王熙凤学名。黛玉忙陪笑见礼，以“嫂”呼之。&lt;br /&gt;
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Daiyu was insensible of what to call her. Then her sisters told her promptly: “ this is your sister-in-law Lian Er.” Although Daiyu had never met her, she heard of her from his mother: Jia Lian, the son of her Uncle Jia She, had married the niece of Aunt Wang, named scientifically Wang Xifeng, was brought up as a male offspring since childhood. Daiyu was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:32, 11 December 2021 (UTC)&lt;br /&gt;
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Daiyu didn't know what to call her. Then her sisters told her promptly: “This is your sister-in-law Lian Er.” Although Daiyu had never met her, she heard of her from his mother: Jia Lian, the son of her Uncle Jia She, had married the niece of Aunt Wang.She was brought up as a male offspring since childhood and her academic name is Wang Xifeng. Daiyu was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:55, 13 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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这熙凤携着黛玉的手，上下细细打量了一回，便仍送至贾母身边坐下，因笑道：“天下真有这样标致人儿！我今日才算看见了。况且这通身的气派，竟不像老祖宗的外孙女儿，竟是嫡亲的孙女儿似的，怨不得老祖宗天天嘴里心里放不下。&lt;br /&gt;
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Taking Daiyu's hand, Xifeng looked up and down her carefully, then she sent her to Mother Jia's side to sit down.She laughed and said:&amp;quot;There is really such a beautiful person in the world!I didn't see her until today.Moreover,the style of her makes her be more like your son's daughter than your daughter's daughter.It's no wonder that you are concerned about her so much.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:49, 13 December 2021 (UTC)&lt;br /&gt;
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Taking Daiyu's hand, Xifeng looked her up and down carefully, then sent her to Mother Jia's side to sit down. She laughed and said:&amp;quot;There is really such a beautiful person in the world! I haven’t seen her until today. Moreover, her extraordinary temperament makes her be more like your son's daughter rather than your daughter's daughter. It's no wonder that you are concerned about her so much. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 06:48, 13 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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只可怜我这妹妹这么命苦，怎么姑妈偏就去世了呢？”说着便用帕拭泪。贾母笑道：“我才好了，你又来招我；你妹妹远路才来，身子又弱，也才劝住了：快别再提了。”&lt;br /&gt;
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I pity my sister for being so miserable, how could my aunt died so early?&amp;quot; She said, wiping her tears with her handkerchief. Grandma Jia laughed and said, &amp;quot;I've just recovered. You come to provoke me again. Your sister has just arrived from a long journey and is weak, so she has just been persuaded: Don't mention it again.&amp;quot;--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 02:37, 12 December 2021 (UTC)&lt;br /&gt;
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I pity my sister who is so miserable, how could my aunt have died?&amp;quot; She said, wiping her tears with her handkerchief. Your sister has only just arrived from a long journey and is weak, so she has only just been persuaded to stop talking about it.&amp;quot;--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:22, 11 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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熙凤听了，忙转悲为喜道：“正是呢，我一见了妹妹，一心都在他身上，又是喜欢，又是伤心，竟忘了老祖宗了。该打，该打！”又忙拉着黛玉的手问道：“妹妹几岁了？可也上过学？现吃什么药？在这里别想家。&lt;br /&gt;
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The first time I saw my sister, I was all over him, and I liked him, and I was sad, and I forgot about my ancestors. You should be beaten, you should be beaten!&amp;quot; He also took Daiyu's hand and asked, &amp;quot;How old is my sister? How old is she? What kind of medicine do you take now? Don't be homesick here.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:21, 11 December 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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要什么吃的，什么玩的，只管告诉我；丫头、老婆们不好，也只管告诉我。”黛玉一一答应。一面熙凤又问人：“林姑娘的东西可搬进来了？带了几个人来？你们赶早打扫两间屋子，叫他们歇歇儿去。”&lt;br /&gt;
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Just tell me what you want to eat and play; Girls and old servants are not good, just tell me. &amp;quot; Daiyu nodded one by one. On one side, Xifeng asked, &amp;quot;have you moved in Miss Lin's things? How many people have you brought? Clean the two rooms early and tell them to have a rest.&amp;quot;--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 06:54, 12 December 2021 (UTC)&lt;br /&gt;
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Tell me what you want to eat and play; And if the maids or old nurses aren't good to you, just let me know. &amp;quot; Daiyu nodded one by one. At the same time, Xifeng asked, &amp;quot;Have Miss Lin's things been moved in? And how many people does she bring? Clean the two rooms as soon as possible and tell them to have a rest there.&amp;quot;--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:24, 12 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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说话时已摆了果茶上来，熙凤亲自布让。又见二舅母问他：“月钱放完了没有？”熙凤道：“放完了。刚才带了人到后楼上找缎子，找了半日，也没见昨儿太太说的那个。想必太太记错了。”王夫人道：“有没有，什么要紧！”&lt;br /&gt;
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Fruits and tea had been prepared when Xifeng was talking, and she arranged them by herself. The second aunt asked her whether the monthly payment has been given out, she answered yes. “I looked for the satin in the back stairs with some people for hours just now, but didn’t find which madam mentioned yesterday. Madam must be wrong.” Wang Xifeng said, and Mrs. Wang answered, “ It doesn’t matter if there is or not.”--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 07:45, 12 December 2021 (UTC)&lt;br /&gt;
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Fruits and tea had been prepared when Xifeng was talking, and she arranged them by herself. The second aunt asked her, &amp;quot;Have the monthly payment been given out?&amp;quot; Xifeng answered, &amp;quot;Yes. And I looked for the satin in the back stairs with some people for hours just now, but didn’t find what madam mentioned yesterday. Madam mabey remember something wrong.” Mrs. Wang replied, “ It doesn’t matter if there is or not.”--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 09:03, 12 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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因又说道：“该随手拿出两个来，给你这妹妹裁衣裳啊。等晚上想着，再叫人去拿罢。”熙凤道：“我倒先料着了，知道妹妹这两日必到，我已经预备下了。等太太回去过了目，好送来。”&lt;br /&gt;
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Mrs. Wang said, &amp;quot;You should take out a couple of satin pieces to cut your sister's dress. When you think of this matter in the evening, send someone for the satin .&amp;quot; Xifeng said, &amp;quot;I expected it. I knew my sister would arrive in these two days, and I had already made preparations. I will send someone for the satin as soon as you have returned and examined it.&amp;quot;--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 08:52, 12 December 2021 (UTC)&lt;br /&gt;
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Mrs. Wang added, &amp;quot;You should take out a couple of satin pieces to cut your sister's dress. When you think of this matter in the evening, send someone for the satin .&amp;quot; Xifeng said, &amp;quot;I expected it. I knew my sister would arrive in these two days, and I had already made preparations. I will send someone for the satin as soon as you have returned and examined it.&amp;quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:58, 12 December 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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王夫人一笑，点头不语。当下茶果已撤，贾母命两个老嬷嬷带黛玉去见两个舅舅去。维时贾赦之妻邢氏忙起身笑回道：“我带了外甥女儿过去，到底便宜些。”&lt;br /&gt;
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Her Ladyship smiled, nodded and said nothing. Now the refreshments were cleared away and the Lady Dowager ordered two nurses to take Daiyu to see her two uncles. At this time, Mrs. She also immediately stood up, replied with smile, &amp;quot;it's also very convenient for me to take my niece.&amp;quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:51, 11 December 2021 (UTC)&lt;br /&gt;
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Her Ladyship smiled, nodded but  said nothing. Now the refreshments were cleared away and the Lady Dowager ordered two mothers to take Daiyu to see her two uncles. At this time, Mrs. She immediately stood up, replied with a smile, &amp;quot;it's also very convenient for me to take my niece.&amp;quot;--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:37, 12 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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贾母笑道：“正是呢，你也去罢，不必过来了。”那邢夫人答应了，遂带着黛玉，和王夫人作辞，大家送至穿堂。垂花门前早有众小厮拉过一辆翠幄青油车来，邢夫人携了黛玉坐上，众老婆们放下车帘，方命小厮们抬起。&lt;br /&gt;
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Jiamu laughed and said: “ Yeah, you can also leave, and don’t have to come here.” Ms. Xing promised, and said goodbye to Ms Wang with Daiyu, all of them went through the hallway. The ingenious green carriage, which drove by a group of manservants stood in front of the floral-pendant gates, Ms. Xing set in the car with Daiyu, several old mothers put down the car shade, instructing boys uplift the carriage. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:35, 12 December 2021 (UTC)&lt;br /&gt;
The mother laughed and said, &amp;quot;Exactly, you also go, no need to come.&amp;quot; That Mrs. Xing agreed, so took Daiyu, and Mrs. Wang to say goodbye, we sent to the wear hall. The tent green oil carriage in front of the flower gate, Mrs. Xing took Daiyu to sit on it, the wives put down the curtain, and ordered the boys to lift it.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 01:13, 13 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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拉至宽处，驾上驯骡，出了西角门往东，过荣府正门，入一黑油漆大门内，至仪门前方下了车。邢夫人挽着黛玉的手进入院中。黛玉度其处必是荣府中之花园隔断过来的。&lt;br /&gt;
Pulled to a wide place, driving on the tame mule, out of the west corner gate to the east, past the main gate of Rongfu, into a black-painted gate, to the front of the ceremony door down the car. Mrs. Xing took Daiyu's hand and entered the courtyard. The first thing you need to do is to get to the garden.&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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进入三层仪门，果见正房、厢房、游廊悉皆小巧别致，不似那边的轩峻壮丽，且院中随处之树木山石皆好。及进入正室，早有许多艳妆丽服之姬妾、丫鬟迎着。邢夫人让黛玉坐了；一面令人到外书房中请贾赦。&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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一时回来说：“老爷说了：‘连日身上不好，见了姑娘，彼此伤心，暂且不忍相见。劝姑娘不必伤怀想家，跟着老太太和舅母，是和家里一样的。姐妹们虽拙，大家一处作伴，也可以解些烦闷。或有委屈之处，只管说，别外道了才是。’”&lt;br /&gt;
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Mrs.Xing came back and said, &amp;quot;the master said, 'I've been felt not so good for days. I am afraid that I will be emotional if I see you, so I can't bear to see you for the time being. I advise you not to be homesick. It's the same as home to follow the old lady and aunt. Although the sisters are clumsy, you can relieve some boredom if you keep company together. If you have grievances, just tell us and make yourself at home.''&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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黛玉忙站起身来，一一答应了。再坐一刻便告辞，邢夫人苦留吃过饭去。黛玉笑回道：“舅母爱惜赐饭，原不应辞；只是还要过去拜见二舅舅，恐去迟了不恭，异日再领。望舅母容谅。”&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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邢夫人道：“这也罢了。”遂命两个嬷嬷用方才坐来的车送过去。于是黛玉告辞。邢夫人送至仪门前，又嘱咐了众人几句，眼看着车去了方回来。一时黛玉进入荣府，下了车，只见一条大甬路直接出大门来。&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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众嬷嬷引着，便往东转弯，走过一座东西穿堂，向南大厅之后，仪门内大院落：上面五间大正房，两边厢房，鹿顶耳房钻山，四通八达，轩昂壮丽，比各处不同。黛玉便知这方是正内室。&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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进入堂屋，抬头迎面先见一个赤金九龙青地大匾，匾上写着斗大三个字，是“荣禧堂”；后有一行小字：“某年月日书赐荣国公贾源”，又有“万幾宸翰”之宝。大紫檀雕螭案上，设着三尺多高青绿古铜鼎，悬着待漏随朝墨龙大画，一边是錾金彝，一边是玻璃盆。&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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地下两溜十六张楠木圈椅。又有一副对联，乃是乌木联牌镶着錾金字迹，道是：座上珠玑昭日月，堂前黼黻焕烟霞。下面一行小字是“世教弟勋袭东安郡王穆莳拜手书”。原来王夫人时常居坐宴息也不在这正室中，只在东边的三间耳房内。&lt;br /&gt;
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On the ground two rows of 16 nanmu armchairs. There is also a pair of couplets, ebony couplet inset with gold handwriting, it said:The pearl and jade in the seat can shine with the sun and the moon; The people in front of the lobby wearing official clothes, its colors like clouds like clouds. The next line is written by mu Shis, the hereditary king of Dongpyeong County, who is a brother who has been taught by your family for generations.For Lady Wang often sat and reposed not in this main room, but in the three eastern rooms.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 03:36, 12 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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于是嬷嬷们引黛玉进东房门来。临窗大炕上铺着猩红洋毯，正面设着大红金钱蟒引枕，秋香色金钱蟒大条褥；两边设一对梅花式洋漆小几：左边几上摆着文王鼎，鼎旁匙箸、香盒；右边几上摆着汝窑美人觚，里面插着时鲜花草。&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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地下面，西一溜四张大椅，都搭着银红撒花椅搭，底下四副脚踏；两边又有一对高几，几上茗碗、瓶花俱备。其馀陈设，不必细说。老嬷嬷让黛玉上炕坐。炕沿上却也有两个锦褥对设。&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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黛玉度其位次，便不上炕，只就东边椅上坐了。本房的丫鬟忙捧上茶来。黛玉一面吃了，打量这些丫鬟们妆饰衣裙，举止行动，果与别家不同。&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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茶未吃了，只见一个穿红绫袄、青绸掐牙背心的一个丫鬟走来笑道：“太太说，请林姑娘到那边坐罢。”老嬷嬷听了，于是又引黛玉出来，到了东廊三间小正房内。&lt;br /&gt;
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Before the tea was drunk, a servant girl wearing a red silk jacket and a green satin vest came up and smiled, &amp;quot;Mrs. Wang invited Miss Lin to come and sit over there.&amp;quot; When the old Mammy heard this, she led Daiyu out again and went to the third small main room on the east porch.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:33, 12 December 2021 (UTC)&lt;br /&gt;
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Before they drank tea over, a servant girl in a red silk jacket and a green satin vest came up and smiled, &amp;quot;Mrs. Wang invited Miss Lin to come and sit over there.&amp;quot; When the old Mammy heard this, she led Daiyu out again to the third small main room on the east porch.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:10, 12 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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正面炕上横设一张炕桌，上面堆着书籍、茶具；靠东壁面西设着半旧的青缎靠背、引枕。王夫人却坐在西边下首，亦是半旧青缎靠背、坐褥。见黛玉来了，便往东让。&lt;br /&gt;
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On the kang there was a kang table on which books and tea sets piled up. Half new backrests and pillows made of blue satins were set on the east side of the wall. However, Mrs. Wang set at the foot of the west wall where half new backrests and mattresses made of blue satins were displayed. Mrs. Wang moved to the east side when she saw Lin Daiyu come in.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:11, 12 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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黛玉心中料定这是贾政之位。因见挨炕一溜三张椅子上也搭着半旧的弹花椅袱，黛玉便向椅上坐了。王夫人再三让他上炕，他方挨王夫人坐下。王夫人因说：“你舅舅今日斋戒去了，再见罢。&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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只是有句话嘱咐你：你三个姐妹倒都极好，以后一处念书认字，学针线，或偶一玩笑，却都有个尽让的。我就只一件不放心：我有一个孽根祸胎，是家里的混世魔王，今日因往庙里还愿去，尚未回来，晚上你看见就知道了。&lt;br /&gt;
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I just have one thing to tell you: your three sisters are all very good, and in the future they will study and learn to read and write together, and learn to sew, or occasionally play jokes, but all of them will do their best. There is only one thing I am not sure about: I have a sinful child who is the evil one in my family, and he has not returned yet because he has gone to the temple to pay his respects.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 02:19, 13 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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I just want to remind you: your sisters are very kind , and in the future you will study together, and learn to read and write and learn to sew. Sometimes you will play jokes at each other, but you will be very tolerant to each other. There is only one thing I am worried about: there is a naughty boy in our family, and he has not returned yet because he has gone to the temple to redeem his wishes, you will see him in the evening.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:45, 13 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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你以后总不用理会他，你这些姐姐妹妹都不敢沾惹他的。”黛玉素闻母亲说过：“有个内侄，乃衔玉而生，顽劣异常，不喜读书，最喜在内帏厮混。外祖母又溺爱，无人敢管。”&lt;br /&gt;
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“You can ignore him later and none of your sisters dare to bother him. ” Daiyu heard from her mother: “I have a nephew, who was born with jade in his mouth. He is very naughty and don’t like to read, but prefer to play with girls. His grandma has always spoiled him so that everyone let him be. ”--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:27, 13 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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今见王夫人所说，便知是这位表兄。一面陪笑道：“舅母所说，可是衔玉而生的？在家时，记得母亲常说：这位哥哥比我大一岁，小名就叫宝玉，性虽憨顽，说待姊妹们却是极好的。&lt;br /&gt;
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What Mrs.Wang described is the cousin for sure. Daiyu said while smiling:&amp;quot; Is the person you just mentioned my cousin born with a jade? I remember when I was at home my mother often said that the cousin nicknamed Precious Jade is one year older than me. Although he is a little mischievous, he is very friendly with his sisters&amp;quot;.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 14:27, 12 December 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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况我来了，自然和姊妹们一处，弟兄们是另院别房，岂有沾惹之理？”王夫人笑道：“你不知道原故。他和别人不同，自幼因老太太疼爱，原系和姐妹们一处娇养惯了的。&lt;br /&gt;
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Now I come here,undoubtfully I live with my sisters. The brothers are in some different houses. Is there any reason to mess with them?&amp;quot; Lady King smiled and said, &amp;quot;You don't know. Unlike the others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 15:30, 13 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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若姐妹们不理他，他倒还安静些；若一日姐妹们和他多说了一句话，他心上一喜，便生出许多事来：所以嘱咐你别理会他。他嘴里一时甜言蜜语，一时有天没日，疯疯傻傻，只休信他。”黛玉一一的都答应着。&lt;br /&gt;
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“If the sisters ignore him, he is a bit quieter: if one day the sisters talk to him more, he is so happy that he will stir up many troubles: so I tell you to ignore him. He may talk sweetly for a while, and he may be crazy and silly for a while, just don't believe him.” Daiyu replied one by one.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 08:45, 13 December 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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忽见一个丫鬟来说：“老太太那里传晚饭了。”王夫人忙携了黛玉，出后房门，由后廊往西，出了角门，是一条南北甬路，南边是倒座三间小小抱厦厅，北边立着一个粉油大影壁，后有一个半大门，小小一所房屋。&lt;br /&gt;
Suddenly see a servant girl to say: &amp;quot;old lady there spread supper.&amp;quot; Lady Wang and Daiyu went out of the back door, leading from the back corridor to the west and out of the corner gate. There was a north-south corridor, with three small rooms in the south, a big screen wall of powder and oil in the north, and a small house with a half gate behind.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 13:53, 12 December 2021 (UTC)&lt;br /&gt;
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Suddenly a servant girl said, &amp;quot;the old lady has passed on dinner.&amp;quot; Lady King hurriedly took Mascara Jade Pearl out of the back door, from the back porch to the west, out of the corner door. It is a North-South corridor. In the south is the inverted three small balcony halls. In the north is a oil-powdered large shadow wall, followed by a half gate and a small house.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 12:28, 13 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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王夫人笑指向黛玉道：“这是你凤姐姐的屋子。回来你好往这里找他去，少什么东西，只管和他说就是了。”这院门上也有几个才总角的小厮，都垂手侍立。王夫人遂携黛玉穿过一个东西穿堂，便是贾母的后院了。&lt;br /&gt;
&lt;br /&gt;
Lady King smiled at Mascara Jade Pearl and said: &amp;quot;This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her.&amp;quot; On the gate of the courtyard, there were also several young boys who were only in their childhood, all standing with their hands down. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:30, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Lady King smiled at Mascara Jade Pearl and said: &amp;quot;This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her.&amp;quot; On the gate of the courtyard,there were also a few young boys on the door of this courtyard, all standing with their hands down.. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.&lt;br /&gt;
&lt;br /&gt;
==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
&lt;br /&gt;
于是进入后房门，已有许多人在此伺候，见王夫人来，方安设桌椅；贾珠之妻李氏捧杯，熙凤安箸，王夫人进羹。贾母正面榻上独坐，两旁四张空椅。熙凤忙拉黛玉在左边第一张椅子上坐下，黛玉十分推让。&lt;br /&gt;
&lt;br /&gt;
So they entered the back room, where many people were already waiting, and when they saw  Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup,  Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 00:57, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
So they entered the back room, where many people were already waiting, and when they saw  Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup,  Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 03:42, 13 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
&lt;br /&gt;
贾母笑道：“你舅母和嫂子们是不在这里吃饭的。你是客，原该这么坐。”黛玉方告了坐，就坐了。贾母命王夫人也坐了。迎春姊妹三个告了坐，方上来：迎春坐右手第一，探春左第二，惜春右第二。&lt;br /&gt;
&lt;br /&gt;
Mrs. Jia said with a smile, &amp;quot;your aunt and sister-in-law don't eat here. You are a guest. You should have sat here.&amp;quot; Daiyu then sat down. Jia Mu ordered Mrs. Wang to sit down. The three sisters of Yingchun sat down：Yingchun sat first on the right hand, Tanchun second on the left, and Xi Chun second on the right.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:36, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Mrs. Jia said with a smile, &amp;quot;your aunts and sisters-in-law don't eat here. You are a guest. You should have sat here.&amp;quot; Daiyu then sat down. Mrs. Jia ordered Mrs. Wang to sit down. The three sisters of Yingchun were asked to sit down: Yingchun sat first on the right hand, Tanchun second on the left, and Xi Chun second on the right.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:02, 12 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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旁边丫鬟执着拂尘、漱盂、巾帕，李纨、凤姐立于案边布让；外间伺候的媳妇、丫鬟虽多，却连一声咳嗽不闻。饭毕，各各有丫鬟用小茶盘捧上茶来。当日林家教女以惜福养身，每饭后必过片时方吃茶，不伤脾胃；&lt;br /&gt;
&lt;br /&gt;
Standing at the table, the servant girls held the horsetail whisks, vessels for mouthwash and handkerchiefs. Li Wan and Wang Xifeng sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. The daughter of Lin Ruhai, Lin Daiyu took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 01:55, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
The servant girls are standing at the table with the horsetail whisks, vessels for mouthwash and handkerchiefs. Li Wan and Wang Xifeng sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. The daughter of Lin Ruhai, Lin Daiyu took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 09:23, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
&lt;br /&gt;
今黛玉见了这里许多规矩不似家中，也只得随和些。接了茶，又有人捧过漱盂来，黛玉也漱了口，又盥手毕。然后又捧上茶来，这方是吃的茶。贾母便说：“你们去罢，让我们自在说说话儿。”&lt;br /&gt;
Now Daiyu saw many rules here are not like the rules of her home. She was also easy-going. After receiving the tea, someone else took a gargle bowl for her. Daiyu also rinsed her mouth and finished washing her hands again. Then tea which was for drinking was brought in. Then Mother Jia said to servants , &amp;quot;You all go and let's have a talk in our own comfort.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Now Daiyu saw many rules here are not like the rules of her home.  She can only be easygoing. She caught the teacup. Some domestics came over with a mouthwash basin. Daiyu gargled and washed her hands. Then the servant brought back tea, and this was tea for drinking.Then Grandma Merchant said to servant, &amp;quot;You all go and let's have a talk in our own comfort.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 10:47, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
&lt;br /&gt;
王夫人遂起身，又说了两句闲话儿，方引李、凤二人去了。贾母因问黛玉念何书，黛玉道：“刚念了《四书》。”黛玉又问姊妹读何书，贾母道：“读什么书，不过认几个字罢了。”&lt;br /&gt;
&lt;br /&gt;
Lady Wang stood up and said something idle, then led Lady Li and Splendid Phoenix King to leave. When Grandma Merchant asked Daiyu what books she had read, Daiyu replied, &amp;quot;I just have read the ''Four Books''.&amp;quot; When Daiyu asked her sisters what books they read, Grandma Merchant said, &amp;quot;They don't read anything. They only know a few words.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 09:25, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
&lt;br /&gt;
一语未了，只听外面一阵脚步响，丫鬟进来报道：“宝玉来了。”黛玉心想：“这个宝玉，不知是怎样个惫懒人呢。”及至进来一看，却是位青年公子：头上戴着束发嵌宝紫金冠，齐眉勒着二龙戏珠金抹额；&lt;br /&gt;
&lt;br /&gt;
The sentence was barely out of her lips, when a continuous sounding of footsteps&lt;br /&gt;
was heard outside, and a waiting maid entered and announced that Pao-yue was&lt;br /&gt;
coming. Tai-yue was speculating in her mind how it was that this Pao-yue had&lt;br /&gt;
turned out such a good-for-nothing fellow, when he happened to walk in.&lt;br /&gt;
He was, in fact, a young man of tender years, wearing on his head, to hold his&lt;br /&gt;
hair together, a cap of gold of purplish tinge, inlaid with precious gems.&lt;br /&gt;
Parallel with his eyebrows was attached a circlet, embroidered with gold, and&lt;br /&gt;
representing two dragons snatching a pearl.&lt;br /&gt;
--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 08:36, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
After a word, only a sound of footsteps outside, the maid came in and reported: &amp;quot;Baoyu is here.&amp;quot; Daiyu thought to herself: &amp;quot;This Baoyu, I don't know what a tired lazy person.&amp;quot; When she came in, she was a young man. He wears a purple and gold crown with hair inlaid on his head, and his forehead are tied with gold frontlet（The shape is two dragons playing with pearled）.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 15:21, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
&lt;br /&gt;
一件二色金百蝶穿花大红箭袖，束着五彩丝攒花结长穗宫绦，外罩石青起花八团倭缎排穗褂；登着青缎粉底小朝靴。面若中秋之月，色如春晓之花；鬓若刀裁，眉如墨画，鼻如悬胆，睛若秋波。&lt;br /&gt;
&lt;br /&gt;
A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; it wears small green satin and powder-soled boots. The face is as round and beautiful as the moon of Mid-Autumn Festival, the complexion is like a flower of spring dawn; the temples are like a knife cut, the eyebrows are like ink painting, the nose is like a hanging gall, and the eyes are like autumn waves.&lt;br /&gt;
&lt;br /&gt;
A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; he wore small green satin and powder-soled boots. The face is as round and beautiful as the moon at mid-autumn, the complexion is like a flower of in spring; the temples as if chiselled with a knife, the eyebrows are like ink painting, the nose is like a a well-cut and shapely nose, and the eyes are like vernal waves.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:19, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
&lt;br /&gt;
虽怒时而似笑，即嗔视而有情。项上金螭缨络，又有一根五色丝绦，系着一块美玉。黛玉一见，便吃一大惊，心中想道：“好生奇怪：倒像在那里见过的，何等眼熟！”只见这宝玉向贾母请了安，贾母便命：“去见你娘来。”&lt;br /&gt;
&lt;br /&gt;
His angry look even resembled a smile; his glance was full of sentiment.Round his neck he had a gold dragon necklet with a fringe; also a cord of variegated silk, to which was attached a piece of beautiful jade. When Daiyu saw this, she was shocked.&amp;quot;How very strange.&amp;quot; she was reflecting in her mind; &amp;quot;it would seem as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;&amp;quot; Baoyu greeted Lady Dowager &amp;quot;Go and see your mother and then come back,&amp;quot; remarked her venerable ladyship.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:08, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
&lt;br /&gt;
即转身去了。一会再来时已换了冠带：头上周围一转的短发都结成小辫，红丝结束，共攒至顶中胎发，总编一根大辫，黑亮如漆，从顶至梢，一串四颗大珠，用金八宝坠脚；身上穿着银红撒花半旧大袄；仍旧带着项圈、宝玉、寄名锁、护身符等物；&lt;br /&gt;
&lt;br /&gt;
==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
&lt;br /&gt;
下面半露松绿撒花绫裤，锦边弹墨袜，厚底大红鞋。越显得面如傅粉，唇若施脂；转盼多情，语言若笑。天然一段风韵，全在眉梢；平生万种情思，悉堆眼角。看其外貌，最是极好，却难知其底细。&lt;br /&gt;
&lt;br /&gt;
==Nadia 202011080004==&lt;br /&gt;
&lt;br /&gt;
后人有《西江月》二词批的极确，词曰：&lt;br /&gt;
&lt;br /&gt;
==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
&lt;br /&gt;
无故寻愁觅恨，有时似傻如狂。&lt;br /&gt;
&lt;br /&gt;
==Mariam toure 2020GBJ002301==&lt;br /&gt;
&lt;br /&gt;
纵然生得好皮囊，腹内原来草莽。&lt;br /&gt;
&lt;br /&gt;
==Rouabah Soumaya 202121080001==&lt;br /&gt;
&lt;br /&gt;
潦倒不通庶务，愚顽怕读文章。&lt;br /&gt;
&lt;br /&gt;
I'm not able to get through general affairs, and I'm afraid of reading articles.&lt;br /&gt;
&lt;br /&gt;
==Muhammad Numan 202121080002==&lt;br /&gt;
&lt;br /&gt;
行为偏僻性乖张，那管世人诽谤。&lt;br /&gt;
He who behaves in a perverse way has no control over the slander of course.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 03:29, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Atta Ur Rahman 202121080003==&lt;br /&gt;
&lt;br /&gt;
又曰：富贵不知乐业，贫穷难耐凄凉。&lt;br /&gt;
It is also known that wealth does not know pleasure and happiness, and poverty cannot endure loneliness.&lt;br /&gt;
&lt;br /&gt;
==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
&lt;br /&gt;
可怜辜负好时光，于国于家无望。&lt;br /&gt;
&lt;br /&gt;
==Zohaib Chand 202121080005==&lt;br /&gt;
&lt;br /&gt;
天下无能第一，古今不肖无双。&lt;br /&gt;
&lt;br /&gt;
==Jawad Ahmad 202121080006==&lt;br /&gt;
&lt;br /&gt;
寄言纨袴与膏粱，莫效此儿形状。&lt;br /&gt;
&lt;br /&gt;
English; the author is to give some suggestion to playboys of high official that they do not follow the example of Jia Baoyu.&lt;br /&gt;
&lt;br /&gt;
==Nizam Uddin 202121080007==&lt;br /&gt;
&lt;br /&gt;
却说贾母见他进来，笑道：“外客没见就脱了衣裳了，还不去见你妹妹呢。”&lt;br /&gt;
&lt;br /&gt;
==Öncü 202121080008==&lt;br /&gt;
&lt;br /&gt;
宝玉早已看见了一个袅袅婷婷的女儿，便料定是林姑妈之女，忙来见礼。&lt;br /&gt;
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Baoyu had already seen a daughter with a gentle posture, thought might be the daughter of Aunt Lin, then hurried to meet her.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:17, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Akira Jantarat 202121080009==&lt;br /&gt;
&lt;br /&gt;
归了坐细看时，真是与众各别。&lt;br /&gt;
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When I look at you carefully, I think you are different.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 09:59, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
When I returned to take a closer look, it was really different. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Benjamin Wellsand 202111080118==&lt;br /&gt;
&lt;br /&gt;
只见：两弯似蹙非蹙笼烟眉，一双似喜非喜含情目。&lt;br /&gt;
&lt;br /&gt;
I saw: two bends like the frowning of smoked eyebrows, at first they seemed happy but not really happy, yet affectionate eyebrows. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
I saw: two curved eyebrows that looked like a frown, a pair of eyebrows that seemed to be happy or not. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:18, 12 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
&lt;br /&gt;
态生两靥之愁，娇袭一身之病。&lt;br /&gt;
&lt;br /&gt;
The sorrow of the two distresses, the disease of the whole body. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:17, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Ei Mon Kyaw 202111080021==&lt;br /&gt;
&lt;br /&gt;
泪光点点，娇喘微微。&lt;/div&gt;</summary>
		<author><name>Atta Ur Rahman</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211215_homework&amp;diff=132661</id>
		<title>20211215 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211215_homework&amp;diff=132661"/>
		<updated>2021-12-14T03:27:21Z</updated>

		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* Atta Ur Rahman 202121080003 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
&lt;br /&gt;
==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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鼎：古代食器。胡羼(chàn忏) ──胡闹。 羼：本义为群羊杂居。引申为杂乱不纯，乱七八糟。​&lt;br /&gt;
&lt;br /&gt;
Tripod (Ding in Chinese): ancient food utensil. Hu Chan in Chinese means nonsense. Chan in Chinese originally means that the sheep live together, whose extensive meaning is mess.&lt;br /&gt;
----&lt;br /&gt;
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Tripod: ancient food utensil. Hi Chan - nonsense. The original meaning is that sheep live together. It is extended meaning to be messy, impure and messy.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:25, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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抓──即“抓周”，亦称“试儿”、“试周”。旧俗于婴儿满周岁时，父母摆列各种小件器物，任其抓取，以测试其秉性、智愚、志趣。此俗始于江南，后亦传到北方。&lt;br /&gt;
&lt;br /&gt;
Grasping -- namely &amp;quot;grasping the week&amp;quot;, also known as &amp;quot;trying the child&amp;quot; and &amp;quot;trying the week&amp;quot;. The old custom is that when a baby reaches the age of one year, his parents arrange all kinds of small objects and let him grab them to test his temperament, intelligence and interest. This custom began in the south of the Yangtze River and later spread to the north.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:23, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Catch ─ ─ means &amp;quot;catch the week&amp;quot;, also known as &amp;quot;test&amp;quot; and &amp;quot;test week&amp;quot;. The old custom is when the baby reaches one year old, the parents arrange all kinds of small utensils and let them grab them to test their disposition, wisdom and ambition. This custom began in the south of the Yangtze River and then spread to the north.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:41, 11 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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事见北朝周·颜之推《颜氏家训·风操》：“江南风俗，儿生一期(年)，为制新衣，盥浴装饰，男则用弓矢纸笔，女则刀尺针缕(线)，并加饮食之物及珍宝服玩，置之儿前，观其发意所取，以验贪亷智愚，名之为试儿。”&lt;br /&gt;
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It is said in Yan's family instructions and customs by Yan Zhitui of the Northern Dynasty that &amp;quot;the custom in the south of the Yangtze River was born in the first year. It was to make new clothes and decorate bathrooms. Men used bows and arrows, paper and pens, women used knives, rulers, needles and threads (lines), and played with food and precious clothes. They were placed in front of their children and looked at what they wanted to take to test their greed, wisdom and stupidity. They were called test children.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:37, 11 December 2021 (UTC)&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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(宋·赵彦卫《云麓漫钞》卷二也有相同记载)又宋·叶真《爱日斋丛钞》卷一：“《玉壶野史》记曹武惠王(曹彬)始生周晬日，父母以百玩之具罗于席，观其所取。&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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武惠王左手提干戈，右手提俎豆，斯须取一印，馀无所视。曹，真定人。江南遗俗乃在此(指真定)，今俗谓试周是也。”​&lt;br /&gt;
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Lord Wuhui holds weapons with his left hand and dinnerware in his right hand.Then he looks at a seal and graps it without seeing anything else.Lord Wuhui, whose first name is Cao, comes from Zhen Ding county. The place is called Shi Zhou now, on whiche Jiang Nan's old cities lay.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:23, 14 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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致知格物──语出《礼记·大学》：“致知在格物，格物而后知至。”意谓要想获得知识，必须探究事物的道理。 致：获得，取得。&lt;br /&gt;
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Zhi Zhi Ge Wu- ''From The Book of Rites·Daxue'': &amp;quot;Zhizhi lies in Gewu, and after Gewu, knowledge arrives.&amp;quot; It means that in order to gain knowledge, one must inquire into the truth of things. Zhi: To acquire, to obtain.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:18, 12 December 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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格：推究，探究，探讨。​尧……张──尧、舜、禹、汤、文、武，即唐尧、虞舜、夏禹、成汤、周文王、周武王，是从上古至西周的明君；&lt;br /&gt;
Ge: means deduction, exploration and discussion. Yao...Zhang──Yao, Shun, Yu, Tang, Wen, Wu, namely Tang Yao, Yu Shun, Xia Yu, Cheng Tang, Emperor Wen of Zhou Dynasty, Emperor Wu of Zhou Dynasty, they are all wise emperors from ancient times to the Zhou Dynasty;--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 13:11, 11 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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周、召，即周公旦、召公奭，都是西周的贤相；孔、孟，即孔丘(通称孔子)、孟轲(通称孟子)，都是儒学的创始人；董、韩、周、程、朱、张，即汉代董仲舒、唐代韩愈、北宋周敦颐、北宋程颢和程颐兄弟、南宋朱熹、北宋张载，都是儒学理论家。&lt;br /&gt;
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Zhou, called the Duke of Zhou, and Zhao, called Duke of Shi, are both talented prime ministers (in feudal China); Kong (generally called Confucius) and Meng (generally called Mencius) are both founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 07:19, 12 December 2021 (UTC)&lt;br /&gt;
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Zhou and Zhao are respectively the Duke of Zhou and the Duke of Shi and both are talented prime ministers of the Western Zhou Dynasty; both Kong (generally called Confucius) and Meng (generally called Mencius) are  founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 08:09, 12 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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这些人皆是儒家竭力推崇的人物。蚩尤……秦桧──蚩尤、共工，都是传说中上古最凶恶的部族首领；桀、纣、始皇，即夏桀、商纣王、秦始皇，都是登峰造极的暴君；&lt;br /&gt;
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All these people are strong recommended by confucianists such as Chi You(a mythological warrior engaged in fighting with the Yellow Emperor), Qin Hui (a traitor in the Song dynasty in Chinese history)and so on. Among them both Chi You and Gong Gong (the water god in ancient Chinses history and the devil of floods) are the most ferocious tribal chief in the Chinese legend;and all Xia Jie, Shang Zhou and Qin Shi Huang, being respectively the emperor Jie of Xia Dynasty，the emperor Zhou of Shang Dynasty and the first emperor of Qin Dynasty, are extremely tyrannical.&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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王莽、曹操、桓温、安禄山、秦桧，他们分别是汉代、三国、东晋、唐代、南宋人，都是大奸臣乃至叛逆之贼。​许由……朝云──许由，传说他是上古时为了逃避帝位而终生隐居的贤人；陶潜(即陶渊明)、阮籍、嵇康、刘伶，都是魏晋时期著名文学家及不与流俗同低昂的独行之士；&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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王谢二族，指东晋王导和谢安，都是显贵；顾虎头，即顾恺之，字虎头，是东晋名画家；陈后主、唐明皇、宋徽宗，都是有才气的风流皇帝；&lt;br /&gt;
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The Two families of Wang and Xie, namely Wang Dao and Xie An, were both nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and  Emperor Huizong of Song were all talented and romantic emperors.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 10:07, 12 December 2021 (UTC)&lt;br /&gt;
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The Two families of Wang and Xie, namely Wang Dao and Xie An, were both of the nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and Emperor Huizong of Song were all talented and romantic emperors. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:02, 13 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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刘庭芝即刘希夷(字庭芝)、温飞卿即温庭筠(字飞卿)，都是唐代名诗人；米南宫即米芾(南宫为世称)，是北宋名画家；石曼卿即石延年(字曼卿)、柳蓍卿即柳永(字蓍卿)、秦少游即秦观(字少游)，都是北宋著名文学家；&lt;br /&gt;
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Liu Tingzhi, or Liu Xiyi (courtesy name Tingzhi), Wen Feiqin refers orWen Tingyun (courtesy name Feiqing) are both famous poets of the Tang Dynasty. Mi Nangong, or Mi Fu (nickname Nangong), was a famous painter of the Northern Song Dynasty; Shi Manqing, or Shi Yannian (courtesy name Manqing), Liu Yaoqing, or Liu Yong (courtesy name Yaoqing), and Qin Shaoyou, or Qin Guan (courtesy name Shaoyou), were famous literary scholars of the Northern Song Dynasty.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:03, 13 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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倪云林即倪瓒，字云林，是元代名画家；唐伯虎即唐寅(字伯虎)、祝枝山即祝允明(字枝山)，都是明代名画家、文学家；李龟年(唐代人)、黄幡绰(唐代人)、敬新磨(五代后唐人)，都是名艺人；&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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卓文君(已见第一回注)、红拂(先为隋相杨素的侍女，后私奔李靖，也是前蜀·杜光庭《虬髯客传》中的女主人公)、薛涛(唐代才妓)、崔莺(即唐·元稹《会真记》、元·王实甫《西厢记》中的崔莺莺)、朝云(宋代名妓)，他们都是以才貌流芳的名女。​&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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成则公侯败则贼──意谓成功的人便能获得公爵、侯爵之类的高官显爵，失败的人便被看作贼寇。表示世上并无公理，世人不讲是非，只论成功与失败，即只以成败论英雄。这里化用了“败则盗贼，成则帝王”。​&lt;br /&gt;
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Success makes the Duke while failure makes the theif ——which means that, If one is successful, he will be worshipped as the Duke. While one is unsuccessful, he will be despised as the thief. It expresses that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”&lt;br /&gt;
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The winner is Duke, the looser is theif means that the person who succeeded would be entitled like Duke and who failed would be dispised as a theif. It presents that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:58, 12 December 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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出自宋·邓牧《君道》：“嘻！天下何常之有？败则盗贼，成则帝王。”东床──指女婿。典出《晋书·王羲之传》、南朝宋·刘义庆《世说新语·雅量》：晋朝太尉郗鉴派人至丞相王导家相婿，王丞相令其到东厢房随意挑选。&lt;br /&gt;
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It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying &amp;quot;how can the world be immutable! The loser is the thief, and the winner is the emperor.&amp;quot;  Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography&amp;quot; and Liu Yiqing's &amp;quot;Shi Shuo Xin Yu · Elegance&amp;quot; (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an underlying to the prime minister Wang Dao's house for taking in a son-in-law, and Prime Minister Wang invite him to choose at will in the east wing.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:43, 12 December 2021 (UTC)&lt;br /&gt;
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It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying &amp;quot;how can the world be immutable! The loser is the thief, and the winner is the emperor.&amp;quot; Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography&amp;quot; and Liu Yiqing's &amp;quot;Shi Shuo Xin Yu · Elegance&amp;quot; (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an official to the prime minister Wang Dao's house choosing a son-in-law, and Prime Minister Wang invited him to choose at will in the east wing room.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:51, 12 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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此人过去一看，见王家诸郎皆很矜持，唯独王羲之坦腹躺在东床之上，毫不在乎。此人回报，郗鉴即选中王羲之为婿。后世即以“东床”、“东床坦腹”、“东床客”、“东床娇客”等代指女婿。​&lt;br /&gt;
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The man looked over and saw that all the  lords of Wang family were very reserved, except Wang Xizhi, who was lying on the east bed and didn't care, showing his belly. In return, Xi Jian chose Wang Xizhi as his son-in-law. Later generations referred to the son-in-law with &amp;quot;East Bed&amp;quot;, &amp;quot;East Bed Man Showing Belly&amp;quot;, &amp;quot;East Bed Guest&amp;quot;, &amp;quot;East Bed Distinguished Guest&amp;quot; and so on.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 04:59, 12 December 2021 (UTC)&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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退了一舍之地──意谓退避三十里。形容退居其后，不敢与争。 一舍：三十里。 这里化用了“退避三舍”之典。&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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典出《左传·僖公二十三年》：春秋时，晋国公子重耳出奔至楚，楚成王礼遇之，因问道：“公子若反(返)晋国，则何以报不谷？”重耳对曰：“若以君之灵，得反晋国，晋、楚治兵，遇于中原，其辟(避)君三舍。”&lt;br /&gt;
This story comes from ''Zuo Zhuan · Xi public twenty three years'': During the Spring and Autumn Period (777-476 BC), Childe Chong Er of the state of Jin went to the state of Chu. King Cheng of Chu gave a banquet for Chong er and asked, &amp;quot;If childe returns to the state of Jin, how will you repay me? Chong Er answered, &amp;quot;If I can return to the state of Jin, if the troops of the state of Jin and the state of Chu meet each other in the Central Plains, I will ask the troops of the state of Jin to retreat 90 li.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 06:56, 12 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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后重耳返国为君，晋、楚城濮(在今山东省鄄城县西南)之战，重耳遵守诺言，晋军果“退三舍以辟之”。&lt;br /&gt;
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第三回&lt;br /&gt;
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托内兄如海荐西宾 接外孙贾母惜孤女&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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却说雨村忙回头看时，不是别人，乃是当日同僚一案参革的张如圭。他系此地人，革后家居，今打听得都中奏准起复旧员之信，他便四下里寻情找门路，忽遇见雨村，故忙道喜。二人见了礼，张如圭便将此信告知雨村。&lt;br /&gt;
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Yue-ts'un, turning round in a hurry, perceived that the speaker was no other than a certain Chang Ju-kuei, an old colleague of his, who had been denounced and deprived of office, on account of some case or other; a native of that district, who had, since his degradation, resided in his home.Having come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could, in every nook and corner, to obtain influence, and to find the means (of righting his position,) when he, unexpectedly, came across Yue-ts'un, to whom he therefore lost no time in offering his congratulations. The two friends exchanged the conventional salutations, and Chang Ju-kuei communicated the tidings to Yue-ts'un.&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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雨村欢喜，忙忙叙了两句，各自别去回家。冷子兴听得此言，便忙献计，令雨村央求林如海，转向都中去央烦贾政。雨村领其意而别，回至馆中，忙寻邸报看真确了。次日，面谋之如海。如海道：“天缘凑巧。&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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因贱荆去世，都中家岳母念及小女无人依傍，前已遣了男女、船只来接，因小女未曾大痊，故尚未行。此刻正思送女进京。因向蒙教训之恩，未经酬报，遇此机会，岂有不尽心图报之理？弟已预筹之，修下荐书一封，托内兄务为周全，方可稍尽弟之鄙诚；&lt;br /&gt;
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Since my wife has passed away, my mother-in-law has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 08:15, 11 December 2021 (UTC)&lt;br /&gt;
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Since my wife has passed away, my mother-in-law who lives in the capital worried that my daughter has no one to rely on. So she has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:43, 12 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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即有所费，弟于内家信中写明，不劳吾兄多虑。”雨村一面打恭，谢不释口；一面又问：“不知令亲大人现居何职？只怕晚生草率，不敢进谒。”如海笑道：“若论舍亲，与尊兄犹系一家，乃荣公之孙：大内兄现袭一等将军之职，名赦，字恩侯；&lt;br /&gt;
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“As for the possible costs, I will explain in the letter. You don’t need to worry about it.” Yu Cun bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Ru Hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Origin Merchant. My eldest brother is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:38, 12 December 2021 (UTC)&lt;br /&gt;
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“As for the possible costs, I will explain in the letter. You needn’t to worry about it.” Yu Cun bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Ru Hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Ronggong. The eldest brother of my wife is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 23:46, 12 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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二内兄名政，字存周，现任工部员外郎，其为人谦恭厚道，大有祖父遗风，非膏粱轻薄之流，故弟致书烦托，否则不但有污尊兄清操，即弟亦不屑为矣。”雨村听了，心下方信了昨日子兴之言，于是又谢了林如海。&lt;br /&gt;
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“The second brother of my wife named Zheng, his style name is Cunzhou. He is the Yuanwai official of the Ministry of Works in feudal China. He is moderate and kind, has the dignity of his grandfather, and is not the flimsy type. Therefore, my brother sent a letter to me. Otherwise, I will not only pollute my brother's operation, but also despise my brother.” After hearing this, Yuchun had believed the words of Zixing yesterday, therefore, he thanked Lin Ruhai again. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 01:27, 12 December 2021 (UTC)&lt;br /&gt;
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The second brother-in-law is named Zheng, and the word is kept in Zhou. He is currently a member of the Ministry of Engineering. He is courteous and kind. He has a grandfather's legacy. He is not anointing and frivolous. Disdainful. &amp;quot;Yucun listened, and believed in Xing's words from yesterday, so he thanked Lin Ruhai again.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:12, 12 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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如海又说：“择了出月初二日小女入都，吾兄即同路而往，岂不两便？”雨村唯唯听命，心中十分得意。如海遂打点礼物并饯行之事，雨村一一领了。那女学生原不忍离亲而去，无奈他外祖母必欲其往，且兼如海说：“汝父年已半百，再无续室之意；&lt;br /&gt;
Ruhai also said: &amp;quot;I chose the girl to enter the capital on the second day of the lunar month, and my brother will go the same way. Isn't it both convenient?&amp;quot; Yucun obeyed,and RuHai was very satisfied . Ruhai then took some gifts and walked away, and Yucun took them one by one. The girl student couldn't bear to leave her relatives, but his grandmother wanted to go there. She also said like the sea: &amp;quot;Your father is half a hundred years old, and there is no intention to remarry.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:11, 12 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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且汝多病，年又极小，上无亲母教养，下无姊妹扶持。今去依傍外祖母及舅氏姊妹，正好减我内顾之忧，如何不去？”黛玉听了，方洒泪拜别，随了奶娘及荣府中几个老妇登舟而去。雨村另有船只，带了两个小童，依附黛玉而行。&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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一日到了京都，雨村先整了衣冠，带着童仆，拿了宗侄的名帖，至荣府门上投了。彼时贾政已看了妹丈之书，即忙请入相会。见雨村相貌魁伟，言谈不俗；且这贾政最喜的是读书人，礼贤下士，拯溺救危，大有祖风；况又系妹丈致意：因此优待雨村，更又不同。&lt;br /&gt;
One day, when YuCun arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At this time Jia Zheng had seen his brother-in-law's letter, immediately invited him to come in to meet. Yucun looked tall and handsome and talked well. And Jia Zheng most like scholar, courtesy, saving, great predecessors style; Therefore, Jia Zheng is very good to Yucun. He is different from others.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 08:18, 11 December 2021 (UTC)&lt;br /&gt;
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One day, when YuCun arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At this time Jia Zheng had received  his brother-in-law's letter, immediately invited him to come in to meet. Yucun looked tall and handsome and talked well. And Jia Zheng most like scholar, courtesy, saving, great predecessors style; Therefore, Jia Zheng is very good to Yucun. He is different from others.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 11:51, 13 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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便极力帮助，题奏之日，谋了一个复职。不上两月，便选了金陵应天府，辞了贾政，择日到任去了，不在话下。且说黛玉自那日弃舟登岸时，便有荣府打发轿子并拉行李车辆伺候。这黛玉尝听得母亲说，他外祖母家与别人家不同。&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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他近日所见的这几个三等的仆妇，吃穿用度，已是不凡；何况今至其家，都要步步留心，时时在意，不要多说一句话，不可多行一步路，恐被人耻笑了去。自上了轿，进了城，从纱窗中瞧了一瞧，其街市之繁华，人烟之阜盛，自非别处可比。&lt;br /&gt;
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In the past few days, she has been deeply impressed by the food, clothing and behavior of the low- ranking attendants who accompanied her. She decided that in their new home, she must always be vigilant and carefully weigh every word so as not to be ridiculed for any stupid mistake. When she carried into the city, she peeped out through the gauze window on her chair at the bustling and crowded streets, which she had never seen before.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 08:32, 11 December 2021 (UTC)&lt;br /&gt;
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The three-class servants she had seen recently have an extraordinary cost of food and clothing. What's more, since got on the sedan chair and entered the city, the prosperous market and the populousness of the city through the screen window were not comparable to other places. when coming to grandmother's mansion must pay attention to every step and be cautious with words so as not to be ridiculed by others. Daiyu thought.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:56, 12 December 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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又行了半日，忽见街北蹲着两个大石狮子，三间兽头大门，门前列坐着十来个华冠丽服之人。正门不开，只东、西两角门有人出入。正门之上有一匾，匾上大书“敕造宁国府”五个大字。黛玉想道：“这是外祖的长房了。”&lt;br /&gt;
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After half day, there are two large stone lions squatting on the north side of the street, three gates decorated with beast head, and a dozen people in gorgeous crowns and clothes are sitting in front of the gate. The main gate is closing, only the east and west corners enterences are accessible. There is a plaque above the main gate with five big characters &amp;quot;Ningguo Mansion&amp;quot;.  &amp;quot;That must be grandfather's the first son's mansion.&amp;quot;Daiyu thought.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:39, 12 December 2021 (UTC)Liu Wei&lt;br /&gt;
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After another half-day walk, they came to a street with two huge stone lions crouching on the north side and three gates decorated with beast head, in front of which ten or more people in gorgeous crowns and clothes were sitting. The main gate was shut, with only people passing in and out of the other two smaller gates. On a board above the main gate was written in big characters &amp;quot;Ningguo Mansion Built at Imperial Command&amp;quot;. Daiyu realized that this must be where the elder branch of her grandmather's family lived.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:40, 13 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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又往西不远，照样也是三间大门，方是荣国府，却不进正门，只由西角门而进。轿子抬着走了一箭之远，将转弯时便歇了轿，后面的婆子也都下来了。另换了四个眉目秀洁的十七八岁的小厮上来抬着轿子，众婆子步下跟随。&lt;br /&gt;
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A little further to the west they came to another three gates. This was the Rong Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:09, 12 December 2021 (UTC)&lt;br /&gt;
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Not far to the west is the same three-room gate, which is the Rongguo Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:26, 12 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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至一垂花门前落下，那小厮俱肃然退出。众婆子上前打起轿帘，扶黛玉下了轿。黛玉扶着婆子的手，进了垂花门，两边是超手游廊，正中是穿堂，当地放着一个紫檀架子大理石屏风。转过屏风，小小三间厅房。&lt;br /&gt;
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When the palanquin was dropped in front of a pendant door, the attendants all retired in silence. The ladies came forward and raised the curtain of the palanquin and helped Daiyu out of the palanquin. The two sides of the door are overhand corridors, and the centre is a hall with a marble screen on a rosewood frame. Turning past the screen, there is a small three-room hall.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:22, 12 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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厅后便是正房大院：正面五间上房，皆是雕梁画栋；两边穿山游廊、厢房，挂着各色鹦鹉、画眉等雀鸟。台阶上坐着几个穿红着绿的丫头，一见他们来了，都笑迎上来道：“刚才老太太还念诵呢，可巧就来了。”于是三四人争着打帘子。一面听得人说：“林姑娘来了。”&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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黛玉方进房，只见两个人扶着一位鬓发如银的老母迎上来。黛玉知是外祖母了，正欲下拜，早被外祖母抱住，搂入怀中，“心肝儿肉”叫着大哭起来。当下侍立之人无不下泪，黛玉也哭个不休。众人慢慢解劝，那黛玉方拜见了外祖母。&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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贾母方一一指与黛玉道：“这是你大舅母。这是二舅母。这是你先前珠大哥的媳妇珠大嫂子。”黛玉一一拜见。贾母又说：“请姑娘们。今日远客来了，可以不必上学去。”众人答应了一声，便去了两个。&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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不一时，只见三个奶妈并五六个丫鬟，拥着三位姑娘来了：第一个肌肤微丰，身材合中，腮凝新荔，鼻腻鹅脂，温柔沉默，观之可亲；第二个削肩细腰，长挑身材，鸭蛋脸儿，俊眼修眉，顾盼神飞，文彩精华，见之忘俗；&lt;br /&gt;
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In a little while, three grannies and five or six servant girls turned up, clustering with three ladies. The first was somewhere plump in figure and of average height; her cheek was in beautiful shape, like a fresh lichee; her nose was glossy like the goose grease; she was gentle and quiet in nature, who looks very friendly. The second  was thin and tall with an oval face, sparking eyes and long eyebrows; her elegance and quick-witted mind tickle people’s fancy, letting them forget everything vulgar.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 08:11, 11 December 2021 (UTC)&lt;br /&gt;
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After a while, the three young ladies showed up, escorted by three wet nurses and five or six maids. The first was slightly plump and of medium height; her cheeks were as smooth and soft as the newly ripened lichees, and her nose was as glossy as goose fat. She was tender and reticent, and looked very affable. The second had drooping shoulders and a slender waist; she was tall and slim, with an oval face, bright and piercing eyes as well as delicate eyebrows. She seemed elegant, quick-witted and in high spirits, with a display of distinctive charm. People who looked at her were to forget everything vulgar and tawdry.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 23:42, 11 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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第三个身量未足，形容尚小：其钗环裙袄，三人皆是一样的妆束。黛玉忙起身，迎上来见礼，互相厮认，归了坐位。丫鬟送上茶来。不过叙些黛玉之母如何得病，如何请医服药，如何送死发丧。不免贾母又伤感起来，因说：“我这些女孩儿，所疼的独有你母亲。&lt;br /&gt;
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The third one was not yet fully grown, and she still had the face of a child. All the three young ladies were dressed in similar garments, that is, the tunics and the skirts with the same bracelets and head ornaments. Daiyu hastily rose to greet politely these cousins, and then they introduced to and acquainted with each other, after which they took seats while the maids served the tea. All their talk now was about Daiyu's mother: the culprit for her illness, the medicine that the doctors prescribed for treating her disease, and the conduction of her funeral and mourning ceremonies. Inevitably, the Lady Dowager couldn't help being affected painfully. &amp;quot;Of all my chilren I loved your mother best,&amp;quot; she told Daiyu.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 07:49, 11 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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今一旦先我而亡，不得见面，怎不伤心！”说着，携了黛玉的手，又哭起来。众人都忙相劝慰，方略略止住。众人见黛玉年纪虽小，其举止言谈不俗；身体面貌虽弱不胜衣，却有一段风流态度，便知他有不足之症。&lt;br /&gt;
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Once she died before me, I could not see her again. She said, taking Daiyu's hand, and cried again. Everyone was busy trying to console her, and soon she slightly stopped. They saw that although Daiyu was young, her manner and speech were not ordinary; although her health was weak, she had graceful and elegant manner, so they knew that she had a disease of deficiency.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 08:43, 11 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;Once she died before me, it is so sad that I could not see her again.&amp;quot; she said, taking Daiyu's hand, and cried again. Everyone was trying to console her, and then she slightly stopped. They saw that although Daiyu was young, her manner and speech were not ordinary; although she was weak, she had graceful and elegant gestures, so they learned that she had a disease of deficiency.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:35, 12 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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因问：“常服何药？为何不治好了？”黛玉道：“我自来如此，从会吃饭时便吃药到如今了，经过多少名医，总未见效。那一年我才三岁，记得来了一个癞头和尚，说要化我去出家，我父母自是不从。&lt;br /&gt;
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So they asked:&amp;quot; What medicine do you usually take? Why doesn't it work?&amp;quot; Daiyu replied:&amp;quot; I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous daocters cannot contribute to my illness.When I was three years old, a monk with favus on the head came to persuade me to become a nun,but my parents declined him.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 08:07, 11 December 2021 (UTC)&lt;br /&gt;
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They then asked, &amp;quot;What medicines do you take regularly? Why can't you cure your illness?&amp;quot; Daiyu said, &amp;quot;I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous docters cannot contribute to my illness. I was only three years old when I remember a mangy monk came and said he wanted to convert me to a monk, but my parents refused.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:29, 13 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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他又说：‘既舍不得他，但只怕他的病，一生也不能好的；若要好时，除非从此以后，总不许见哭声，除父母之外，凡有外亲，一概不见，方可平安了此一生。’这和尚疯疯癫癫，说了这些不经之谈，也没人理他。&lt;br /&gt;
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The monk said, &amp;quot;if you can't bear to part with her she'll probably nerver get well. The only remedy is to keep her from hearing weeping and from seeing any relatives apart from her father and mother. That's her only hope of having a quiet life.&amp;quot; No one paid any attention, of course, to such crazy talk.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:24, 13 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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如今还是吃人参养荣丸。”贾母道：“这正好，我这里正配丸药呢，叫他们多配一料就是了。”一语未完，只听后院中有笑语声，说：“我来迟了，没得迎接远客。”黛玉思忖道：“这些人个个皆敛声屏气如此，这来者是谁，这样放诞无礼？”&lt;br /&gt;
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Now Lin Daiyu is still taking ginseng pills.And Grandma Jia said:&amp;quot; What a coincidence! The pills are making now, I just tell them to add one.&amp;quot; The words have not been finished, but there is a laugh in the back yard, which said:&amp;quot; I come late and fail to welcome our distinguished guest.&amp;quot; Daiyu thought: all people here are holding their breath, who is this person that is so arrogant and rude?--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 08:19, 11 December 2021 (UTC)&lt;br /&gt;
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Now Lin Daiyu is still taking ginseng pills. And Grandmother Jia said:&amp;quot; It just so happens that I have been asking them to dispense the pills, just asking them to do one more portion.&amp;quot; The words are not  finished, but there is a laugh in the back yard, which said:&amp;quot; I am late and fail to welcome our distinguished guest.&amp;quot; Daiyu thought: “all people here are holding their breath, who is this person that is so arrogant and rude?”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:33, 12 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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心下想时，只见一群媳妇、丫鬟拥着一个丽人，从后房进来。这个人打扮与姑娘们不同，彩绣辉煌，恍若神妃仙子：头上戴着金丝八宝攒珠髻，绾着朝阳五凤挂珠钗；项上戴着赤金盘螭缨络圈；身上穿着缕金百蝶穿花大红云缎窄褃袄，外罩五彩刻丝石青银鼠褂；&lt;br /&gt;
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While Lin Daiyu is still thinking about it, a group of daughters-in-law and maids cluster around a beauty coming in from the back room. She dresses up differently from other girls, with colorful embroidery splendor, and looks like a divine concubine or a fairy: wearing a gold silk beads bun decorated with eight treasures and the five phoenix hairpin hanging with beads on the head; a red gold coiled chi dragon tassel ring around the neck; the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and the outer coat with decorations of the multicolored engraved silk stone green silver mouse.  --[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:34, 12 December 2021 (UTC)&lt;br /&gt;
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Lin Daiyu was still thinking about it when she saw a group of daughters-in-law and maids embracing a beautiful woman who came in from the back room. This woman dresses differently from the girls,  with colorful embroidery splendor,  and looks like a divine concubine fairy: wearing a gold silk eight treasure save beads bun and the sunrise five phoenix hanging beads hairpin on the head; a red gold coiled chi dragon tassel ring around the neck; wearing the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and  the outer coat with decorations of the multicolored engraved silk stone green silver mouse.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:47, 11 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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下着翡翠撒花洋绉裙。一双丹凤三角眼，两弯柳叶吊梢眉。身量苗条，体格风骚。粉面含春威不露，丹唇未启笑先闻。黛玉连忙起身接见。贾母笑道：“你不认得他。他是我们这里有名的一个泼辣货，南京所谓‘辣子’，你只叫他‘凤辣子’就是了。”&lt;br /&gt;
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Wang Xifeng wore a jadeite flowered dress underneath, with a pair of phoenix triangle eyes and two curved willow hanging eyebrows. Her figure is slim and her physique is flirtatious. She can be described with “ the face is delicate and beautiful, spirited character of her is not revealed in the appearance, red lips beautiful, not yet open mouth first heard her laugh”. Lin Daiyu hastily got up to curtsy to  her. Lady Dowager said with a smile, &amp;quot;You do not recognize her. She is famous for her boldness and vigorousness  here, she is truly the 'chilli woman' in Nanjing dialect, you can just call her ' chilli Feng'.&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:35, 11 December 2021 (UTC)&lt;br /&gt;
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Wang Xifeng, characterized by a pair of phoenix triangle eyes and two curved willow hanging eyebrows, wore an emerald flowered crepe skirt. She was slender and coquettish, with a delicate face and a smiling lip. Daiyu promptly rose quickly to greet her. Lady Dowager said with a smile: “ you don’t know him. He is famous for her fierceness and toughness, namely the so-called Nanjing chilli. So you can just call him ‘Chilli Feng’.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:48, 11 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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黛玉正不知以何称呼，众姊妹都忙告诉黛玉道：“这是琏二嫂子。”黛玉虽不曾识面，听见他母亲说过：大舅贾赦之子贾琏，娶的就是二舅母王氏的内侄女，自幼假充男儿教养，叫做王熙凤学名。黛玉忙陪笑见礼，以“嫂”呼之。&lt;br /&gt;
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Daiyu was insensible of what to call her. Then her sisters told her promptly: “ this is your sister-in-law Lian Er.” Although Daiyu had never met her, she heard of her from his mother: Jia Lian, the son of her Uncle Jia She, had married the niece of Aunt Wang, named scientifically Wang Xifeng, was brought up as a male offspring since childhood. Daiyu was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:32, 11 December 2021 (UTC)&lt;br /&gt;
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Daiyu didn't know what to call her. Then her sisters told her promptly: “This is your sister-in-law Lian Er.” Although Daiyu had never met her, she heard of her from his mother: Jia Lian, the son of her Uncle Jia She, had married the niece of Aunt Wang.She was brought up as a male offspring since childhood and her academic name is Wang Xifeng. Daiyu was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:55, 13 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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这熙凤携着黛玉的手，上下细细打量了一回，便仍送至贾母身边坐下，因笑道：“天下真有这样标致人儿！我今日才算看见了。况且这通身的气派，竟不像老祖宗的外孙女儿，竟是嫡亲的孙女儿似的，怨不得老祖宗天天嘴里心里放不下。&lt;br /&gt;
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Taking Daiyu's hand, Xifeng looked up and down her carefully, then she sent her to Mother Jia's side to sit down.She laughed and said:&amp;quot;There is really such a beautiful person in the world!I didn't see her until today.Moreover,the style of her makes her be more like your son's daughter than your daughter's daughter.It's no wonder that you are concerned about her so much.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:49, 13 December 2021 (UTC)&lt;br /&gt;
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Taking Daiyu's hand, Xifeng looked her up and down carefully, then sent her to Mother Jia's side to sit down. She laughed and said:&amp;quot;There is really such a beautiful person in the world! I haven’t seen her until today. Moreover, her extraordinary temperament makes her be more like your son's daughter rather than your daughter's daughter. It's no wonder that you are concerned about her so much. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 06:48, 13 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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只可怜我这妹妹这么命苦，怎么姑妈偏就去世了呢？”说着便用帕拭泪。贾母笑道：“我才好了，你又来招我；你妹妹远路才来，身子又弱，也才劝住了：快别再提了。”&lt;br /&gt;
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I pity my sister for being so miserable, how could my aunt died so early?&amp;quot; She said, wiping her tears with her handkerchief. Grandma Jia laughed and said, &amp;quot;I've just recovered. You come to provoke me again. Your sister has just arrived from a long journey and is weak, so she has just been persuaded: Don't mention it again.&amp;quot;--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 02:37, 12 December 2021 (UTC)&lt;br /&gt;
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I pity my sister who is so miserable, how could my aunt have died?&amp;quot; She said, wiping her tears with her handkerchief. Your sister has only just arrived from a long journey and is weak, so she has only just been persuaded to stop talking about it.&amp;quot;--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:22, 11 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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熙凤听了，忙转悲为喜道：“正是呢，我一见了妹妹，一心都在他身上，又是喜欢，又是伤心，竟忘了老祖宗了。该打，该打！”又忙拉着黛玉的手问道：“妹妹几岁了？可也上过学？现吃什么药？在这里别想家。&lt;br /&gt;
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The first time I saw my sister, I was all over him, and I liked him, and I was sad, and I forgot about my ancestors. You should be beaten, you should be beaten!&amp;quot; He also took Daiyu's hand and asked, &amp;quot;How old is my sister? How old is she? What kind of medicine do you take now? Don't be homesick here.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:21, 11 December 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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要什么吃的，什么玩的，只管告诉我；丫头、老婆们不好，也只管告诉我。”黛玉一一答应。一面熙凤又问人：“林姑娘的东西可搬进来了？带了几个人来？你们赶早打扫两间屋子，叫他们歇歇儿去。”&lt;br /&gt;
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Just tell me what you want to eat and play; Girls and old servants are not good, just tell me. &amp;quot; Daiyu nodded one by one. On one side, Xifeng asked, &amp;quot;have you moved in Miss Lin's things? How many people have you brought? Clean the two rooms early and tell them to have a rest.&amp;quot;--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 06:54, 12 December 2021 (UTC)&lt;br /&gt;
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Tell me what you want to eat and play; And if the maids or old nurses aren't good to you, just let me know. &amp;quot; Daiyu nodded one by one. At the same time, Xifeng asked, &amp;quot;Have Miss Lin's things been moved in? And how many people does she bring? Clean the two rooms as soon as possible and tell them to have a rest there.&amp;quot;--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:24, 12 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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说话时已摆了果茶上来，熙凤亲自布让。又见二舅母问他：“月钱放完了没有？”熙凤道：“放完了。刚才带了人到后楼上找缎子，找了半日，也没见昨儿太太说的那个。想必太太记错了。”王夫人道：“有没有，什么要紧！”&lt;br /&gt;
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Fruits and tea had been prepared when Xifeng was talking, and she arranged them by herself. The second aunt asked her whether the monthly payment has been given out, she answered yes. “I looked for the satin in the back stairs with some people for hours just now, but didn’t find which madam mentioned yesterday. Madam must be wrong.” Wang Xifeng said, and Mrs. Wang answered, “ It doesn’t matter if there is or not.”--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 07:45, 12 December 2021 (UTC)&lt;br /&gt;
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Fruits and tea had been prepared when Xifeng was talking, and she arranged them by herself. The second aunt asked her, &amp;quot;Have the monthly payment been given out?&amp;quot; Xifeng answered, &amp;quot;Yes. And I looked for the satin in the back stairs with some people for hours just now, but didn’t find what madam mentioned yesterday. Madam mabey remember something wrong.” Mrs. Wang replied, “ It doesn’t matter if there is or not.”--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 09:03, 12 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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因又说道：“该随手拿出两个来，给你这妹妹裁衣裳啊。等晚上想着，再叫人去拿罢。”熙凤道：“我倒先料着了，知道妹妹这两日必到，我已经预备下了。等太太回去过了目，好送来。”&lt;br /&gt;
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Mrs. Wang said, &amp;quot;You should take out a couple of satin pieces to cut your sister's dress. When you think of this matter in the evening, send someone for the satin .&amp;quot; Xifeng said, &amp;quot;I expected it. I knew my sister would arrive in these two days, and I had already made preparations. I will send someone for the satin as soon as you have returned and examined it.&amp;quot;--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 08:52, 12 December 2021 (UTC)&lt;br /&gt;
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Mrs. Wang added, &amp;quot;You should take out a couple of satin pieces to cut your sister's dress. When you think of this matter in the evening, send someone for the satin .&amp;quot; Xifeng said, &amp;quot;I expected it. I knew my sister would arrive in these two days, and I had already made preparations. I will send someone for the satin as soon as you have returned and examined it.&amp;quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:58, 12 December 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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王夫人一笑，点头不语。当下茶果已撤，贾母命两个老嬷嬷带黛玉去见两个舅舅去。维时贾赦之妻邢氏忙起身笑回道：“我带了外甥女儿过去，到底便宜些。”&lt;br /&gt;
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Her Ladyship smiled, nodded and said nothing. Now the refreshments were cleared away and the Lady Dowager ordered two nurses to take Daiyu to see her two uncles. At this time, Mrs. She also immediately stood up, replied with smile, &amp;quot;it's also very convenient for me to take my niece.&amp;quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:51, 11 December 2021 (UTC)&lt;br /&gt;
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Her Ladyship smiled, nodded but  said nothing. Now the refreshments were cleared away and the Lady Dowager ordered two mothers to take Daiyu to see her two uncles. At this time, Mrs. She immediately stood up, replied with a smile, &amp;quot;it's also very convenient for me to take my niece.&amp;quot;--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:37, 12 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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贾母笑道：“正是呢，你也去罢，不必过来了。”那邢夫人答应了，遂带着黛玉，和王夫人作辞，大家送至穿堂。垂花门前早有众小厮拉过一辆翠幄青油车来，邢夫人携了黛玉坐上，众老婆们放下车帘，方命小厮们抬起。&lt;br /&gt;
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Jiamu laughed and said: “ Yeah, you can also leave, and don’t have to come here.” Ms. Xing promised, and said goodbye to Ms Wang with Daiyu, all of them went through the hallway. The ingenious green carriage, which drove by a group of manservants stood in front of the floral-pendant gates, Ms. Xing set in the car with Daiyu, several old mothers put down the car shade, instructing boys uplift the carriage. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:35, 12 December 2021 (UTC)&lt;br /&gt;
The mother laughed and said, &amp;quot;Exactly, you also go, no need to come.&amp;quot; That Mrs. Xing agreed, so took Daiyu, and Mrs. Wang to say goodbye, we sent to the wear hall. The tent green oil carriage in front of the flower gate, Mrs. Xing took Daiyu to sit on it, the wives put down the curtain, and ordered the boys to lift it.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 01:13, 13 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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拉至宽处，驾上驯骡，出了西角门往东，过荣府正门，入一黑油漆大门内，至仪门前方下了车。邢夫人挽着黛玉的手进入院中。黛玉度其处必是荣府中之花园隔断过来的。&lt;br /&gt;
Pulled to a wide place, driving on the tame mule, out of the west corner gate to the east, past the main gate of Rongfu, into a black-painted gate, to the front of the ceremony door down the car. Mrs. Xing took Daiyu's hand and entered the courtyard. The first thing you need to do is to get to the garden.&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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进入三层仪门，果见正房、厢房、游廊悉皆小巧别致，不似那边的轩峻壮丽，且院中随处之树木山石皆好。及进入正室，早有许多艳妆丽服之姬妾、丫鬟迎着。邢夫人让黛玉坐了；一面令人到外书房中请贾赦。&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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一时回来说：“老爷说了：‘连日身上不好，见了姑娘，彼此伤心，暂且不忍相见。劝姑娘不必伤怀想家，跟着老太太和舅母，是和家里一样的。姐妹们虽拙，大家一处作伴，也可以解些烦闷。或有委屈之处，只管说，别外道了才是。’”&lt;br /&gt;
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Mrs.Xing came back and said, &amp;quot;the master said, 'I've been felt not so good for days. I am afraid that I will be emotional if I see you, so I can't bear to see you for the time being. I advise you not to be homesick. It's the same as home to follow the old lady and aunt. Although the sisters are clumsy, you can relieve some boredom if you keep company together. If you have grievances, just tell us and make yourself at home.''&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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黛玉忙站起身来，一一答应了。再坐一刻便告辞，邢夫人苦留吃过饭去。黛玉笑回道：“舅母爱惜赐饭，原不应辞；只是还要过去拜见二舅舅，恐去迟了不恭，异日再领。望舅母容谅。”&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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邢夫人道：“这也罢了。”遂命两个嬷嬷用方才坐来的车送过去。于是黛玉告辞。邢夫人送至仪门前，又嘱咐了众人几句，眼看着车去了方回来。一时黛玉进入荣府，下了车，只见一条大甬路直接出大门来。&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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众嬷嬷引着，便往东转弯，走过一座东西穿堂，向南大厅之后，仪门内大院落：上面五间大正房，两边厢房，鹿顶耳房钻山，四通八达，轩昂壮丽，比各处不同。黛玉便知这方是正内室。&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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进入堂屋，抬头迎面先见一个赤金九龙青地大匾，匾上写着斗大三个字，是“荣禧堂”；后有一行小字：“某年月日书赐荣国公贾源”，又有“万幾宸翰”之宝。大紫檀雕螭案上，设着三尺多高青绿古铜鼎，悬着待漏随朝墨龙大画，一边是錾金彝，一边是玻璃盆。&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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地下两溜十六张楠木圈椅。又有一副对联，乃是乌木联牌镶着錾金字迹，道是：座上珠玑昭日月，堂前黼黻焕烟霞。下面一行小字是“世教弟勋袭东安郡王穆莳拜手书”。原来王夫人时常居坐宴息也不在这正室中，只在东边的三间耳房内。&lt;br /&gt;
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On the ground two rows of 16 nanmu armchairs. There is also a pair of couplets, ebony couplet inset with gold handwriting, it said:The pearl and jade in the seat can shine with the sun and the moon; The people in front of the lobby wearing official clothes, its colors like clouds like clouds. The next line is written by mu Shis, the hereditary king of Dongpyeong County, who is a brother who has been taught by your family for generations.For Lady Wang often sat and reposed not in this main room, but in the three eastern rooms.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 03:36, 12 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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于是嬷嬷们引黛玉进东房门来。临窗大炕上铺着猩红洋毯，正面设着大红金钱蟒引枕，秋香色金钱蟒大条褥；两边设一对梅花式洋漆小几：左边几上摆着文王鼎，鼎旁匙箸、香盒；右边几上摆着汝窑美人觚，里面插着时鲜花草。&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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地下面，西一溜四张大椅，都搭着银红撒花椅搭，底下四副脚踏；两边又有一对高几，几上茗碗、瓶花俱备。其馀陈设，不必细说。老嬷嬷让黛玉上炕坐。炕沿上却也有两个锦褥对设。&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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黛玉度其位次，便不上炕，只就东边椅上坐了。本房的丫鬟忙捧上茶来。黛玉一面吃了，打量这些丫鬟们妆饰衣裙，举止行动，果与别家不同。&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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茶未吃了，只见一个穿红绫袄、青绸掐牙背心的一个丫鬟走来笑道：“太太说，请林姑娘到那边坐罢。”老嬷嬷听了，于是又引黛玉出来，到了东廊三间小正房内。&lt;br /&gt;
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Before the tea was drunk, a servant girl wearing a red silk jacket and a green satin vest came up and smiled, &amp;quot;Mrs. Wang invited Miss Lin to come and sit over there.&amp;quot; When the old Mammy heard this, she led Daiyu out again and went to the third small main room on the east porch.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:33, 12 December 2021 (UTC)&lt;br /&gt;
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Before they drank tea over, a servant girl in a red silk jacket and a green satin vest came up and smiled, &amp;quot;Mrs. Wang invited Miss Lin to come and sit over there.&amp;quot; When the old Mammy heard this, she led Daiyu out again to the third small main room on the east porch.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:10, 12 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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正面炕上横设一张炕桌，上面堆着书籍、茶具；靠东壁面西设着半旧的青缎靠背、引枕。王夫人却坐在西边下首，亦是半旧青缎靠背、坐褥。见黛玉来了，便往东让。&lt;br /&gt;
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On the kang there was a kang table on which books and tea sets piled up. Half new backrests and pillows made of blue satins were set on the east side of the wall. However, Mrs. Wang set at the foot of the west wall where half new backrests and mattresses made of blue satins were displayed. Mrs. Wang moved to the east side when she saw Lin Daiyu come in.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:11, 12 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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黛玉心中料定这是贾政之位。因见挨炕一溜三张椅子上也搭着半旧的弹花椅袱，黛玉便向椅上坐了。王夫人再三让他上炕，他方挨王夫人坐下。王夫人因说：“你舅舅今日斋戒去了，再见罢。&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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只是有句话嘱咐你：你三个姐妹倒都极好，以后一处念书认字，学针线，或偶一玩笑，却都有个尽让的。我就只一件不放心：我有一个孽根祸胎，是家里的混世魔王，今日因往庙里还愿去，尚未回来，晚上你看见就知道了。&lt;br /&gt;
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I just have one thing to tell you: your three sisters are all very good, and in the future they will study and learn to read and write together, and learn to sew, or occasionally play jokes, but all of them will do their best. There is only one thing I am not sure about: I have a sinful child who is the evil one in my family, and he has not returned yet because he has gone to the temple to pay his respects.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 02:19, 13 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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I just want to remind you: your sisters are very kind , and in the future you will study together, and learn to read and write and learn to sew. Sometimes you will play jokes at each other, but you will be very tolerant to each other. There is only one thing I am worried about: there is a naughty boy in our family, and he has not returned yet because he has gone to the temple to redeem his wishes, you will see him in the evening.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:45, 13 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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你以后总不用理会他，你这些姐姐妹妹都不敢沾惹他的。”黛玉素闻母亲说过：“有个内侄，乃衔玉而生，顽劣异常，不喜读书，最喜在内帏厮混。外祖母又溺爱，无人敢管。”&lt;br /&gt;
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“You can ignore him later and none of your sisters dare to bother him. ” Daiyu heard from her mother: “I have a nephew, who was born with jade in his mouth. He is very naughty and don’t like to read, but prefer to play with girls. His grandma has always spoiled him so that everyone let him be. ”--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:27, 13 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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今见王夫人所说，便知是这位表兄。一面陪笑道：“舅母所说，可是衔玉而生的？在家时，记得母亲常说：这位哥哥比我大一岁，小名就叫宝玉，性虽憨顽，说待姊妹们却是极好的。&lt;br /&gt;
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What Mrs.Wang described is the cousin for sure. Daiyu said while smiling:&amp;quot; Is the person you just mentioned my cousin born with a jade? I remember when I was at home my mother often said that the cousin nicknamed Precious Jade is one year older than me. Although he is a little mischievous, he is very friendly with his sisters&amp;quot;.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 14:27, 12 December 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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况我来了，自然和姊妹们一处，弟兄们是另院别房，岂有沾惹之理？”王夫人笑道：“你不知道原故。他和别人不同，自幼因老太太疼爱，原系和姐妹们一处娇养惯了的。&lt;br /&gt;
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Now I come here,undoubtfully I live with my sisters. The brothers are in some different houses. Is there any reason to mess with them?&amp;quot; Lady King smiled and said, &amp;quot;You don't know. Unlike the others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 15:30, 13 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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若姐妹们不理他，他倒还安静些；若一日姐妹们和他多说了一句话，他心上一喜，便生出许多事来：所以嘱咐你别理会他。他嘴里一时甜言蜜语，一时有天没日，疯疯傻傻，只休信他。”黛玉一一的都答应着。&lt;br /&gt;
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“If the sisters ignore him, he is a bit quieter: if one day the sisters talk to him more, he is so happy that he will stir up many troubles: so I tell you to ignore him. He may talk sweetly for a while, and he may be crazy and silly for a while, just don't believe him.” Daiyu replied one by one.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 08:45, 13 December 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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忽见一个丫鬟来说：“老太太那里传晚饭了。”王夫人忙携了黛玉，出后房门，由后廊往西，出了角门，是一条南北甬路，南边是倒座三间小小抱厦厅，北边立着一个粉油大影壁，后有一个半大门，小小一所房屋。&lt;br /&gt;
Suddenly see a servant girl to say: &amp;quot;old lady there spread supper.&amp;quot; Lady Wang and Daiyu went out of the back door, leading from the back corridor to the west and out of the corner gate. There was a north-south corridor, with three small rooms in the south, a big screen wall of powder and oil in the north, and a small house with a half gate behind.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 13:53, 12 December 2021 (UTC)&lt;br /&gt;
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Suddenly a servant girl said, &amp;quot;the old lady has passed on dinner.&amp;quot; Lady King hurriedly took Mascara Jade Pearl out of the back door, from the back porch to the west, out of the corner door. It is a North-South corridor. In the south is the inverted three small balcony halls. In the north is a oil-powdered large shadow wall, followed by a half gate and a small house.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 12:28, 13 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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王夫人笑指向黛玉道：“这是你凤姐姐的屋子。回来你好往这里找他去，少什么东西，只管和他说就是了。”这院门上也有几个才总角的小厮，都垂手侍立。王夫人遂携黛玉穿过一个东西穿堂，便是贾母的后院了。&lt;br /&gt;
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Lady King smiled at Mascara Jade Pearl and said: &amp;quot;This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her.&amp;quot; On the gate of the courtyard, there were also several young boys who were only in their childhood, all standing with their hands down. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:30, 11 December 2021 (UTC)&lt;br /&gt;
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Lady King smiled at Mascara Jade Pearl and said: &amp;quot;This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her.&amp;quot; On the gate of the courtyard,there were also a few young boys on the door of this courtyard, all standing with their hands down.. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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于是进入后房门，已有许多人在此伺候，见王夫人来，方安设桌椅；贾珠之妻李氏捧杯，熙凤安箸，王夫人进羹。贾母正面榻上独坐，两旁四张空椅。熙凤忙拉黛玉在左边第一张椅子上坐下，黛玉十分推让。&lt;br /&gt;
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So they entered the back room, where many people were already waiting, and when they saw  Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup,  Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 00:57, 13 December 2021 (UTC)&lt;br /&gt;
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So they entered the back room, where many people were already waiting, and when they saw  Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup,  Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 03:42, 13 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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贾母笑道：“你舅母和嫂子们是不在这里吃饭的。你是客，原该这么坐。”黛玉方告了坐，就坐了。贾母命王夫人也坐了。迎春姊妹三个告了坐，方上来：迎春坐右手第一，探春左第二，惜春右第二。&lt;br /&gt;
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Mrs. Jia said with a smile, &amp;quot;your aunt and sister-in-law don't eat here. You are a guest. You should have sat here.&amp;quot; Daiyu then sat down. Jia Mu ordered Mrs. Wang to sit down. The three sisters of Yingchun sat down：Yingchun sat first on the right hand, Tanchun second on the left, and Xi Chun second on the right.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:36, 11 December 2021 (UTC)&lt;br /&gt;
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Mrs. Jia said with a smile, &amp;quot;your aunts and sisters-in-law don't eat here. You are a guest. You should have sat here.&amp;quot; Daiyu then sat down. Mrs. Jia ordered Mrs. Wang to sit down. The three sisters of Yingchun were asked to sit down: Yingchun sat first on the right hand, Tanchun second on the left, and Xi Chun second on the right.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:02, 12 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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旁边丫鬟执着拂尘、漱盂、巾帕，李纨、凤姐立于案边布让；外间伺候的媳妇、丫鬟虽多，却连一声咳嗽不闻。饭毕，各各有丫鬟用小茶盘捧上茶来。当日林家教女以惜福养身，每饭后必过片时方吃茶，不伤脾胃；&lt;br /&gt;
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Standing at the table, the servant girls held the horsetail whisks, vessels for mouthwash and handkerchiefs. Li Wan and Wang Xifeng sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. The daughter of Lin Ruhai, Lin Daiyu took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 01:55, 12 December 2021 (UTC)&lt;br /&gt;
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The servant girls are standing at the table with the horsetail whisks, vessels for mouthwash and handkerchiefs. Li Wan and Wang Xifeng sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. The daughter of Lin Ruhai, Lin Daiyu took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 09:23, 13 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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今黛玉见了这里许多规矩不似家中，也只得随和些。接了茶，又有人捧过漱盂来，黛玉也漱了口，又盥手毕。然后又捧上茶来，这方是吃的茶。贾母便说：“你们去罢，让我们自在说说话儿。”&lt;br /&gt;
Now Daiyu saw many rules here are not like the rules of her home. She was also easy-going. After receiving the tea, someone else took a gargle bowl for her. Daiyu also rinsed her mouth and finished washing her hands again. Then tea which was for drinking was brought in. Then Mother Jia said to servants , &amp;quot;You all go and let's have a talk in our own comfort.&amp;quot;&lt;br /&gt;
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Now Daiyu saw many rules here are not like the rules of her home.  She can only be easygoing. She caught the teacup. Some domestics came over with a mouthwash basin. Daiyu gargled and washed her hands. Then the servant brought back tea, and this was tea for drinking.Then Grandma Merchant said to servant, &amp;quot;You all go and let's have a talk in our own comfort.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 10:47, 13 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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王夫人遂起身，又说了两句闲话儿，方引李、凤二人去了。贾母因问黛玉念何书，黛玉道：“刚念了《四书》。”黛玉又问姊妹读何书，贾母道：“读什么书，不过认几个字罢了。”&lt;br /&gt;
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Lady Wang stood up and said something idle, then led Lady Li and Splendid Phoenix King to leave. When Grandma Merchant asked Daiyu what books she had read, Daiyu replied, &amp;quot;I just have read the ''Four Books''.&amp;quot; When Daiyu asked her sisters what books they read, Grandma Merchant said, &amp;quot;They don't read anything. They only know a few words.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 09:25, 13 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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一语未了，只听外面一阵脚步响，丫鬟进来报道：“宝玉来了。”黛玉心想：“这个宝玉，不知是怎样个惫懒人呢。”及至进来一看，却是位青年公子：头上戴着束发嵌宝紫金冠，齐眉勒着二龙戏珠金抹额；&lt;br /&gt;
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The sentence was barely out of her lips, when a continuous sounding of footsteps&lt;br /&gt;
was heard outside, and a waiting maid entered and announced that Pao-yue was&lt;br /&gt;
coming. Tai-yue was speculating in her mind how it was that this Pao-yue had&lt;br /&gt;
turned out such a good-for-nothing fellow, when he happened to walk in.&lt;br /&gt;
He was, in fact, a young man of tender years, wearing on his head, to hold his&lt;br /&gt;
hair together, a cap of gold of purplish tinge, inlaid with precious gems.&lt;br /&gt;
Parallel with his eyebrows was attached a circlet, embroidered with gold, and&lt;br /&gt;
representing two dragons snatching a pearl.&lt;br /&gt;
--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 08:36, 13 December 2021 (UTC)&lt;br /&gt;
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After a word, only a sound of footsteps outside, the maid came in and reported: &amp;quot;Baoyu is here.&amp;quot; Daiyu thought to herself: &amp;quot;This Baoyu, I don't know what a tired lazy person.&amp;quot; When she came in, she was a young man. He wears a purple and gold crown with hair inlaid on his head, and his forehead are tied with gold frontlet（The shape is two dragons playing with pearled）.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 15:21, 11 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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一件二色金百蝶穿花大红箭袖，束着五彩丝攒花结长穗宫绦，外罩石青起花八团倭缎排穗褂；登着青缎粉底小朝靴。面若中秋之月，色如春晓之花；鬓若刀裁，眉如墨画，鼻如悬胆，睛若秋波。&lt;br /&gt;
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A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; it wears small green satin and powder-soled boots. The face is as round and beautiful as the moon of Mid-Autumn Festival, the complexion is like a flower of spring dawn; the temples are like a knife cut, the eyebrows are like ink painting, the nose is like a hanging gall, and the eyes are like autumn waves.&lt;br /&gt;
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A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; he wore small green satin and powder-soled boots. The face is as round and beautiful as the moon at mid-autumn, the complexion is like a flower of in spring; the temples as if chiselled with a knife, the eyebrows are like ink painting, the nose is like a a well-cut and shapely nose, and the eyes are like vernal waves.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:19, 13 December 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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虽怒时而似笑，即嗔视而有情。项上金螭缨络，又有一根五色丝绦，系着一块美玉。黛玉一见，便吃一大惊，心中想道：“好生奇怪：倒像在那里见过的，何等眼熟！”只见这宝玉向贾母请了安，贾母便命：“去见你娘来。”&lt;br /&gt;
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His angry look even resembled a smile; his glance was full of sentiment.Round his neck he had a gold dragon necklet with a fringe; also a cord of variegated silk, to which was attached a piece of beautiful jade. When Daiyu saw this, she was shocked.&amp;quot;How very strange.&amp;quot; she was reflecting in her mind; &amp;quot;it would seem as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;&amp;quot; Baoyu greeted Lady Dowager &amp;quot;Go and see your mother and then come back,&amp;quot; remarked her venerable ladyship.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:08, 13 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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即转身去了。一会再来时已换了冠带：头上周围一转的短发都结成小辫，红丝结束，共攒至顶中胎发，总编一根大辫，黑亮如漆，从顶至梢，一串四颗大珠，用金八宝坠脚；身上穿着银红撒花半旧大袄；仍旧带着项圈、宝玉、寄名锁、护身符等物；&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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下面半露松绿撒花绫裤，锦边弹墨袜，厚底大红鞋。越显得面如傅粉，唇若施脂；转盼多情，语言若笑。天然一段风韵，全在眉梢；平生万种情思，悉堆眼角。看其外貌，最是极好，却难知其底细。&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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后人有《西江月》二词批的极确，词曰：&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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无故寻愁觅恨，有时似傻如狂。&lt;br /&gt;
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==Mariam toure 2020GBJ002301==&lt;br /&gt;
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纵然生得好皮囊，腹内原来草莽。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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潦倒不通庶务，愚顽怕读文章。&lt;br /&gt;
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I'm not able to get through general affairs, and I'm afraid of reading articles.&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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行为偏僻性乖张，那管世人诽谤。&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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又曰：富贵不知乐业，贫穷难耐凄凉。&lt;br /&gt;
It is also known that wealth does not know pleasure and happiness, and poverty cannot endure loneliness.&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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可怜辜负好时光，于国于家无望。&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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天下无能第一，古今不肖无双。&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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寄言纨袴与膏粱，莫效此儿形状。&lt;br /&gt;
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English; the author is to give some suggestion to playboys of high official that they do not follow the example of Jia Baoyu.&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
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却说贾母见他进来，笑道：“外客没见就脱了衣裳了，还不去见你妹妹呢。”&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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宝玉早已看见了一个袅袅婷婷的女儿，便料定是林姑妈之女，忙来见礼。&lt;br /&gt;
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Baoyu had already seen a daughter with a gentle posture, thought might be the daughter of Aunt Lin, then hurried to meet her.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:17, 13 December 2021 (UTC)&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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归了坐细看时，真是与众各别。&lt;br /&gt;
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When I look at you carefully, I think you are different.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 09:59, 13 December 2021 (UTC)&lt;br /&gt;
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When I returned to take a closer look, it was really different. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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只见：两弯似蹙非蹙笼烟眉，一双似喜非喜含情目。&lt;br /&gt;
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I saw: two bends like the frowning of smoked eyebrows, at first they seemed happy but not really happy, yet affectionate eyebrows. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)&lt;br /&gt;
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I saw: two curved eyebrows that looked like a frown, a pair of eyebrows that seemed to be happy or not. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:18, 12 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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态生两靥之愁，娇袭一身之病。&lt;br /&gt;
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The sorrow of the two distresses, the disease of the whole body. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:17, 12 December 2021 (UTC)&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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泪光点点，娇喘微微。&lt;/div&gt;</summary>
		<author><name>Atta Ur Rahman</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=132649</id>
		<title>Translation types, strategies, styles, methods</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=132649"/>
		<updated>2021-12-14T03:14:54Z</updated>

		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* Translation Procedure */&lt;/p&gt;
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&lt;div&gt;'''Translation types, strategies, styles, methods'''&lt;br /&gt;
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[[Translation_types,_strategies,_styles,_methods|Overview Page of Translation types, strategies, styles, methods]]&lt;br /&gt;
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30 Chapters（0/30)&lt;br /&gt;
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[[Trans_Type_EN_1]] [[Trans_Type_EN_2]] [[Trans_Type_EN_3]] [[Trans_Type_EN_4]] [[Trans_Type_EN_5]] [[Trans_Type_EN_6]] [[Trans_Type_EN_7]] [[Trans_Type_EN_8]] [[Trans_Type_EN_9]] [[Trans_Type_EN_10]] [[Trans_Type_EN_11]] [[Trans_Type_EN_12]] [[Trans_Type_EN_13]] [[Trans_Type_EN_14]] [[Trans_Type_EN_15]] [[Trans_Type_EN_16]] [[Trans_Type_EN_17]] [[Trans_Type_EN_18]] [[Trans_Type_EN_19]] [[Trans_Type_EN_20]] [[Trans_Type_EN_21]] [[Trans_Type_EN_22]] [[Trans_Type_EN_23]] [[Trans_Type_EN_24]] [[Trans_Type_EN_25]] [[Trans_Type_EN_26]] [[Trans_Type_EN_27]] [[Trans_Type_EN_28]] [[Trans_Type_EN_29]] [[Trans_Type_EN_30]] ...&lt;br /&gt;
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[[Book_projects|Back to translation project overview]]&lt;br /&gt;
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[[DCG-To-Do|To the To Do List]]&lt;br /&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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'''浅析美版《甄嬛传》的字幕翻译策略'''&lt;br /&gt;
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[[Trans_Type_EN_1]]&lt;br /&gt;
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阳佳颖 Yang Jiaying, Hunan Normal University, China&lt;br /&gt;
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=Chapter 2: The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
'''纽马克翻译理论指导下旅游文本中翻译策略与翻译方法的使用——以''Everglades National Park, Florida (Excerpt)''为例'''&lt;br /&gt;
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[[Trans_Type_EN_2]]&lt;br /&gt;
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刘晓 Liu Xiao, Hunan Normal University, China&lt;br /&gt;
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=Chapter 3: Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
'''交际翻译理论指导下小说题材所适用的翻译方法和翻译策略—以韩国小说集《恩珠的电影》（节选）为例'''&lt;br /&gt;
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[[Trans_Type_EN_3]]&lt;br /&gt;
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刘越Liu Yue ，Hunan Normal University，China&lt;br /&gt;
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=Chapter 4: On Translation Strategies and Translation Methods in Chinese Translation of English Prose -- A Case Study of Chinese Translation of English Prose &amp;quot;Pleasures of Ignorance&amp;quot;=&lt;br /&gt;
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'''浅析英语散文汉译中的翻译策略和翻译方法——以英语散文《无知的乐趣》汉译本为例'''&lt;br /&gt;
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[[Trans_Type_EN_4]]&lt;br /&gt;
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毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
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=Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
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[[Trans_Type_EN_5]]&lt;br /&gt;
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毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
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=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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[[Trans_Type_EN_6]]&lt;br /&gt;
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彭瑞雪 Peng Ruixue, Hunan University, China&lt;br /&gt;
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=Chapter 7: A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
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[[Trans_Type_EN_7]]&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
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=Chapter 8:Translation methods and strategies applicable to the style of biographical literature -- Taking ''Incidents in Life of Slave Girl'' (excerpt) as an example=&lt;br /&gt;
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'''传记文学的文体所适用的翻译技巧与策略——以英文传记《一名女奴的人生际遇》(节选)为例'''&lt;br /&gt;
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[[Trans_Type_EN_8]]&lt;br /&gt;
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颜子涵 Yan Zihan, Hunan Normal University, China&lt;br /&gt;
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=Chapter 9: On the Translation Strategies of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hung-ming and Xu Yuanchong=&lt;br /&gt;
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'''视域融合视角下看《论语》英译的翻译策略—以辜鸿铭和许渊冲的英译本为例'''&lt;br /&gt;
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[[Trans_Type_EN_9]]&lt;br /&gt;
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邝艳丽 Kuang Yanli, Hunan Normal University, China&lt;br /&gt;
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=杨柳青 Bian Zhilin's Literary Translation Theories and Practice——Take His Translation of Romantic Poems as Examples=&lt;br /&gt;
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Yang Liuqing杨柳青,Hunan Normal University,China.&lt;br /&gt;
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[[Trans_Type_EN_10]]&lt;br /&gt;
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=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
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===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
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===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
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===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012:37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær 2015:10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005:9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004:1). Translation is essential for cultures and languages to exchange information. Newmark defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects(Newmark 1988:2). Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
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Nida indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style(Nida 1964:32). Larson has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context(Larson 1998:23).--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:41, 13 December 2021 (UTC) &lt;br /&gt;
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Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”(Snell-Hornby 1988:33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957:167). By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
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The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003:16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
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This study is aimed to probe Newmark's translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988:81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:41, 13 December 2021 (UTC)&lt;br /&gt;
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===Translation and Culture===&lt;br /&gt;
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2. Translation and Culture &lt;br /&gt;
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Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
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The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988:7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988:5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988:7).  &lt;br /&gt;
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In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language”(Catford 1965:20). According to Venuti translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader”(Venuti 1995:18). Schjoldager stated that“a translation is a text that expresses what another text has expressed in another language”(Schjoldager 2008:19). Culture is a complex whole which includes knowledge,belief,art,law,morals,customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014:2). Hermanns contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures(Hermanns 1999:22) Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014:2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001:328). &lt;br /&gt;
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Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
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2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
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Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora,fauna,food,clothes,housing, work,leisure,politics,law,and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988:327) Christine Nord names them “culturemes” (Nord 1997:9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012:1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Davies 2003:17), others choose cultural words (Newmark 2003;87) or culture-bound phenomena/concepts (Newmark 2003:7). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker 1992:21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988:94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988:95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988:95).--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:02, 13 December 2021 (UTC)&lt;br /&gt;
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2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
&lt;br /&gt;
The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85:22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003:16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:02, 13 December 2021 (UTC)&lt;br /&gt;
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===Types of Translation ===&lt;br /&gt;
&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
&lt;br /&gt;
Newmark determines 8 types of translation which are: &lt;br /&gt;
 &lt;br /&gt;
3.1 Word-for-Word Translation &lt;br /&gt;
&lt;br /&gt;
This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
&lt;br /&gt;
3.2 Literal translation &lt;br /&gt;
&lt;br /&gt;
In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
&lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
&lt;br /&gt;
3.4 Semantic Translation &lt;br /&gt;
&lt;br /&gt;
Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
&lt;br /&gt;
3.5 Adaptation &lt;br /&gt;
&lt;br /&gt;
This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015:15). &lt;br /&gt;
&lt;br /&gt;
3.6 Free Translation &lt;br /&gt;
&lt;br /&gt;
The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
&lt;br /&gt;
3.7 Idiomatic Translation &lt;br /&gt;
&lt;br /&gt;
This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
&lt;br /&gt;
3.8 Communicative Translation &lt;br /&gt;
&lt;br /&gt;
This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original(Newmark 1988: 18).&lt;br /&gt;
--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:05, 13 December 2021 (UTC) &lt;br /&gt;
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&lt;br /&gt;
===Translation Strategies  ===&lt;br /&gt;
&lt;br /&gt;
4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
&lt;br /&gt;
4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela translators need to choose several strategies based on the source language culture and target culture. Shee distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, she tries to command by the level of their intercultural intervention. She divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies).(Aixela 1996:86)&lt;br /&gt;
&lt;br /&gt;
4.1.1. Conservation: &lt;br /&gt;
In conservation,the less compelling process includes repetition,orthographic adaptation,linguistic translation,extratextual gloss and intratextual gloss. &lt;br /&gt;
&lt;br /&gt;
4.1.1.1 Repetition:In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus,the translator keeps as much as possible the original reference (Aixela 1996:61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
&lt;br /&gt;
4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
&lt;br /&gt;
4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
&lt;br /&gt;
4.1.1.4 Extra-textual Gloss: Here,the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes,endings,words,ideas,translators in dictionaries, italics and so on. &lt;br /&gt;
&lt;br /&gt;
4.1.1.5 Intra-textual Gloss:It's like the past but the translator feels that he/she can include the globe as an indirect part of the text,not to distract the reader. &lt;br /&gt;
&lt;br /&gt;
4.2.1 Substitution &lt;br /&gt;
In substitution, According Aixela “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here&amp;quot;(Aixela 1996:87)--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:40, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
&lt;br /&gt;
4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
&lt;br /&gt;
4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela 1997:63). &lt;br /&gt;
&lt;br /&gt;
4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Ketabi 2015:8). &lt;br /&gt;
&lt;br /&gt;
4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela 1996;64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
&lt;br /&gt;
4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela 1997:43). &lt;br /&gt;
&lt;br /&gt;
4.3 Mona Baker's Translation Strategies &lt;br /&gt;
Baker's strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation.Baker She suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies(Baker 1992;90) which are the following: &lt;br /&gt;
&lt;br /&gt;
4.3.1 Translation by a more general word: According to Baker,this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
&lt;br /&gt;
4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
&lt;br /&gt;
4.3.3 Translation by cultural substitution:This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
&lt;br /&gt;
4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
&lt;br /&gt;
4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
&lt;br /&gt;
4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
&lt;br /&gt;
4.3.7 Translation by omission: Losing phrases or words that are not vital to text development.&lt;br /&gt;
&lt;br /&gt;
4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view,however,Baker,s translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:40, 13 December 2021 (UTC)&lt;br /&gt;
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===Cultural Categories  ===&lt;br /&gt;
&lt;br /&gt;
5. Cultural categories &lt;br /&gt;
 &lt;br /&gt;
5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
&lt;br /&gt;
5.1.2 Material culture &lt;br /&gt;
&lt;br /&gt;
Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.”(Newmark 1988:90)  &lt;br /&gt;
&lt;br /&gt;
5.1.3 Social culture &lt;br /&gt;
&lt;br /&gt;
The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
&lt;br /&gt;
5.1.4 Organisation &lt;br /&gt;
&lt;br /&gt;
Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
 &lt;br /&gt;
5.2 Newmark Classification CSIs &lt;br /&gt;
&lt;br /&gt;
Newmark established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items. (Newmark 1988:97) --[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:50, 13 December 2021 (UTC)&lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
 &lt;br /&gt;
Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
&lt;br /&gt;
2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
&lt;br /&gt;
3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
&lt;br /&gt;
4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
&lt;br /&gt;
5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
&lt;br /&gt;
6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
&lt;br /&gt;
7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
&lt;br /&gt;
8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
&lt;br /&gt;
9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
&lt;br /&gt;
10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
&lt;br /&gt;
11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
&lt;br /&gt;
12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
&lt;br /&gt;
13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
&lt;br /&gt;
14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
&lt;br /&gt;
16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
&lt;br /&gt;
17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
&lt;br /&gt;
18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
&lt;br /&gt;
19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
&lt;br /&gt;
20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
&lt;br /&gt;
21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
&lt;br /&gt;
22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
&lt;br /&gt;
23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
&lt;br /&gt;
24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996:31)“translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by Newmark (1988)“translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.”(Newmark 1988:81)&lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation,then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:55, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity,as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts,the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term,and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part,but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:01, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark's strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However,the translator must be competent in using the translation procedures to provide an accurate translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
Blažytė, D., &amp;amp; Liubinienė, V. (2016). Culture-specific items (CSI) and their translation strategies in Martin Lindstrom’s&amp;quot; Brand sense&amp;quot;. Kalbų studijos, (29), 42-57. &lt;br /&gt;
&lt;br /&gt;
Bush, P. (1998) &amp;quot;Literary Translation.&amp;quot; In: M. Baker, ed. Routledge Encyclopedia of Translation Studies, London: Routledge, pp.127-130. &lt;br /&gt;
&lt;br /&gt;
Catford. J. C. (1965). A linguistic theory of translation. Oxford: Oxford University Press. &lt;br /&gt;
English Translation of Mohammad Al-Ghazali's Islamic Guidance.Literature and Culture, 6(1), 1-13. &lt;br /&gt;
&lt;br /&gt;
Gečaitė, L. (2020). Culture-Specific Items and Their Translation Strategies in Victoria Hislop's Novel The Sunrise.” (2020). &lt;br /&gt;
&lt;br /&gt;
Hassan, B. E. A. (2014). Between English and Arabic: A practical course in translation. &lt;br /&gt;
Cambridge Scholars Publishing. &lt;br /&gt;
&lt;br /&gt;
Hermans, T. (1999). Translation in systems. Manchester: St. Jerome Publication  House, J. (Ed.). (2014). Translation: a multidisciplinary approach. Springer. &lt;br /&gt;
Issa, A. L. S. M., &amp;amp; Hammood, L. H. R.- Quranic-Specific Phrases under the Study of Translation; Significance and Applications. &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. (33), p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. 33, p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Lambert, J. (1998) Literary Translation. In: M. Baker, ed. Routledge Encyclopedia of Translation Studies. London: Routledge, 130-134. &lt;br /&gt;
&lt;br /&gt;
Landers, Clifford E. (2001) Literary Translation: A practical guide. New Jersey University Press: Multilingual Maters. &lt;br /&gt;
&lt;br /&gt;
Lustig, Myron, W. and Koeser, Joline  (2003), Intercultural Competence: Interpersonal Communication Across Cultures, Boston: Allyn and Bacon. &lt;br /&gt;
&lt;br /&gt;
Malmkjær, K. (1993). Who Can Make Nice A Better Word Than Pretty? Collocation, Translation, and Psycholoinguistics. In: Baker, M., Francis, G. and Tognini-Bonelli, E. &lt;br /&gt;
eds. Text and Technology. Philadelphia/Amsterdam: John Benjamins Publishing Company. pp.213-32. &lt;br /&gt;
&lt;br /&gt;
Mosavat, S., &amp;amp; Rahimpour, S. (2016). The Most and Least Used Translation Strategies for &lt;br /&gt;
Conveying Culture-Specific-Items in Young Adult Literature from English into Persian. International Journal of Humanities and Cultural Studies (IJHCS) ISSN 23565926, 1853-1873. &lt;br /&gt;
&lt;br /&gt;
Munday, J. (1997). Systems in Translation: A computer-assisted systemic approach to the analysis of translation of García Márquez. Ph.D thesis, University of Bradford. &lt;br /&gt;
&lt;br /&gt;
Newmark, P. (2001). A Textbook of Translation. Shanghai: Shanghai Foreign Language &lt;br /&gt;
Education Press &lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. (1988). A Textbook of Translation. New Jersey: Prentice-Halls &lt;br /&gt;
&lt;br /&gt;
Nord, Christiane. (1997). Translating as a Purposeful Activity: Functionalist Approaches &lt;br /&gt;
Explained. Manchester: St. Jerome. Accessed 10 November. 2018. Google Books Schjoldager, A. (2008). Understanding translation. Academica: Århus. &lt;br /&gt;
&lt;br /&gt;
Silalahi, M., &amp;amp; Lubis, S. (2013). Translation Procedures of Cultural Terms Found In Sejarah Bilingual For Students of Senior High School. &lt;br /&gt;
Valipoor, K., &amp;amp; andAzizeh Chalak, H. H. T. (2019). Cultural-specific items in translation of the Holy Quran by Irving: 43-51. &lt;br /&gt;
&lt;br /&gt;
Venuti, L. (1995). The translator’s invisibility: A history of translation. London and New York: &lt;br /&gt;
Routledge &lt;br /&gt;
&lt;br /&gt;
Widiarto, O. V. V. (2016). The translation procedures of cultural expressions applied in a game of thrones translated into Perebutan Tahta novel by Barokah Ruziati (Doctoral dissertation, Dian Nuswantoro University).&lt;br /&gt;
&lt;br /&gt;
=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims to observe the development of translation studies through its different types, various strategies, styles and particular methods. In this paper, the readers are introduced to some famous translation scholars including their view of translation studies. At the further discussions, this study lets the readers acknowledge the main issues on translation studies, focusing on different styles of variations such as grammar, sentence structure, textual analysis, strategies and methods. This study may help those who are interested to conduct translation researches and help them by giving options of which theories is beneficial to their analysis. Moreover, it aims to explore the clear definition of translation as well as help the readers to understand the basic concept which are used in the field of translation. The present study, therefore, attempts to outline the scope of the discipline of translation studies and more importantly, it is an attempt to outline its activity that required a deep mastering of language, a good source of knowledge and target cultures.&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation, styles of variations, strategies&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
It is undoubtedly right that translation is important to share information. In line with these premise, the number of translation professionals is getting higher. In fact, the result of translation researches tends to help human daily life in term of evaluation, designing translator machines, and cultural studies.	 Therefore, translation means converting written information from one language into another. It is the new discipline appeared in the second half of the 20th century. The term “Translation Studies” was coined by James S. Holmes, an American-Dutch poet and translator of poetry, in his seminal paper “The Name and Nature of Translation Studies”.  Translation enables effective communication between people around the world. It is a courier for the transmission of knowledge, a protector of cultural heritage, and essential to the development of a global economy. Translation helps us to know about the developments in the field of creative arts, education, literature, business, science and politics. It has shifted from the traditional conception of the fixed, stable and unchangeable nature of the text and its meaning to a text with wide scope for variations. Translation also helps in nation building. In this globalised world, the demand for translation and language related services has increased many times. Translation is not only needed for the creation of national identity but has also become an essential tool for keeping pace with the processes of globalization and localization. The activity of translation has a long-standing tradition and has been widely practiced throughout history, but in our rapidly changing world its role has become of paramount importance. Nowadays, knowledge in which cultural exchanges have been widening, has been increasingly expanding and international communication has been intensifying, the phenomenon of translation has become fundamental. Be it for scientific, medical, technological, commercial, legal, cultural or literary purposes, today human communication depends heavily on translation and, consequently, interest in the field is also growing. Accordingly, the discussion, in the present study, proceeds primarily from the perspectives of “Translation Studies” and “Linguistics”. One major goal is to show the interrelationships between linguistics and translation, and how they benefit from each other. Nowadays, translation research has started to take another path, which is more automatic. The invention of the internet, together with the new technological developments in communication and digital materials, has increased cultural exchanges between nations. This leads translators to look for ways to cope with these changes and to look for more practical techniques that enable them to translate more and waste less. They also felt the need to enter the world of cinematographic translation, hence the birth of audiovisual translation. The latter technique, also called screen translation, is concerned with the translation of all kinds of TV programs, including films, series, and documentaries. This field is based on computers and translation software programs, and it is composed of two methods; dubbing and subtitling. In fact, audiovisual translation marks a changing era in the domain of translation.&lt;br /&gt;
In short, translation has very wide and rich history in the West. Since its birth, translation was the subject of a variety of research and conflicts between theorists. Each theorist approaches it according to his viewpoint and field of research, the fact that gives its history a changing quality.&lt;br /&gt;
&lt;br /&gt;
Discussion &lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation. For each type, a selection of examples will be considered for analysis based on translation theories and techniques. We will show that some chunks of text require literal translation, while other requires interpretive method. In addition, this paper will also examine various strategies and its styles of variations based on translational study. The following strategies will be presented in the paper as; &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	They involve text manipulation.&lt;br /&gt;
•	They must be applied to the process.&lt;br /&gt;
•	They are goal-oriented.&lt;br /&gt;
•	They are problem-centered.&lt;br /&gt;
•	They are applied consciously.&lt;br /&gt;
•	They are inter-subjective.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Most theorists agree that strategies are used by translators when they encounter a problem and literal translation is not useful. Different researchers have investigated and described various translation strategies from their different perspectives. It intends to show what translation strategies exist and when and why they are used by professional translators. Different scholars have various perspectives to the aspects of the act of translation, so, they define and describe different types of strategies. Bergen's (n. d.) classification of the strategies includes three categorizations which will be discussed mainly in this paper: &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	Comprehension strategies &lt;br /&gt;
•	Transfer strategies&lt;br /&gt;
•	Production strategies&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
An addition to this paper, styles of variations will also be introduced to the readers through different aspects and examples. The concept of style can be defined in terms of the distinctive way an individual or a group uses language, or better still the discourse used to perform distinct functions of language aimed at achieving specific purposes. However, this does not entail that style is simply a matter of form since it is the product of other components such as the genre of discourse, its semantics, syntax and phonology. Indeed, in order to analyze a given stylistic variation one needs an extensive checklist that includes lexical and grammatical categories, allusions, and figures of speech. Style can be understood to refer to the recurring typical features of the source text compared to the typical features of the translated text.  In a quantitative and qualitative analysis, this variation is shown to be influenced by several pragmatic and social factors, and to index the interpreters' stances towards source speakers and towards the immigrant court users who are the recipients of translations from English. It is argued that translation styles have profound consequences for limited English speakers, as the insistence on institutional norms in translating to them is viewed as a gate keeping behavior that may impede their full participation in the proceedings. &lt;br /&gt;
&lt;br /&gt;
What is translation? &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Translation went through various definitions going from a mere linguistics activity during the sixties, a cultural and communicative activity during the seventies reflects the social impacting activity in the latest founding of the literature. &lt;br /&gt;
“Translation is traditionally known as being the replacement of textual material in one language into equivalent textual material in another language”. &lt;br /&gt;
House (2015) mentions that translation is considered as the “replacement” of a text in the source language by a semantically and pragmatically equivalent text in the target language. It is strongly related to a source language and target language cultures. It requires a high level of mastery languages, an awareness of any contextual factors within which the discourse emerges. There is no need to mention how it affected civilizations through different areas of mankind history. For example, An Arab-Islamic civilizations. There have always been different directions on how one should or should not translate. In the Arab tradition, two main methods existed and were in complete divergence namely the literal and the free method. &lt;br /&gt;
On the other hand, in the Western tradition there are various methods currently exist namely, the linguistic, the hermeneutic, the interpretive, the functionalist, the interventionist, the poly-systemic and the text-typologist method.  More so, it may be important to point out that translation has been defined in many ways, and every definition reflects the theoretical approach underpinning it. &lt;br /&gt;
As Shuttlworth and Cowie (1997) observe throughout the history of research into translation, the phenomenon has been variously delimited by formal descriptions, echoing the frameworks of the scholars proposing them. For example, Bell (1991: XV) starts with an informal definition of translation, which runs as follows: the transformation of a text originally in one language into an equivalent text in a different language retaining, as far as is possible, the content of the message and the formal features and functional roles of the original text. &lt;br /&gt;
At the beginning of the ‘scientific’ (Newmark, 1988, p. 2) study of translation, Catford (1965, p. 20) described it in these terms, the replacement of textual material in one language (SL) by the equivalent textual material in another language. &lt;br /&gt;
Thirty years later, in Germany, the concept of translation as a form of ‘equivalence’ is maintained, as we can see from Koller’s definition (1995, p. 196): “The result of a text processing activity, by means of which a source language text is transposed into a target-language text. Between the resultant text in L2 (the target-language text) and the source text in L1 (the source language text) there exists a relationship, which can be designated as a translational, or equivalence relation”. Because complete equivalence (in the sense of synonymy or sameness) cannot take place in any of his categories, Jakobson (1959) declares that all poetic art is, therefore, technically untranslatable. That is, the translator has to take the question of interpretation into account in addition to the problem of selecting a TL phrase which will have a roughly similar meaning. Exact translation is impossible. In this regard, Bassnett (1996) claims that all texts, being part of a literary system descended from and related to other systems are “translations of translation of translations”: every text is unique and at the same time, it is the translation of another text. No text is entirely original because language itself, in its essence, is already a translation: firstly, of the non-verbal world and secondly, since every sign and every phrase is the translation of another sign and another phrase. However, this argument can be turned around without losing any of its validity: all texts are original because every translation is distinctive. Every translation, up to a certain point, is an invention and as such it constitutes a unique text.&lt;br /&gt;
In this analysis of the above definition, Manfredi (2008), points out that the above distinction can be divided into two main perspectives, those that consider translation either as a ‘process’ or a ‘product’. To this twofold categorization, Bell (1991, p. 13) adds a further variable, since he suggests making a distinction between translating (the process), a translation (the product) and translation (i.e., “the abstract concept which encompasses both the process of translating and the product of that process”. Moreover, thanks to advances in new technologies, today we can also incorporate into TS the contribution of corpus linguistics, which allows both theorists and translators analyses of large amounts of electronic texts (Manfredi, 2008). On the other hand, Halliday (1992, p. 15) takes translation to refer to the total process and relationship of equivalence between two languages; we then distinguish, within translation, between “translating” (written text) and “interpreting” (spoken text). Halliday, thus, proposes distinguishing the activity of “translation” (as a process) from the product(s) of “translating”, including both “translation” (concerning written text) and ‘interpreting’ (regarding spoken text.&lt;br /&gt;
“Translation is the production of a functional target text maintaining a relationship with a given source text that is specified according to the intended or demanding function of the target text.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Types of Translation&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation.&lt;br /&gt;
&lt;br /&gt;
Technical translation &lt;br /&gt;
&lt;br /&gt;
Technical translation is a type of specialized translation involving the translation of documents produced by technical writers, or more specifically, texts which relate to technological subject areas or texts which deal with the practical application of scientific and technological information. (Wikipedia) &lt;br /&gt;
Translators' main goal is to accurately translate the technical terminology to match the document and the message of the original content.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The benefits of technical translation&lt;br /&gt;
&lt;br /&gt;
A professional technical translation service is provided by translators with dual specialties, that is, professionals who are fluent in the language pair, but who are also experts in the field covered by the documents to be translated.&lt;br /&gt;
When you need to have your documents translated by a technical translator, translators who are not experts may not be able to provide the necessary solutions and terminology for a quality translation. If the translator is not an expert in the field, he/she will have to learn the new terminology while working. This means that translation will take longer, have higher chances of inaccuracies, and may result in higher costs. Therefore, the main advantages of hiring an agency specialized in this type of service are as follows:&lt;br /&gt;
&lt;br /&gt;
Literary translation&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Literary translation is the translation of creative and dramatic prose and poetry into other languages. This includes the translation of literature from ancient languages and the translation of modern fiction so that it can reach a wider audience. &lt;br /&gt;
Literary translation is of huge importance. It helps to shape our understanding of the world around us in many ways.                                                     Reading Homer and Sophocles as part of a classical education in school helps to build an understanding of history, politics, philosophy and so much more. Meanwhile, reading contemporary translations provides fascinating insights into life in other cultures and other countries.                                                       In a fast-paced world so rife with misunderstanding and confusion, such efforts to share knowledge and experiences across cultural boundaries should be applauded.&lt;br /&gt;
The translation of literature differs greatly from other forms of translation. The sheer size of the texts involved in literary translation sets it apart.                Tackling a translation that runs to hundreds of thousands of words is not a task for the faint-hearted. Nor is recreating poetry in a new language, without losing the beauty and essence of the original work.&lt;br /&gt;
One of the key challenges of literary translation is the need to balance staying faithful to the original work with the need to create something unique and distinctive that will evoke the same feelings and responses as the original. This can be particularly challenging when it comes to translating poetry.&lt;br /&gt;
Poems are written with incredible attention to detail. Not only are the words and phrases important, but the number of syllables and the entire rhythm of the completed work. It’s a challenging task to complete just in one language, let alone when trying to recreate a poet’s work during a translation. Daniel Hahn, director of the British Centre for Literary Translation, sums up the issue beautifully. &lt;br /&gt;
As literary translators will attest, a single word can be extremely troublesome. The author of a work of fiction has chosen that word for a good reason, so the translator must ensure that it is faithfully delivered in the target language. However, what if no direct translation is available? Or what if several options exist, each with a slightly different nuance? Urdu language translator Fahmida Riaz outlines her approach to such thorny issues.&lt;br /&gt;
For instance, “Every piece you translate comes from the pen of an individual, so you have to give it an individual treatment. I try to retain the ambience of the original culture, rather than the language, as it is reflected in the text.” &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Pragmatic translation&lt;br /&gt;
&lt;br /&gt;
Pragmatic translation is the basic assumption that provided a source language text contains no misstatements of fact, is competently written and has to be fully translated rather than summarized or functionally reorientated; one's purpose in translating it is to be referentially and pragmatically accurate. In this paper, I shall not deal with referential accuracy but concentrate instead on the pragmatic aspects of translation. As the term pragmatic translation may be used in a variety of ways, I should like to state my own definition of pragmatic, which derives from Charles Morris and ultimately from Charles S. Peirce. I am using pragmatic as one of the two factors in translation: pragmatic denotes the reader's or readership's reception of the translation, as opposed to referential, which denotes the relationship between the translation and the extra-linguistic reality it describes. &lt;br /&gt;
Translation is a properly way to a properly communication and pragmatics is how to use language in communication properly. By translation, many things from different languages and cultures can understand to each other. In other words, translation can be stated as a facilitator to make a communication runs well.&lt;br /&gt;
&lt;br /&gt;
===An Overview on Translation Studies  ===&lt;br /&gt;
&lt;br /&gt;
===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
&lt;br /&gt;
=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature  --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:45, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the researcher wants to highlight the different concepts about the fundamental question that &amp;quot;what is idiomatic expression&amp;quot;  and the views of various critics, theorists and linguistic experts, and prominent scholars of translation studies.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:38, 13 December 2021 (UTC) Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
&lt;br /&gt;
Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda 2006: 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984: 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992: 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to Newmark, “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”(Newmark 1981: 11).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:38, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to Corelli, English has a sizeable idiomatic base. About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.(Corelli 2006: 53)&lt;br /&gt;
&lt;br /&gt;
The main issue that idiomatic and fixed expressions pose for translators, according to Baker is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.(Baker 1992: 65)&lt;br /&gt;
&lt;br /&gt;
Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.(Ahsan 2020: 12-27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:44, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Literature Review ===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the author/researcher defines the strategy and its different definitions from various perspectivess. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented.(Venutti !995, 35 Krings defines it as the content of the project, while Seguinet divided the term into three steps.(Krings 2000:21). However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. (Locher 2002:76) In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
&lt;br /&gt;
A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward. (Bergen 1996:33)&lt;br /&gt;
&lt;br /&gt;
Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint. (Vinute 1998:41).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to Seguinot (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.(Seguinot 1989:27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Furthermore, Loescher defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot;(Loescher 1991:8) As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998:4) claim moreover, 'Bell' distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.(Bell 1998:188)&lt;br /&gt;
&lt;br /&gt;
According to Venuti, &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot;(Venuti 1998, 240). He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to Jaaskelainen, product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.(Jaaskelainen 2005:15)&lt;br /&gt;
&lt;br /&gt;
Furthermore, Jaaskelainen distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making.(Jaaskelainen 2005:16). Newmarkdistinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;(Newmark 1988, 221)&lt;br /&gt;
&lt;br /&gt;
Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016:13).&lt;br /&gt;
&lt;br /&gt;
The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010:15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017:54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984:12). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
&lt;br /&gt;
Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985:9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female..(Ahsan 2020: 12-27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:31, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== Theoritical Framework ===&lt;br /&gt;
&lt;br /&gt;
In this paper, various strategies have been used, like using an idiom of similar meaning and similar form, the idiom of similar meaning and different form, translation by Paraphrasing, translation by omission. The approach of employing idioms of similar meaning and form, according to Mona Baker, entails using an idiom in the target language that can express about the same meaning as the source language idiom, as well as having lexical similarity. On the other hand, this type of matching happens periodically as well as regularly.(Baker, 1992, 13)&lt;br /&gt;
&lt;br /&gt;
Similarly, employing idioms with similar meanings but different forms means that it is possible to locate an idiom or fixed expression in the target text language that has a similar meaning to the source idiom or expression but is made up of distinct lexical elements. Consider the case of English and French, both of which use the idiom mentioned above. In English, one good deed is rewarded with another, whereas in French, handsome deeds are rewarded with handsome deeds.&lt;br /&gt;
&lt;br /&gt;
Furthermore, we did not come across any idioms in the category mentioned above during translating idioms. To deal with this issue, the translators used the most popular approach, known as a translation by paraphrase, which is short, straightforward, and time-saving. When a match cannot be identified in the target language or when it appears improper to employ idiomatic language in target material due to aesthetic differences between the source and target languages, this is the most typical approach for translating an idiom from source to target language. However, one thing to keep in mind is that a perfect translation is not required is necessary or possible.&lt;br /&gt;
&lt;br /&gt;
Last but not least, to overcome the problem of idiom translation, the translator employs the strategy of translation by omission. This can be defined as an idiom being omitted entirely in the target text with a single word. This is done because the idiom has no close match in the target language; its meaning cannot be easily paraphrased or due to stylistic reasons.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:38, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Data analysis Techniques:&lt;br /&gt;
Textual analysis is the method of data analysis in qualitative research that brings forth the hidden and potent message, structure, and function of research in giving text, Alan Mckee (defines textual analysis as whenever we perform textual analysis on the text, we make an educated guess at some time of the most likely interpretations that might be made of that text (Alan 2001:3)&lt;br /&gt;
Analysis of the translation of short stories in light of Mona baker's theory &amp;quot;khol do and license&amp;quot; are short stories written by Sadat Hassan Manto and translated by many translators from Urdu into English. During translation, the translator adopted many strategies for translating idiomatic expression, sometimes by Paraphrasing, sometimes by omission, sometimes using similar idioms of form and meaning while sometimes using different words and the same form, the whole.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:51, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Discussion and Analysis===&lt;br /&gt;
&lt;br /&gt;
The chapter analyzes and discusses all the data collected by the author/researcher from different sources. All the examples of idioms are firstly identified, then translated into the target text, and back-translated for the sole purpose of exploring the strategies being used by the translator. A separate section is given to every strategy with its related example. Moreover, the idiomatic expression, the target work for finding, is highlighted through the bold letter.&lt;br /&gt;
&lt;br /&gt;
4.1	Translation by Paraphrasing:&lt;br /&gt;
&lt;br /&gt;
Based on our findings, the most often used strategy was &amp;quot;translation by paraphrasing.&amp;quot; An inspection also reveals that Aatish Taseer preferred this strategy. Here are some examples applied by the translators, and in the following section, the logic behind their preference towards this strategy is elaborate. The following are examples from two short stories of Sadat Husain Manto's &amp;quot;khol do&amp;quot; and &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 1: &lt;br /&gt;
&lt;br /&gt;
ST: Sirajuddin ne subah das baji anki kholi to logo ka aik mutalatam samandar deka.&lt;br /&gt;
&lt;br /&gt;
TT: Ten a.m., Siraj Uddin opens his eyes on the cold floor of the camp, seeing the swelling sea of men.&lt;br /&gt;
&lt;br /&gt;
BT: sub ke das baji jab Sirajuddin ne apni anki koli to logo ka aik ublaha howa samandar ka nizara dekni laga.&lt;br /&gt;
&lt;br /&gt;
So, the above idioms are literal idioms being translated with the help of 'Paraphrasing' because there is no perfect equivalent of mutalatam words in English languages. A similar look at another idiom from short stories &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&lt;br /&gt;
ST: Khuda tomahra bala kari.&lt;br /&gt;
&lt;br /&gt;
TT: Your God will reward&lt;br /&gt;
&lt;br /&gt;
BT: Is ka badla khoda tomahi di.&lt;br /&gt;
&lt;br /&gt;
Here, the word reward is being used for Bala Kari, an example of transitional by Paraphrasing.&lt;br /&gt;
Let  take another example from &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
&lt;br /&gt;
ST: unkho nai Jan khateli pa rak kar sakena ko donda.&lt;br /&gt;
&lt;br /&gt;
TT: even putting their lives online, they search sakina &lt;br /&gt;
&lt;br /&gt;
BT: apni zindagio ko khatri me dal kar unkho nai sakina ko dond nekala.&lt;br /&gt;
&lt;br /&gt;
The above idioms are examples of pure idiom translated from Urdu into English with the help of paraphrases strategies. However, under the same strategies, the idioms of another short story of Manto,s &amp;quot;license,&amp;quot; are translated by Aatish Taseer. Some of the examples are given below.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
ST: Abu kochwan bara cheel jabela ta. It is the binomial type of idioms taken from the first sentence of the short story &amp;quot;license&amp;quot; by Sadat &lt;br /&gt;
Hasan Manto &lt;br /&gt;
&lt;br /&gt;
TT: Abu kochwan is stylish man.&lt;br /&gt;
&lt;br /&gt;
BT: Abu kochwan aik wazahdar admi ta.&lt;br /&gt;
&lt;br /&gt;
From the above idiom, it is clear that there is no perfect equivalence of cheela chabela idiom in English; that is, the translator goes &lt;br /&gt;
through paraphrasing strategies. Look at another example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
ST: Lein har waqat bank bani rekhi ka usi be had showk ta&lt;br /&gt;
&lt;br /&gt;
TT: He had a weakness for style and fashion.&lt;br /&gt;
&lt;br /&gt;
BT: Dan saj ke rekhna uski kamzori me sai ik ta.&lt;br /&gt;
&lt;br /&gt;
So all of the above examples, which are analyzed one by one, are examples of idioms being translated through paraphrasing strategies. Beaugrande and Dressler define paraphrases as &amp;quot;approximate conceptual equivalence among outwardly different material.&amp;quot;(De Beaugrande and Dressler 1981, 50) Similarly, in this regard, Hirst defines paraphrases as &amp;quot;talk(ing) about the same situation in a different way.&amp;quot; (Hirst 1980:12) Munday declared that &amp;quot;equivalence is particularly useful in translating idioms and proverbs” For instance, if the English idiom like a bear with a sore head is rendered into Persian as (mesle borje zahremar), meaning like a tower of snake venom, the strategy of equivalence has been applied. (Munday 1981:13).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:55, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
According to Leonardi, &amp;quot;Equivalence can be said to be the central issue in translation.&amp;quot; In this regard, house believes that &amp;quot;a translation text should match not only its source text in function but also employ equivalent situational-dimensional means to achieve that function&amp;quot; (Baker 2002:49).  who shares this approach, states that equivalence is used &amp;quot;for the sake of convenience—because most translators are used to it rather than because it has any theoretical status&amp;quot; (Kenny 1998:77). &lt;br /&gt;
&lt;br /&gt;
Despite different attitudes to the concept of equivalence, most specialists pay much attention to its meaning in the theory of translation. The translation is a form of communication, and that is why it is vital to establish equivalence between the source text and the target text. Although Vinay and Darbelnet believe that equivalence is used differently than in modern translation theory, it is evident that equivalence is one of the basic concepts of translation that cannot be neglected.Vinay and Darbelnet 1999:18)&lt;br /&gt;
Consequently, based on the Above mentioned studies using 'Paraphrasing' in translation stands as the core concept in the process of translation, and still, most of the translators cling to it for producing a more comprehensible and explicable text. These language ideas and translation models are ideal constructs, presented abstractly in order to be differentiated precisely. They may exist in an uneasy combination in actual theories and practices, resulting in logical tensions or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation. Theories and actions must be contextualized in historical settings. They've been utilized as analytical tools to describe various topics in section introductions. Theoretical writings and current events these language notions and translation models are ideal constructs expressed in an abstract manner in order to be distinguished precisely in real-life hypotheses they may exist in an uncomfortable mix, resulting in logical conflicts or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
4.2	Using an idiom of Similar Meaning and Form &lt;br /&gt;
&lt;br /&gt;
As mentioned earlier, this strategy type is being used by Aatish Taseer during their translated work of Manto's short stories &amp;quot;khol do&amp;quot; and&amp;quot; license&amp;quot; on an occasional basis. Some examples are mention below.&lt;br /&gt;
&lt;br /&gt;
From khol do.&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
ST: Larki ka rang zard hogaya.&lt;br /&gt;
&lt;br /&gt;
TT: The girl's face became fail&lt;br /&gt;
&lt;br /&gt;
BT: larki ka rang zar hogya.&lt;br /&gt;
&lt;br /&gt;
Similarly, another example from the license is&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: Abu our us ke mat beer hogaie&lt;br /&gt;
&lt;br /&gt;
TT: They fall in love with each other.&lt;br /&gt;
&lt;br /&gt;
BT: WO ik dosri ke mokhbat me geriftar hogaie&lt;br /&gt;
&lt;br /&gt;
The above idioms are pure ones and are being translated with the help of similar meanings and similar forms.&lt;br /&gt;
&lt;br /&gt;
The procedures: transposition, modulation, equivalence, and adaptation, and when it comes to defining the term Equivalence, (Vinay and Darbelnet 2000:90) propose that it consists in rendering &amp;quot;the same situation … by two texts using completely different stylistic and structural methods&amp;quot;, and when it comes to translating idiomatic expressions like &amp;quot;Il pleut à seaux&amp;quot; it can be translated as &amp;quot;It is raining cats and dogs&amp;quot; using the idiom of similar form and meaning in the target language.&lt;br /&gt;
&lt;br /&gt;
As Baker states, this strategy involves using an idiom in the TL which conveys roughly the same meaning as that of the source language idiom and, in addition, consists of identical lexical items. The salient point is that this kind of match can only occasionally be achieved, which cannot be picked up more often by translators. Accordingly, both translators mentioned in the current study had quite a slim chance of using this strategy type.(Baker 1992:12)&lt;br /&gt;
&lt;br /&gt;
4.3 Using an idiom of similar meaning but different form:&lt;br /&gt;
&lt;br /&gt;
During translating Manto short stories, &amp;quot;khol do&amp;quot; and &amp;quot;license,&amp;quot; some of the idioms are translated with the help of this strategy. Some of the examples are given below from two different short stories.&lt;br /&gt;
&lt;br /&gt;
Example number one is from the short story &amp;quot;khol do&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
ST: Aur bolwai gos ayai thee?&lt;br /&gt;
&lt;br /&gt;
TT: The roitors come abroad.&lt;br /&gt;
&lt;br /&gt;
BT: pasadi bahar agai hai.&lt;br /&gt;
&lt;br /&gt;
The above idiom is a pure type of idiom being translated with the help of above mention strategy. The word rioter is being used for bolwai, which is not a perfect word for bolwai. In Urdu bolwai, people believe in violence when minorities or the low population of any country want some rights. These people stop them by using violence, burn down their properties, rapes women, and do things like that. Another example from the license is below.&lt;br /&gt;
&lt;br /&gt;
Example 9:&lt;br /&gt;
&lt;br /&gt;
ST: Dosri kotwal abu ko dek kar jal ban ho jati.&lt;br /&gt;
&lt;br /&gt;
TT: The other coachman burn with envy.&lt;br /&gt;
&lt;br /&gt;
BT: Abu ke kamyabi dek kar aur kotwal abu sai khasad karni lagi’&lt;br /&gt;
&lt;br /&gt;
The above idioms are a pure idiom that reflects the effect of jealousy between competitors to achieve equivalency. Aatish Taseer uses envy word for jal ban instead of other which have similar meaning but different form. Look at the other example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: Dino lat vo lagal se kam karni laga.&lt;br /&gt;
&lt;br /&gt;
TT: Dino came with an excuse.&lt;br /&gt;
&lt;br /&gt;
BT: Dino abb bahi tarashni laga.&lt;br /&gt;
	&lt;br /&gt;
The above idioms are types of binomial idioms translated with the help of idioms with similar meanings and different forms. (Newmark 1988, 81) mentions the difference between translation methods and translation procedures. He writes that &amp;quot;[w]hile translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language&amp;quot; (Newmark 1988: 81). Idiomatic translation in his definition reproduces the 'message' of the original. However, it distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original, leading to using an idiom of similar meaning but a different form. Besides, it is often possible to find an idiom or fixed expression in the target language with a meaning similar to that of the source idiom or expression but which consists of different lexical items (Baker 1992, 12). Therefore, translators discover idiomatic expressions in the target language with different forms than in the source language. In the current study, the translators approached this strategy merely for 9% of the total times, which means the frequency of Iranian and English idioms with the same meaning and different forms is not considered high. &lt;br /&gt;
&lt;br /&gt;
4.4 Translation by omission:&lt;br /&gt;
&lt;br /&gt;
A translator is less using these strategies, and we did not find any clue on this type of strategy in an area under consideration.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:48, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== Findings===&lt;br /&gt;
&lt;br /&gt;
Mandelbit believed that idioms with different cognitive mapping in the target language would be more challenging to translate.(Mandelbit 1995:40)  After conducting this study and data analysis of collected data, the result revealed that the translator frequently used three out of four strategies of the Mona Baker model during the translation process, which is a translation by Paraphrasing, translation by similar meaning and similar form, translation by similar meaning and different form. In contrast, translation by omission does not found in his work.&lt;br /&gt;
After detail and careful analysis of data, more than half of idioms like &amp;quot;swelling sea of man,” my lord break his arrogance, “weakness for style and fashion.&amp;quot; As I mentioned earlier, many more are translated under the umbrella of Paraphrasing, which is considered the most common method used for translating idioms.&lt;br /&gt;
&lt;br /&gt;
Similarly, it also reflects strategies like similar meaning and different form and similar meaning and similar form. The idiom &amp;quot;rioter came abroad,” burn with envy,” The girl's face became pale, &amp;quot; They fall in love with each other&amp;quot; are translated with the help of two mention strategies, respectively.&lt;br /&gt;
&lt;br /&gt;
Although translation by omission is a strategy used on rare occasions because of its meaning, its meaning cannot be easily paraphrased or stylistic reason. Here, the researcher also did not find any idiom translated with the help of the omission strategy.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 17:18, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
By going through the detailed discussion and analysis of the data collected, it was finally concluded that the idioms which are present in two short stories, &amp;quot;khol do&amp;quot; and &amp;quot;License,&amp;quot; are translated under the frame of Mona Baker's idiomatic model. Translation by Paraphrasing is mainly used while idioms of similar meaning and form and idioms of similar meaning and different forms are used occasionally. The researcher discusses all the strategies with related examples in the order of maximum used to minimum used. The strategy by omission did not find it works. All the data are collected from different sources and analyzed with the help of different researcher tools, and the result is written in light of the finding. Different from previous studies, the writer presents the strategies to translate idioms by each type of idiomatic expression found in the story. From the result, it is considered the translation of idiomatic expressions in the story is quite accurate. As the number of accurate data is more the data which is not related to the translation. We take conclusion from the translation through idiomatic expression and paraphrasing is the best way to translate a novel or a story however it is very difficult job to do because it needs more accurate and precise knowledge about the source language and an inspiring method to express ideas in the target language. However, translation is thing through which we can connect the world with each other and also we can study and observe diverse cultures.         &lt;br /&gt;
 &lt;br /&gt;
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=== References ===&lt;br /&gt;
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Abu-Saydeh, A. F. (2004). Translation of English idioms into Arabic. Babel, 114-131.&lt;br /&gt;
&lt;br /&gt;
Ahsan, S. (2020). A comparative study of two translations of manto's short story &amp;quot;Toba Tek&amp;quot;. International Journal of English Language Studies, 12-27.&lt;br /&gt;
&lt;br /&gt;
Alexander, R. J. (1987). Mimeograph. In R. J. Alexander (Ed.) Collocation and Culture. Trier: University of Trier, West Germany.&lt;br /&gt;
&lt;br /&gt;
Al-Qinai, J. (2000). Translation quality assessment. strategies, parameters and procedures. Translator's Journal, 497-519.&lt;br /&gt;
&lt;br /&gt;
Bayashi, J. (2020). Japanese-English translation: An advanced guide. Oxfordshire: Routledge.&lt;br /&gt;
&lt;br /&gt;
Das, V. (1995). Critical events: An anthropological perspective on contemporary India. New Delhi: Oxford Printing Press.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 17:36, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Mufti, A. (2007). The Language of English India. In I. &amp;amp;. End (Ed.) Enlightenment in the Colony. Princeton University Press.&lt;br /&gt;
&lt;br /&gt;
Waka Xia, L. (2019). A discourse analysis of news translation in China. Syydney: Routledge.&lt;br /&gt;
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= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
===Ambiguity===&lt;br /&gt;
&lt;br /&gt;
===Lexical and Structural Mismatches===&lt;br /&gt;
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===Multiword units: Idioms and Collocations===&lt;br /&gt;
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===Summary===&lt;br /&gt;
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===Further Reading===&lt;br /&gt;
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=刘胜楠 A Case Study of ''Ne Zha'' on Subtitle Translation Strategies from the Perspective of Skopos Theory= &lt;br /&gt;
[[Trans_Type_EN_15]]&lt;/div&gt;</summary>
		<author><name>Atta Ur Rahman</name></author>
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	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=132646</id>
		<title>Translation types, strategies, styles, methods</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=132646"/>
		<updated>2021-12-14T03:12:30Z</updated>

		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* Translation Strategies */&lt;/p&gt;
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&lt;div&gt;'''Translation types, strategies, styles, methods'''&lt;br /&gt;
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[[Translation_types,_strategies,_styles,_methods|Overview Page of Translation types, strategies, styles, methods]]&lt;br /&gt;
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30 Chapters（0/30)&lt;br /&gt;
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[[Trans_Type_EN_1]] [[Trans_Type_EN_2]] [[Trans_Type_EN_3]] [[Trans_Type_EN_4]] [[Trans_Type_EN_5]] [[Trans_Type_EN_6]] [[Trans_Type_EN_7]] [[Trans_Type_EN_8]] [[Trans_Type_EN_9]] [[Trans_Type_EN_10]] [[Trans_Type_EN_11]] [[Trans_Type_EN_12]] [[Trans_Type_EN_13]] [[Trans_Type_EN_14]] [[Trans_Type_EN_15]] [[Trans_Type_EN_16]] [[Trans_Type_EN_17]] [[Trans_Type_EN_18]] [[Trans_Type_EN_19]] [[Trans_Type_EN_20]] [[Trans_Type_EN_21]] [[Trans_Type_EN_22]] [[Trans_Type_EN_23]] [[Trans_Type_EN_24]] [[Trans_Type_EN_25]] [[Trans_Type_EN_26]] [[Trans_Type_EN_27]] [[Trans_Type_EN_28]] [[Trans_Type_EN_29]] [[Trans_Type_EN_30]] ...&lt;br /&gt;
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[[Book_projects|Back to translation project overview]]&lt;br /&gt;
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[[DCG-To-Do|To the To Do List]]&lt;br /&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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'''浅析美版《甄嬛传》的字幕翻译策略'''&lt;br /&gt;
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[[Trans_Type_EN_1]]&lt;br /&gt;
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阳佳颖 Yang Jiaying, Hunan Normal University, China&lt;br /&gt;
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=Chapter 2: The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
'''纽马克翻译理论指导下旅游文本中翻译策略与翻译方法的使用——以''Everglades National Park, Florida (Excerpt)''为例'''&lt;br /&gt;
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[[Trans_Type_EN_2]]&lt;br /&gt;
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刘晓 Liu Xiao, Hunan Normal University, China&lt;br /&gt;
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=Chapter 3: Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
'''交际翻译理论指导下小说题材所适用的翻译方法和翻译策略—以韩国小说集《恩珠的电影》（节选）为例'''&lt;br /&gt;
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[[Trans_Type_EN_3]]&lt;br /&gt;
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刘越Liu Yue ，Hunan Normal University，China&lt;br /&gt;
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=Chapter 4: On Translation Strategies and Translation Methods in Chinese Translation of English Prose -- A Case Study of Chinese Translation of English Prose &amp;quot;Pleasures of Ignorance&amp;quot;=&lt;br /&gt;
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'''浅析英语散文汉译中的翻译策略和翻译方法——以英语散文《无知的乐趣》汉译本为例'''&lt;br /&gt;
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[[Trans_Type_EN_4]]&lt;br /&gt;
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毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
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=Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
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[[Trans_Type_EN_5]]&lt;br /&gt;
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毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
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=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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[[Trans_Type_EN_6]]&lt;br /&gt;
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彭瑞雪 Peng Ruixue, Hunan University, China&lt;br /&gt;
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=Chapter 7: A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
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[[Trans_Type_EN_7]]&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
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=Chapter 8:Translation methods and strategies applicable to the style of biographical literature -- Taking ''Incidents in Life of Slave Girl'' (excerpt) as an example=&lt;br /&gt;
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'''传记文学的文体所适用的翻译技巧与策略——以英文传记《一名女奴的人生际遇》(节选)为例'''&lt;br /&gt;
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[[Trans_Type_EN_8]]&lt;br /&gt;
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颜子涵 Yan Zihan, Hunan Normal University, China&lt;br /&gt;
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=Chapter 9: On the Translation Strategies of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hung-ming and Xu Yuanchong=&lt;br /&gt;
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'''视域融合视角下看《论语》英译的翻译策略—以辜鸿铭和许渊冲的英译本为例'''&lt;br /&gt;
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[[Trans_Type_EN_9]]&lt;br /&gt;
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邝艳丽 Kuang Yanli, Hunan Normal University, China&lt;br /&gt;
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=杨柳青 Bian Zhilin's Literary Translation Theories and Practice——Take His Translation of Romantic Poems as Examples=&lt;br /&gt;
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Yang Liuqing杨柳青,Hunan Normal University,China.&lt;br /&gt;
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[[Trans_Type_EN_10]]&lt;br /&gt;
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=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
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===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
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===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
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===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012:37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær 2015:10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005:9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004:1). Translation is essential for cultures and languages to exchange information. Newmark defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects(Newmark 1988:2). Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
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Nida indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style(Nida 1964:32). Larson has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context(Larson 1998:23).--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:41, 13 December 2021 (UTC) &lt;br /&gt;
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Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”(Snell-Hornby 1988:33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957:167). By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
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The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003:16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
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This study is aimed to probe Newmark's translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988:81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:41, 13 December 2021 (UTC)&lt;br /&gt;
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===Translation and Culture===&lt;br /&gt;
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2. Translation and Culture &lt;br /&gt;
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Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
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The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988:7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988:5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988:7).  &lt;br /&gt;
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In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language”(Catford 1965:20). According to Venuti translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader”(Venuti 1995:18). Schjoldager stated that“a translation is a text that expresses what another text has expressed in another language”(Schjoldager 2008:19). Culture is a complex whole which includes knowledge,belief,art,law,morals,customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014:2). Hermanns contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures(Hermanns 1999:22) Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014:2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001:328). &lt;br /&gt;
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Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
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2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
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Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora,fauna,food,clothes,housing, work,leisure,politics,law,and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988:327) Christine Nord names them “culturemes” (Nord 1997:9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012:1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Davies 2003:17), others choose cultural words (Newmark 2003;87) or culture-bound phenomena/concepts (Newmark 2003:7). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker 1992:21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988:94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988:95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988:95).--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:02, 13 December 2021 (UTC)&lt;br /&gt;
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2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
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The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85:22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003:16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:02, 13 December 2021 (UTC)&lt;br /&gt;
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===Types of Translation ===&lt;br /&gt;
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3. Types of Translation &lt;br /&gt;
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Newmark determines 8 types of translation which are: &lt;br /&gt;
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3.1 Word-for-Word Translation &lt;br /&gt;
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This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
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3.2 Literal translation &lt;br /&gt;
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In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
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3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
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3.4 Semantic Translation &lt;br /&gt;
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Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
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3.5 Adaptation &lt;br /&gt;
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This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015:15). &lt;br /&gt;
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3.6 Free Translation &lt;br /&gt;
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The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
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3.7 Idiomatic Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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3.8 Communicative Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original(Newmark 1988: 18).&lt;br /&gt;
--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:05, 13 December 2021 (UTC) &lt;br /&gt;
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===Translation Strategies  ===&lt;br /&gt;
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4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
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4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela translators need to choose several strategies based on the source language culture and target culture. Shee distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, she tries to command by the level of their intercultural intervention. She divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies).(Aixela 1996:86)&lt;br /&gt;
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4.1.1. Conservation: &lt;br /&gt;
In conservation,the less compelling process includes repetition,orthographic adaptation,linguistic translation,extratextual gloss and intratextual gloss. &lt;br /&gt;
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4.1.1.1 Repetition:In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus,the translator keeps as much as possible the original reference (Aixela 1996:61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
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4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
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4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
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4.1.1.4 Extra-textual Gloss: Here,the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes,endings,words,ideas,translators in dictionaries, italics and so on. &lt;br /&gt;
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4.1.1.5 Intra-textual Gloss:It's like the past but the translator feels that he/she can include the globe as an indirect part of the text,not to distract the reader. &lt;br /&gt;
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4.2.1 Substitution &lt;br /&gt;
In substitution, According Aixela “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here&amp;quot;(Aixela 1996:87)--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:40, 13 December 2021 (UTC) &lt;br /&gt;
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4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
&lt;br /&gt;
4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
&lt;br /&gt;
4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela 1997:63). &lt;br /&gt;
&lt;br /&gt;
4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Ketabi 2015:8). &lt;br /&gt;
&lt;br /&gt;
4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela 1996;64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
&lt;br /&gt;
4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela 1997:43). &lt;br /&gt;
&lt;br /&gt;
4.3 Mona Baker's Translation Strategies &lt;br /&gt;
Baker's strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation.Baker She suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies(Baker 1992;90) which are the following: &lt;br /&gt;
&lt;br /&gt;
4.3.1 Translation by a more general word: According to Baker,this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
&lt;br /&gt;
4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
&lt;br /&gt;
4.3.3 Translation by cultural substitution:This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
&lt;br /&gt;
4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
&lt;br /&gt;
4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
&lt;br /&gt;
4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
&lt;br /&gt;
4.3.7 Translation by omission: Losing phrases or words that are not vital to text development.&lt;br /&gt;
&lt;br /&gt;
4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view,however,Baker,s translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:40, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Cultural Categories  ===&lt;br /&gt;
&lt;br /&gt;
5. Cultural categories &lt;br /&gt;
 &lt;br /&gt;
5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
&lt;br /&gt;
5.1.2 Material culture &lt;br /&gt;
&lt;br /&gt;
Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.”(Newmark 1988:90)  &lt;br /&gt;
&lt;br /&gt;
5.1.3 Social culture &lt;br /&gt;
&lt;br /&gt;
The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
&lt;br /&gt;
5.1.4 Organisation &lt;br /&gt;
&lt;br /&gt;
Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
 &lt;br /&gt;
5.2 Newmark Classification CSIs &lt;br /&gt;
&lt;br /&gt;
Newmark established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items. (Newmark 1988:97) --[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:50, 13 December 2021 (UTC)&lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
 &lt;br /&gt;
Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
&lt;br /&gt;
2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
&lt;br /&gt;
3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
&lt;br /&gt;
4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
&lt;br /&gt;
5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
&lt;br /&gt;
6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
&lt;br /&gt;
7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
&lt;br /&gt;
8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
&lt;br /&gt;
9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
&lt;br /&gt;
10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
&lt;br /&gt;
11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
&lt;br /&gt;
12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
&lt;br /&gt;
13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
&lt;br /&gt;
14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
&lt;br /&gt;
16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
&lt;br /&gt;
17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
&lt;br /&gt;
18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
&lt;br /&gt;
19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
&lt;br /&gt;
20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
&lt;br /&gt;
21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
&lt;br /&gt;
22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
&lt;br /&gt;
23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
&lt;br /&gt;
24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996:31)“translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by (Newmark 1988:81)“translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.” &lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation,then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:55, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity,as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts,the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term,and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part,but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:01, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark's strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However,the translator must be competent in using the translation procedures to provide an accurate translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
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=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims to observe the development of translation studies through its different types, various strategies, styles and particular methods. In this paper, the readers are introduced to some famous translation scholars including their view of translation studies. At the further discussions, this study lets the readers acknowledge the main issues on translation studies, focusing on different styles of variations such as grammar, sentence structure, textual analysis, strategies and methods. This study may help those who are interested to conduct translation researches and help them by giving options of which theories is beneficial to their analysis. Moreover, it aims to explore the clear definition of translation as well as help the readers to understand the basic concept which are used in the field of translation. The present study, therefore, attempts to outline the scope of the discipline of translation studies and more importantly, it is an attempt to outline its activity that required a deep mastering of language, a good source of knowledge and target cultures.&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation, styles of variations, strategies&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
It is undoubtedly right that translation is important to share information. In line with these premise, the number of translation professionals is getting higher. In fact, the result of translation researches tends to help human daily life in term of evaluation, designing translator machines, and cultural studies.	 Therefore, translation means converting written information from one language into another. It is the new discipline appeared in the second half of the 20th century. The term “Translation Studies” was coined by James S. Holmes, an American-Dutch poet and translator of poetry, in his seminal paper “The Name and Nature of Translation Studies”.  Translation enables effective communication between people around the world. It is a courier for the transmission of knowledge, a protector of cultural heritage, and essential to the development of a global economy. Translation helps us to know about the developments in the field of creative arts, education, literature, business, science and politics. It has shifted from the traditional conception of the fixed, stable and unchangeable nature of the text and its meaning to a text with wide scope for variations. Translation also helps in nation building. In this globalised world, the demand for translation and language related services has increased many times. Translation is not only needed for the creation of national identity but has also become an essential tool for keeping pace with the processes of globalization and localization. The activity of translation has a long-standing tradition and has been widely practiced throughout history, but in our rapidly changing world its role has become of paramount importance. Nowadays, knowledge in which cultural exchanges have been widening, has been increasingly expanding and international communication has been intensifying, the phenomenon of translation has become fundamental. Be it for scientific, medical, technological, commercial, legal, cultural or literary purposes, today human communication depends heavily on translation and, consequently, interest in the field is also growing. Accordingly, the discussion, in the present study, proceeds primarily from the perspectives of “Translation Studies” and “Linguistics”. One major goal is to show the interrelationships between linguistics and translation, and how they benefit from each other. Nowadays, translation research has started to take another path, which is more automatic. The invention of the internet, together with the new technological developments in communication and digital materials, has increased cultural exchanges between nations. This leads translators to look for ways to cope with these changes and to look for more practical techniques that enable them to translate more and waste less. They also felt the need to enter the world of cinematographic translation, hence the birth of audiovisual translation. The latter technique, also called screen translation, is concerned with the translation of all kinds of TV programs, including films, series, and documentaries. This field is based on computers and translation software programs, and it is composed of two methods; dubbing and subtitling. In fact, audiovisual translation marks a changing era in the domain of translation.&lt;br /&gt;
In short, translation has very wide and rich history in the West. Since its birth, translation was the subject of a variety of research and conflicts between theorists. Each theorist approaches it according to his viewpoint and field of research, the fact that gives its history a changing quality.&lt;br /&gt;
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Discussion &lt;br /&gt;
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Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation. For each type, a selection of examples will be considered for analysis based on translation theories and techniques. We will show that some chunks of text require literal translation, while other requires interpretive method. In addition, this paper will also examine various strategies and its styles of variations based on translational study. The following strategies will be presented in the paper as; &lt;br /&gt;
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•	They involve text manipulation.&lt;br /&gt;
•	They must be applied to the process.&lt;br /&gt;
•	They are goal-oriented.&lt;br /&gt;
•	They are problem-centered.&lt;br /&gt;
•	They are applied consciously.&lt;br /&gt;
•	They are inter-subjective.&lt;br /&gt;
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Most theorists agree that strategies are used by translators when they encounter a problem and literal translation is not useful. Different researchers have investigated and described various translation strategies from their different perspectives. It intends to show what translation strategies exist and when and why they are used by professional translators. Different scholars have various perspectives to the aspects of the act of translation, so, they define and describe different types of strategies. Bergen's (n. d.) classification of the strategies includes three categorizations which will be discussed mainly in this paper: &lt;br /&gt;
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•	Comprehension strategies &lt;br /&gt;
•	Transfer strategies&lt;br /&gt;
•	Production strategies&lt;br /&gt;
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An addition to this paper, styles of variations will also be introduced to the readers through different aspects and examples. The concept of style can be defined in terms of the distinctive way an individual or a group uses language, or better still the discourse used to perform distinct functions of language aimed at achieving specific purposes. However, this does not entail that style is simply a matter of form since it is the product of other components such as the genre of discourse, its semantics, syntax and phonology. Indeed, in order to analyze a given stylistic variation one needs an extensive checklist that includes lexical and grammatical categories, allusions, and figures of speech. Style can be understood to refer to the recurring typical features of the source text compared to the typical features of the translated text.  In a quantitative and qualitative analysis, this variation is shown to be influenced by several pragmatic and social factors, and to index the interpreters' stances towards source speakers and towards the immigrant court users who are the recipients of translations from English. It is argued that translation styles have profound consequences for limited English speakers, as the insistence on institutional norms in translating to them is viewed as a gate keeping behavior that may impede their full participation in the proceedings. &lt;br /&gt;
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What is translation? &lt;br /&gt;
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Translation went through various definitions going from a mere linguistics activity during the sixties, a cultural and communicative activity during the seventies reflects the social impacting activity in the latest founding of the literature. &lt;br /&gt;
“Translation is traditionally known as being the replacement of textual material in one language into equivalent textual material in another language”. &lt;br /&gt;
House (2015) mentions that translation is considered as the “replacement” of a text in the source language by a semantically and pragmatically equivalent text in the target language. It is strongly related to a source language and target language cultures. It requires a high level of mastery languages, an awareness of any contextual factors within which the discourse emerges. There is no need to mention how it affected civilizations through different areas of mankind history. For example, An Arab-Islamic civilizations. There have always been different directions on how one should or should not translate. In the Arab tradition, two main methods existed and were in complete divergence namely the literal and the free method. &lt;br /&gt;
On the other hand, in the Western tradition there are various methods currently exist namely, the linguistic, the hermeneutic, the interpretive, the functionalist, the interventionist, the poly-systemic and the text-typologist method.  More so, it may be important to point out that translation has been defined in many ways, and every definition reflects the theoretical approach underpinning it. &lt;br /&gt;
As Shuttlworth and Cowie (1997) observe throughout the history of research into translation, the phenomenon has been variously delimited by formal descriptions, echoing the frameworks of the scholars proposing them. For example, Bell (1991: XV) starts with an informal definition of translation, which runs as follows: the transformation of a text originally in one language into an equivalent text in a different language retaining, as far as is possible, the content of the message and the formal features and functional roles of the original text. &lt;br /&gt;
At the beginning of the ‘scientific’ (Newmark, 1988, p. 2) study of translation, Catford (1965, p. 20) described it in these terms, the replacement of textual material in one language (SL) by the equivalent textual material in another language. &lt;br /&gt;
Thirty years later, in Germany, the concept of translation as a form of ‘equivalence’ is maintained, as we can see from Koller’s definition (1995, p. 196): “The result of a text processing activity, by means of which a source language text is transposed into a target-language text. Between the resultant text in L2 (the target-language text) and the source text in L1 (the source language text) there exists a relationship, which can be designated as a translational, or equivalence relation”. Because complete equivalence (in the sense of synonymy or sameness) cannot take place in any of his categories, Jakobson (1959) declares that all poetic art is, therefore, technically untranslatable. That is, the translator has to take the question of interpretation into account in addition to the problem of selecting a TL phrase which will have a roughly similar meaning. Exact translation is impossible. In this regard, Bassnett (1996) claims that all texts, being part of a literary system descended from and related to other systems are “translations of translation of translations”: every text is unique and at the same time, it is the translation of another text. No text is entirely original because language itself, in its essence, is already a translation: firstly, of the non-verbal world and secondly, since every sign and every phrase is the translation of another sign and another phrase. However, this argument can be turned around without losing any of its validity: all texts are original because every translation is distinctive. Every translation, up to a certain point, is an invention and as such it constitutes a unique text.&lt;br /&gt;
In this analysis of the above definition, Manfredi (2008), points out that the above distinction can be divided into two main perspectives, those that consider translation either as a ‘process’ or a ‘product’. To this twofold categorization, Bell (1991, p. 13) adds a further variable, since he suggests making a distinction between translating (the process), a translation (the product) and translation (i.e., “the abstract concept which encompasses both the process of translating and the product of that process”. Moreover, thanks to advances in new technologies, today we can also incorporate into TS the contribution of corpus linguistics, which allows both theorists and translators analyses of large amounts of electronic texts (Manfredi, 2008). On the other hand, Halliday (1992, p. 15) takes translation to refer to the total process and relationship of equivalence between two languages; we then distinguish, within translation, between “translating” (written text) and “interpreting” (spoken text). Halliday, thus, proposes distinguishing the activity of “translation” (as a process) from the product(s) of “translating”, including both “translation” (concerning written text) and ‘interpreting’ (regarding spoken text.&lt;br /&gt;
“Translation is the production of a functional target text maintaining a relationship with a given source text that is specified according to the intended or demanding function of the target text.&lt;br /&gt;
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Types of Translation&lt;br /&gt;
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Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation.&lt;br /&gt;
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Technical translation &lt;br /&gt;
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Technical translation is a type of specialized translation involving the translation of documents produced by technical writers, or more specifically, texts which relate to technological subject areas or texts which deal with the practical application of scientific and technological information. (Wikipedia) &lt;br /&gt;
Translators' main goal is to accurately translate the technical terminology to match the document and the message of the original content.&lt;br /&gt;
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The benefits of technical translation&lt;br /&gt;
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A professional technical translation service is provided by translators with dual specialties, that is, professionals who are fluent in the language pair, but who are also experts in the field covered by the documents to be translated.&lt;br /&gt;
When you need to have your documents translated by a technical translator, translators who are not experts may not be able to provide the necessary solutions and terminology for a quality translation. If the translator is not an expert in the field, he/she will have to learn the new terminology while working. This means that translation will take longer, have higher chances of inaccuracies, and may result in higher costs. Therefore, the main advantages of hiring an agency specialized in this type of service are as follows:&lt;br /&gt;
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Literary translation&lt;br /&gt;
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Literary translation is the translation of creative and dramatic prose and poetry into other languages. This includes the translation of literature from ancient languages and the translation of modern fiction so that it can reach a wider audience. &lt;br /&gt;
Literary translation is of huge importance. It helps to shape our understanding of the world around us in many ways.                                                     Reading Homer and Sophocles as part of a classical education in school helps to build an understanding of history, politics, philosophy and so much more. Meanwhile, reading contemporary translations provides fascinating insights into life in other cultures and other countries.                                                       In a fast-paced world so rife with misunderstanding and confusion, such efforts to share knowledge and experiences across cultural boundaries should be applauded.&lt;br /&gt;
The translation of literature differs greatly from other forms of translation. The sheer size of the texts involved in literary translation sets it apart.                Tackling a translation that runs to hundreds of thousands of words is not a task for the faint-hearted. Nor is recreating poetry in a new language, without losing the beauty and essence of the original work.&lt;br /&gt;
One of the key challenges of literary translation is the need to balance staying faithful to the original work with the need to create something unique and distinctive that will evoke the same feelings and responses as the original. This can be particularly challenging when it comes to translating poetry.&lt;br /&gt;
Poems are written with incredible attention to detail. Not only are the words and phrases important, but the number of syllables and the entire rhythm of the completed work. It’s a challenging task to complete just in one language, let alone when trying to recreate a poet’s work during a translation. Daniel Hahn, director of the British Centre for Literary Translation, sums up the issue beautifully. &lt;br /&gt;
As literary translators will attest, a single word can be extremely troublesome. The author of a work of fiction has chosen that word for a good reason, so the translator must ensure that it is faithfully delivered in the target language. However, what if no direct translation is available? Or what if several options exist, each with a slightly different nuance? Urdu language translator Fahmida Riaz outlines her approach to such thorny issues.&lt;br /&gt;
For instance, “Every piece you translate comes from the pen of an individual, so you have to give it an individual treatment. I try to retain the ambience of the original culture, rather than the language, as it is reflected in the text.” &lt;br /&gt;
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Pragmatic translation&lt;br /&gt;
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Pragmatic translation is the basic assumption that provided a source language text contains no misstatements of fact, is competently written and has to be fully translated rather than summarized or functionally reorientated; one's purpose in translating it is to be referentially and pragmatically accurate. In this paper, I shall not deal with referential accuracy but concentrate instead on the pragmatic aspects of translation. As the term pragmatic translation may be used in a variety of ways, I should like to state my own definition of pragmatic, which derives from Charles Morris and ultimately from Charles S. Peirce. I am using pragmatic as one of the two factors in translation: pragmatic denotes the reader's or readership's reception of the translation, as opposed to referential, which denotes the relationship between the translation and the extra-linguistic reality it describes. &lt;br /&gt;
Translation is a properly way to a properly communication and pragmatics is how to use language in communication properly. By translation, many things from different languages and cultures can understand to each other. In other words, translation can be stated as a facilitator to make a communication runs well.&lt;br /&gt;
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===An Overview on Translation Studies  ===&lt;br /&gt;
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===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
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=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
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===Conclusion ===&lt;br /&gt;
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=== References ===&lt;br /&gt;
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= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature  --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:45, 12 December 2021 (UTC)&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
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In this chapter, the researcher wants to highlight the different concepts about the fundamental question that &amp;quot;what is idiomatic expression&amp;quot;  and the views of various critics, theorists and linguistic experts, and prominent scholars of translation studies.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:38, 13 December 2021 (UTC) Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
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Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
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&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda 2006: 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984: 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992: 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to Newmark, “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”(Newmark 1981: 11).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:38, 13 December 2021 (UTC)&lt;br /&gt;
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The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to Corelli, English has a sizeable idiomatic base. About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.(Corelli 2006: 53)&lt;br /&gt;
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The main issue that idiomatic and fixed expressions pose for translators, according to Baker is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.(Baker 1992: 65)&lt;br /&gt;
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Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.(Ahsan 2020: 12-27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:44, 13 December 2021 (UTC)&lt;br /&gt;
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===Literature Review ===&lt;br /&gt;
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In this chapter, the author/researcher defines the strategy and its different definitions from various perspectivess. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented.(Venutti !995, 35 Krings defines it as the content of the project, while Seguinet divided the term into three steps.(Krings 2000:21). However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. (Locher 2002:76) In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
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The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
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A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward. (Bergen 1996:33)&lt;br /&gt;
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Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint. (Vinute 1998:41).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to Seguinot (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.(Seguinot 1989:27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
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Furthermore, Loescher defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot;(Loescher 1991:8) As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998:4) claim moreover, 'Bell' distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.(Bell 1998:188)&lt;br /&gt;
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According to Venuti, &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot;(Venuti 1998, 240). He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to Jaaskelainen, product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.(Jaaskelainen 2005:15)&lt;br /&gt;
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Furthermore, Jaaskelainen distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making.(Jaaskelainen 2005:16). Newmarkdistinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;(Newmark 1988, 221)&lt;br /&gt;
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Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016:13).&lt;br /&gt;
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The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010:15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017:54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984:12). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
&lt;br /&gt;
Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985:9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female..(Ahsan 2020: 12-27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:31, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== Theoritical Framework ===&lt;br /&gt;
&lt;br /&gt;
In this paper, various strategies have been used, like using an idiom of similar meaning and similar form, the idiom of similar meaning and different form, translation by Paraphrasing, translation by omission. The approach of employing idioms of similar meaning and form, according to Mona Baker, entails using an idiom in the target language that can express about the same meaning as the source language idiom, as well as having lexical similarity. On the other hand, this type of matching happens periodically as well as regularly.(Baker, 1992, 13)&lt;br /&gt;
&lt;br /&gt;
Similarly, employing idioms with similar meanings but different forms means that it is possible to locate an idiom or fixed expression in the target text language that has a similar meaning to the source idiom or expression but is made up of distinct lexical elements. Consider the case of English and French, both of which use the idiom mentioned above. In English, one good deed is rewarded with another, whereas in French, handsome deeds are rewarded with handsome deeds.&lt;br /&gt;
&lt;br /&gt;
Furthermore, we did not come across any idioms in the category mentioned above during translating idioms. To deal with this issue, the translators used the most popular approach, known as a translation by paraphrase, which is short, straightforward, and time-saving. When a match cannot be identified in the target language or when it appears improper to employ idiomatic language in target material due to aesthetic differences between the source and target languages, this is the most typical approach for translating an idiom from source to target language. However, one thing to keep in mind is that a perfect translation is not required is necessary or possible.&lt;br /&gt;
&lt;br /&gt;
Last but not least, to overcome the problem of idiom translation, the translator employs the strategy of translation by omission. This can be defined as an idiom being omitted entirely in the target text with a single word. This is done because the idiom has no close match in the target language; its meaning cannot be easily paraphrased or due to stylistic reasons.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:38, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Data analysis Techniques:&lt;br /&gt;
Textual analysis is the method of data analysis in qualitative research that brings forth the hidden and potent message, structure, and function of research in giving text, Alan Mckee (defines textual analysis as whenever we perform textual analysis on the text, we make an educated guess at some time of the most likely interpretations that might be made of that text (Alan 2001:3)&lt;br /&gt;
Analysis of the translation of short stories in light of Mona baker's theory &amp;quot;khol do and license&amp;quot; are short stories written by Sadat Hassan Manto and translated by many translators from Urdu into English. During translation, the translator adopted many strategies for translating idiomatic expression, sometimes by Paraphrasing, sometimes by omission, sometimes using similar idioms of form and meaning while sometimes using different words and the same form, the whole.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:51, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Discussion and Analysis===&lt;br /&gt;
&lt;br /&gt;
The chapter analyzes and discusses all the data collected by the author/researcher from different sources. All the examples of idioms are firstly identified, then translated into the target text, and back-translated for the sole purpose of exploring the strategies being used by the translator. A separate section is given to every strategy with its related example. Moreover, the idiomatic expression, the target work for finding, is highlighted through the bold letter.&lt;br /&gt;
&lt;br /&gt;
4.1	Translation by Paraphrasing:&lt;br /&gt;
&lt;br /&gt;
Based on our findings, the most often used strategy was &amp;quot;translation by paraphrasing.&amp;quot; An inspection also reveals that Aatish Taseer preferred this strategy. Here are some examples applied by the translators, and in the following section, the logic behind their preference towards this strategy is elaborate. The following are examples from two short stories of Sadat Husain Manto's &amp;quot;khol do&amp;quot; and &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 1: &lt;br /&gt;
&lt;br /&gt;
ST: Sirajuddin ne subah das baji anki kholi to logo ka aik mutalatam samandar deka.&lt;br /&gt;
&lt;br /&gt;
TT: Ten a.m., Siraj Uddin opens his eyes on the cold floor of the camp, seeing the swelling sea of men.&lt;br /&gt;
&lt;br /&gt;
BT: sub ke das baji jab Sirajuddin ne apni anki koli to logo ka aik ublaha howa samandar ka nizara dekni laga.&lt;br /&gt;
&lt;br /&gt;
So, the above idioms are literal idioms being translated with the help of 'Paraphrasing' because there is no perfect equivalent of mutalatam words in English languages. A similar look at another idiom from short stories &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&lt;br /&gt;
ST: Khuda tomahra bala kari.&lt;br /&gt;
&lt;br /&gt;
TT: Your God will reward&lt;br /&gt;
&lt;br /&gt;
BT: Is ka badla khoda tomahi di.&lt;br /&gt;
&lt;br /&gt;
Here, the word reward is being used for Bala Kari, an example of transitional by Paraphrasing.&lt;br /&gt;
Let  take another example from &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
&lt;br /&gt;
ST: unkho nai Jan khateli pa rak kar sakena ko donda.&lt;br /&gt;
&lt;br /&gt;
TT: even putting their lives online, they search sakina &lt;br /&gt;
&lt;br /&gt;
BT: apni zindagio ko khatri me dal kar unkho nai sakina ko dond nekala.&lt;br /&gt;
&lt;br /&gt;
The above idioms are examples of pure idiom translated from Urdu into English with the help of paraphrases strategies. However, under the same strategies, the idioms of another short story of Manto,s &amp;quot;license,&amp;quot; are translated by Aatish Taseer. Some of the examples are given below.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
ST: Abu kochwan bara cheel jabela ta. It is the binomial type of idioms taken from the first sentence of the short story &amp;quot;license&amp;quot; by Sadat &lt;br /&gt;
Hasan Manto &lt;br /&gt;
&lt;br /&gt;
TT: Abu kochwan is stylish man.&lt;br /&gt;
&lt;br /&gt;
BT: Abu kochwan aik wazahdar admi ta.&lt;br /&gt;
&lt;br /&gt;
From the above idiom, it is clear that there is no perfect equivalence of cheela chabela idiom in English; that is, the translator goes &lt;br /&gt;
through paraphrasing strategies. Look at another example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
ST: Lein har waqat bank bani rekhi ka usi be had showk ta&lt;br /&gt;
&lt;br /&gt;
TT: He had a weakness for style and fashion.&lt;br /&gt;
&lt;br /&gt;
BT: Dan saj ke rekhna uski kamzori me sai ik ta.&lt;br /&gt;
&lt;br /&gt;
So all of the above examples, which are analyzed one by one, are examples of idioms being translated through paraphrasing strategies. Beaugrande and Dressler define paraphrases as &amp;quot;approximate conceptual equivalence among outwardly different material.&amp;quot;(De Beaugrande and Dressler 1981, 50) Similarly, in this regard, Hirst defines paraphrases as &amp;quot;talk(ing) about the same situation in a different way.&amp;quot; (Hirst 1980:12) Munday declared that &amp;quot;equivalence is particularly useful in translating idioms and proverbs” For instance, if the English idiom like a bear with a sore head is rendered into Persian as (mesle borje zahremar), meaning like a tower of snake venom, the strategy of equivalence has been applied. (Munday 1981:13).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:55, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
According to Leonardi, &amp;quot;Equivalence can be said to be the central issue in translation.&amp;quot; In this regard, house believes that &amp;quot;a translation text should match not only its source text in function but also employ equivalent situational-dimensional means to achieve that function&amp;quot; (Baker 2002:49).  who shares this approach, states that equivalence is used &amp;quot;for the sake of convenience—because most translators are used to it rather than because it has any theoretical status&amp;quot; (Kenny 1998:77). &lt;br /&gt;
&lt;br /&gt;
Despite different attitudes to the concept of equivalence, most specialists pay much attention to its meaning in the theory of translation. The translation is a form of communication, and that is why it is vital to establish equivalence between the source text and the target text. Although Vinay and Darbelnet believe that equivalence is used differently than in modern translation theory, it is evident that equivalence is one of the basic concepts of translation that cannot be neglected.Vinay and Darbelnet 1999:18)&lt;br /&gt;
Consequently, based on the Above mentioned studies using 'Paraphrasing' in translation stands as the core concept in the process of translation, and still, most of the translators cling to it for producing a more comprehensible and explicable text. These language ideas and translation models are ideal constructs, presented abstractly in order to be differentiated precisely. They may exist in an uneasy combination in actual theories and practices, resulting in logical tensions or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation. Theories and actions must be contextualized in historical settings. They've been utilized as analytical tools to describe various topics in section introductions. Theoretical writings and current events these language notions and translation models are ideal constructs expressed in an abstract manner in order to be distinguished precisely in real-life hypotheses they may exist in an uncomfortable mix, resulting in logical conflicts or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
4.2	Using an idiom of Similar Meaning and Form &lt;br /&gt;
&lt;br /&gt;
As mentioned earlier, this strategy type is being used by Aatish Taseer during their translated work of Manto's short stories &amp;quot;khol do&amp;quot; and&amp;quot; license&amp;quot; on an occasional basis. Some examples are mention below.&lt;br /&gt;
&lt;br /&gt;
From khol do.&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
ST: Larki ka rang zard hogaya.&lt;br /&gt;
&lt;br /&gt;
TT: The girl's face became fail&lt;br /&gt;
&lt;br /&gt;
BT: larki ka rang zar hogya.&lt;br /&gt;
&lt;br /&gt;
Similarly, another example from the license is&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: Abu our us ke mat beer hogaie&lt;br /&gt;
&lt;br /&gt;
TT: They fall in love with each other.&lt;br /&gt;
&lt;br /&gt;
BT: WO ik dosri ke mokhbat me geriftar hogaie&lt;br /&gt;
&lt;br /&gt;
The above idioms are pure ones and are being translated with the help of similar meanings and similar forms.&lt;br /&gt;
&lt;br /&gt;
The procedures: transposition, modulation, equivalence, and adaptation, and when it comes to defining the term Equivalence, (Vinay and Darbelnet 2000:90) propose that it consists in rendering &amp;quot;the same situation … by two texts using completely different stylistic and structural methods&amp;quot;, and when it comes to translating idiomatic expressions like &amp;quot;Il pleut à seaux&amp;quot; it can be translated as &amp;quot;It is raining cats and dogs&amp;quot; using the idiom of similar form and meaning in the target language.&lt;br /&gt;
&lt;br /&gt;
As Baker states, this strategy involves using an idiom in the TL which conveys roughly the same meaning as that of the source language idiom and, in addition, consists of identical lexical items. The salient point is that this kind of match can only occasionally be achieved, which cannot be picked up more often by translators. Accordingly, both translators mentioned in the current study had quite a slim chance of using this strategy type.(Baker 1992:12)&lt;br /&gt;
&lt;br /&gt;
4.3 Using an idiom of similar meaning but different form:&lt;br /&gt;
&lt;br /&gt;
During translating Manto short stories, &amp;quot;khol do&amp;quot; and &amp;quot;license,&amp;quot; some of the idioms are translated with the help of this strategy. Some of the examples are given below from two different short stories.&lt;br /&gt;
&lt;br /&gt;
Example number one is from the short story &amp;quot;khol do&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
ST: Aur bolwai gos ayai thee?&lt;br /&gt;
&lt;br /&gt;
TT: The roitors come abroad.&lt;br /&gt;
&lt;br /&gt;
BT: pasadi bahar agai hai.&lt;br /&gt;
&lt;br /&gt;
The above idiom is a pure type of idiom being translated with the help of above mention strategy. The word rioter is being used for bolwai, which is not a perfect word for bolwai. In Urdu bolwai, people believe in violence when minorities or the low population of any country want some rights. These people stop them by using violence, burn down their properties, rapes women, and do things like that. Another example from the license is below.&lt;br /&gt;
&lt;br /&gt;
Example 9:&lt;br /&gt;
&lt;br /&gt;
ST: Dosri kotwal abu ko dek kar jal ban ho jati.&lt;br /&gt;
&lt;br /&gt;
TT: The other coachman burn with envy.&lt;br /&gt;
&lt;br /&gt;
BT: Abu ke kamyabi dek kar aur kotwal abu sai khasad karni lagi’&lt;br /&gt;
&lt;br /&gt;
The above idioms are a pure idiom that reflects the effect of jealousy between competitors to achieve equivalency. Aatish Taseer uses envy word for jal ban instead of other which have similar meaning but different form. Look at the other example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: Dino lat vo lagal se kam karni laga.&lt;br /&gt;
&lt;br /&gt;
TT: Dino came with an excuse.&lt;br /&gt;
&lt;br /&gt;
BT: Dino abb bahi tarashni laga.&lt;br /&gt;
	&lt;br /&gt;
The above idioms are types of binomial idioms translated with the help of idioms with similar meanings and different forms. (Newmark 1988, 81) mentions the difference between translation methods and translation procedures. He writes that &amp;quot;[w]hile translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language&amp;quot; (Newmark 1988: 81). Idiomatic translation in his definition reproduces the 'message' of the original. However, it distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original, leading to using an idiom of similar meaning but a different form. Besides, it is often possible to find an idiom or fixed expression in the target language with a meaning similar to that of the source idiom or expression but which consists of different lexical items (Baker 1992, 12). Therefore, translators discover idiomatic expressions in the target language with different forms than in the source language. In the current study, the translators approached this strategy merely for 9% of the total times, which means the frequency of Iranian and English idioms with the same meaning and different forms is not considered high. &lt;br /&gt;
&lt;br /&gt;
4.4 Translation by omission:&lt;br /&gt;
&lt;br /&gt;
A translator is less using these strategies, and we did not find any clue on this type of strategy in an area under consideration.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:48, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== Findings===&lt;br /&gt;
&lt;br /&gt;
Mandelbit believed that idioms with different cognitive mapping in the target language would be more challenging to translate.(Mandelbit 1995:40)  After conducting this study and data analysis of collected data, the result revealed that the translator frequently used three out of four strategies of the Mona Baker model during the translation process, which is a translation by Paraphrasing, translation by similar meaning and similar form, translation by similar meaning and different form. In contrast, translation by omission does not found in his work.&lt;br /&gt;
After detail and careful analysis of data, more than half of idioms like &amp;quot;swelling sea of man,” my lord break his arrogance, “weakness for style and fashion.&amp;quot; As I mentioned earlier, many more are translated under the umbrella of Paraphrasing, which is considered the most common method used for translating idioms.&lt;br /&gt;
&lt;br /&gt;
Similarly, it also reflects strategies like similar meaning and different form and similar meaning and similar form. The idiom &amp;quot;rioter came abroad,” burn with envy,” The girl's face became pale, &amp;quot; They fall in love with each other&amp;quot; are translated with the help of two mention strategies, respectively.&lt;br /&gt;
&lt;br /&gt;
Although translation by omission is a strategy used on rare occasions because of its meaning, its meaning cannot be easily paraphrased or stylistic reason. Here, the researcher also did not find any idiom translated with the help of the omission strategy.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 17:18, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
By going through the detailed discussion and analysis of the data collected, it was finally concluded that the idioms which are present in two short stories, &amp;quot;khol do&amp;quot; and &amp;quot;License,&amp;quot; are translated under the frame of Mona Baker's idiomatic model. Translation by Paraphrasing is mainly used while idioms of similar meaning and form and idioms of similar meaning and different forms are used occasionally. The researcher discusses all the strategies with related examples in the order of maximum used to minimum used. The strategy by omission did not find it works. All the data are collected from different sources and analyzed with the help of different researcher tools, and the result is written in light of the finding. Different from previous studies, the writer presents the strategies to translate idioms by each type of idiomatic expression found in the story. From the result, it is considered the translation of idiomatic expressions in the story is quite accurate. As the number of accurate data is more the data which is not related to the translation. We take conclusion from the translation through idiomatic expression and paraphrasing is the best way to translate a novel or a story however it is very difficult job to do because it needs more accurate and precise knowledge about the source language and an inspiring method to express ideas in the target language. However, translation is thing through which we can connect the world with each other and also we can study and observe diverse cultures.         &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
Abu-Saydeh, A. F. (2004). Translation of English idioms into Arabic. Babel, 114-131.&lt;br /&gt;
&lt;br /&gt;
Ahsan, S. (2020). A comparative study of two translations of manto's short story &amp;quot;Toba Tek&amp;quot;. International Journal of English Language Studies, 12-27.&lt;br /&gt;
&lt;br /&gt;
Alexander, R. J. (1987). Mimeograph. In R. J. Alexander (Ed.) Collocation and Culture. Trier: University of Trier, West Germany.&lt;br /&gt;
&lt;br /&gt;
Al-Qinai, J. (2000). Translation quality assessment. strategies, parameters and procedures. Translator's Journal, 497-519.&lt;br /&gt;
&lt;br /&gt;
Bayashi, J. (2020). Japanese-English translation: An advanced guide. Oxfordshire: Routledge.&lt;br /&gt;
&lt;br /&gt;
Das, V. (1995). Critical events: An anthropological perspective on contemporary India. New Delhi: Oxford Printing Press.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 17:36, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Mufti, A. (2007). The Language of English India. In I. &amp;amp;. End (Ed.) Enlightenment in the Colony. Princeton University Press.&lt;br /&gt;
&lt;br /&gt;
Waka Xia, L. (2019). A discourse analysis of news translation in China. Syydney: Routledge.&lt;br /&gt;
&lt;br /&gt;
= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
===Ambiguity===&lt;br /&gt;
&lt;br /&gt;
===Lexical and Structural Mismatches===&lt;br /&gt;
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===Multiword units: Idioms and Collocations===&lt;br /&gt;
&lt;br /&gt;
===Summary===&lt;br /&gt;
&lt;br /&gt;
===Further Reading===&lt;br /&gt;
&lt;br /&gt;
=刘胜楠 A Case Study of ''Ne Zha'' on Subtitle Translation Strategies from the Perspective of Skopos Theory= &lt;br /&gt;
[[Trans_Type_EN_15]]&lt;/div&gt;</summary>
		<author><name>Atta Ur Rahman</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=132495</id>
		<title>Translation types, strategies, styles, methods</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=132495"/>
		<updated>2021-12-13T18:09:52Z</updated>

		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* Introduction */&lt;/p&gt;
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&lt;div&gt;'''Translation types, strategies, styles, methods'''&lt;br /&gt;
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[[Translation_types,_strategies,_styles,_methods|Overview Page of Translation types, strategies, styles, methods]]&lt;br /&gt;
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30 Chapters（0/30)&lt;br /&gt;
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[[Trans_Type_EN_1]] [[Trans_Type_EN_2]] [[Trans_Type_EN_3]] [[Trans_Type_EN_4]] [[Trans_Type_EN_5]] [[Trans_Type_EN_6]] [[Trans_Type_EN_7]] [[Trans_Type_EN_8]] [[Trans_Type_EN_9]] [[Trans_Type_EN_10]] [[Trans_Type_EN_11]] [[Trans_Type_EN_12]] [[Trans_Type_EN_13]] [[Trans_Type_EN_14]] [[Trans_Type_EN_15]] [[Trans_Type_EN_16]] [[Trans_Type_EN_17]] [[Trans_Type_EN_18]] [[Trans_Type_EN_19]] [[Trans_Type_EN_20]] [[Trans_Type_EN_21]] [[Trans_Type_EN_22]] [[Trans_Type_EN_23]] [[Trans_Type_EN_24]] [[Trans_Type_EN_25]] [[Trans_Type_EN_26]] [[Trans_Type_EN_27]] [[Trans_Type_EN_28]] [[Trans_Type_EN_29]] [[Trans_Type_EN_30]] ...&lt;br /&gt;
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[[Book_projects|Back to translation project overview]]&lt;br /&gt;
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[[DCG-To-Do|To the To Do List]]&lt;br /&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
&lt;br /&gt;
'''浅析美版《甄嬛传》的字幕翻译策略'''&lt;br /&gt;
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[[Trans_Type_EN_1]]&lt;br /&gt;
&lt;br /&gt;
阳佳颖 Yang Jiaying, Hunan Normal University, China&lt;br /&gt;
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=Chapter 2: The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
'''纽马克翻译理论指导下旅游文本中翻译策略与翻译方法的使用——以''Everglades National Park, Florida (Excerpt)''为例'''&lt;br /&gt;
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[[Trans_Type_EN_2]]&lt;br /&gt;
&lt;br /&gt;
刘晓 Liu Xiao, Hunan Normal University, China&lt;br /&gt;
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=Chapter 3: Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
交际翻译理论指导下小说题材所适用的翻译方法和翻译策略—以韩国小说集《恩珠的电影》（节选）为例&lt;br /&gt;
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[[Trans_Type_EN_3]]&lt;br /&gt;
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刘越Liu Yue ，Hunan Normal University，China&lt;br /&gt;
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=Chapter 4: On Translation Strategies and Translation Methods in Chinese Translation of English Prose -- A Case Study of Chinese Translation of English Prose &amp;quot;Pleasures of Ignorance&amp;quot;=&lt;br /&gt;
&lt;br /&gt;
'''浅析英语散文汉译中的翻译策略和翻译方法——以英语散文《无知的乐趣》汉译本为例'''&lt;br /&gt;
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[[Trans_Type_EN_4]]&lt;br /&gt;
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毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
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[[Trans_Type_EN_5]]&lt;br /&gt;
&lt;br /&gt;
毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
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=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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[[Trans_Type_EN_6]]&lt;br /&gt;
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彭瑞雪 Peng Ruixue, Hunan University, China&lt;br /&gt;
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=Chapter 7: A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_7]]&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
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=Chapter 8:Translation methods and strategies applicable to the style of biographical literature -- Taking ''Incidents in Life of Slave Girl'' (excerpt) as an example=&lt;br /&gt;
&lt;br /&gt;
'''传记文学的文体所适用的翻译技巧与策略——以英文传记《一名女奴的人生际遇》(节选)为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_8]]&lt;br /&gt;
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颜子涵 Yan Zihan, Hunan Normal University, China&lt;br /&gt;
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=Chapter 9: On the Translation Strategies of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hung-ming and Xu Yuanchong=&lt;br /&gt;
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'''视域融合视角下看《论语》英译的翻译策略—以辜鸿铭和许渊冲的英译本为例'''&lt;br /&gt;
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[[Trans_Type_EN_9]]&lt;br /&gt;
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邝艳丽 Kuang Yanli, Hunan Normal University, China&lt;br /&gt;
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=杨柳青 Bian Zhilin's Literary Translation Theories and Practice——Take His Translation of Romantic Poems as Examples=&lt;br /&gt;
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Yang Liuqing杨柳青,Hunan Normal University,China.&lt;br /&gt;
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[[Trans_Type_EN_10]]&lt;br /&gt;
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=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
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===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
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===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
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===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012:37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær 2015:10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005:9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004:1). Translation is essential for cultures and languages to exchange information. Newmark defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects(Newmark 1988:2). Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
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Nida indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style(Nida 1964:32). Larson has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context(Larson 1998:23).--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:41, 13 December 2021 (UTC) &lt;br /&gt;
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Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”(Snell-Hornby 1988:33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957:167). By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
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The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003:16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
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This study is aimed to probe Newmark's translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988:81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:41, 13 December 2021 (UTC)&lt;br /&gt;
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===Translation and Culture===&lt;br /&gt;
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2. Translation and Culture &lt;br /&gt;
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Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
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The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988:7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988:5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988:7).  &lt;br /&gt;
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In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language”(Catford 1965:20). According to Venuti translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader”(Venuti 1995:18). Schjoldager stated that“a translation is a text that expresses what another text has expressed in another language”(Schjoldager 2008:19). Culture is a complex whole which includes knowledge,belief,art,law,morals,customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014:2). Hermanns contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures(Hermanns 1999:22) Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014:2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001:328). &lt;br /&gt;
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Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
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2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
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Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora,fauna,food,clothes,housing, work,leisure,politics,law,and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988:327) Christine Nord names them “culturemes” (Nord 1997:9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012:1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Davies 2003:17), others choose cultural words (Newmark 2003;87) or culture-bound phenomena/concepts (Newmark 2003:7). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker 1992:21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988:94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988:95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988:95).--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:02, 13 December 2021 (UTC)&lt;br /&gt;
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2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
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The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85:22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003:16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:02, 13 December 2021 (UTC)&lt;br /&gt;
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===Types of Translation ===&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
Newmark determines 8 types of translation which are: &lt;br /&gt;
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3.1 Word-for-Word Translation &lt;br /&gt;
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This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
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3.2 Literal translation &lt;br /&gt;
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In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
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3.4 Semantic Translation &lt;br /&gt;
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Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
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3.5 Adaptation &lt;br /&gt;
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This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015;15). &lt;br /&gt;
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3.6 Free Translation &lt;br /&gt;
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The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
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3.7 Idiomatic Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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3.8 Communicative Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:05, 13 December 2021 (UTC) &lt;br /&gt;
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===Translation Strategies  ===&lt;br /&gt;
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4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
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4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela translators need to choose several strategies based on the source language culture and target culture. He distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, he tries to command by the level of their intercultural intervention. He divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies). &lt;br /&gt;
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4.1.1. Conservation: &lt;br /&gt;
In conservation,the less compelling process includes repetition,orthographic adaptation,linguistic translation,extratextual gloss and intratextual gloss. &lt;br /&gt;
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4.1.1.1 Repetition:In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus,the translator keeps as much as possible the original reference (Aixela 1996;61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
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4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
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4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
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4.1.1.4 Extra-textual Gloss: Here,the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes,endings,words,ideas,translators in dictionaries, italics and so on. &lt;br /&gt;
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4.1.1.5 Intra-textual Gloss:It's like the past but the translator feels that he/she can include the globe as an indirect part of the text,not to distract the reader. &lt;br /&gt;
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4.2.1 Substitution &lt;br /&gt;
In substitution, According Aixela “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here&amp;quot;(Aixela 1996;87)--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:40, 13 December 2021 (UTC) &lt;br /&gt;
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4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
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4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
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4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela 1997;63). &lt;br /&gt;
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4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Shokri Ketabi 2015;8). &lt;br /&gt;
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4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela 1996;64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
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4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela 1997;43). &lt;br /&gt;
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4.3 Mona Baker's Translation Strategies &lt;br /&gt;
Baker's strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation.Baker She suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies(Baker 1992;90) which are the following: &lt;br /&gt;
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4.3.1 Translation by a more general word: According to Baker,this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
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4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
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4.3.3 Translation by cultural substitution:This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
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4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
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4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
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4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
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4.3.7 Translation by omission: Losing phrases or words that are not vital to text development.&lt;br /&gt;
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4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view,however,Baker,s translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:40, 13 December 2021 (UTC)&lt;br /&gt;
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===Cultural Categories  ===&lt;br /&gt;
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5. Cultural categories &lt;br /&gt;
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5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
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5.1.2 Material culture &lt;br /&gt;
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Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.”(Newmark 1988;90)  &lt;br /&gt;
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5.1.3 Social culture &lt;br /&gt;
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The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
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5.1.4 Organisation &lt;br /&gt;
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Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
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5.2 Newmark Classification CSIs &lt;br /&gt;
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Newmark established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items. (Newmark 1988;97) --[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:50, 13 December 2021 (UTC)&lt;br /&gt;
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 &lt;br /&gt;
5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
 &lt;br /&gt;
Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
&lt;br /&gt;
2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
&lt;br /&gt;
3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
&lt;br /&gt;
4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
&lt;br /&gt;
5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
&lt;br /&gt;
6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
&lt;br /&gt;
7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
&lt;br /&gt;
8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
&lt;br /&gt;
9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
&lt;br /&gt;
10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
&lt;br /&gt;
11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
&lt;br /&gt;
12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
&lt;br /&gt;
13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
&lt;br /&gt;
14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
&lt;br /&gt;
16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
&lt;br /&gt;
17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
&lt;br /&gt;
18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
&lt;br /&gt;
19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
&lt;br /&gt;
20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
&lt;br /&gt;
21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
&lt;br /&gt;
22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
&lt;br /&gt;
23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
&lt;br /&gt;
24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996;31)“translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by (Newmark 1988;81)“translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.” &lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation,then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:55, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity,as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts,the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term,and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part,but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:01, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark's strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However,the translator must be competent in using the translation procedures to provide an accurate translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
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Aguado-Gimenez, P., &amp;amp; Pérez-Paredes, P. F. (2005). Translation-strategies use: A classroombased examination of Baker’s taxonomy. Meta: journal des traducteurs/Meta: &lt;br /&gt;
Translators' Journal, 50(1), 294-311. &lt;br /&gt;
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Ahmadi, M. R.S and Nosrati, Fatemah. (2012). Domestication and Foreignization Strategies in Translation of Culture-Specific Items. Translations of English-Persian Children’s Literature. San Francisco: Grin Publishing. Google Books. &lt;br /&gt;
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Al Saleh, R. A. (2019). An Application of Newmark's Procedures to Muhammad Abul Quasem's Alleman, J. C. Bee. W. Ulitkin, I. Files, F., Zetzsche, J., Chatonnet-Marton, P. &amp;amp; y del Árbol, E. V. Translation Strategies. &lt;br /&gt;
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Al-Sofi, B. B. M. A., &amp;amp; Abouabdulqader, H. (2020). Bridging the gap between translation and culture: towards a cultural dimension of translation. International journal of linguistics, literature and culture, 6(1), 1-13. &lt;br /&gt;
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Explained. Manchester: St. Jerome. Accessed 10 November. 2018. Google Books Schjoldager, A. (2008). Understanding translation. Academica: Århus. &lt;br /&gt;
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&lt;br /&gt;
=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims to observe the development of translation studies through its different types, various strategies, styles and particular methods. In this paper, the readers are introduced to some famous translation scholars including their view of translation studies. At the further discussions, this study lets the readers acknowledge the main issues on translation studies, focusing on different styles of variations such as grammar, sentence structure, textual analysis, strategies and methods. This study may help those who are interested to conduct translation researches and help them by giving options of which theories is beneficial to their analysis. Moreover, it aims to explore the clear definition of translation as well as help the readers to understand the basic concept which are used in the field of translation. The present study, therefore, attempts to outline the scope of the discipline of translation studies and more importantly, it is an attempt to outline its activity that required a deep mastering of language, a good source of knowledge and target cultures.&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation, styles of variations, strategies&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
It is undoubtedly right that translation is important to share information. In line with these premise, the number of translation professionals is getting higher. In fact, the result of translation researches tends to help human daily life in term of evaluation, designing translator machines, and cultural studies.	 Therefore, translation means converting written information from one language into another. It is the new discipline appeared in the second half of the 20th century. The term “Translation Studies” was coined by James S. Holmes, an American-Dutch poet and translator of poetry, in his seminal paper “The Name and Nature of Translation Studies”.  Translation enables effective communication between people around the world. It is a courier for the transmission of knowledge, a protector of cultural heritage, and essential to the development of a global economy. Translation helps us to know about the developments in the field of creative arts, education, literature, business, science and politics. It has shifted from the traditional conception of the fixed, stable and unchangeable nature of the text and its meaning to a text with wide scope for variations. Translation also helps in nation building. In this globalised world, the demand for translation and language related services has increased many times. Translation is not only needed for the creation of national identity but has also become an essential tool for keeping pace with the processes of globalization and localization. The activity of translation has a long-standing tradition and has been widely practiced throughout history, but in our rapidly changing world its role has become of paramount importance. Nowadays, knowledge in which cultural exchanges have been widening, has been increasingly expanding and international communication has been intensifying, the phenomenon of translation has become fundamental. Be it for scientific, medical, technological, commercial, legal, cultural or literary purposes, today human communication depends heavily on translation and, consequently, interest in the field is also growing. Accordingly, the discussion, in the present study, proceeds primarily from the perspectives of “Translation Studies” and “Linguistics”. One major goal is to show the interrelationships between linguistics and translation, and how they benefit from each other. Nowadays, translation research has started to take another path, which is more automatic. The invention of the internet, together with the new technological developments in communication and digital materials, has increased cultural exchanges between nations. This leads translators to look for ways to cope with these changes and to look for more practical techniques that enable them to translate more and waste less. They also felt the need to enter the world of cinematographic translation, hence the birth of audiovisual translation. The latter technique, also called screen translation, is concerned with the translation of all kinds of TV programs, including films, series, and documentaries. This field is based on computers and translation software programs, and it is composed of two methods; dubbing and subtitling. In fact, audiovisual translation marks a changing era in the domain of translation.&lt;br /&gt;
In short, translation has very wide and rich history in the West. Since its birth, translation was the subject of a variety of research and conflicts between theorists. Each theorist approaches it according to his viewpoint and field of research, the fact that gives its history a changing quality.&lt;br /&gt;
&lt;br /&gt;
Discussion &lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation. For each type, a selection of examples will be considered for analysis based on translation theories and techniques. We will show that some chunks of text require literal translation, while other requires interpretive method. In addition, this paper will also examine various strategies and its styles of variations based on translational study. The following strategies will be presented in the paper as; &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	They involve text manipulation.&lt;br /&gt;
•	They must be applied to the process.&lt;br /&gt;
•	They are goal-oriented.&lt;br /&gt;
•	They are problem-centered.&lt;br /&gt;
•	They are applied consciously.&lt;br /&gt;
•	They are inter-subjective.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Most theorists agree that strategies are used by translators when they encounter a problem and literal translation is not useful. Different researchers have investigated and described various translation strategies from their different perspectives. It intends to show what translation strategies exist and when and why they are used by professional translators. Different scholars have various perspectives to the aspects of the act of translation, so, they define and describe different types of strategies. Bergen's (n. d.) classification of the strategies includes three categorizations which will be discussed mainly in this paper: &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	Comprehension strategies &lt;br /&gt;
•	Transfer strategies&lt;br /&gt;
•	Production strategies&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
An addition to this paper, styles of variations will also be introduced to the readers through different aspects and examples. The concept of style can be defined in terms of the distinctive way an individual or a group uses language, or better still the discourse used to perform distinct functions of language aimed at achieving specific purposes. However, this does not entail that style is simply a matter of form since it is the product of other components such as the genre of discourse, its semantics, syntax and phonology. Indeed, in order to analyze a given stylistic variation one needs an extensive checklist that includes lexical and grammatical categories, allusions, and figures of speech. Style can be understood to refer to the recurring typical features of the source text compared to the typical features of the translated text.  In a quantitative and qualitative analysis, this variation is shown to be influenced by several pragmatic and social factors, and to index the interpreters' stances towards source speakers and towards the immigrant court users who are the recipients of translations from English. It is argued that translation styles have profound consequences for limited English speakers, as the insistence on institutional norms in translating to them is viewed as a gate keeping behavior that may impede their full participation in the proceedings. &lt;br /&gt;
&lt;br /&gt;
What is translation? &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Translation went through various definitions going from a mere linguistics activity during the sixties, a cultural and communicative activity during the seventies reflects the social impacting activity in the latest founding of the literature. &lt;br /&gt;
“Translation is traditionally known as being the replacement of textual material in one language into equivalent textual material in another language”. &lt;br /&gt;
House (2015) mentions that translation is considered as the “replacement” of a text in the source language by a semantically and pragmatically equivalent text in the target language. It is strongly related to a source language and target language cultures. It requires a high level of mastery languages, an awareness of any contextual factors within which the discourse emerges. There is no need to mention how it affected civilizations through different areas of mankind history. For example, An Arab-Islamic civilizations. There have always been different directions on how one should or should not translate. In the Arab tradition, two main methods existed and were in complete divergence namely the literal and the free method. &lt;br /&gt;
On the other hand, in the Western tradition there are various methods currently exist namely, the linguistic, the hermeneutic, the interpretive, the functionalist, the interventionist, the poly-systemic and the text-typologist method.  More so, it may be important to point out that translation has been defined in many ways, and every definition reflects the theoretical approach underpinning it. &lt;br /&gt;
As Shuttlworth and Cowie (1997) observe throughout the history of research into translation, the phenomenon has been variously delimited by formal descriptions, echoing the frameworks of the scholars proposing them. For example, Bell (1991: XV) starts with an informal definition of translation, which runs as follows: the transformation of a text originally in one language into an equivalent text in a different language retaining, as far as is possible, the content of the message and the formal features and functional roles of the original text. &lt;br /&gt;
At the beginning of the ‘scientific’ (Newmark, 1988, p. 2) study of translation, Catford (1965, p. 20) described it in these terms, the replacement of textual material in one language (SL) by the equivalent textual material in another language. &lt;br /&gt;
Thirty years later, in Germany, the concept of translation as a form of ‘equivalence’ is maintained, as we can see from Koller’s definition (1995, p. 196): “The result of a text processing activity, by means of which a source language text is transposed into a target-language text. Between the resultant text in L2 (the target-language text) and the source text in L1 (the source language text) there exists a relationship, which can be designated as a translational, or equivalence relation”. Because complete equivalence (in the sense of synonymy or sameness) cannot take place in any of his categories, Jakobson (1959) declares that all poetic art is, therefore, technically untranslatable. That is, the translator has to take the question of interpretation into account in addition to the problem of selecting a TL phrase which will have a roughly similar meaning. Exact translation is impossible. In this regard, Bassnett (1996) claims that all texts, being part of a literary system descended from and related to other systems are “translations of translation of translations”: every text is unique and at the same time, it is the translation of another text. No text is entirely original because language itself, in its essence, is already a translation: firstly, of the non-verbal world and secondly, since every sign and every phrase is the translation of another sign and another phrase. However, this argument can be turned around without losing any of its validity: all texts are original because every translation is distinctive. Every translation, up to a certain point, is an invention and as such it constitutes a unique text.&lt;br /&gt;
In this analysis of the above definition, Manfredi (2008), points out that the above distinction can be divided into two main perspectives, those that consider translation either as a ‘process’ or a ‘product’. To this twofold categorization, Bell (1991, p. 13) adds a further variable, since he suggests making a distinction between translating (the process), a translation (the product) and translation (i.e., “the abstract concept which encompasses both the process of translating and the product of that process”. Moreover, thanks to advances in new technologies, today we can also incorporate into TS the contribution of corpus linguistics, which allows both theorists and translators analyses of large amounts of electronic texts (Manfredi, 2008). On the other hand, Halliday (1992, p. 15) takes translation to refer to the total process and relationship of equivalence between two languages; we then distinguish, within translation, between “translating” (written text) and “interpreting” (spoken text). Halliday, thus, proposes distinguishing the activity of “translation” (as a process) from the product(s) of “translating”, including both “translation” (concerning written text) and ‘interpreting’ (regarding spoken text.&lt;br /&gt;
“Translation is the production of a functional target text maintaining a relationship with a given source text that is specified according to the intended or demanding function of the target text.&lt;br /&gt;
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Types of Translation&lt;br /&gt;
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Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation.&lt;br /&gt;
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Technical translation &lt;br /&gt;
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Technical translation is a type of specialized translation involving the translation of documents produced by technical writers, or more specifically, texts which relate to technological subject areas or texts which deal with the practical application of scientific and technological information. (Wikipedia) &lt;br /&gt;
Translators' main goal is to accurately translate the technical terminology to match the document and the message of the original content.&lt;br /&gt;
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The benefits of technical translation&lt;br /&gt;
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A professional technical translation service is provided by translators with dual specialties, that is, professionals who are fluent in the language pair, but who are also experts in the field covered by the documents to be translated.&lt;br /&gt;
When you need to have your documents translated by a technical translator, translators who are not experts may not be able to provide the necessary solutions and terminology for a quality translation. If the translator is not an expert in the field, he/she will have to learn the new terminology while working. This means that translation will take longer, have higher chances of inaccuracies, and may result in higher costs. Therefore, the main advantages of hiring an agency specialized in this type of service are as follows:&lt;br /&gt;
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Literary translation&lt;br /&gt;
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Literary translation is the translation of creative and dramatic prose and poetry into other languages. This includes the translation of literature from ancient languages and the translation of modern fiction so that it can reach a wider audience. &lt;br /&gt;
Literary translation is of huge importance. It helps to shape our understanding of the world around us in many ways.                                                     Reading Homer and Sophocles as part of a classical education in school helps to build an understanding of history, politics, philosophy and so much more. Meanwhile, reading contemporary translations provides fascinating insights into life in other cultures and other countries.                                                       In a fast-paced world so rife with misunderstanding and confusion, such efforts to share knowledge and experiences across cultural boundaries should be applauded.&lt;br /&gt;
The translation of literature differs greatly from other forms of translation. The sheer size of the texts involved in literary translation sets it apart.                Tackling a translation that runs to hundreds of thousands of words is not a task for the faint-hearted. Nor is recreating poetry in a new language, without losing the beauty and essence of the original work.&lt;br /&gt;
One of the key challenges of literary translation is the need to balance staying faithful to the original work with the need to create something unique and distinctive that will evoke the same feelings and responses as the original. This can be particularly challenging when it comes to translating poetry.&lt;br /&gt;
Poems are written with incredible attention to detail. Not only are the words and phrases important, but the number of syllables and the entire rhythm of the completed work. It’s a challenging task to complete just in one language, let alone when trying to recreate a poet’s work during a translation. Daniel Hahn, director of the British Centre for Literary Translation, sums up the issue beautifully. &lt;br /&gt;
As literary translators will attest, a single word can be extremely troublesome. The author of a work of fiction has chosen that word for a good reason, so the translator must ensure that it is faithfully delivered in the target language. However, what if no direct translation is available? Or what if several options exist, each with a slightly different nuance? Urdu language translator Fahmida Riaz outlines her approach to such thorny issues.&lt;br /&gt;
For instance, “Every piece you translate comes from the pen of an individual, so you have to give it an individual treatment. I try to retain the ambience of the original culture, rather than the language, as it is reflected in the text.” &lt;br /&gt;
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Pragmatic translation&lt;br /&gt;
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Pragmatic translation is the basic assumption that provided a source language text contains no misstatements of fact, is competently written and has to be fully translated rather than summarized or functionally reorientated; one's purpose in translating it is to be referentially and pragmatically accurate. In this paper, I shall not deal with referential accuracy but concentrate instead on the pragmatic aspects of translation. As the term pragmatic translation may be used in a variety of ways, I should like to state my own definition of pragmatic, which derives from Charles Morris and ultimately from Charles S. Peirce. I am using pragmatic as one of the two factors in translation: pragmatic denotes the reader's or readership's reception of the translation, as opposed to referential, which denotes the relationship between the translation and the extra-linguistic reality it describes. &lt;br /&gt;
Translation is a properly way to a properly communication and pragmatics is how to use language in communication properly. By translation, many things from different languages and cultures can understand to each other. In other words, translation can be stated as a facilitator to make a communication runs well.&lt;br /&gt;
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===An Overview on Translation Studies  ===&lt;br /&gt;
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===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
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=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
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===Conclusion ===&lt;br /&gt;
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=== References ===&lt;br /&gt;
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= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature  --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:45, 12 December 2021 (UTC)&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
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In this chapter, the researcher wants to highlight the different concepts about the fundamental question that &amp;quot;what is idiomatic expression&amp;quot;  and the views of various critics, theorists and linguistic experts, and prominent scholars of translation studies.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:38, 13 December 2021 (UTC) Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
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Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
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&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda 2006: 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984: 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992: 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to Newmark, “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”(Newmark 1981: 11).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:38, 13 December 2021 (UTC)&lt;br /&gt;
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The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to Corelli, English has a sizeable idiomatic base. About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.(Corelli 2006: 53)&lt;br /&gt;
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The main issue that idiomatic and fixed expressions pose for translators, according to Baker is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.(Baker 1992: 65)&lt;br /&gt;
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Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.(Ahsan 2020: 12-27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:44, 13 December 2021 (UTC)&lt;br /&gt;
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===Literature Review ===&lt;br /&gt;
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In this chapter, the author/researcher defines the strategy and its different definitions from various perspectivess. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented.(Venutti !995, 35 Krings defines it as the content of the project, while Seguinet divided the term into three steps.(Krings 2000:21). However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. (Locher 2002:76) In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
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The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
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A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward. (Bergen 1996:33)&lt;br /&gt;
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Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint. (Vinute 1998:41).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to Seguinot (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.(Seguinot 1989:27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
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Furthermore, Loescher defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot;(Loescher 1991:8) As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998:4) claim moreover, 'Bell' distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.(Bell 1998:188)&lt;br /&gt;
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According to Venuti, &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot;(Venuti 1998, 240). He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to Jaaskelainen, product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.(Jaaskelainen 2005:15)&lt;br /&gt;
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Furthermore, Jaaskelainen distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making.(Jaaskelainen 2005:16). Newmarkdistinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;(Newmark 1988, 221)&lt;br /&gt;
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Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016:13).&lt;br /&gt;
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The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010:15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017:54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984:12). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
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Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985:9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female..(Ahsan 2020: 12-27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:31, 13 December 2021 (UTC)&lt;br /&gt;
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=== Theoritical Framework ===&lt;br /&gt;
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In this paper, various strategies have been used, like using an idiom of similar meaning and similar form, the idiom of similar meaning and different form, translation by Paraphrasing, translation by omission. The approach of employing idioms of similar meaning and form, according to Mona Baker, entails using an idiom in the target language that can express about the same meaning as the source language idiom, as well as having lexical similarity. On the other hand, this type of matching happens periodically as well as regularly.(Baker, 1992, 13)&lt;br /&gt;
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Similarly, employing idioms with similar meanings but different forms means that it is possible to locate an idiom or fixed expression in the target text language that has a similar meaning to the source idiom or expression but is made up of distinct lexical elements. Consider the case of English and French, both of which use the idiom mentioned above. In English, one good deed is rewarded with another, whereas in French, handsome deeds are rewarded with handsome deeds.&lt;br /&gt;
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Furthermore, we did not come across any idioms in the category mentioned above during translating idioms. To deal with this issue, the translators used the most popular approach, known as a translation by paraphrase, which is short, straightforward, and time-saving. When a match cannot be identified in the target language or when it appears improper to employ idiomatic language in target material due to aesthetic differences between the source and target languages, this is the most typical approach for translating an idiom from source to target language. However, one thing to keep in mind is that a perfect translation is not required is necessary or possible.&lt;br /&gt;
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Last but not least, to overcome the problem of idiom translation, the translator employs the strategy of translation by omission. This can be defined as an idiom being omitted entirely in the target text with a single word. This is done because the idiom has no close match in the target language; its meaning cannot be easily paraphrased or due to stylistic reasons.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:38, 13 December 2021 (UTC) &lt;br /&gt;
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Data analysis Techniques:&lt;br /&gt;
Textual analysis is the method of data analysis in qualitative research that brings forth the hidden and potent message, structure, and function of research in giving text, Alan Mckee (defines textual analysis as whenever we perform textual analysis on the text, we make an educated guess at some time of the most likely interpretations that might be made of that text (Alan 2001:3)&lt;br /&gt;
Analysis of the translation of short stories in light of Mona baker's theory &amp;quot;khol do and license&amp;quot; are short stories written by Sadat Hassan Manto and translated by many translators from Urdu into English. During translation, the translator adopted many strategies for translating idiomatic expression, sometimes by Paraphrasing, sometimes by omission, sometimes using similar idioms of form and meaning while sometimes using different words and the same form, the whole.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:51, 12 December 2021 (UTC)&lt;br /&gt;
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===Discussion and Analysis===&lt;br /&gt;
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The chapter analyzes and discusses all the data collected by the author/researcher from different sources. All the examples of idioms are firstly identified, then translated into the target text, and back-translated for the sole purpose of exploring the strategies being used by the translator. A separate section is given to every strategy with its related example. Moreover, the idiomatic expression, the target work for finding, is highlighted through the bold letter.&lt;br /&gt;
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4.1	Translation by Paraphrasing:&lt;br /&gt;
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Based on our findings, the most often used strategy was &amp;quot;translation by paraphrasing.&amp;quot; An inspection also reveals that Aatish Taseer preferred this strategy. Here are some examples applied by the translators, and in the following section, the logic behind their preference towards this strategy is elaborate. The following are examples from two short stories of Sadat Husain Manto's &amp;quot;khol do&amp;quot; and &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 1: &lt;br /&gt;
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ST: Sirajuddin ne subah das baji anki kholi to logo ka aik mutalatam samandar deka.&lt;br /&gt;
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TT: Ten a.m., Siraj Uddin opens his eyes on the cold floor of the camp, seeing the swelling sea of men.&lt;br /&gt;
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BT: sub ke das baji jab Sirajuddin ne apni anki koli to logo ka aik ublaha howa samandar ka nizara dekni laga.&lt;br /&gt;
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So, the above idioms are literal idioms being translated with the help of 'Paraphrasing' because there is no perfect equivalent of mutalatam words in English languages. A similar look at another idiom from short stories &amp;quot;khol do.&amp;quot;&lt;br /&gt;
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Example 2:&lt;br /&gt;
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ST: Khuda tomahra bala kari.&lt;br /&gt;
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TT: Your God will reward&lt;br /&gt;
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BT: Is ka badla khoda tomahi di.&lt;br /&gt;
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Here, the word reward is being used for Bala Kari, an example of transitional by Paraphrasing.&lt;br /&gt;
Let  take another example from &amp;quot;khol do.&amp;quot;&lt;br /&gt;
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Example 3:&lt;br /&gt;
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ST: unkho nai Jan khateli pa rak kar sakena ko donda.&lt;br /&gt;
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TT: even putting their lives online, they search sakina &lt;br /&gt;
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BT: apni zindagio ko khatri me dal kar unkho nai sakina ko dond nekala.&lt;br /&gt;
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The above idioms are examples of pure idiom translated from Urdu into English with the help of paraphrases strategies. However, under the same strategies, the idioms of another short story of Manto,s &amp;quot;license,&amp;quot; are translated by Aatish Taseer. Some of the examples are given below.&lt;br /&gt;
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Example 4:&lt;br /&gt;
&lt;br /&gt;
ST: Abu kochwan bara cheel jabela ta. It is the binomial type of idioms taken from the first sentence of the short story &amp;quot;license&amp;quot; by Sadat &lt;br /&gt;
Hasan Manto &lt;br /&gt;
&lt;br /&gt;
TT: Abu kochwan is stylish man.&lt;br /&gt;
&lt;br /&gt;
BT: Abu kochwan aik wazahdar admi ta.&lt;br /&gt;
&lt;br /&gt;
From the above idiom, it is clear that there is no perfect equivalence of cheela chabela idiom in English; that is, the translator goes &lt;br /&gt;
through paraphrasing strategies. Look at another example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
ST: Lein har waqat bank bani rekhi ka usi be had showk ta&lt;br /&gt;
&lt;br /&gt;
TT: He had a weakness for style and fashion.&lt;br /&gt;
&lt;br /&gt;
BT: Dan saj ke rekhna uski kamzori me sai ik ta.&lt;br /&gt;
&lt;br /&gt;
So all of the above examples, which are analyzed one by one, are examples of idioms being translated through paraphrasing strategies. Beaugrande and Dressler define paraphrases as &amp;quot;approximate conceptual equivalence among outwardly different material.&amp;quot;(De Beaugrande and Dressler 1981, 50) Similarly, in this regard, Hirst defines paraphrases as &amp;quot;talk(ing) about the same situation in a different way.&amp;quot; (Hirst 1980:12) Munday declared that &amp;quot;equivalence is particularly useful in translating idioms and proverbs” For instance, if the English idiom like a bear with a sore head is rendered into Persian as (mesle borje zahremar), meaning like a tower of snake venom, the strategy of equivalence has been applied. (Munday 1981:13).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:55, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
According to Leonardi, &amp;quot;Equivalence can be said to be the central issue in translation.&amp;quot; In this regard, house believes that &amp;quot;a translation text should match not only its source text in function but also employ equivalent situational-dimensional means to achieve that function&amp;quot; (Baker 2002:49).  who shares this approach, states that equivalence is used &amp;quot;for the sake of convenience—because most translators are used to it rather than because it has any theoretical status&amp;quot; (Kenny 1998:77). &lt;br /&gt;
&lt;br /&gt;
Despite different attitudes to the concept of equivalence, most specialists pay much attention to its meaning in the theory of translation. The translation is a form of communication, and that is why it is vital to establish equivalence between the source text and the target text. Although Vinay and Darbelnet believe that equivalence is used differently than in modern translation theory, it is evident that equivalence is one of the basic concepts of translation that cannot be neglected.Vinay and Darbelnet 1999:18)&lt;br /&gt;
Consequently, based on the Above mentioned studies using 'Paraphrasing' in translation stands as the core concept in the process of translation, and still, most of the translators cling to it for producing a more comprehensible and explicable text. These language ideas and translation models are ideal constructs, presented abstractly in order to be differentiated precisely. They may exist in an uneasy combination in actual theories and practices, resulting in logical tensions or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation. Theories and actions must be contextualized in historical settings. They've been utilized as analytical tools to describe various topics in section introductions. Theoretical writings and current events these language notions and translation models are ideal constructs expressed in an abstract manner in order to be distinguished precisely in real-life hypotheses they may exist in an uncomfortable mix, resulting in logical conflicts or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
4.2	Using an idiom of Similar Meaning and Form &lt;br /&gt;
&lt;br /&gt;
As mentioned earlier, this strategy type is being used by Aatish Taseer during their translated work of Manto's short stories &amp;quot;khol do&amp;quot; and&amp;quot; license&amp;quot; on an occasional basis. Some examples are mention below.&lt;br /&gt;
&lt;br /&gt;
From khol do.&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
ST: Larki ka rang zard hogaya.&lt;br /&gt;
&lt;br /&gt;
TT: The girl's face became fail&lt;br /&gt;
&lt;br /&gt;
BT: larki ka rang zar hogya.&lt;br /&gt;
&lt;br /&gt;
Similarly, another example from the license is&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: Abu our us ke mat beer hogaie&lt;br /&gt;
&lt;br /&gt;
TT: They fall in love with each other.&lt;br /&gt;
&lt;br /&gt;
BT: WO ik dosri ke mokhbat me geriftar hogaie&lt;br /&gt;
&lt;br /&gt;
The above idioms are pure ones and are being translated with the help of similar meanings and similar forms.&lt;br /&gt;
&lt;br /&gt;
The procedures: transposition, modulation, equivalence, and adaptation, and when it comes to defining the term Equivalence, (Vinay and Darbelnet 2000:90) propose that it consists in rendering &amp;quot;the same situation … by two texts using completely different stylistic and structural methods&amp;quot;, and when it comes to translating idiomatic expressions like &amp;quot;Il pleut à seaux&amp;quot; it can be translated as &amp;quot;It is raining cats and dogs&amp;quot; using the idiom of similar form and meaning in the target language.&lt;br /&gt;
&lt;br /&gt;
As Baker states, this strategy involves using an idiom in the TL which conveys roughly the same meaning as that of the source language idiom and, in addition, consists of identical lexical items. The salient point is that this kind of match can only occasionally be achieved, which cannot be picked up more often by translators. Accordingly, both translators mentioned in the current study had quite a slim chance of using this strategy type.(Baker 1992:12)&lt;br /&gt;
&lt;br /&gt;
4.3 Using an idiom of similar meaning but different form:&lt;br /&gt;
&lt;br /&gt;
During translating Manto short stories, &amp;quot;khol do&amp;quot; and &amp;quot;license,&amp;quot; some of the idioms are translated with the help of this strategy. Some of the examples are given below from two different short stories.&lt;br /&gt;
&lt;br /&gt;
Example number one is from the short story &amp;quot;khol do&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
ST: Aur bolwai gos ayai thee?&lt;br /&gt;
&lt;br /&gt;
TT: The roitors come abroad.&lt;br /&gt;
&lt;br /&gt;
BT: pasadi bahar agai hai.&lt;br /&gt;
&lt;br /&gt;
The above idiom is a pure type of idiom being translated with the help of above mention strategy. The word rioter is being used for bolwai, which is not a perfect word for bolwai. In Urdu bolwai, people believe in violence when minorities or the low population of any country want some rights. These people stop them by using violence, burn down their properties, rapes women, and do things like that. Another example from the license is below.&lt;br /&gt;
&lt;br /&gt;
Example 9:&lt;br /&gt;
&lt;br /&gt;
ST: Dosri kotwal abu ko dek kar jal ban ho jati.&lt;br /&gt;
&lt;br /&gt;
TT: The other coachman burn with envy.&lt;br /&gt;
&lt;br /&gt;
BT: Abu ke kamyabi dek kar aur kotwal abu sai khasad karni lagi’&lt;br /&gt;
&lt;br /&gt;
The above idioms are a pure idiom that reflects the effect of jealousy between competitors to achieve equivalency. Aatish Taseer uses envy word for jal ban instead of other which have similar meaning but different form. Look at the other example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: Dino lat vo lagal se kam karni laga.&lt;br /&gt;
&lt;br /&gt;
TT: Dino came with an excuse.&lt;br /&gt;
&lt;br /&gt;
BT: Dino abb bahi tarashni laga.&lt;br /&gt;
	&lt;br /&gt;
The above idioms are types of binomial idioms translated with the help of idioms with similar meanings and different forms. (Newmark 1988, 81) mentions the difference between translation methods and translation procedures. He writes that &amp;quot;[w]hile translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language&amp;quot; (Newmark 1988: 81). Idiomatic translation in his definition reproduces the 'message' of the original. However, it distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original, leading to using an idiom of similar meaning but a different form. Besides, it is often possible to find an idiom or fixed expression in the target language with a meaning similar to that of the source idiom or expression but which consists of different lexical items (Baker 1992, 12). Therefore, translators discover idiomatic expressions in the target language with different forms than in the source language. In the current study, the translators approached this strategy merely for 9% of the total times, which means the frequency of Iranian and English idioms with the same meaning and different forms is not considered high. &lt;br /&gt;
&lt;br /&gt;
4.4 Translation by omission:&lt;br /&gt;
&lt;br /&gt;
A translator is less using these strategies, and we did not find any clue on this type of strategy in an area under consideration.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:48, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== Findings===&lt;br /&gt;
&lt;br /&gt;
Mandelbit believed that idioms with different cognitive mapping in the target language would be more challenging to translate.(Mandelbit 1995:40)  After conducting this study and data analysis of collected data, the result revealed that the translator frequently used three out of four strategies of the Mona Baker model during the translation process, which is a translation by Paraphrasing, translation by similar meaning and similar form, translation by similar meaning and different form. In contrast, translation by omission does not found in his work.&lt;br /&gt;
After detail and careful analysis of data, more than half of idioms like &amp;quot;swelling sea of man,” my lord break his arrogance, “weakness for style and fashion.&amp;quot; As I mentioned earlier, many more are translated under the umbrella of Paraphrasing, which is considered the most common method used for translating idioms.&lt;br /&gt;
&lt;br /&gt;
Similarly, it also reflects strategies like similar meaning and different form and similar meaning and similar form. The idiom &amp;quot;rioter came abroad,” burn with envy,” The girl's face became pale, &amp;quot; They fall in love with each other&amp;quot; are translated with the help of two mention strategies, respectively.&lt;br /&gt;
&lt;br /&gt;
Although translation by omission is a strategy used on rare occasions because of its meaning, its meaning cannot be easily paraphrased or stylistic reason. Here, the researcher also did not find any idiom translated with the help of the omission strategy.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 17:18, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
By going through the detailed discussion and analysis of the data collected, it was finally concluded that the idioms which are present in two short stories, &amp;quot;khol do&amp;quot; and &amp;quot;License,&amp;quot; are translated under the frame of Mona Baker's idiomatic model. Translation by Paraphrasing is mainly used while idioms of similar meaning and form and idioms of similar meaning and different forms are used occasionally. The researcher discusses all the strategies with related examples in the order of maximum used to minimum used. The strategy by omission did not find it works. All the data are collected from different sources and analyzed with the help of different researcher tools, and the result is written in light of the finding. Different from previous studies, the writer presents the strategies to translate idioms by each type of idiomatic expression found in the story. From the result, it is considered the translation of idiomatic expressions in the story is quite accurate. As the number of accurate data is more the data which is not related to the translation. We take conclusion from the translation through idiomatic expression and paraphrasing is the best way to translate a novel or a story however it is very difficult job to do because it needs more accurate and precise knowledge about the source language and an inspiring method to express ideas in the target language. However, translation is thing through which we can connect the world with each other and also we can study and observe diverse cultures.         &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
Abu-Saydeh, A. F. (2004). Translation of English idioms into Arabic. Babel, 114-131.&lt;br /&gt;
&lt;br /&gt;
Ahsan, S. (2020). A comparative study of two translations of manto's short story &amp;quot;Toba Tek&amp;quot;. International Journal of English Language Studies, 12-27.&lt;br /&gt;
&lt;br /&gt;
Alexander, R. J. (1987). Mimeograph. In R. J. Alexander (Ed.) Collocation and Culture. Trier: University of Trier, West Germany.&lt;br /&gt;
&lt;br /&gt;
Al-Qinai, J. (2000). Translation quality assessment. strategies, parameters and procedures. Translator's Journal, 497-519.&lt;br /&gt;
&lt;br /&gt;
Bayashi, J. (2020). Japanese-English translation: An advanced guide. Oxfordshire: Routledge.&lt;br /&gt;
&lt;br /&gt;
Das, V. (1995). Critical events: An anthropological perspective on contemporary India. New Delhi: Oxford Printing Press.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 17:36, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Mufti, A. (2007). The Language of English India. In I. &amp;amp;. End (Ed.) Enlightenment in the Colony. Princeton University Press.&lt;br /&gt;
&lt;br /&gt;
Waka Xia, L. (2019). A discourse analysis of news translation in China. Syydney: Routledge.&lt;br /&gt;
&lt;br /&gt;
= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
===Ambiguity===&lt;br /&gt;
&lt;br /&gt;
===Lexical and Structural Mismatches===&lt;br /&gt;
&lt;br /&gt;
===Multiword units: Idioms and Collocations===&lt;br /&gt;
&lt;br /&gt;
===Summary===&lt;br /&gt;
&lt;br /&gt;
===Further Reading===&lt;br /&gt;
&lt;br /&gt;
=刘胜楠 A Case Study of ''Ne Zha'' on Subtitle Translation Strategies from the Perspective of Skopos Theory= &lt;br /&gt;
[[Trans_Type_EN_15]]&lt;/div&gt;</summary>
		<author><name>Atta Ur Rahman</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=132492</id>
		<title>Translation types, strategies, styles, methods</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=132492"/>
		<updated>2021-12-13T18:03:53Z</updated>

		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* Translation and Culture */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''Translation types, strategies, styles, methods'''&lt;br /&gt;
&lt;br /&gt;
[[Translation_types,_strategies,_styles,_methods|Overview Page of Translation types, strategies, styles, methods]]&lt;br /&gt;
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30 Chapters（0/30)&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_1]] [[Trans_Type_EN_2]] [[Trans_Type_EN_3]] [[Trans_Type_EN_4]] [[Trans_Type_EN_5]] [[Trans_Type_EN_6]] [[Trans_Type_EN_7]] [[Trans_Type_EN_8]] [[Trans_Type_EN_9]] [[Trans_Type_EN_10]] [[Trans_Type_EN_11]] [[Trans_Type_EN_12]] [[Trans_Type_EN_13]] [[Trans_Type_EN_14]] [[Trans_Type_EN_15]] [[Trans_Type_EN_16]] [[Trans_Type_EN_17]] [[Trans_Type_EN_18]] [[Trans_Type_EN_19]] [[Trans_Type_EN_20]] [[Trans_Type_EN_21]] [[Trans_Type_EN_22]] [[Trans_Type_EN_23]] [[Trans_Type_EN_24]] [[Trans_Type_EN_25]] [[Trans_Type_EN_26]] [[Trans_Type_EN_27]] [[Trans_Type_EN_28]] [[Trans_Type_EN_29]] [[Trans_Type_EN_30]] ...&lt;br /&gt;
&lt;br /&gt;
[[Book_projects|Back to translation project overview]]&lt;br /&gt;
&lt;br /&gt;
[[DCG-To-Do|To the To Do List]]&lt;br /&gt;
&lt;br /&gt;
=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
&lt;br /&gt;
'''浅析美版《甄嬛传》的字幕翻译策略'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_1]]&lt;br /&gt;
&lt;br /&gt;
阳佳颖 Yang Jiaying, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 2: The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
'''纽马克翻译理论指导下旅游文本中翻译策略与翻译方法的使用——以''Everglades National Park, Florida (Excerpt)''为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_2]]&lt;br /&gt;
&lt;br /&gt;
刘晓 Liu Xiao, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 3: Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
交际翻译理论指导下小说题材所适用的翻译方法和翻译策略—以韩国小说集《恩珠的电影》（节选）为例&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_3]]&lt;br /&gt;
&lt;br /&gt;
刘越Liu Yue ，Hunan Normal University，China&lt;br /&gt;
&lt;br /&gt;
=Chapter 4: On Translation Strategies and Translation Methods in Chinese Translation of English Prose -- A Case Study of Chinese Translation of English Prose &amp;quot;Pleasures of Ignorance&amp;quot;=&lt;br /&gt;
&lt;br /&gt;
'''浅析英语散文汉译中的翻译策略和翻译方法——以英语散文《无知的乐趣》汉译本为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_4]]&lt;br /&gt;
&lt;br /&gt;
毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_5]]&lt;br /&gt;
&lt;br /&gt;
毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
&lt;br /&gt;
=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_6]]&lt;br /&gt;
&lt;br /&gt;
彭瑞雪 Peng Ruixue, Hunan University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 7: A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_7]]&lt;br /&gt;
&lt;br /&gt;
秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 8:Translation methods and strategies applicable to the style of biographical literature -- Taking ''Incidents in Life of Slave Girl'' (excerpt) as an example=&lt;br /&gt;
&lt;br /&gt;
'''传记文学的文体所适用的翻译技巧与策略——以英文传记《一名女奴的人生际遇》(节选)为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_8]]&lt;br /&gt;
&lt;br /&gt;
颜子涵 Yan Zihan, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 9: On the Translation Strategies of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hung-ming and Xu Yuanchong=&lt;br /&gt;
&lt;br /&gt;
'''视域融合视角下看《论语》英译的翻译策略—以辜鸿铭和许渊冲的英译本为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_9]]&lt;br /&gt;
&lt;br /&gt;
邝艳丽 Kuang Yanli, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=杨柳青 Bian Zhilin's Literary Translation Theories and Practice——Take His Translation of Romantic Poems as Examples=&lt;br /&gt;
&lt;br /&gt;
Yang Liuqing杨柳青,Hunan Normal University,China.&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_10]]&lt;br /&gt;
&lt;br /&gt;
=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012:37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær 2015:10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005;9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004;1). Translation is essential for cultures and languages to exchange information. Newmark defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects(Newmark 1988;2). Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
&lt;br /&gt;
Nida indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style(Nida 1964;32). Larson has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context(Larson 1998;23).--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:41, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”(Snell-Hornby 1988;33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957;167). By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
&lt;br /&gt;
The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003;16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
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This study is aimed to probe Newmark's translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988;81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:41, 13 December 2021 (UTC)&lt;br /&gt;
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===Translation and Culture===&lt;br /&gt;
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2. Translation and Culture &lt;br /&gt;
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Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
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The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988:7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988:5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988:7).  &lt;br /&gt;
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In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language”(Catford 1965:20). According to Venuti translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader”(Venuti 1995:18). Schjoldager stated that“a translation is a text that expresses what another text has expressed in another language”(Schjoldager 2008:19). Culture is a complex whole which includes knowledge,belief,art,law,morals,customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014:2). Hermanns contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures(Hermanns 1999:22) Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014:2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001:328). &lt;br /&gt;
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Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
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2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
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Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora,fauna,food,clothes,housing, work,leisure,politics,law,and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988:327) Christine Nord names them “culturemes” (Nord 1997:9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012:1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Davies 2003:17), others choose cultural words (Newmark 2003;87) or culture-bound phenomena/concepts (Newmark 2003:7). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker 1992:21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988:94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988:95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988:95).--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:02, 13 December 2021 (UTC)&lt;br /&gt;
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2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
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The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85:22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003:16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:02, 13 December 2021 (UTC)&lt;br /&gt;
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===Types of Translation ===&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
Newmark determines 8 types of translation which are: &lt;br /&gt;
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3.1 Word-for-Word Translation &lt;br /&gt;
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This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
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3.2 Literal translation &lt;br /&gt;
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In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
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3.4 Semantic Translation &lt;br /&gt;
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Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
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3.5 Adaptation &lt;br /&gt;
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This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015;15). &lt;br /&gt;
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3.6 Free Translation &lt;br /&gt;
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The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
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3.7 Idiomatic Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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3.8 Communicative Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:05, 13 December 2021 (UTC) &lt;br /&gt;
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===Translation Strategies  ===&lt;br /&gt;
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4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
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4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela translators need to choose several strategies based on the source language culture and target culture. He distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, he tries to command by the level of their intercultural intervention. He divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies). &lt;br /&gt;
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4.1.1. Conservation: &lt;br /&gt;
In conservation,the less compelling process includes repetition,orthographic adaptation,linguistic translation,extratextual gloss and intratextual gloss. &lt;br /&gt;
&lt;br /&gt;
4.1.1.1 Repetition:In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus,the translator keeps as much as possible the original reference (Aixela 1996;61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
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4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
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4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
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4.1.1.4 Extra-textual Gloss: Here,the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes,endings,words,ideas,translators in dictionaries, italics and so on. &lt;br /&gt;
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4.1.1.5 Intra-textual Gloss:It's like the past but the translator feels that he/she can include the globe as an indirect part of the text,not to distract the reader. &lt;br /&gt;
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4.2.1 Substitution &lt;br /&gt;
In substitution, According Aixela “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here&amp;quot;(Aixela 1996;87)--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:40, 13 December 2021 (UTC) &lt;br /&gt;
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4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
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4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
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4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela 1997;63). &lt;br /&gt;
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4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Shokri Ketabi 2015;8). &lt;br /&gt;
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4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela 1996;64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
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4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela 1997;43). &lt;br /&gt;
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4.3 Mona Baker's Translation Strategies &lt;br /&gt;
Baker's strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation.Baker She suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies(Baker 1992;90) which are the following: &lt;br /&gt;
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4.3.1 Translation by a more general word: According to Baker,this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
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4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
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4.3.3 Translation by cultural substitution:This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
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4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
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4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
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4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
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4.3.7 Translation by omission: Losing phrases or words that are not vital to text development.&lt;br /&gt;
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4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view,however,Baker,s translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:40, 13 December 2021 (UTC)&lt;br /&gt;
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===Cultural Categories  ===&lt;br /&gt;
&lt;br /&gt;
5. Cultural categories &lt;br /&gt;
 &lt;br /&gt;
5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
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5.1.2 Material culture &lt;br /&gt;
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Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.”(Newmark 1988;90)  &lt;br /&gt;
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5.1.3 Social culture &lt;br /&gt;
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The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
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5.1.4 Organisation &lt;br /&gt;
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Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
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5.2 Newmark Classification CSIs &lt;br /&gt;
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Newmark established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items. (Newmark 1988;97) --[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:50, 13 December 2021 (UTC)&lt;br /&gt;
 &lt;br /&gt;
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5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
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Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
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2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
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3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
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4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
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5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
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6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
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7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
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8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
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9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
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10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
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11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
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12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
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13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
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14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
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15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
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16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
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17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
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18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
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19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
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20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
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21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
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22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
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23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
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24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
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25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
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26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
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27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
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28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
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29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
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30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
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31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
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32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
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33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
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34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
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35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
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36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
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37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
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38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
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39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
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40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
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41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
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42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
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43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
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44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
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45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996;31)“translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by (Newmark 1988;81)“translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.” &lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation,then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:55, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity,as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts,the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term,and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part,but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:01, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark's strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However,the translator must be competent in using the translation procedures to provide an accurate translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abdi, H. (2019). Translating culture-specific items (CSIs) as a conundrum for Iranian MA translation students: Considering the level of study. Journal of new advances in English Language Teaching and Applied Linguistics, 1(1), 88-109. &lt;br /&gt;
&lt;br /&gt;
Aguado-Gimenez, P., &amp;amp; Pérez-Paredes, P. F. (2005). Translation-strategies use: A classroombased examination of Baker’s taxonomy. Meta: journal des traducteurs/Meta: &lt;br /&gt;
Translators' Journal, 50(1), 294-311. &lt;br /&gt;
&lt;br /&gt;
Ahmadi, M. R.S and Nosrati, Fatemah. (2012). Domestication and Foreignization Strategies in Translation of Culture-Specific Items. Translations of English-Persian Children’s Literature. San Francisco: Grin Publishing. Google Books. &lt;br /&gt;
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Al Saleh, R. A. (2019). An Application of Newmark's Procedures to Muhammad Abul Quasem's Alleman, J. C. Bee. W. Ulitkin, I. Files, F., Zetzsche, J., Chatonnet-Marton, P. &amp;amp; y del Árbol, E. V. Translation Strategies. &lt;br /&gt;
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Al-Sofi, B. B. M. A., &amp;amp; Abouabdulqader, H. (2020). Bridging the gap between translation and culture: towards a cultural dimension of translation. International journal of linguistics, literature and culture, 6(1), 1-13. &lt;br /&gt;
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Baker, M., 1992. In Other Words: A Coursebook on Translation. London: Routledge, p.20–42. &lt;br /&gt;
&lt;br /&gt;
Blažytė, D., &amp;amp; Liubinienė, V. (2016). Culture-specific items (CSI) and their translation strategies in Martin Lindstrom’s&amp;quot; Brand sense&amp;quot;. Kalbų studijos, (29), 42-57. &lt;br /&gt;
&lt;br /&gt;
Bush, P. (1998) &amp;quot;Literary Translation.&amp;quot; In: M. Baker, ed. Routledge Encyclopedia of Translation Studies, London: Routledge, pp.127-130. &lt;br /&gt;
&lt;br /&gt;
Catford. J. C. (1965). A linguistic theory of translation. Oxford: Oxford University Press. &lt;br /&gt;
English Translation of Mohammad Al-Ghazali's Islamic Guidance.Literature and Culture, 6(1), 1-13. &lt;br /&gt;
&lt;br /&gt;
Gečaitė, L. (2020). Culture-Specific Items and Their Translation Strategies in Victoria Hislop's Novel The Sunrise.” (2020). &lt;br /&gt;
&lt;br /&gt;
Hassan, B. E. A. (2014). Between English and Arabic: A practical course in translation. &lt;br /&gt;
Cambridge Scholars Publishing. &lt;br /&gt;
&lt;br /&gt;
Hermans, T. (1999). Translation in systems. Manchester: St. Jerome Publication  House, J. (Ed.). (2014). Translation: a multidisciplinary approach. Springer. &lt;br /&gt;
Issa, A. L. S. M., &amp;amp; Hammood, L. H. R.- Quranic-Specific Phrases under the Study of Translation; Significance and Applications. &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. (33), p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. 33, p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Lambert, J. (1998) Literary Translation. In: M. Baker, ed. Routledge Encyclopedia of Translation Studies. London: Routledge, 130-134. &lt;br /&gt;
&lt;br /&gt;
Landers, Clifford E. (2001) Literary Translation: A practical guide. New Jersey University Press: Multilingual Maters. &lt;br /&gt;
&lt;br /&gt;
Lustig, Myron, W. and Koeser, Joline  (2003), Intercultural Competence: Interpersonal Communication Across Cultures, Boston: Allyn and Bacon. &lt;br /&gt;
&lt;br /&gt;
Malmkjær, K. (1993). Who Can Make Nice A Better Word Than Pretty? Collocation, Translation, and Psycholoinguistics. In: Baker, M., Francis, G. and Tognini-Bonelli, E. &lt;br /&gt;
eds. Text and Technology. Philadelphia/Amsterdam: John Benjamins Publishing Company. pp.213-32. &lt;br /&gt;
&lt;br /&gt;
Mosavat, S., &amp;amp; Rahimpour, S. (2016). The Most and Least Used Translation Strategies for &lt;br /&gt;
Conveying Culture-Specific-Items in Young Adult Literature from English into Persian. International Journal of Humanities and Cultural Studies (IJHCS) ISSN 23565926, 1853-1873. &lt;br /&gt;
&lt;br /&gt;
Munday, J. (1997). Systems in Translation: A computer-assisted systemic approach to the analysis of translation of García Márquez. Ph.D thesis, University of Bradford. &lt;br /&gt;
&lt;br /&gt;
Newmark, P. (2001). A Textbook of Translation. Shanghai: Shanghai Foreign Language &lt;br /&gt;
Education Press &lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. (1988). A Textbook of Translation. New Jersey: Prentice-Halls &lt;br /&gt;
&lt;br /&gt;
Nord, Christiane. (1997). Translating as a Purposeful Activity: Functionalist Approaches &lt;br /&gt;
Explained. Manchester: St. Jerome. Accessed 10 November. 2018. Google Books Schjoldager, A. (2008). Understanding translation. Academica: Århus. &lt;br /&gt;
&lt;br /&gt;
Silalahi, M., &amp;amp; Lubis, S. (2013). Translation Procedures of Cultural Terms Found In Sejarah Bilingual For Students of Senior High School. &lt;br /&gt;
Valipoor, K., &amp;amp; andAzizeh Chalak, H. H. T. (2019). Cultural-specific items in translation of the Holy Quran by Irving: 43-51. &lt;br /&gt;
&lt;br /&gt;
Venuti, L. (1995). The translator’s invisibility: A history of translation. London and New York: &lt;br /&gt;
Routledge &lt;br /&gt;
&lt;br /&gt;
Widiarto, O. V. V. (2016). The translation procedures of cultural expressions applied in a game of thrones translated into Perebutan Tahta novel by Barokah Ruziati (Doctoral dissertation, Dian Nuswantoro University).&lt;br /&gt;
&lt;br /&gt;
=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims to observe the development of translation studies through its different types, various strategies, styles and particular methods. In this paper, the readers are introduced to some famous translation scholars including their view of translation studies. At the further discussions, this study lets the readers acknowledge the main issues on translation studies, focusing on different styles of variations such as grammar, sentence structure, textual analysis, strategies and methods. This study may help those who are interested to conduct translation researches and help them by giving options of which theories is beneficial to their analysis. Moreover, it aims to explore the clear definition of translation as well as help the readers to understand the basic concept which are used in the field of translation. The present study, therefore, attempts to outline the scope of the discipline of translation studies and more importantly, it is an attempt to outline its activity that required a deep mastering of language, a good source of knowledge and target cultures.&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation, styles of variations, strategies&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
It is undoubtedly right that translation is important to share information. In line with these premise, the number of translation professionals is getting higher. In fact, the result of translation researches tends to help human daily life in term of evaluation, designing translator machines, and cultural studies.	 Therefore, translation means converting written information from one language into another. It is the new discipline appeared in the second half of the 20th century. The term “Translation Studies” was coined by James S. Holmes, an American-Dutch poet and translator of poetry, in his seminal paper “The Name and Nature of Translation Studies”.  Translation enables effective communication between people around the world. It is a courier for the transmission of knowledge, a protector of cultural heritage, and essential to the development of a global economy. Translation helps us to know about the developments in the field of creative arts, education, literature, business, science and politics. It has shifted from the traditional conception of the fixed, stable and unchangeable nature of the text and its meaning to a text with wide scope for variations. Translation also helps in nation building. In this globalised world, the demand for translation and language related services has increased many times. Translation is not only needed for the creation of national identity but has also become an essential tool for keeping pace with the processes of globalization and localization. The activity of translation has a long-standing tradition and has been widely practiced throughout history, but in our rapidly changing world its role has become of paramount importance. Nowadays, knowledge in which cultural exchanges have been widening, has been increasingly expanding and international communication has been intensifying, the phenomenon of translation has become fundamental. Be it for scientific, medical, technological, commercial, legal, cultural or literary purposes, today human communication depends heavily on translation and, consequently, interest in the field is also growing. Accordingly, the discussion, in the present study, proceeds primarily from the perspectives of “Translation Studies” and “Linguistics”. One major goal is to show the interrelationships between linguistics and translation, and how they benefit from each other. Nowadays, translation research has started to take another path, which is more automatic. The invention of the internet, together with the new technological developments in communication and digital materials, has increased cultural exchanges between nations. This leads translators to look for ways to cope with these changes and to look for more practical techniques that enable them to translate more and waste less. They also felt the need to enter the world of cinematographic translation, hence the birth of audiovisual translation. The latter technique, also called screen translation, is concerned with the translation of all kinds of TV programs, including films, series, and documentaries. This field is based on computers and translation software programs, and it is composed of two methods; dubbing and subtitling. In fact, audiovisual translation marks a changing era in the domain of translation.&lt;br /&gt;
In short, translation has very wide and rich history in the West. Since its birth, translation was the subject of a variety of research and conflicts between theorists. Each theorist approaches it according to his viewpoint and field of research, the fact that gives its history a changing quality.&lt;br /&gt;
&lt;br /&gt;
Discussion &lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation. For each type, a selection of examples will be considered for analysis based on translation theories and techniques. We will show that some chunks of text require literal translation, while other requires interpretive method. In addition, this paper will also examine various strategies and its styles of variations based on translational study. The following strategies will be presented in the paper as; &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	They involve text manipulation.&lt;br /&gt;
•	They must be applied to the process.&lt;br /&gt;
•	They are goal-oriented.&lt;br /&gt;
•	They are problem-centered.&lt;br /&gt;
•	They are applied consciously.&lt;br /&gt;
•	They are inter-subjective.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Most theorists agree that strategies are used by translators when they encounter a problem and literal translation is not useful. Different researchers have investigated and described various translation strategies from their different perspectives. It intends to show what translation strategies exist and when and why they are used by professional translators. Different scholars have various perspectives to the aspects of the act of translation, so, they define and describe different types of strategies. Bergen's (n. d.) classification of the strategies includes three categorizations which will be discussed mainly in this paper: &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	Comprehension strategies &lt;br /&gt;
•	Transfer strategies&lt;br /&gt;
•	Production strategies&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
An addition to this paper, styles of variations will also be introduced to the readers through different aspects and examples. The concept of style can be defined in terms of the distinctive way an individual or a group uses language, or better still the discourse used to perform distinct functions of language aimed at achieving specific purposes. However, this does not entail that style is simply a matter of form since it is the product of other components such as the genre of discourse, its semantics, syntax and phonology. Indeed, in order to analyze a given stylistic variation one needs an extensive checklist that includes lexical and grammatical categories, allusions, and figures of speech. Style can be understood to refer to the recurring typical features of the source text compared to the typical features of the translated text.  In a quantitative and qualitative analysis, this variation is shown to be influenced by several pragmatic and social factors, and to index the interpreters' stances towards source speakers and towards the immigrant court users who are the recipients of translations from English. It is argued that translation styles have profound consequences for limited English speakers, as the insistence on institutional norms in translating to them is viewed as a gate keeping behavior that may impede their full participation in the proceedings. &lt;br /&gt;
&lt;br /&gt;
What is translation? &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Translation went through various definitions going from a mere linguistics activity during the sixties, a cultural and communicative activity during the seventies reflects the social impacting activity in the latest founding of the literature. &lt;br /&gt;
“Translation is traditionally known as being the replacement of textual material in one language into equivalent textual material in another language”. &lt;br /&gt;
House (2015) mentions that translation is considered as the “replacement” of a text in the source language by a semantically and pragmatically equivalent text in the target language. It is strongly related to a source language and target language cultures. It requires a high level of mastery languages, an awareness of any contextual factors within which the discourse emerges. There is no need to mention how it affected civilizations through different areas of mankind history. For example, An Arab-Islamic civilizations. There have always been different directions on how one should or should not translate. In the Arab tradition, two main methods existed and were in complete divergence namely the literal and the free method. &lt;br /&gt;
On the other hand, in the Western tradition there are various methods currently exist namely, the linguistic, the hermeneutic, the interpretive, the functionalist, the interventionist, the poly-systemic and the text-typologist method.  More so, it may be important to point out that translation has been defined in many ways, and every definition reflects the theoretical approach underpinning it. &lt;br /&gt;
As Shuttlworth and Cowie (1997) observe throughout the history of research into translation, the phenomenon has been variously delimited by formal descriptions, echoing the frameworks of the scholars proposing them. For example, Bell (1991: XV) starts with an informal definition of translation, which runs as follows: the transformation of a text originally in one language into an equivalent text in a different language retaining, as far as is possible, the content of the message and the formal features and functional roles of the original text. &lt;br /&gt;
At the beginning of the ‘scientific’ (Newmark, 1988, p. 2) study of translation, Catford (1965, p. 20) described it in these terms, the replacement of textual material in one language (SL) by the equivalent textual material in another language. &lt;br /&gt;
Thirty years later, in Germany, the concept of translation as a form of ‘equivalence’ is maintained, as we can see from Koller’s definition (1995, p. 196): “The result of a text processing activity, by means of which a source language text is transposed into a target-language text. Between the resultant text in L2 (the target-language text) and the source text in L1 (the source language text) there exists a relationship, which can be designated as a translational, or equivalence relation”. Because complete equivalence (in the sense of synonymy or sameness) cannot take place in any of his categories, Jakobson (1959) declares that all poetic art is, therefore, technically untranslatable. That is, the translator has to take the question of interpretation into account in addition to the problem of selecting a TL phrase which will have a roughly similar meaning. Exact translation is impossible. In this regard, Bassnett (1996) claims that all texts, being part of a literary system descended from and related to other systems are “translations of translation of translations”: every text is unique and at the same time, it is the translation of another text. No text is entirely original because language itself, in its essence, is already a translation: firstly, of the non-verbal world and secondly, since every sign and every phrase is the translation of another sign and another phrase. However, this argument can be turned around without losing any of its validity: all texts are original because every translation is distinctive. Every translation, up to a certain point, is an invention and as such it constitutes a unique text.&lt;br /&gt;
In this analysis of the above definition, Manfredi (2008), points out that the above distinction can be divided into two main perspectives, those that consider translation either as a ‘process’ or a ‘product’. To this twofold categorization, Bell (1991, p. 13) adds a further variable, since he suggests making a distinction between translating (the process), a translation (the product) and translation (i.e., “the abstract concept which encompasses both the process of translating and the product of that process”. Moreover, thanks to advances in new technologies, today we can also incorporate into TS the contribution of corpus linguistics, which allows both theorists and translators analyses of large amounts of electronic texts (Manfredi, 2008). On the other hand, Halliday (1992, p. 15) takes translation to refer to the total process and relationship of equivalence between two languages; we then distinguish, within translation, between “translating” (written text) and “interpreting” (spoken text). Halliday, thus, proposes distinguishing the activity of “translation” (as a process) from the product(s) of “translating”, including both “translation” (concerning written text) and ‘interpreting’ (regarding spoken text.&lt;br /&gt;
“Translation is the production of a functional target text maintaining a relationship with a given source text that is specified according to the intended or demanding function of the target text.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Types of Translation&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation.&lt;br /&gt;
&lt;br /&gt;
Technical translation &lt;br /&gt;
&lt;br /&gt;
Technical translation is a type of specialized translation involving the translation of documents produced by technical writers, or more specifically, texts which relate to technological subject areas or texts which deal with the practical application of scientific and technological information. (Wikipedia) &lt;br /&gt;
Translators' main goal is to accurately translate the technical terminology to match the document and the message of the original content.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The benefits of technical translation&lt;br /&gt;
&lt;br /&gt;
A professional technical translation service is provided by translators with dual specialties, that is, professionals who are fluent in the language pair, but who are also experts in the field covered by the documents to be translated.&lt;br /&gt;
When you need to have your documents translated by a technical translator, translators who are not experts may not be able to provide the necessary solutions and terminology for a quality translation. If the translator is not an expert in the field, he/she will have to learn the new terminology while working. This means that translation will take longer, have higher chances of inaccuracies, and may result in higher costs. Therefore, the main advantages of hiring an agency specialized in this type of service are as follows:&lt;br /&gt;
&lt;br /&gt;
Literary translation&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Literary translation is the translation of creative and dramatic prose and poetry into other languages. This includes the translation of literature from ancient languages and the translation of modern fiction so that it can reach a wider audience. &lt;br /&gt;
Literary translation is of huge importance. It helps to shape our understanding of the world around us in many ways.                                                     Reading Homer and Sophocles as part of a classical education in school helps to build an understanding of history, politics, philosophy and so much more. Meanwhile, reading contemporary translations provides fascinating insights into life in other cultures and other countries.                                                       In a fast-paced world so rife with misunderstanding and confusion, such efforts to share knowledge and experiences across cultural boundaries should be applauded.&lt;br /&gt;
The translation of literature differs greatly from other forms of translation. The sheer size of the texts involved in literary translation sets it apart.                Tackling a translation that runs to hundreds of thousands of words is not a task for the faint-hearted. Nor is recreating poetry in a new language, without losing the beauty and essence of the original work.&lt;br /&gt;
One of the key challenges of literary translation is the need to balance staying faithful to the original work with the need to create something unique and distinctive that will evoke the same feelings and responses as the original. This can be particularly challenging when it comes to translating poetry.&lt;br /&gt;
Poems are written with incredible attention to detail. Not only are the words and phrases important, but the number of syllables and the entire rhythm of the completed work. It’s a challenging task to complete just in one language, let alone when trying to recreate a poet’s work during a translation. Daniel Hahn, director of the British Centre for Literary Translation, sums up the issue beautifully. &lt;br /&gt;
As literary translators will attest, a single word can be extremely troublesome. The author of a work of fiction has chosen that word for a good reason, so the translator must ensure that it is faithfully delivered in the target language. However, what if no direct translation is available? Or what if several options exist, each with a slightly different nuance? Urdu language translator Fahmida Riaz outlines her approach to such thorny issues.&lt;br /&gt;
For instance, “Every piece you translate comes from the pen of an individual, so you have to give it an individual treatment. I try to retain the ambience of the original culture, rather than the language, as it is reflected in the text.” &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Pragmatic translation&lt;br /&gt;
&lt;br /&gt;
Pragmatic translation is the basic assumption that provided a source language text contains no misstatements of fact, is competently written and has to be fully translated rather than summarized or functionally reorientated; one's purpose in translating it is to be referentially and pragmatically accurate. In this paper, I shall not deal with referential accuracy but concentrate instead on the pragmatic aspects of translation. As the term pragmatic translation may be used in a variety of ways, I should like to state my own definition of pragmatic, which derives from Charles Morris and ultimately from Charles S. Peirce. I am using pragmatic as one of the two factors in translation: pragmatic denotes the reader's or readership's reception of the translation, as opposed to referential, which denotes the relationship between the translation and the extra-linguistic reality it describes. &lt;br /&gt;
Translation is a properly way to a properly communication and pragmatics is how to use language in communication properly. By translation, many things from different languages and cultures can understand to each other. In other words, translation can be stated as a facilitator to make a communication runs well.&lt;br /&gt;
&lt;br /&gt;
===An Overview on Translation Studies  ===&lt;br /&gt;
&lt;br /&gt;
===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
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=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
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===Conclusion ===&lt;br /&gt;
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=== References ===&lt;br /&gt;
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= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature  --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:45, 12 December 2021 (UTC)&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
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In this chapter, the researcher wants to highlight the different concepts about the fundamental question that &amp;quot;what is idiomatic expression&amp;quot;  and the views of various critics, theorists and linguistic experts, and prominent scholars of translation studies.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:38, 13 December 2021 (UTC) Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
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Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
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&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda 2006: 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984: 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992: 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to Newmark, “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”(Newmark 1981: 11).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:38, 13 December 2021 (UTC)&lt;br /&gt;
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The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to Corelli, English has a sizeable idiomatic base. About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.(Corelli 2006: 53)&lt;br /&gt;
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The main issue that idiomatic and fixed expressions pose for translators, according to Baker is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.(Baker 1992: 65)&lt;br /&gt;
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Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.(Ahsan 2020: 12-27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:44, 13 December 2021 (UTC)&lt;br /&gt;
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===Literature Review ===&lt;br /&gt;
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In this chapter, the author/researcher defines the strategy and its different definitions from various perspectivess. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented.(Venutti !995, 35 Krings defines it as the content of the project, while Seguinet divided the term into three steps.(Krings 2000:21). However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. (Locher 2002:76) In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
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The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
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A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward. (Bergen 1996:33)&lt;br /&gt;
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Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint. (Vinute 1998:41).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to Seguinot (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.(Seguinot 1989:27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
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Furthermore, Loescher defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot;(Loescher 1991:8) As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998:4) claim moreover, 'Bell' distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.(Bell 1998:188)&lt;br /&gt;
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According to Venuti, &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot;(Venuti 1998, 240). He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to Jaaskelainen, product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.(Jaaskelainen 2005:15)&lt;br /&gt;
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Furthermore, Jaaskelainen distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making.(Jaaskelainen 2005:16). Newmarkdistinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;(Newmark 1988, 221)&lt;br /&gt;
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Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016:13).&lt;br /&gt;
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The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010:15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017:54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984:12). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
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Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985:9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female..(Ahsan 2020: 12-27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:31, 13 December 2021 (UTC)&lt;br /&gt;
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=== Theoritical Framework ===&lt;br /&gt;
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In this paper, various strategies have been used, like using an idiom of similar meaning and similar form, the idiom of similar meaning and different form, translation by Paraphrasing, translation by omission. The approach of employing idioms of similar meaning and form, according to Mona Baker, entails using an idiom in the target language that can express about the same meaning as the source language idiom, as well as having lexical similarity. On the other hand, this type of matching happens periodically as well as regularly.(Baker, 1992, 13)&lt;br /&gt;
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Similarly, employing idioms with similar meanings but different forms means that it is possible to locate an idiom or fixed expression in the target text language that has a similar meaning to the source idiom or expression but is made up of distinct lexical elements. Consider the case of English and French, both of which use the idiom mentioned above. In English, one good deed is rewarded with another, whereas in French, handsome deeds are rewarded with handsome deeds.&lt;br /&gt;
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Furthermore, we did not come across any idioms in the category mentioned above during translating idioms. To deal with this issue, the translators used the most popular approach, known as a translation by paraphrase, which is short, straightforward, and time-saving. When a match cannot be identified in the target language or when it appears improper to employ idiomatic language in target material due to aesthetic differences between the source and target languages, this is the most typical approach for translating an idiom from source to target language. However, one thing to keep in mind is that a perfect translation is not required is necessary or possible.&lt;br /&gt;
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Last but not least, to overcome the problem of idiom translation, the translator employs the strategy of translation by omission. This can be defined as an idiom being omitted entirely in the target text with a single word. This is done because the idiom has no close match in the target language; its meaning cannot be easily paraphrased or due to stylistic reasons.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:38, 13 December 2021 (UTC) &lt;br /&gt;
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Data analysis Techniques:&lt;br /&gt;
Textual analysis is the method of data analysis in qualitative research that brings forth the hidden and potent message, structure, and function of research in giving text, Alan Mckee (defines textual analysis as whenever we perform textual analysis on the text, we make an educated guess at some time of the most likely interpretations that might be made of that text (Alan 2001:3)&lt;br /&gt;
Analysis of the translation of short stories in light of Mona baker's theory &amp;quot;khol do and license&amp;quot; are short stories written by Sadat Hassan Manto and translated by many translators from Urdu into English. During translation, the translator adopted many strategies for translating idiomatic expression, sometimes by Paraphrasing, sometimes by omission, sometimes using similar idioms of form and meaning while sometimes using different words and the same form, the whole.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:51, 12 December 2021 (UTC)&lt;br /&gt;
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===Discussion and Analysis===&lt;br /&gt;
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The chapter analyzes and discusses all the data collected by the author/researcher from different sources. All the examples of idioms are firstly identified, then translated into the target text, and back-translated for the sole purpose of exploring the strategies being used by the translator. A separate section is given to every strategy with its related example. Moreover, the idiomatic expression, the target work for finding, is highlighted through the bold letter.&lt;br /&gt;
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4.1	Translation by Paraphrasing:&lt;br /&gt;
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Based on our findings, the most often used strategy was &amp;quot;translation by paraphrasing.&amp;quot; An inspection also reveals that Aatish Taseer preferred this strategy. Here are some examples applied by the translators, and in the following section, the logic behind their preference towards this strategy is elaborate. The following are examples from two short stories of Sadat Husain Manto's &amp;quot;khol do&amp;quot; and &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 1: &lt;br /&gt;
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ST: Sirajuddin ne subah das baji anki kholi to logo ka aik mutalatam samandar deka.&lt;br /&gt;
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TT: Ten a.m., Siraj Uddin opens his eyes on the cold floor of the camp, seeing the swelling sea of men.&lt;br /&gt;
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BT: sub ke das baji jab Sirajuddin ne apni anki koli to logo ka aik ublaha howa samandar ka nizara dekni laga.&lt;br /&gt;
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So, the above idioms are literal idioms being translated with the help of 'Paraphrasing' because there is no perfect equivalent of mutalatam words in English languages. A similar look at another idiom from short stories &amp;quot;khol do.&amp;quot;&lt;br /&gt;
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Example 2:&lt;br /&gt;
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ST: Khuda tomahra bala kari.&lt;br /&gt;
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TT: Your God will reward&lt;br /&gt;
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BT: Is ka badla khoda tomahi di.&lt;br /&gt;
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Here, the word reward is being used for Bala Kari, an example of transitional by Paraphrasing.&lt;br /&gt;
Let  take another example from &amp;quot;khol do.&amp;quot;&lt;br /&gt;
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Example 3:&lt;br /&gt;
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ST: unkho nai Jan khateli pa rak kar sakena ko donda.&lt;br /&gt;
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TT: even putting their lives online, they search sakina &lt;br /&gt;
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BT: apni zindagio ko khatri me dal kar unkho nai sakina ko dond nekala.&lt;br /&gt;
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The above idioms are examples of pure idiom translated from Urdu into English with the help of paraphrases strategies. However, under the same strategies, the idioms of another short story of Manto,s &amp;quot;license,&amp;quot; are translated by Aatish Taseer. Some of the examples are given below.&lt;br /&gt;
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Example 4:&lt;br /&gt;
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ST: Abu kochwan bara cheel jabela ta. It is the binomial type of idioms taken from the first sentence of the short story &amp;quot;license&amp;quot; by Sadat &lt;br /&gt;
Hasan Manto &lt;br /&gt;
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TT: Abu kochwan is stylish man.&lt;br /&gt;
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BT: Abu kochwan aik wazahdar admi ta.&lt;br /&gt;
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From the above idiom, it is clear that there is no perfect equivalence of cheela chabela idiom in English; that is, the translator goes &lt;br /&gt;
through paraphrasing strategies. Look at another example from &amp;quot;license.&amp;quot;&lt;br /&gt;
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Example 5:&lt;br /&gt;
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ST: Lein har waqat bank bani rekhi ka usi be had showk ta&lt;br /&gt;
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TT: He had a weakness for style and fashion.&lt;br /&gt;
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BT: Dan saj ke rekhna uski kamzori me sai ik ta.&lt;br /&gt;
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So all of the above examples, which are analyzed one by one, are examples of idioms being translated through paraphrasing strategies. Beaugrande and Dressler define paraphrases as &amp;quot;approximate conceptual equivalence among outwardly different material.&amp;quot;(De Beaugrande and Dressler 1981, 50) Similarly, in this regard, Hirst defines paraphrases as &amp;quot;talk(ing) about the same situation in a different way.&amp;quot; (Hirst 1980:12) Munday declared that &amp;quot;equivalence is particularly useful in translating idioms and proverbs” For instance, if the English idiom like a bear with a sore head is rendered into Persian as (mesle borje zahremar), meaning like a tower of snake venom, the strategy of equivalence has been applied. (Munday 1981:13).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:55, 13 December 2021 (UTC)&lt;br /&gt;
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According to Leonardi, &amp;quot;Equivalence can be said to be the central issue in translation.&amp;quot; In this regard, house believes that &amp;quot;a translation text should match not only its source text in function but also employ equivalent situational-dimensional means to achieve that function&amp;quot; (Baker 2002:49).  who shares this approach, states that equivalence is used &amp;quot;for the sake of convenience—because most translators are used to it rather than because it has any theoretical status&amp;quot; (Kenny 1998:77). &lt;br /&gt;
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Despite different attitudes to the concept of equivalence, most specialists pay much attention to its meaning in the theory of translation. The translation is a form of communication, and that is why it is vital to establish equivalence between the source text and the target text. Although Vinay and Darbelnet believe that equivalence is used differently than in modern translation theory, it is evident that equivalence is one of the basic concepts of translation that cannot be neglected.Vinay and Darbelnet 1999:18)&lt;br /&gt;
Consequently, based on the Above mentioned studies using 'Paraphrasing' in translation stands as the core concept in the process of translation, and still, most of the translators cling to it for producing a more comprehensible and explicable text. These language ideas and translation models are ideal constructs, presented abstractly in order to be differentiated precisely. They may exist in an uneasy combination in actual theories and practices, resulting in logical tensions or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation. Theories and actions must be contextualized in historical settings. They've been utilized as analytical tools to describe various topics in section introductions. Theoretical writings and current events these language notions and translation models are ideal constructs expressed in an abstract manner in order to be distinguished precisely in real-life hypotheses they may exist in an uncomfortable mix, resulting in logical conflicts or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation.&lt;br /&gt;
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4.2	Using an idiom of Similar Meaning and Form &lt;br /&gt;
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As mentioned earlier, this strategy type is being used by Aatish Taseer during their translated work of Manto's short stories &amp;quot;khol do&amp;quot; and&amp;quot; license&amp;quot; on an occasional basis. Some examples are mention below.&lt;br /&gt;
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From khol do.&lt;br /&gt;
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Example 6:&lt;br /&gt;
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ST: Larki ka rang zard hogaya.&lt;br /&gt;
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TT: The girl's face became fail&lt;br /&gt;
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BT: larki ka rang zar hogya.&lt;br /&gt;
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Similarly, another example from the license is&lt;br /&gt;
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Example 7:&lt;br /&gt;
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ST: Abu our us ke mat beer hogaie&lt;br /&gt;
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TT: They fall in love with each other.&lt;br /&gt;
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BT: WO ik dosri ke mokhbat me geriftar hogaie&lt;br /&gt;
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The above idioms are pure ones and are being translated with the help of similar meanings and similar forms.&lt;br /&gt;
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The procedures: transposition, modulation, equivalence, and adaptation, and when it comes to defining the term Equivalence, (Vinay and Darbelnet 2000:90) propose that it consists in rendering &amp;quot;the same situation … by two texts using completely different stylistic and structural methods&amp;quot;, and when it comes to translating idiomatic expressions like &amp;quot;Il pleut à seaux&amp;quot; it can be translated as &amp;quot;It is raining cats and dogs&amp;quot; using the idiom of similar form and meaning in the target language.&lt;br /&gt;
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As Baker states, this strategy involves using an idiom in the TL which conveys roughly the same meaning as that of the source language idiom and, in addition, consists of identical lexical items. The salient point is that this kind of match can only occasionally be achieved, which cannot be picked up more often by translators. Accordingly, both translators mentioned in the current study had quite a slim chance of using this strategy type.(Baker 1992:12)&lt;br /&gt;
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4.3 Using an idiom of similar meaning but different form:&lt;br /&gt;
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During translating Manto short stories, &amp;quot;khol do&amp;quot; and &amp;quot;license,&amp;quot; some of the idioms are translated with the help of this strategy. Some of the examples are given below from two different short stories.&lt;br /&gt;
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Example number one is from the short story &amp;quot;khol do&amp;quot;&lt;br /&gt;
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Example 8:&lt;br /&gt;
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ST: Aur bolwai gos ayai thee?&lt;br /&gt;
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TT: The roitors come abroad.&lt;br /&gt;
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BT: pasadi bahar agai hai.&lt;br /&gt;
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The above idiom is a pure type of idiom being translated with the help of above mention strategy. The word rioter is being used for bolwai, which is not a perfect word for bolwai. In Urdu bolwai, people believe in violence when minorities or the low population of any country want some rights. These people stop them by using violence, burn down their properties, rapes women, and do things like that. Another example from the license is below.&lt;br /&gt;
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Example 9:&lt;br /&gt;
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ST: Dosri kotwal abu ko dek kar jal ban ho jati.&lt;br /&gt;
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TT: The other coachman burn with envy.&lt;br /&gt;
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BT: Abu ke kamyabi dek kar aur kotwal abu sai khasad karni lagi’&lt;br /&gt;
&lt;br /&gt;
The above idioms are a pure idiom that reflects the effect of jealousy between competitors to achieve equivalency. Aatish Taseer uses envy word for jal ban instead of other which have similar meaning but different form. Look at the other example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: Dino lat vo lagal se kam karni laga.&lt;br /&gt;
&lt;br /&gt;
TT: Dino came with an excuse.&lt;br /&gt;
&lt;br /&gt;
BT: Dino abb bahi tarashni laga.&lt;br /&gt;
	&lt;br /&gt;
The above idioms are types of binomial idioms translated with the help of idioms with similar meanings and different forms. (Newmark 1988, 81) mentions the difference between translation methods and translation procedures. He writes that &amp;quot;[w]hile translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language&amp;quot; (Newmark 1988: 81). Idiomatic translation in his definition reproduces the 'message' of the original. However, it distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original, leading to using an idiom of similar meaning but a different form. Besides, it is often possible to find an idiom or fixed expression in the target language with a meaning similar to that of the source idiom or expression but which consists of different lexical items (Baker 1992, 12). Therefore, translators discover idiomatic expressions in the target language with different forms than in the source language. In the current study, the translators approached this strategy merely for 9% of the total times, which means the frequency of Iranian and English idioms with the same meaning and different forms is not considered high. &lt;br /&gt;
&lt;br /&gt;
4.4 Translation by omission:&lt;br /&gt;
&lt;br /&gt;
A translator is less using these strategies, and we did not find any clue on this type of strategy in an area under consideration.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:48, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== Findings===&lt;br /&gt;
&lt;br /&gt;
Mandelbit believed that idioms with different cognitive mapping in the target language would be more challenging to translate.(Mandelbit 1995:40)  After conducting this study and data analysis of collected data, the result revealed that the translator frequently used three out of four strategies of the Mona Baker model during the translation process, which is a translation by Paraphrasing, translation by similar meaning and similar form, translation by similar meaning and different form. In contrast, translation by omission does not found in his work.&lt;br /&gt;
After detail and careful analysis of data, more than half of idioms like &amp;quot;swelling sea of man,” my lord break his arrogance, “weakness for style and fashion.&amp;quot; As I mentioned earlier, many more are translated under the umbrella of Paraphrasing, which is considered the most common method used for translating idioms.&lt;br /&gt;
&lt;br /&gt;
Similarly, it also reflects strategies like similar meaning and different form and similar meaning and similar form. The idiom &amp;quot;rioter came abroad,” burn with envy,” The girl's face became pale, &amp;quot; They fall in love with each other&amp;quot; are translated with the help of two mention strategies, respectively.&lt;br /&gt;
&lt;br /&gt;
Although translation by omission is a strategy used on rare occasions because of its meaning, its meaning cannot be easily paraphrased or stylistic reason. Here, the researcher also did not find any idiom translated with the help of the omission strategy.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 17:18, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
By going through the detailed discussion and analysis of the data collected, it was finally concluded that the idioms which are present in two short stories, &amp;quot;khol do&amp;quot; and &amp;quot;License,&amp;quot; are translated under the frame of Mona Baker's idiomatic model. Translation by Paraphrasing is mainly used while idioms of similar meaning and form and idioms of similar meaning and different forms are used occasionally. The researcher discusses all the strategies with related examples in the order of maximum used to minimum used. The strategy by omission did not find it works. All the data are collected from different sources and analyzed with the help of different researcher tools, and the result is written in light of the finding. Different from previous studies, the writer presents the strategies to translate idioms by each type of idiomatic expression found in the story. From the result, it is considered the translation of idiomatic expressions in the story is quite accurate. As the number of accurate data is more the data which is not related to the translation. We take conclusion from the translation through idiomatic expression and paraphrasing is the best way to translate a novel or a story however it is very difficult job to do because it needs more accurate and precise knowledge about the source language and an inspiring method to express ideas in the target language. However, translation is thing through which we can connect the world with each other and also we can study and observe diverse cultures.         &lt;br /&gt;
 &lt;br /&gt;
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=== References ===&lt;br /&gt;
&lt;br /&gt;
Abu-Saydeh, A. F. (2004). Translation of English idioms into Arabic. Babel, 114-131.&lt;br /&gt;
&lt;br /&gt;
Ahsan, S. (2020). A comparative study of two translations of manto's short story &amp;quot;Toba Tek&amp;quot;. International Journal of English Language Studies, 12-27.&lt;br /&gt;
&lt;br /&gt;
Alexander, R. J. (1987). Mimeograph. In R. J. Alexander (Ed.) Collocation and Culture. Trier: University of Trier, West Germany.&lt;br /&gt;
&lt;br /&gt;
Al-Qinai, J. (2000). Translation quality assessment. strategies, parameters and procedures. Translator's Journal, 497-519.&lt;br /&gt;
&lt;br /&gt;
Bayashi, J. (2020). Japanese-English translation: An advanced guide. Oxfordshire: Routledge.&lt;br /&gt;
&lt;br /&gt;
Das, V. (1995). Critical events: An anthropological perspective on contemporary India. New Delhi: Oxford Printing Press.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 17:36, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Mufti, A. (2007). The Language of English India. In I. &amp;amp;. End (Ed.) Enlightenment in the Colony. Princeton University Press.&lt;br /&gt;
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Waka Xia, L. (2019). A discourse analysis of news translation in China. Syydney: Routledge.&lt;br /&gt;
&lt;br /&gt;
= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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===Key words ===&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
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===Ambiguity===&lt;br /&gt;
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===Lexical and Structural Mismatches===&lt;br /&gt;
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===Multiword units: Idioms and Collocations===&lt;br /&gt;
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===Summary===&lt;br /&gt;
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===Further Reading===&lt;br /&gt;
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=刘胜楠 A Case Study of ''Ne Zha'' on Subtitle Translation Strategies from the Perspective of Skopos Theory= &lt;br /&gt;
[[Trans_Type_EN_15]]&lt;/div&gt;</summary>
		<author><name>Atta Ur Rahman</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=132483</id>
		<title>Translation types, strategies, styles, methods</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=132483"/>
		<updated>2021-12-13T17:36:48Z</updated>

		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* References */&lt;/p&gt;
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&lt;div&gt;'''Translation types, strategies, styles, methods'''&lt;br /&gt;
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[[Translation_types,_strategies,_styles,_methods|Overview Page of Translation types, strategies, styles, methods]]&lt;br /&gt;
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30 Chapters（0/30)&lt;br /&gt;
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[[Trans_Type_EN_1]] [[Trans_Type_EN_2]] [[Trans_Type_EN_3]] [[Trans_Type_EN_4]] [[Trans_Type_EN_5]] [[Trans_Type_EN_6]] [[Trans_Type_EN_7]] [[Trans_Type_EN_8]] [[Trans_Type_EN_9]] [[Trans_Type_EN_10]] [[Trans_Type_EN_11]] [[Trans_Type_EN_12]] [[Trans_Type_EN_13]] [[Trans_Type_EN_14]] [[Trans_Type_EN_15]] [[Trans_Type_EN_16]] [[Trans_Type_EN_17]] [[Trans_Type_EN_18]] [[Trans_Type_EN_19]] [[Trans_Type_EN_20]] [[Trans_Type_EN_21]] [[Trans_Type_EN_22]] [[Trans_Type_EN_23]] [[Trans_Type_EN_24]] [[Trans_Type_EN_25]] [[Trans_Type_EN_26]] [[Trans_Type_EN_27]] [[Trans_Type_EN_28]] [[Trans_Type_EN_29]] [[Trans_Type_EN_30]] ...&lt;br /&gt;
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[[Book_projects|Back to translation project overview]]&lt;br /&gt;
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[[DCG-To-Do|To the To Do List]]&lt;br /&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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'''浅析美版《甄嬛传》的字幕翻译策略'''&lt;br /&gt;
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[[Trans_Type_EN_1]]&lt;br /&gt;
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阳佳颖 Yang Jiaying, Hunan Normal University, China&lt;br /&gt;
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=Chapter 2: The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
'''纽马克翻译理论指导下旅游文本中翻译策略与翻译方法的使用——以''Everglades National Park, Florida (Excerpt)''为例'''&lt;br /&gt;
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[[Trans_Type_EN_2]]&lt;br /&gt;
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刘晓 Liu Xiao, Hunan Normal University, China&lt;br /&gt;
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=Chapter 3: Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
交际翻译理论指导下小说题材所适用的翻译方法和翻译策略—以韩国小说集《恩珠的电影》（节选）为例&lt;br /&gt;
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[[Trans_Type_EN_3]]&lt;br /&gt;
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刘越Liu Yue ，Hunan Normal University，China&lt;br /&gt;
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=Chapter 4: On Translation Strategies and Translation Methods in Chinese Translation of English Prose -- A Case Study of Chinese Translation of English Prose &amp;quot;Pleasures of Ignorance&amp;quot;=&lt;br /&gt;
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'''浅析英语散文汉译中的翻译策略和翻译方法——以英语散文《无知的乐趣》汉译本为例'''&lt;br /&gt;
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[[Trans_Type_EN_4]]&lt;br /&gt;
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毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
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=Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
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[[Trans_Type_EN_5]]&lt;br /&gt;
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毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
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=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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[[Trans_Type_EN_6]]&lt;br /&gt;
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彭瑞雪 Peng Ruixue, Hunan University, China&lt;br /&gt;
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=Chapter 7: A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
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[[Trans_Type_EN_7]]&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
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=Chapter 8:Translation methods and strategies applicable to the style of biographical literature -- Taking ''Incidents in Life of Slave Girl'' (excerpt) as an example=&lt;br /&gt;
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'''传记文学的文体所适用的翻译技巧与策略——以英文传记《一名女奴的人生际遇》(节选)为例'''&lt;br /&gt;
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[[Trans_Type_EN_8]]&lt;br /&gt;
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颜子涵 Yan Zihan, Hunan Normal University, China&lt;br /&gt;
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=Chapter 9: On the Translation Strategies of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hung-ming and Xu Yuanchong=&lt;br /&gt;
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'''视域融合视角下看《论语》英译的翻译策略—以辜鸿铭和许渊冲的英译本为例'''&lt;br /&gt;
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[[Trans_Type_EN_9]]&lt;br /&gt;
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邝艳丽 Kuang Yanli, Hunan Normal University, China&lt;br /&gt;
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=杨柳青 Bian Zhilin's Literary Translation Theories and Practice——Take His Translation of Romantic Poems as Examples=&lt;br /&gt;
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Yang Liuqing杨柳青,Hunan Normal University,China.&lt;br /&gt;
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[[Trans_Type_EN_10]]&lt;br /&gt;
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=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
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===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012:37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær 2015:10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005;9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004;1). Translation is essential for cultures and languages to exchange information. Newmark defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects(Newmark 1988;2). Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
&lt;br /&gt;
Nida indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style(Nida 1964;32). Larson has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context(Larson 1998;23).--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:41, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”(Snell-Hornby 1988;33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957;167). By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
&lt;br /&gt;
The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003;16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
&lt;br /&gt;
This study is aimed to probe Newmark's translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988;81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:41, 13 December 2021 (UTC)&lt;br /&gt;
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===Translation and Culture===&lt;br /&gt;
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2. Translation and Culture &lt;br /&gt;
&lt;br /&gt;
Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
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The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988;7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988;5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988;7).  &lt;br /&gt;
&lt;br /&gt;
In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language”(Catford 1965;20). According to Venuti translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader”(Venuti 1995;18). Schjoldager stated that“a translation is a text that expresses what another text has expressed in another language”(Schjoldager 2008;19). Culture is a complex whole which includes knowledge,belief,art,law,morals,customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014;2). Hermanns contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures(Hermanns 1999;22) Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014;2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001;328). &lt;br /&gt;
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Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
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2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
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Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora,fauna,food,clothes,housing, work,leisure,politics,law,and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988;327) Christine Nord names them “culturemes” (Nord 1997;9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012;1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Aixela, 1997; Davies, 2003), others choose cultural words (Newmark 2003;87) or culture-bound phenomena/concepts (Baker, 1992, Newmark, 2003, Robinson, 2003). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker, 1992, 21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988, 94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988, 95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988, 95).--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:02, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
&lt;br /&gt;
The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85;22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003;16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:02, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Types of Translation ===&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
Newmark determines 8 types of translation which are: &lt;br /&gt;
 &lt;br /&gt;
3.1 Word-for-Word Translation &lt;br /&gt;
&lt;br /&gt;
This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
&lt;br /&gt;
3.2 Literal translation &lt;br /&gt;
&lt;br /&gt;
In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
&lt;br /&gt;
3.4 Semantic Translation &lt;br /&gt;
&lt;br /&gt;
Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
&lt;br /&gt;
3.5 Adaptation &lt;br /&gt;
&lt;br /&gt;
This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015;15). &lt;br /&gt;
&lt;br /&gt;
3.6 Free Translation &lt;br /&gt;
&lt;br /&gt;
The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
&lt;br /&gt;
3.7 Idiomatic Translation &lt;br /&gt;
&lt;br /&gt;
This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
&lt;br /&gt;
3.8 Communicative Translation &lt;br /&gt;
&lt;br /&gt;
This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:05, 13 December 2021 (UTC) &lt;br /&gt;
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&lt;br /&gt;
===Translation Strategies  ===&lt;br /&gt;
&lt;br /&gt;
4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
&lt;br /&gt;
4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela translators need to choose several strategies based on the source language culture and target culture. He distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, he tries to command by the level of their intercultural intervention. He divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies). &lt;br /&gt;
&lt;br /&gt;
4.1.1. Conservation: &lt;br /&gt;
In conservation,the less compelling process includes repetition,orthographic adaptation,linguistic translation,extratextual gloss and intratextual gloss. &lt;br /&gt;
&lt;br /&gt;
4.1.1.1 Repetition:In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus,the translator keeps as much as possible the original reference (Aixela 1996;61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
&lt;br /&gt;
4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
&lt;br /&gt;
4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
&lt;br /&gt;
4.1.1.4 Extra-textual Gloss: Here,the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes,endings,words,ideas,translators in dictionaries, italics and so on. &lt;br /&gt;
&lt;br /&gt;
4.1.1.5 Intra-textual Gloss:It's like the past but the translator feels that he/she can include the globe as an indirect part of the text,not to distract the reader. &lt;br /&gt;
&lt;br /&gt;
4.2.1 Substitution &lt;br /&gt;
In substitution, According Aixela “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here&amp;quot;(Aixela 1996;87)--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:40, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
&lt;br /&gt;
4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
&lt;br /&gt;
4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela 1997;63). &lt;br /&gt;
&lt;br /&gt;
4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Shokri Ketabi 2015;8). &lt;br /&gt;
&lt;br /&gt;
4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela 1996;64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
&lt;br /&gt;
4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela 1997;43). &lt;br /&gt;
&lt;br /&gt;
4.3 Mona Baker's Translation Strategies &lt;br /&gt;
Baker's strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation.Baker She suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies(Baker 1992;90) which are the following: &lt;br /&gt;
&lt;br /&gt;
4.3.1 Translation by a more general word: According to Baker,this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
&lt;br /&gt;
4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
&lt;br /&gt;
4.3.3 Translation by cultural substitution:This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
&lt;br /&gt;
4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
&lt;br /&gt;
4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
&lt;br /&gt;
4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
&lt;br /&gt;
4.3.7 Translation by omission: Losing phrases or words that are not vital to text development.&lt;br /&gt;
&lt;br /&gt;
4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view,however,Baker,s translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:40, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Cultural Categories  ===&lt;br /&gt;
&lt;br /&gt;
5. Cultural categories &lt;br /&gt;
 &lt;br /&gt;
5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
&lt;br /&gt;
5.1.2 Material culture &lt;br /&gt;
&lt;br /&gt;
Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.”(Newmark 1988;90)  &lt;br /&gt;
&lt;br /&gt;
5.1.3 Social culture &lt;br /&gt;
&lt;br /&gt;
The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
&lt;br /&gt;
5.1.4 Organisation &lt;br /&gt;
&lt;br /&gt;
Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
 &lt;br /&gt;
5.2 Newmark Classification CSIs &lt;br /&gt;
&lt;br /&gt;
Newmark established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items. (Newmark 1988;97) --[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:50, 13 December 2021 (UTC)&lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
 &lt;br /&gt;
Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
&lt;br /&gt;
2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
&lt;br /&gt;
3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
&lt;br /&gt;
4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
&lt;br /&gt;
5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
&lt;br /&gt;
6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
&lt;br /&gt;
7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
&lt;br /&gt;
8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
&lt;br /&gt;
9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
&lt;br /&gt;
10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
&lt;br /&gt;
11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
&lt;br /&gt;
12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
&lt;br /&gt;
13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
&lt;br /&gt;
14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
&lt;br /&gt;
16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
&lt;br /&gt;
17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
&lt;br /&gt;
18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
&lt;br /&gt;
19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
&lt;br /&gt;
20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
&lt;br /&gt;
21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
&lt;br /&gt;
22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
&lt;br /&gt;
23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
&lt;br /&gt;
24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996;31)“translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by (Newmark 1988;81)“translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.” &lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation,then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:55, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity,as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts,the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term,and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part,but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:01, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark's strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However,the translator must be competent in using the translation procedures to provide an accurate translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
Blažytė, D., &amp;amp; Liubinienė, V. (2016). Culture-specific items (CSI) and their translation strategies in Martin Lindstrom’s&amp;quot; Brand sense&amp;quot;. Kalbų studijos, (29), 42-57. &lt;br /&gt;
&lt;br /&gt;
Bush, P. (1998) &amp;quot;Literary Translation.&amp;quot; In: M. Baker, ed. Routledge Encyclopedia of Translation Studies, London: Routledge, pp.127-130. &lt;br /&gt;
&lt;br /&gt;
Catford. J. C. (1965). A linguistic theory of translation. Oxford: Oxford University Press. &lt;br /&gt;
English Translation of Mohammad Al-Ghazali's Islamic Guidance.Literature and Culture, 6(1), 1-13. &lt;br /&gt;
&lt;br /&gt;
Gečaitė, L. (2020). Culture-Specific Items and Their Translation Strategies in Victoria Hislop's Novel The Sunrise.” (2020). &lt;br /&gt;
&lt;br /&gt;
Hassan, B. E. A. (2014). Between English and Arabic: A practical course in translation. &lt;br /&gt;
Cambridge Scholars Publishing. &lt;br /&gt;
&lt;br /&gt;
Hermans, T. (1999). Translation in systems. Manchester: St. Jerome Publication  House, J. (Ed.). (2014). Translation: a multidisciplinary approach. Springer. &lt;br /&gt;
Issa, A. L. S. M., &amp;amp; Hammood, L. H. R.- Quranic-Specific Phrases under the Study of Translation; Significance and Applications. &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. (33), p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. 33, p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Lambert, J. (1998) Literary Translation. In: M. Baker, ed. Routledge Encyclopedia of Translation Studies. London: Routledge, 130-134. &lt;br /&gt;
&lt;br /&gt;
Landers, Clifford E. (2001) Literary Translation: A practical guide. New Jersey University Press: Multilingual Maters. &lt;br /&gt;
&lt;br /&gt;
Lustig, Myron, W. and Koeser, Joline  (2003), Intercultural Competence: Interpersonal Communication Across Cultures, Boston: Allyn and Bacon. &lt;br /&gt;
&lt;br /&gt;
Malmkjær, K. (1993). Who Can Make Nice A Better Word Than Pretty? Collocation, Translation, and Psycholoinguistics. In: Baker, M., Francis, G. and Tognini-Bonelli, E. &lt;br /&gt;
eds. Text and Technology. Philadelphia/Amsterdam: John Benjamins Publishing Company. pp.213-32. &lt;br /&gt;
&lt;br /&gt;
Mosavat, S., &amp;amp; Rahimpour, S. (2016). The Most and Least Used Translation Strategies for &lt;br /&gt;
Conveying Culture-Specific-Items in Young Adult Literature from English into Persian. International Journal of Humanities and Cultural Studies (IJHCS) ISSN 23565926, 1853-1873. &lt;br /&gt;
&lt;br /&gt;
Munday, J. (1997). Systems in Translation: A computer-assisted systemic approach to the analysis of translation of García Márquez. Ph.D thesis, University of Bradford. &lt;br /&gt;
&lt;br /&gt;
Newmark, P. (2001). A Textbook of Translation. Shanghai: Shanghai Foreign Language &lt;br /&gt;
Education Press &lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. (1988). A Textbook of Translation. New Jersey: Prentice-Halls &lt;br /&gt;
&lt;br /&gt;
Nord, Christiane. (1997). Translating as a Purposeful Activity: Functionalist Approaches &lt;br /&gt;
Explained. Manchester: St. Jerome. Accessed 10 November. 2018. Google Books Schjoldager, A. (2008). Understanding translation. Academica: Århus. &lt;br /&gt;
&lt;br /&gt;
Silalahi, M., &amp;amp; Lubis, S. (2013). Translation Procedures of Cultural Terms Found In Sejarah Bilingual For Students of Senior High School. &lt;br /&gt;
Valipoor, K., &amp;amp; andAzizeh Chalak, H. H. T. (2019). Cultural-specific items in translation of the Holy Quran by Irving: 43-51. &lt;br /&gt;
&lt;br /&gt;
Venuti, L. (1995). The translator’s invisibility: A history of translation. London and New York: &lt;br /&gt;
Routledge &lt;br /&gt;
&lt;br /&gt;
Widiarto, O. V. V. (2016). The translation procedures of cultural expressions applied in a game of thrones translated into Perebutan Tahta novel by Barokah Ruziati (Doctoral dissertation, Dian Nuswantoro University).&lt;br /&gt;
&lt;br /&gt;
=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims to observe the development of translation studies through its different types, various strategies, styles and particular methods. In this paper, the readers are introduced to some famous translation scholars including their view of translation studies. At the further discussions, this study lets the readers acknowledge the main issues on translation studies, focusing on different styles of variations such as grammar, sentence structure, textual analysis, strategies and methods. This study may help those who are interested to conduct translation researches and help them by giving options of which theories is beneficial to their analysis. Moreover, it aims to explore the clear definition of translation as well as help the readers to understand the basic concept which are used in the field of translation. The present study, therefore, attempts to outline the scope of the discipline of translation studies and more importantly, it is an attempt to outline its activity that required a deep mastering of language, a good source of knowledge and target cultures.&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation, styles of variations, strategies&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
It is undoubtedly right that translation is important to share information. In line with these premise, the number of translation professionals is getting higher. In fact, the result of translation researches tends to help human daily life in term of evaluation, designing translator machines, and cultural studies.	 Therefore, translation means converting written information from one language into another. It is the new discipline appeared in the second half of the 20th century. The term “Translation Studies” was coined by James S. Holmes, an American-Dutch poet and translator of poetry, in his seminal paper “The Name and Nature of Translation Studies”.  Translation enables effective communication between people around the world. It is a courier for the transmission of knowledge, a protector of cultural heritage, and essential to the development of a global economy. Translation helps us to know about the developments in the field of creative arts, education, literature, business, science and politics. It has shifted from the traditional conception of the fixed, stable and unchangeable nature of the text and its meaning to a text with wide scope for variations. Translation also helps in nation building. In this globalised world, the demand for translation and language related services has increased many times. Translation is not only needed for the creation of national identity but has also become an essential tool for keeping pace with the processes of globalization and localization. The activity of translation has a long-standing tradition and has been widely practiced throughout history, but in our rapidly changing world its role has become of paramount importance. Nowadays, knowledge in which cultural exchanges have been widening, has been increasingly expanding and international communication has been intensifying, the phenomenon of translation has become fundamental. Be it for scientific, medical, technological, commercial, legal, cultural or literary purposes, today human communication depends heavily on translation and, consequently, interest in the field is also growing. Accordingly, the discussion, in the present study, proceeds primarily from the perspectives of “Translation Studies” and “Linguistics”. One major goal is to show the interrelationships between linguistics and translation, and how they benefit from each other. Nowadays, translation research has started to take another path, which is more automatic. The invention of the internet, together with the new technological developments in communication and digital materials, has increased cultural exchanges between nations. This leads translators to look for ways to cope with these changes and to look for more practical techniques that enable them to translate more and waste less. They also felt the need to enter the world of cinematographic translation, hence the birth of audiovisual translation. The latter technique, also called screen translation, is concerned with the translation of all kinds of TV programs, including films, series, and documentaries. This field is based on computers and translation software programs, and it is composed of two methods; dubbing and subtitling. In fact, audiovisual translation marks a changing era in the domain of translation.&lt;br /&gt;
In short, translation has very wide and rich history in the West. Since its birth, translation was the subject of a variety of research and conflicts between theorists. Each theorist approaches it according to his viewpoint and field of research, the fact that gives its history a changing quality.&lt;br /&gt;
&lt;br /&gt;
Discussion &lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation. For each type, a selection of examples will be considered for analysis based on translation theories and techniques. We will show that some chunks of text require literal translation, while other requires interpretive method. In addition, this paper will also examine various strategies and its styles of variations based on translational study. The following strategies will be presented in the paper as; &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	They involve text manipulation.&lt;br /&gt;
•	They must be applied to the process.&lt;br /&gt;
•	They are goal-oriented.&lt;br /&gt;
•	They are problem-centered.&lt;br /&gt;
•	They are applied consciously.&lt;br /&gt;
•	They are inter-subjective.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Most theorists agree that strategies are used by translators when they encounter a problem and literal translation is not useful. Different researchers have investigated and described various translation strategies from their different perspectives. It intends to show what translation strategies exist and when and why they are used by professional translators. Different scholars have various perspectives to the aspects of the act of translation, so, they define and describe different types of strategies. Bergen's (n. d.) classification of the strategies includes three categorizations which will be discussed mainly in this paper: &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	Comprehension strategies &lt;br /&gt;
•	Transfer strategies&lt;br /&gt;
•	Production strategies&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
An addition to this paper, styles of variations will also be introduced to the readers through different aspects and examples. The concept of style can be defined in terms of the distinctive way an individual or a group uses language, or better still the discourse used to perform distinct functions of language aimed at achieving specific purposes. However, this does not entail that style is simply a matter of form since it is the product of other components such as the genre of discourse, its semantics, syntax and phonology. Indeed, in order to analyze a given stylistic variation one needs an extensive checklist that includes lexical and grammatical categories, allusions, and figures of speech. Style can be understood to refer to the recurring typical features of the source text compared to the typical features of the translated text.  In a quantitative and qualitative analysis, this variation is shown to be influenced by several pragmatic and social factors, and to index the interpreters' stances towards source speakers and towards the immigrant court users who are the recipients of translations from English. It is argued that translation styles have profound consequences for limited English speakers, as the insistence on institutional norms in translating to them is viewed as a gate keeping behavior that may impede their full participation in the proceedings. &lt;br /&gt;
&lt;br /&gt;
What is translation? &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Translation went through various definitions going from a mere linguistics activity during the sixties, a cultural and communicative activity during the seventies reflects the social impacting activity in the latest founding of the literature. &lt;br /&gt;
“Translation is traditionally known as being the replacement of textual material in one language into equivalent textual material in another language”. &lt;br /&gt;
House (2015) mentions that translation is considered as the “replacement” of a text in the source language by a semantically and pragmatically equivalent text in the target language. It is strongly related to a source language and target language cultures. It requires a high level of mastery languages, an awareness of any contextual factors within which the discourse emerges. There is no need to mention how it affected civilizations through different areas of mankind history. For example, An Arab-Islamic civilizations. There have always been different directions on how one should or should not translate. In the Arab tradition, two main methods existed and were in complete divergence namely the literal and the free method. &lt;br /&gt;
On the other hand, in the Western tradition there are various methods currently exist namely, the linguistic, the hermeneutic, the interpretive, the functionalist, the interventionist, the poly-systemic and the text-typologist method.  More so, it may be important to point out that translation has been defined in many ways, and every definition reflects the theoretical approach underpinning it. &lt;br /&gt;
As Shuttlworth and Cowie (1997) observe throughout the history of research into translation, the phenomenon has been variously delimited by formal descriptions, echoing the frameworks of the scholars proposing them. For example, Bell (1991: XV) starts with an informal definition of translation, which runs as follows: the transformation of a text originally in one language into an equivalent text in a different language retaining, as far as is possible, the content of the message and the formal features and functional roles of the original text. &lt;br /&gt;
At the beginning of the ‘scientific’ (Newmark, 1988, p. 2) study of translation, Catford (1965, p. 20) described it in these terms, the replacement of textual material in one language (SL) by the equivalent textual material in another language. &lt;br /&gt;
Thirty years later, in Germany, the concept of translation as a form of ‘equivalence’ is maintained, as we can see from Koller’s definition (1995, p. 196): “The result of a text processing activity, by means of which a source language text is transposed into a target-language text. Between the resultant text in L2 (the target-language text) and the source text in L1 (the source language text) there exists a relationship, which can be designated as a translational, or equivalence relation”. Because complete equivalence (in the sense of synonymy or sameness) cannot take place in any of his categories, Jakobson (1959) declares that all poetic art is, therefore, technically untranslatable. That is, the translator has to take the question of interpretation into account in addition to the problem of selecting a TL phrase which will have a roughly similar meaning. Exact translation is impossible. In this regard, Bassnett (1996) claims that all texts, being part of a literary system descended from and related to other systems are “translations of translation of translations”: every text is unique and at the same time, it is the translation of another text. No text is entirely original because language itself, in its essence, is already a translation: firstly, of the non-verbal world and secondly, since every sign and every phrase is the translation of another sign and another phrase. However, this argument can be turned around without losing any of its validity: all texts are original because every translation is distinctive. Every translation, up to a certain point, is an invention and as such it constitutes a unique text.&lt;br /&gt;
In this analysis of the above definition, Manfredi (2008), points out that the above distinction can be divided into two main perspectives, those that consider translation either as a ‘process’ or a ‘product’. To this twofold categorization, Bell (1991, p. 13) adds a further variable, since he suggests making a distinction between translating (the process), a translation (the product) and translation (i.e., “the abstract concept which encompasses both the process of translating and the product of that process”. Moreover, thanks to advances in new technologies, today we can also incorporate into TS the contribution of corpus linguistics, which allows both theorists and translators analyses of large amounts of electronic texts (Manfredi, 2008). On the other hand, Halliday (1992, p. 15) takes translation to refer to the total process and relationship of equivalence between two languages; we then distinguish, within translation, between “translating” (written text) and “interpreting” (spoken text). Halliday, thus, proposes distinguishing the activity of “translation” (as a process) from the product(s) of “translating”, including both “translation” (concerning written text) and ‘interpreting’ (regarding spoken text.&lt;br /&gt;
“Translation is the production of a functional target text maintaining a relationship with a given source text that is specified according to the intended or demanding function of the target text.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Types of Translation&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation.&lt;br /&gt;
&lt;br /&gt;
Technical translation &lt;br /&gt;
&lt;br /&gt;
Technical translation is a type of specialized translation involving the translation of documents produced by technical writers, or more specifically, texts which relate to technological subject areas or texts which deal with the practical application of scientific and technological information. (Wikipedia) &lt;br /&gt;
Translators' main goal is to accurately translate the technical terminology to match the document and the message of the original content.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The benefits of technical translation&lt;br /&gt;
&lt;br /&gt;
A professional technical translation service is provided by translators with dual specialties, that is, professionals who are fluent in the language pair, but who are also experts in the field covered by the documents to be translated.&lt;br /&gt;
When you need to have your documents translated by a technical translator, translators who are not experts may not be able to provide the necessary solutions and terminology for a quality translation. If the translator is not an expert in the field, he/she will have to learn the new terminology while working. This means that translation will take longer, have higher chances of inaccuracies, and may result in higher costs. Therefore, the main advantages of hiring an agency specialized in this type of service are as follows:&lt;br /&gt;
&lt;br /&gt;
Literary translation&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Literary translation is the translation of creative and dramatic prose and poetry into other languages. This includes the translation of literature from ancient languages and the translation of modern fiction so that it can reach a wider audience. &lt;br /&gt;
Literary translation is of huge importance. It helps to shape our understanding of the world around us in many ways.                                                     Reading Homer and Sophocles as part of a classical education in school helps to build an understanding of history, politics, philosophy and so much more. Meanwhile, reading contemporary translations provides fascinating insights into life in other cultures and other countries.                                                       In a fast-paced world so rife with misunderstanding and confusion, such efforts to share knowledge and experiences across cultural boundaries should be applauded.&lt;br /&gt;
The translation of literature differs greatly from other forms of translation. The sheer size of the texts involved in literary translation sets it apart.                Tackling a translation that runs to hundreds of thousands of words is not a task for the faint-hearted. Nor is recreating poetry in a new language, without losing the beauty and essence of the original work.&lt;br /&gt;
One of the key challenges of literary translation is the need to balance staying faithful to the original work with the need to create something unique and distinctive that will evoke the same feelings and responses as the original. This can be particularly challenging when it comes to translating poetry.&lt;br /&gt;
Poems are written with incredible attention to detail. Not only are the words and phrases important, but the number of syllables and the entire rhythm of the completed work. It’s a challenging task to complete just in one language, let alone when trying to recreate a poet’s work during a translation. Daniel Hahn, director of the British Centre for Literary Translation, sums up the issue beautifully. &lt;br /&gt;
As literary translators will attest, a single word can be extremely troublesome. The author of a work of fiction has chosen that word for a good reason, so the translator must ensure that it is faithfully delivered in the target language. However, what if no direct translation is available? Or what if several options exist, each with a slightly different nuance? Urdu language translator Fahmida Riaz outlines her approach to such thorny issues.&lt;br /&gt;
For instance, “Every piece you translate comes from the pen of an individual, so you have to give it an individual treatment. I try to retain the ambience of the original culture, rather than the language, as it is reflected in the text.” &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Pragmatic translation&lt;br /&gt;
&lt;br /&gt;
Pragmatic translation is the basic assumption that provided a source language text contains no misstatements of fact, is competently written and has to be fully translated rather than summarized or functionally reorientated; one's purpose in translating it is to be referentially and pragmatically accurate. In this paper, I shall not deal with referential accuracy but concentrate instead on the pragmatic aspects of translation. As the term pragmatic translation may be used in a variety of ways, I should like to state my own definition of pragmatic, which derives from Charles Morris and ultimately from Charles S. Peirce. I am using pragmatic as one of the two factors in translation: pragmatic denotes the reader's or readership's reception of the translation, as opposed to referential, which denotes the relationship between the translation and the extra-linguistic reality it describes. &lt;br /&gt;
Translation is a properly way to a properly communication and pragmatics is how to use language in communication properly. By translation, many things from different languages and cultures can understand to each other. In other words, translation can be stated as a facilitator to make a communication runs well.&lt;br /&gt;
&lt;br /&gt;
===An Overview on Translation Studies  ===&lt;br /&gt;
&lt;br /&gt;
===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
&lt;br /&gt;
=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature  --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:45, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the researcher wants to highlight the different concepts about the fundamental question that &amp;quot;what is idiomatic expression&amp;quot;  and the views of various critics, theorists and linguistic experts, and prominent scholars of translation studies.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:38, 13 December 2021 (UTC) Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
&lt;br /&gt;
Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda 2006: 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984: 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992: 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to Newmark, “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”(Newmark 1981: 11).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:38, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to Corelli, English has a sizeable idiomatic base. About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.(Corelli 2006: 53)&lt;br /&gt;
&lt;br /&gt;
The main issue that idiomatic and fixed expressions pose for translators, according to Baker is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.(Baker 1992: 65)&lt;br /&gt;
&lt;br /&gt;
Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.(Ahsan 2020: 12-27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:44, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Literature Review ===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the author/researcher defines the strategy and its different definitions from various perspectivess. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented.(Venutti !995, 35 Krings defines it as the content of the project, while Seguinet divided the term into three steps.(Krings 2000:21). However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. (Locher 2002:76) In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
&lt;br /&gt;
A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward. (Bergen 1996:33)&lt;br /&gt;
&lt;br /&gt;
Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint. (Vinute 1998:41).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to Seguinot (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.(Seguinot 1989:27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Furthermore, Loescher defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot;(Loescher 1991:8) As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998:4) claim moreover, 'Bell' distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.(Bell 1998:188)&lt;br /&gt;
&lt;br /&gt;
According to Venuti, &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot;(Venuti 1998, 240). He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to Jaaskelainen, product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.(Jaaskelainen 2005:15)&lt;br /&gt;
&lt;br /&gt;
Furthermore, Jaaskelainen distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making.(Jaaskelainen 2005:16). Newmarkdistinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;(Newmark 1988, 221)&lt;br /&gt;
&lt;br /&gt;
Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016:13).&lt;br /&gt;
&lt;br /&gt;
The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010:15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017:54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984:12). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
&lt;br /&gt;
Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985:9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female..(Ahsan 2020: 12-27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:31, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== Theoritical Framework ===&lt;br /&gt;
&lt;br /&gt;
In this paper, various strategies have been used, like using an idiom of similar meaning and similar form, the idiom of similar meaning and different form, translation by Paraphrasing, translation by omission. The approach of employing idioms of similar meaning and form, according to Mona Baker, entails using an idiom in the target language that can express about the same meaning as the source language idiom, as well as having lexical similarity. On the other hand, this type of matching happens periodically as well as regularly.(Baker, 1992, 13)&lt;br /&gt;
&lt;br /&gt;
Similarly, employing idioms with similar meanings but different forms means that it is possible to locate an idiom or fixed expression in the target text language that has a similar meaning to the source idiom or expression but is made up of distinct lexical elements. Consider the case of English and French, both of which use the idiom mentioned above. In English, one good deed is rewarded with another, whereas in French, handsome deeds are rewarded with handsome deeds.&lt;br /&gt;
&lt;br /&gt;
Furthermore, we did not come across any idioms in the category mentioned above during translating idioms. To deal with this issue, the translators used the most popular approach, known as a translation by paraphrase, which is short, straightforward, and time-saving. When a match cannot be identified in the target language or when it appears improper to employ idiomatic language in target material due to aesthetic differences between the source and target languages, this is the most typical approach for translating an idiom from source to target language. However, one thing to keep in mind is that a perfect translation is not required is necessary or possible.&lt;br /&gt;
&lt;br /&gt;
Last but not least, to overcome the problem of idiom translation, the translator employs the strategy of translation by omission. This can be defined as an idiom being omitted entirely in the target text with a single word. This is done because the idiom has no close match in the target language; its meaning cannot be easily paraphrased or due to stylistic reasons.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:38, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Data analysis Techniques:&lt;br /&gt;
Textual analysis is the method of data analysis in qualitative research that brings forth the hidden and potent message, structure, and function of research in giving text, Alan Mckee (defines textual analysis as whenever we perform textual analysis on the text, we make an educated guess at some time of the most likely interpretations that might be made of that text (Alan 2001:3)&lt;br /&gt;
Analysis of the translation of short stories in light of Mona baker's theory &amp;quot;khol do and license&amp;quot; are short stories written by Sadat Hassan Manto and translated by many translators from Urdu into English. During translation, the translator adopted many strategies for translating idiomatic expression, sometimes by Paraphrasing, sometimes by omission, sometimes using similar idioms of form and meaning while sometimes using different words and the same form, the whole.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:51, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Discussion and Analysis===&lt;br /&gt;
&lt;br /&gt;
The chapter analyzes and discusses all the data collected by the author/researcher from different sources. All the examples of idioms are firstly identified, then translated into the target text, and back-translated for the sole purpose of exploring the strategies being used by the translator. A separate section is given to every strategy with its related example. Moreover, the idiomatic expression, the target work for finding, is highlighted through the bold letter.&lt;br /&gt;
&lt;br /&gt;
4.1	Translation by Paraphrasing:&lt;br /&gt;
&lt;br /&gt;
Based on our findings, the most often used strategy was &amp;quot;translation by paraphrasing.&amp;quot; An inspection also reveals that Aatish Taseer preferred this strategy. Here are some examples applied by the translators, and in the following section, the logic behind their preference towards this strategy is elaborate. The following are examples from two short stories of Sadat Husain Manto's &amp;quot;khol do&amp;quot; and &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 1: &lt;br /&gt;
&lt;br /&gt;
ST: Sirajuddin ne subah das baji anki kholi to logo ka aik mutalatam samandar deka.&lt;br /&gt;
&lt;br /&gt;
TT: Ten a.m., Siraj Uddin opens his eyes on the cold floor of the camp, seeing the swelling sea of men.&lt;br /&gt;
&lt;br /&gt;
BT: sub ke das baji jab Sirajuddin ne apni anki koli to logo ka aik ublaha howa samandar ka nizara dekni laga.&lt;br /&gt;
&lt;br /&gt;
So, the above idioms are literal idioms being translated with the help of 'Paraphrasing' because there is no perfect equivalent of mutalatam words in English languages. A similar look at another idiom from short stories &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&lt;br /&gt;
ST: Khuda tomahra bala kari.&lt;br /&gt;
&lt;br /&gt;
TT: Your God will reward&lt;br /&gt;
&lt;br /&gt;
BT: Is ka badla khoda tomahi di.&lt;br /&gt;
&lt;br /&gt;
Here, the word reward is being used for Bala Kari, an example of transitional by Paraphrasing.&lt;br /&gt;
Let  take another example from &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
&lt;br /&gt;
ST: unkho nai Jan khateli pa rak kar sakena ko donda.&lt;br /&gt;
&lt;br /&gt;
TT: even putting their lives online, they search sakina &lt;br /&gt;
&lt;br /&gt;
BT: apni zindagio ko khatri me dal kar unkho nai sakina ko dond nekala.&lt;br /&gt;
&lt;br /&gt;
The above idioms are examples of pure idiom translated from Urdu into English with the help of paraphrases strategies. However, under the same strategies, the idioms of another short story of Manto,s &amp;quot;license,&amp;quot; are translated by Aatish Taseer. Some of the examples are given below.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
ST: Abu kochwan bara cheel jabela ta. It is the binomial type of idioms taken from the first sentence of the short story &amp;quot;license&amp;quot; by Sadat &lt;br /&gt;
Hasan Manto &lt;br /&gt;
&lt;br /&gt;
TT: Abu kochwan is stylish man.&lt;br /&gt;
&lt;br /&gt;
BT: Abu kochwan aik wazahdar admi ta.&lt;br /&gt;
&lt;br /&gt;
From the above idiom, it is clear that there is no perfect equivalence of cheela chabela idiom in English; that is, the translator goes &lt;br /&gt;
through paraphrasing strategies. Look at another example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
ST: Lein har waqat bank bani rekhi ka usi be had showk ta&lt;br /&gt;
&lt;br /&gt;
TT: He had a weakness for style and fashion.&lt;br /&gt;
&lt;br /&gt;
BT: Dan saj ke rekhna uski kamzori me sai ik ta.&lt;br /&gt;
&lt;br /&gt;
So all of the above examples, which are analyzed one by one, are examples of idioms being translated through paraphrasing strategies. Beaugrande and Dressler define paraphrases as &amp;quot;approximate conceptual equivalence among outwardly different material.&amp;quot;(De Beaugrande and Dressler 1981, 50) Similarly, in this regard, Hirst defines paraphrases as &amp;quot;talk(ing) about the same situation in a different way.&amp;quot; (Hirst 1980:12) Munday declared that &amp;quot;equivalence is particularly useful in translating idioms and proverbs” For instance, if the English idiom like a bear with a sore head is rendered into Persian as (mesle borje zahremar), meaning like a tower of snake venom, the strategy of equivalence has been applied. (Munday 1981:13).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:55, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
According to Leonardi, &amp;quot;Equivalence can be said to be the central issue in translation.&amp;quot; In this regard, house believes that &amp;quot;a translation text should match not only its source text in function but also employ equivalent situational-dimensional means to achieve that function&amp;quot; (Baker 2002:49).  who shares this approach, states that equivalence is used &amp;quot;for the sake of convenience—because most translators are used to it rather than because it has any theoretical status&amp;quot; (Kenny 1998:77). &lt;br /&gt;
&lt;br /&gt;
Despite different attitudes to the concept of equivalence, most specialists pay much attention to its meaning in the theory of translation. The translation is a form of communication, and that is why it is vital to establish equivalence between the source text and the target text. Although Vinay and Darbelnet believe that equivalence is used differently than in modern translation theory, it is evident that equivalence is one of the basic concepts of translation that cannot be neglected.Vinay and Darbelnet 1999:18)&lt;br /&gt;
Consequently, based on the Above mentioned studies using 'Paraphrasing' in translation stands as the core concept in the process of translation, and still, most of the translators cling to it for producing a more comprehensible and explicable text. These language ideas and translation models are ideal constructs, presented abstractly in order to be differentiated precisely. They may exist in an uneasy combination in actual theories and practices, resulting in logical tensions or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation. Theories and actions must be contextualized in historical settings. They've been utilized as analytical tools to describe various topics in section introductions. Theoretical writings and current events these language notions and translation models are ideal constructs expressed in an abstract manner in order to be distinguished precisely in real-life hypotheses they may exist in an uncomfortable mix, resulting in logical conflicts or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
4.2	Using an idiom of Similar Meaning and Form &lt;br /&gt;
&lt;br /&gt;
As mentioned earlier, this strategy type is being used by Aatish Taseer during their translated work of Manto's short stories &amp;quot;khol do&amp;quot; and&amp;quot; license&amp;quot; on an occasional basis. Some examples are mention below.&lt;br /&gt;
&lt;br /&gt;
From khol do.&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
ST: Larki ka rang zard hogaya.&lt;br /&gt;
&lt;br /&gt;
TT: The girl's face became fail&lt;br /&gt;
&lt;br /&gt;
BT: larki ka rang zar hogya.&lt;br /&gt;
&lt;br /&gt;
Similarly, another example from the license is&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: Abu our us ke mat beer hogaie&lt;br /&gt;
&lt;br /&gt;
TT: They fall in love with each other.&lt;br /&gt;
&lt;br /&gt;
BT: WO ik dosri ke mokhbat me geriftar hogaie&lt;br /&gt;
&lt;br /&gt;
The above idioms are pure ones and are being translated with the help of similar meanings and similar forms.&lt;br /&gt;
&lt;br /&gt;
The procedures: transposition, modulation, equivalence, and adaptation, and when it comes to defining the term Equivalence, (Vinay and Darbelnet 2000:90) propose that it consists in rendering &amp;quot;the same situation … by two texts using completely different stylistic and structural methods&amp;quot;, and when it comes to translating idiomatic expressions like &amp;quot;Il pleut à seaux&amp;quot; it can be translated as &amp;quot;It is raining cats and dogs&amp;quot; using the idiom of similar form and meaning in the target language.&lt;br /&gt;
&lt;br /&gt;
As Baker states, this strategy involves using an idiom in the TL which conveys roughly the same meaning as that of the source language idiom and, in addition, consists of identical lexical items. The salient point is that this kind of match can only occasionally be achieved, which cannot be picked up more often by translators. Accordingly, both translators mentioned in the current study had quite a slim chance of using this strategy type.(Baker 1992:12)&lt;br /&gt;
&lt;br /&gt;
4.3 Using an idiom of similar meaning but different form:&lt;br /&gt;
&lt;br /&gt;
During translating Manto short stories, &amp;quot;khol do&amp;quot; and &amp;quot;license,&amp;quot; some of the idioms are translated with the help of this strategy. Some of the examples are given below from two different short stories.&lt;br /&gt;
&lt;br /&gt;
Example number one is from the short story &amp;quot;khol do&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
ST: Aur bolwai gos ayai thee?&lt;br /&gt;
&lt;br /&gt;
TT: The roitors come abroad.&lt;br /&gt;
&lt;br /&gt;
BT: pasadi bahar agai hai.&lt;br /&gt;
&lt;br /&gt;
The above idiom is a pure type of idiom being translated with the help of above mention strategy. The word rioter is being used for bolwai, which is not a perfect word for bolwai. In Urdu bolwai, people believe in violence when minorities or the low population of any country want some rights. These people stop them by using violence, burn down their properties, rapes women, and do things like that. Another example from the license is below.&lt;br /&gt;
&lt;br /&gt;
Example 9:&lt;br /&gt;
&lt;br /&gt;
ST: Dosri kotwal abu ko dek kar jal ban ho jati.&lt;br /&gt;
&lt;br /&gt;
TT: The other coachman burn with envy.&lt;br /&gt;
&lt;br /&gt;
BT: Abu ke kamyabi dek kar aur kotwal abu sai khasad karni lagi’&lt;br /&gt;
&lt;br /&gt;
The above idioms are a pure idiom that reflects the effect of jealousy between competitors to achieve equivalency. Aatish Taseer uses envy word for jal ban instead of other which have similar meaning but different form. Look at the other example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: Dino lat vo lagal se kam karni laga.&lt;br /&gt;
&lt;br /&gt;
TT: Dino came with an excuse.&lt;br /&gt;
&lt;br /&gt;
BT: Dino abb bahi tarashni laga.&lt;br /&gt;
	&lt;br /&gt;
The above idioms are types of binomial idioms translated with the help of idioms with similar meanings and different forms. (Newmark 1988, 81) mentions the difference between translation methods and translation procedures. He writes that &amp;quot;[w]hile translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language&amp;quot; (Newmark 1988: 81). Idiomatic translation in his definition reproduces the 'message' of the original. However, it distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original, leading to using an idiom of similar meaning but a different form. Besides, it is often possible to find an idiom or fixed expression in the target language with a meaning similar to that of the source idiom or expression but which consists of different lexical items (Baker 1992, 12). Therefore, translators discover idiomatic expressions in the target language with different forms than in the source language. In the current study, the translators approached this strategy merely for 9% of the total times, which means the frequency of Iranian and English idioms with the same meaning and different forms is not considered high. &lt;br /&gt;
&lt;br /&gt;
4.4 Translation by omission:&lt;br /&gt;
&lt;br /&gt;
A translator is less using these strategies, and we did not find any clue on this type of strategy in an area under consideration.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:48, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== Findings===&lt;br /&gt;
&lt;br /&gt;
Mandelbit believed that idioms with different cognitive mapping in the target language would be more challenging to translate.(Mandelbit 1995:40)  After conducting this study and data analysis of collected data, the result revealed that the translator frequently used three out of four strategies of the Mona Baker model during the translation process, which is a translation by Paraphrasing, translation by similar meaning and similar form, translation by similar meaning and different form. In contrast, translation by omission does not found in his work.&lt;br /&gt;
After detail and careful analysis of data, more than half of idioms like &amp;quot;swelling sea of man,” my lord break his arrogance, “weakness for style and fashion.&amp;quot; As I mentioned earlier, many more are translated under the umbrella of Paraphrasing, which is considered the most common method used for translating idioms.&lt;br /&gt;
&lt;br /&gt;
Similarly, it also reflects strategies like similar meaning and different form and similar meaning and similar form. The idiom &amp;quot;rioter came abroad,” burn with envy,” The girl's face became pale, &amp;quot; They fall in love with each other&amp;quot; are translated with the help of two mention strategies, respectively.&lt;br /&gt;
&lt;br /&gt;
Although translation by omission is a strategy used on rare occasions because of its meaning, its meaning cannot be easily paraphrased or stylistic reason. Here, the researcher also did not find any idiom translated with the help of the omission strategy.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 17:18, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
By going through the detailed discussion and analysis of the data collected, it was finally concluded that the idioms which are present in two short stories, &amp;quot;khol do&amp;quot; and &amp;quot;License,&amp;quot; are translated under the frame of Mona Baker's idiomatic model. Translation by Paraphrasing is mainly used while idioms of similar meaning and form and idioms of similar meaning and different forms are used occasionally. The researcher discusses all the strategies with related examples in the order of maximum used to minimum used. The strategy by omission did not find it works. All the data are collected from different sources and analyzed with the help of different researcher tools, and the result is written in light of the finding. Different from previous studies, the writer presents the strategies to translate idioms by each type of idiomatic expression found in the story. From the result, it is considered the translation of idiomatic expressions in the story is quite accurate. As the number of accurate data is more the data which is not related to the translation. We take conclusion from the translation through idiomatic expression and paraphrasing is the best way to translate a novel or a story however it is very difficult job to do because it needs more accurate and precise knowledge about the source language and an inspiring method to express ideas in the target language. However, translation is thing through which we can connect the world with each other and also we can study and observe diverse cultures.         &lt;br /&gt;
 &lt;br /&gt;
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=== References ===&lt;br /&gt;
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Abu-Saydeh, A. F. (2004). Translation of English idioms into Arabic. Babel, 114-131.&lt;br /&gt;
&lt;br /&gt;
Ahsan, S. (2020). A comparative study of two translations of manto's short story &amp;quot;Toba Tek&amp;quot;. International Journal of English Language Studies, 12-27.&lt;br /&gt;
&lt;br /&gt;
Alexander, R. J. (1987). Mimeograph. In R. J. Alexander (Ed.) Collocation and Culture. Trier: University of Trier, West Germany.&lt;br /&gt;
&lt;br /&gt;
Al-Qinai, J. (2000). Translation quality assessment. strategies, parameters and procedures. Translator's Journal, 497-519.&lt;br /&gt;
&lt;br /&gt;
Bayashi, J. (2020). Japanese-English translation: An advanced guide. Oxfordshire: Routledge.&lt;br /&gt;
&lt;br /&gt;
Das, V. (1995). Critical events: An anthropological perspective on contemporary India. New Delhi: Oxford Printing Press.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 17:36, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Mufti, A. (2007). The Language of English India. In I. &amp;amp;. End (Ed.) Enlightenment in the Colony. Princeton University Press.&lt;br /&gt;
&lt;br /&gt;
Waka Xia, L. (2019). A discourse analysis of news translation in China. Syydney: Routledge.&lt;br /&gt;
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= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
===Ambiguity===&lt;br /&gt;
&lt;br /&gt;
===Lexical and Structural Mismatches===&lt;br /&gt;
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===Multiword units: Idioms and Collocations===&lt;br /&gt;
&lt;br /&gt;
===Summary===&lt;br /&gt;
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===Further Reading===&lt;br /&gt;
&lt;br /&gt;
=刘胜楠 A Case Study of ''Ne Zha'' on Subtitle Translation Strategies from the Perspective of Skopos Theory= &lt;br /&gt;
[[Trans_Type_EN_15]]&lt;/div&gt;</summary>
		<author><name>Atta Ur Rahman</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=132482</id>
		<title>Translation types, strategies, styles, methods</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=132482"/>
		<updated>2021-12-13T17:27:23Z</updated>

		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* Conclusion */&lt;/p&gt;
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&lt;div&gt;'''Translation types, strategies, styles, methods'''&lt;br /&gt;
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[[Translation_types,_strategies,_styles,_methods|Overview Page of Translation types, strategies, styles, methods]]&lt;br /&gt;
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30 Chapters（0/30)&lt;br /&gt;
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[[Trans_Type_EN_1]] [[Trans_Type_EN_2]] [[Trans_Type_EN_3]] [[Trans_Type_EN_4]] [[Trans_Type_EN_5]] [[Trans_Type_EN_6]] [[Trans_Type_EN_7]] [[Trans_Type_EN_8]] [[Trans_Type_EN_9]] [[Trans_Type_EN_10]] [[Trans_Type_EN_11]] [[Trans_Type_EN_12]] [[Trans_Type_EN_13]] [[Trans_Type_EN_14]] [[Trans_Type_EN_15]] [[Trans_Type_EN_16]] [[Trans_Type_EN_17]] [[Trans_Type_EN_18]] [[Trans_Type_EN_19]] [[Trans_Type_EN_20]] [[Trans_Type_EN_21]] [[Trans_Type_EN_22]] [[Trans_Type_EN_23]] [[Trans_Type_EN_24]] [[Trans_Type_EN_25]] [[Trans_Type_EN_26]] [[Trans_Type_EN_27]] [[Trans_Type_EN_28]] [[Trans_Type_EN_29]] [[Trans_Type_EN_30]] ...&lt;br /&gt;
&lt;br /&gt;
[[Book_projects|Back to translation project overview]]&lt;br /&gt;
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[[DCG-To-Do|To the To Do List]]&lt;br /&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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'''浅析美版《甄嬛传》的字幕翻译策略'''&lt;br /&gt;
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[[Trans_Type_EN_1]]&lt;br /&gt;
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阳佳颖 Yang Jiaying, Hunan Normal University, China&lt;br /&gt;
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=Chapter 2: The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
'''纽马克翻译理论指导下旅游文本中翻译策略与翻译方法的使用——以''Everglades National Park, Florida (Excerpt)''为例'''&lt;br /&gt;
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[[Trans_Type_EN_2]]&lt;br /&gt;
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刘晓 Liu Xiao, Hunan Normal University, China&lt;br /&gt;
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=Chapter 3: Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
交际翻译理论指导下小说题材所适用的翻译方法和翻译策略—以韩国小说集《恩珠的电影》（节选）为例&lt;br /&gt;
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[[Trans_Type_EN_3]]&lt;br /&gt;
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刘越Liu Yue ，Hunan Normal University，China&lt;br /&gt;
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=Chapter 4: On Translation Strategies and Translation Methods in Chinese Translation of English Prose -- A Case Study of Chinese Translation of English Prose &amp;quot;Pleasures of Ignorance&amp;quot;=&lt;br /&gt;
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'''浅析英语散文汉译中的翻译策略和翻译方法——以英语散文《无知的乐趣》汉译本为例'''&lt;br /&gt;
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[[Trans_Type_EN_4]]&lt;br /&gt;
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毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
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=Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
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[[Trans_Type_EN_5]]&lt;br /&gt;
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毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
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=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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[[Trans_Type_EN_6]]&lt;br /&gt;
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彭瑞雪 Peng Ruixue, Hunan University, China&lt;br /&gt;
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=Chapter 7: A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
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[[Trans_Type_EN_7]]&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
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=Chapter 8:Translation methods and strategies applicable to the style of biographical literature -- Taking ''Incidents in Life of Slave Girl'' (excerpt) as an example=&lt;br /&gt;
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'''传记文学的文体所适用的翻译技巧与策略——以英文传记《一名女奴的人生际遇》(节选)为例'''&lt;br /&gt;
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[[Trans_Type_EN_8]]&lt;br /&gt;
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颜子涵 Yan Zihan, Hunan Normal University, China&lt;br /&gt;
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=Chapter 9: On the Translation Strategies of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hung-ming and Xu Yuanchong=&lt;br /&gt;
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'''视域融合视角下看《论语》英译的翻译策略—以辜鸿铭和许渊冲的英译本为例'''&lt;br /&gt;
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[[Trans_Type_EN_9]]&lt;br /&gt;
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邝艳丽 Kuang Yanli, Hunan Normal University, China&lt;br /&gt;
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=杨柳青 Bian Zhilin's Literary Translation Theories and Practice——Take His Translation of Romantic Poems as Examples=&lt;br /&gt;
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Yang Liuqing杨柳青,Hunan Normal University,China.&lt;br /&gt;
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[[Trans_Type_EN_10]]&lt;br /&gt;
&lt;br /&gt;
=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
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===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
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===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012:37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær 2015:10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005;9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004;1). Translation is essential for cultures and languages to exchange information. Newmark defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects(Newmark 1988;2). Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
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Nida indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style(Nida 1964;32). Larson has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context(Larson 1998;23).--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:41, 13 December 2021 (UTC) &lt;br /&gt;
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Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”(Snell-Hornby 1988;33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957;167). By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
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The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003;16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
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This study is aimed to probe Newmark's translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988;81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:41, 13 December 2021 (UTC)&lt;br /&gt;
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===Translation and Culture===&lt;br /&gt;
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2. Translation and Culture &lt;br /&gt;
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Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
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The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988;7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988;5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988;7).  &lt;br /&gt;
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In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language”(Catford 1965;20). According to Venuti translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader”(Venuti 1995;18). Schjoldager stated that“a translation is a text that expresses what another text has expressed in another language”(Schjoldager 2008;19). Culture is a complex whole which includes knowledge,belief,art,law,morals,customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014;2). Hermanns contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures(Hermanns 1999;22) Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014;2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001;328). &lt;br /&gt;
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Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
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2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
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Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora,fauna,food,clothes,housing, work,leisure,politics,law,and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988;327) Christine Nord names them “culturemes” (Nord 1997;9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012;1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Aixela, 1997; Davies, 2003), others choose cultural words (Newmark 2003;87) or culture-bound phenomena/concepts (Baker, 1992, Newmark, 2003, Robinson, 2003). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker, 1992, 21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988, 94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988, 95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988, 95).--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:02, 13 December 2021 (UTC)&lt;br /&gt;
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2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
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The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85;22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003;16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:02, 13 December 2021 (UTC)&lt;br /&gt;
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===Types of Translation ===&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
Newmark determines 8 types of translation which are: &lt;br /&gt;
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3.1 Word-for-Word Translation &lt;br /&gt;
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This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
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3.2 Literal translation &lt;br /&gt;
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In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
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3.4 Semantic Translation &lt;br /&gt;
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Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
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3.5 Adaptation &lt;br /&gt;
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This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015;15). &lt;br /&gt;
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3.6 Free Translation &lt;br /&gt;
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The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
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3.7 Idiomatic Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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3.8 Communicative Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:05, 13 December 2021 (UTC) &lt;br /&gt;
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===Translation Strategies  ===&lt;br /&gt;
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4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
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4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela translators need to choose several strategies based on the source language culture and target culture. He distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, he tries to command by the level of their intercultural intervention. He divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies). &lt;br /&gt;
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4.1.1. Conservation: &lt;br /&gt;
In conservation,the less compelling process includes repetition,orthographic adaptation,linguistic translation,extratextual gloss and intratextual gloss. &lt;br /&gt;
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4.1.1.1 Repetition:In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus,the translator keeps as much as possible the original reference (Aixela 1996;61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
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4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
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4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
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4.1.1.4 Extra-textual Gloss: Here,the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes,endings,words,ideas,translators in dictionaries, italics and so on. &lt;br /&gt;
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4.1.1.5 Intra-textual Gloss:It's like the past but the translator feels that he/she can include the globe as an indirect part of the text,not to distract the reader. &lt;br /&gt;
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4.2.1 Substitution &lt;br /&gt;
In substitution, According Aixela “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here&amp;quot;(Aixela 1996;87)--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:40, 13 December 2021 (UTC) &lt;br /&gt;
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4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
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4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
&lt;br /&gt;
4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela 1997;63). &lt;br /&gt;
&lt;br /&gt;
4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Shokri Ketabi 2015;8). &lt;br /&gt;
&lt;br /&gt;
4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela 1996;64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
&lt;br /&gt;
4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela 1997;43). &lt;br /&gt;
&lt;br /&gt;
4.3 Mona Baker's Translation Strategies &lt;br /&gt;
Baker's strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation.Baker She suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies(Baker 1992;90) which are the following: &lt;br /&gt;
&lt;br /&gt;
4.3.1 Translation by a more general word: According to Baker,this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
&lt;br /&gt;
4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
&lt;br /&gt;
4.3.3 Translation by cultural substitution:This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
&lt;br /&gt;
4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
&lt;br /&gt;
4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
&lt;br /&gt;
4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
&lt;br /&gt;
4.3.7 Translation by omission: Losing phrases or words that are not vital to text development.&lt;br /&gt;
&lt;br /&gt;
4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view,however,Baker,s translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:40, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Cultural Categories  ===&lt;br /&gt;
&lt;br /&gt;
5. Cultural categories &lt;br /&gt;
 &lt;br /&gt;
5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
&lt;br /&gt;
5.1.2 Material culture &lt;br /&gt;
&lt;br /&gt;
Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.”(Newmark 1988;90)  &lt;br /&gt;
&lt;br /&gt;
5.1.3 Social culture &lt;br /&gt;
&lt;br /&gt;
The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
&lt;br /&gt;
5.1.4 Organisation &lt;br /&gt;
&lt;br /&gt;
Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
 &lt;br /&gt;
5.2 Newmark Classification CSIs &lt;br /&gt;
&lt;br /&gt;
Newmark established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items. (Newmark 1988;97) --[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:50, 13 December 2021 (UTC)&lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
 &lt;br /&gt;
Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
&lt;br /&gt;
2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
&lt;br /&gt;
3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
&lt;br /&gt;
4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
&lt;br /&gt;
5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
&lt;br /&gt;
6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
&lt;br /&gt;
7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
&lt;br /&gt;
8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
&lt;br /&gt;
9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
&lt;br /&gt;
10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
&lt;br /&gt;
11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
&lt;br /&gt;
12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
&lt;br /&gt;
13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
&lt;br /&gt;
14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
&lt;br /&gt;
16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
&lt;br /&gt;
17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
&lt;br /&gt;
18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
&lt;br /&gt;
19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
&lt;br /&gt;
20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
&lt;br /&gt;
21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
&lt;br /&gt;
22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
&lt;br /&gt;
23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
&lt;br /&gt;
24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996;31)“translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by (Newmark 1988;81)“translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.” &lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation,then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:55, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity,as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts,the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term,and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part,but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:01, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark's strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However,the translator must be competent in using the translation procedures to provide an accurate translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
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=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims to observe the development of translation studies through its different types, various strategies, styles and particular methods. In this paper, the readers are introduced to some famous translation scholars including their view of translation studies. At the further discussions, this study lets the readers acknowledge the main issues on translation studies, focusing on different styles of variations such as grammar, sentence structure, textual analysis, strategies and methods. This study may help those who are interested to conduct translation researches and help them by giving options of which theories is beneficial to their analysis. Moreover, it aims to explore the clear definition of translation as well as help the readers to understand the basic concept which are used in the field of translation. The present study, therefore, attempts to outline the scope of the discipline of translation studies and more importantly, it is an attempt to outline its activity that required a deep mastering of language, a good source of knowledge and target cultures.&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation, styles of variations, strategies&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
It is undoubtedly right that translation is important to share information. In line with these premise, the number of translation professionals is getting higher. In fact, the result of translation researches tends to help human daily life in term of evaluation, designing translator machines, and cultural studies.	 Therefore, translation means converting written information from one language into another. It is the new discipline appeared in the second half of the 20th century. The term “Translation Studies” was coined by James S. Holmes, an American-Dutch poet and translator of poetry, in his seminal paper “The Name and Nature of Translation Studies”.  Translation enables effective communication between people around the world. It is a courier for the transmission of knowledge, a protector of cultural heritage, and essential to the development of a global economy. Translation helps us to know about the developments in the field of creative arts, education, literature, business, science and politics. It has shifted from the traditional conception of the fixed, stable and unchangeable nature of the text and its meaning to a text with wide scope for variations. Translation also helps in nation building. In this globalised world, the demand for translation and language related services has increased many times. Translation is not only needed for the creation of national identity but has also become an essential tool for keeping pace with the processes of globalization and localization. The activity of translation has a long-standing tradition and has been widely practiced throughout history, but in our rapidly changing world its role has become of paramount importance. Nowadays, knowledge in which cultural exchanges have been widening, has been increasingly expanding and international communication has been intensifying, the phenomenon of translation has become fundamental. Be it for scientific, medical, technological, commercial, legal, cultural or literary purposes, today human communication depends heavily on translation and, consequently, interest in the field is also growing. Accordingly, the discussion, in the present study, proceeds primarily from the perspectives of “Translation Studies” and “Linguistics”. One major goal is to show the interrelationships between linguistics and translation, and how they benefit from each other. Nowadays, translation research has started to take another path, which is more automatic. The invention of the internet, together with the new technological developments in communication and digital materials, has increased cultural exchanges between nations. This leads translators to look for ways to cope with these changes and to look for more practical techniques that enable them to translate more and waste less. They also felt the need to enter the world of cinematographic translation, hence the birth of audiovisual translation. The latter technique, also called screen translation, is concerned with the translation of all kinds of TV programs, including films, series, and documentaries. This field is based on computers and translation software programs, and it is composed of two methods; dubbing and subtitling. In fact, audiovisual translation marks a changing era in the domain of translation.&lt;br /&gt;
In short, translation has very wide and rich history in the West. Since its birth, translation was the subject of a variety of research and conflicts between theorists. Each theorist approaches it according to his viewpoint and field of research, the fact that gives its history a changing quality.&lt;br /&gt;
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Discussion &lt;br /&gt;
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Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation. For each type, a selection of examples will be considered for analysis based on translation theories and techniques. We will show that some chunks of text require literal translation, while other requires interpretive method. In addition, this paper will also examine various strategies and its styles of variations based on translational study. The following strategies will be presented in the paper as; &lt;br /&gt;
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•	They involve text manipulation.&lt;br /&gt;
•	They must be applied to the process.&lt;br /&gt;
•	They are goal-oriented.&lt;br /&gt;
•	They are problem-centered.&lt;br /&gt;
•	They are applied consciously.&lt;br /&gt;
•	They are inter-subjective.&lt;br /&gt;
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Most theorists agree that strategies are used by translators when they encounter a problem and literal translation is not useful. Different researchers have investigated and described various translation strategies from their different perspectives. It intends to show what translation strategies exist and when and why they are used by professional translators. Different scholars have various perspectives to the aspects of the act of translation, so, they define and describe different types of strategies. Bergen's (n. d.) classification of the strategies includes three categorizations which will be discussed mainly in this paper: &lt;br /&gt;
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•	Comprehension strategies &lt;br /&gt;
•	Transfer strategies&lt;br /&gt;
•	Production strategies&lt;br /&gt;
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An addition to this paper, styles of variations will also be introduced to the readers through different aspects and examples. The concept of style can be defined in terms of the distinctive way an individual or a group uses language, or better still the discourse used to perform distinct functions of language aimed at achieving specific purposes. However, this does not entail that style is simply a matter of form since it is the product of other components such as the genre of discourse, its semantics, syntax and phonology. Indeed, in order to analyze a given stylistic variation one needs an extensive checklist that includes lexical and grammatical categories, allusions, and figures of speech. Style can be understood to refer to the recurring typical features of the source text compared to the typical features of the translated text.  In a quantitative and qualitative analysis, this variation is shown to be influenced by several pragmatic and social factors, and to index the interpreters' stances towards source speakers and towards the immigrant court users who are the recipients of translations from English. It is argued that translation styles have profound consequences for limited English speakers, as the insistence on institutional norms in translating to them is viewed as a gate keeping behavior that may impede their full participation in the proceedings. &lt;br /&gt;
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What is translation? &lt;br /&gt;
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Translation went through various definitions going from a mere linguistics activity during the sixties, a cultural and communicative activity during the seventies reflects the social impacting activity in the latest founding of the literature. &lt;br /&gt;
“Translation is traditionally known as being the replacement of textual material in one language into equivalent textual material in another language”. &lt;br /&gt;
House (2015) mentions that translation is considered as the “replacement” of a text in the source language by a semantically and pragmatically equivalent text in the target language. It is strongly related to a source language and target language cultures. It requires a high level of mastery languages, an awareness of any contextual factors within which the discourse emerges. There is no need to mention how it affected civilizations through different areas of mankind history. For example, An Arab-Islamic civilizations. There have always been different directions on how one should or should not translate. In the Arab tradition, two main methods existed and were in complete divergence namely the literal and the free method. &lt;br /&gt;
On the other hand, in the Western tradition there are various methods currently exist namely, the linguistic, the hermeneutic, the interpretive, the functionalist, the interventionist, the poly-systemic and the text-typologist method.  More so, it may be important to point out that translation has been defined in many ways, and every definition reflects the theoretical approach underpinning it. &lt;br /&gt;
As Shuttlworth and Cowie (1997) observe throughout the history of research into translation, the phenomenon has been variously delimited by formal descriptions, echoing the frameworks of the scholars proposing them. For example, Bell (1991: XV) starts with an informal definition of translation, which runs as follows: the transformation of a text originally in one language into an equivalent text in a different language retaining, as far as is possible, the content of the message and the formal features and functional roles of the original text. &lt;br /&gt;
At the beginning of the ‘scientific’ (Newmark, 1988, p. 2) study of translation, Catford (1965, p. 20) described it in these terms, the replacement of textual material in one language (SL) by the equivalent textual material in another language. &lt;br /&gt;
Thirty years later, in Germany, the concept of translation as a form of ‘equivalence’ is maintained, as we can see from Koller’s definition (1995, p. 196): “The result of a text processing activity, by means of which a source language text is transposed into a target-language text. Between the resultant text in L2 (the target-language text) and the source text in L1 (the source language text) there exists a relationship, which can be designated as a translational, or equivalence relation”. Because complete equivalence (in the sense of synonymy or sameness) cannot take place in any of his categories, Jakobson (1959) declares that all poetic art is, therefore, technically untranslatable. That is, the translator has to take the question of interpretation into account in addition to the problem of selecting a TL phrase which will have a roughly similar meaning. Exact translation is impossible. In this regard, Bassnett (1996) claims that all texts, being part of a literary system descended from and related to other systems are “translations of translation of translations”: every text is unique and at the same time, it is the translation of another text. No text is entirely original because language itself, in its essence, is already a translation: firstly, of the non-verbal world and secondly, since every sign and every phrase is the translation of another sign and another phrase. However, this argument can be turned around without losing any of its validity: all texts are original because every translation is distinctive. Every translation, up to a certain point, is an invention and as such it constitutes a unique text.&lt;br /&gt;
In this analysis of the above definition, Manfredi (2008), points out that the above distinction can be divided into two main perspectives, those that consider translation either as a ‘process’ or a ‘product’. To this twofold categorization, Bell (1991, p. 13) adds a further variable, since he suggests making a distinction between translating (the process), a translation (the product) and translation (i.e., “the abstract concept which encompasses both the process of translating and the product of that process”. Moreover, thanks to advances in new technologies, today we can also incorporate into TS the contribution of corpus linguistics, which allows both theorists and translators analyses of large amounts of electronic texts (Manfredi, 2008). On the other hand, Halliday (1992, p. 15) takes translation to refer to the total process and relationship of equivalence between two languages; we then distinguish, within translation, between “translating” (written text) and “interpreting” (spoken text). Halliday, thus, proposes distinguishing the activity of “translation” (as a process) from the product(s) of “translating”, including both “translation” (concerning written text) and ‘interpreting’ (regarding spoken text.&lt;br /&gt;
“Translation is the production of a functional target text maintaining a relationship with a given source text that is specified according to the intended or demanding function of the target text.&lt;br /&gt;
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Types of Translation&lt;br /&gt;
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Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation.&lt;br /&gt;
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Technical translation &lt;br /&gt;
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Technical translation is a type of specialized translation involving the translation of documents produced by technical writers, or more specifically, texts which relate to technological subject areas or texts which deal with the practical application of scientific and technological information. (Wikipedia) &lt;br /&gt;
Translators' main goal is to accurately translate the technical terminology to match the document and the message of the original content.&lt;br /&gt;
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The benefits of technical translation&lt;br /&gt;
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A professional technical translation service is provided by translators with dual specialties, that is, professionals who are fluent in the language pair, but who are also experts in the field covered by the documents to be translated.&lt;br /&gt;
When you need to have your documents translated by a technical translator, translators who are not experts may not be able to provide the necessary solutions and terminology for a quality translation. If the translator is not an expert in the field, he/she will have to learn the new terminology while working. This means that translation will take longer, have higher chances of inaccuracies, and may result in higher costs. Therefore, the main advantages of hiring an agency specialized in this type of service are as follows:&lt;br /&gt;
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Literary translation&lt;br /&gt;
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Literary translation is the translation of creative and dramatic prose and poetry into other languages. This includes the translation of literature from ancient languages and the translation of modern fiction so that it can reach a wider audience. &lt;br /&gt;
Literary translation is of huge importance. It helps to shape our understanding of the world around us in many ways.                                                     Reading Homer and Sophocles as part of a classical education in school helps to build an understanding of history, politics, philosophy and so much more. Meanwhile, reading contemporary translations provides fascinating insights into life in other cultures and other countries.                                                       In a fast-paced world so rife with misunderstanding and confusion, such efforts to share knowledge and experiences across cultural boundaries should be applauded.&lt;br /&gt;
The translation of literature differs greatly from other forms of translation. The sheer size of the texts involved in literary translation sets it apart.                Tackling a translation that runs to hundreds of thousands of words is not a task for the faint-hearted. Nor is recreating poetry in a new language, without losing the beauty and essence of the original work.&lt;br /&gt;
One of the key challenges of literary translation is the need to balance staying faithful to the original work with the need to create something unique and distinctive that will evoke the same feelings and responses as the original. This can be particularly challenging when it comes to translating poetry.&lt;br /&gt;
Poems are written with incredible attention to detail. Not only are the words and phrases important, but the number of syllables and the entire rhythm of the completed work. It’s a challenging task to complete just in one language, let alone when trying to recreate a poet’s work during a translation. Daniel Hahn, director of the British Centre for Literary Translation, sums up the issue beautifully. &lt;br /&gt;
As literary translators will attest, a single word can be extremely troublesome. The author of a work of fiction has chosen that word for a good reason, so the translator must ensure that it is faithfully delivered in the target language. However, what if no direct translation is available? Or what if several options exist, each with a slightly different nuance? Urdu language translator Fahmida Riaz outlines her approach to such thorny issues.&lt;br /&gt;
For instance, “Every piece you translate comes from the pen of an individual, so you have to give it an individual treatment. I try to retain the ambience of the original culture, rather than the language, as it is reflected in the text.” &lt;br /&gt;
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Pragmatic translation&lt;br /&gt;
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Pragmatic translation is the basic assumption that provided a source language text contains no misstatements of fact, is competently written and has to be fully translated rather than summarized or functionally reorientated; one's purpose in translating it is to be referentially and pragmatically accurate. In this paper, I shall not deal with referential accuracy but concentrate instead on the pragmatic aspects of translation. As the term pragmatic translation may be used in a variety of ways, I should like to state my own definition of pragmatic, which derives from Charles Morris and ultimately from Charles S. Peirce. I am using pragmatic as one of the two factors in translation: pragmatic denotes the reader's or readership's reception of the translation, as opposed to referential, which denotes the relationship between the translation and the extra-linguistic reality it describes. &lt;br /&gt;
Translation is a properly way to a properly communication and pragmatics is how to use language in communication properly. By translation, many things from different languages and cultures can understand to each other. In other words, translation can be stated as a facilitator to make a communication runs well.&lt;br /&gt;
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===An Overview on Translation Studies  ===&lt;br /&gt;
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===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
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=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
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===Conclusion ===&lt;br /&gt;
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=== References ===&lt;br /&gt;
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= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature  --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:45, 12 December 2021 (UTC)&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
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In this chapter, the researcher wants to highlight the different concepts about the fundamental question that &amp;quot;what is idiomatic expression&amp;quot;  and the views of various critics, theorists and linguistic experts, and prominent scholars of translation studies.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:38, 13 December 2021 (UTC) Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
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Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
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&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda 2006: 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984: 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992: 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to Newmark, “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”(Newmark 1981: 11).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:38, 13 December 2021 (UTC)&lt;br /&gt;
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The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to Corelli, English has a sizeable idiomatic base. About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.(Corelli 2006: 53)&lt;br /&gt;
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The main issue that idiomatic and fixed expressions pose for translators, according to Baker is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.(Baker 1992: 65)&lt;br /&gt;
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Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.(Ahsan 2020: 12-27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:44, 13 December 2021 (UTC)&lt;br /&gt;
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===Literature Review ===&lt;br /&gt;
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In this chapter, the author/researcher defines the strategy and its different definitions from various perspectivess. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented.(Venutti !995, 35 Krings defines it as the content of the project, while Seguinet divided the term into three steps.(Krings 2000:21). However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. (Locher 2002:76) In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
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The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
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A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward. (Bergen 1996:33)&lt;br /&gt;
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Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint. (Vinute 1998:41).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to Seguinot (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.(Seguinot 1989:27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
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Furthermore, Loescher defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot;(Loescher 1991:8) As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998:4) claim moreover, 'Bell' distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.(Bell 1998:188)&lt;br /&gt;
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According to Venuti, &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot;(Venuti 1998, 240). He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to Jaaskelainen, product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.(Jaaskelainen 2005:15)&lt;br /&gt;
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Furthermore, Jaaskelainen distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making.(Jaaskelainen 2005:16). Newmarkdistinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;(Newmark 1988, 221)&lt;br /&gt;
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Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016:13).&lt;br /&gt;
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The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010:15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017:54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984:12). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
&lt;br /&gt;
Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985:9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female..(Ahsan 2020: 12-27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:31, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== Theoritical Framework ===&lt;br /&gt;
&lt;br /&gt;
In this paper, various strategies have been used, like using an idiom of similar meaning and similar form, the idiom of similar meaning and different form, translation by Paraphrasing, translation by omission. The approach of employing idioms of similar meaning and form, according to Mona Baker, entails using an idiom in the target language that can express about the same meaning as the source language idiom, as well as having lexical similarity. On the other hand, this type of matching happens periodically as well as regularly.(Baker, 1992, 13)&lt;br /&gt;
&lt;br /&gt;
Similarly, employing idioms with similar meanings but different forms means that it is possible to locate an idiom or fixed expression in the target text language that has a similar meaning to the source idiom or expression but is made up of distinct lexical elements. Consider the case of English and French, both of which use the idiom mentioned above. In English, one good deed is rewarded with another, whereas in French, handsome deeds are rewarded with handsome deeds.&lt;br /&gt;
&lt;br /&gt;
Furthermore, we did not come across any idioms in the category mentioned above during translating idioms. To deal with this issue, the translators used the most popular approach, known as a translation by paraphrase, which is short, straightforward, and time-saving. When a match cannot be identified in the target language or when it appears improper to employ idiomatic language in target material due to aesthetic differences between the source and target languages, this is the most typical approach for translating an idiom from source to target language. However, one thing to keep in mind is that a perfect translation is not required is necessary or possible.&lt;br /&gt;
&lt;br /&gt;
Last but not least, to overcome the problem of idiom translation, the translator employs the strategy of translation by omission. This can be defined as an idiom being omitted entirely in the target text with a single word. This is done because the idiom has no close match in the target language; its meaning cannot be easily paraphrased or due to stylistic reasons.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:38, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Data analysis Techniques:&lt;br /&gt;
Textual analysis is the method of data analysis in qualitative research that brings forth the hidden and potent message, structure, and function of research in giving text, Alan Mckee (defines textual analysis as whenever we perform textual analysis on the text, we make an educated guess at some time of the most likely interpretations that might be made of that text (Alan 2001:3)&lt;br /&gt;
Analysis of the translation of short stories in light of Mona baker's theory &amp;quot;khol do and license&amp;quot; are short stories written by Sadat Hassan Manto and translated by many translators from Urdu into English. During translation, the translator adopted many strategies for translating idiomatic expression, sometimes by Paraphrasing, sometimes by omission, sometimes using similar idioms of form and meaning while sometimes using different words and the same form, the whole.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:51, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Discussion and Analysis===&lt;br /&gt;
&lt;br /&gt;
The chapter analyzes and discusses all the data collected by the author/researcher from different sources. All the examples of idioms are firstly identified, then translated into the target text, and back-translated for the sole purpose of exploring the strategies being used by the translator. A separate section is given to every strategy with its related example. Moreover, the idiomatic expression, the target work for finding, is highlighted through the bold letter.&lt;br /&gt;
&lt;br /&gt;
4.1	Translation by Paraphrasing:&lt;br /&gt;
&lt;br /&gt;
Based on our findings, the most often used strategy was &amp;quot;translation by paraphrasing.&amp;quot; An inspection also reveals that Aatish Taseer preferred this strategy. Here are some examples applied by the translators, and in the following section, the logic behind their preference towards this strategy is elaborate. The following are examples from two short stories of Sadat Husain Manto's &amp;quot;khol do&amp;quot; and &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 1: &lt;br /&gt;
&lt;br /&gt;
ST: Sirajuddin ne subah das baji anki kholi to logo ka aik mutalatam samandar deka.&lt;br /&gt;
&lt;br /&gt;
TT: Ten a.m., Siraj Uddin opens his eyes on the cold floor of the camp, seeing the swelling sea of men.&lt;br /&gt;
&lt;br /&gt;
BT: sub ke das baji jab Sirajuddin ne apni anki koli to logo ka aik ublaha howa samandar ka nizara dekni laga.&lt;br /&gt;
&lt;br /&gt;
So, the above idioms are literal idioms being translated with the help of 'Paraphrasing' because there is no perfect equivalent of mutalatam words in English languages. A similar look at another idiom from short stories &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&lt;br /&gt;
ST: Khuda tomahra bala kari.&lt;br /&gt;
&lt;br /&gt;
TT: Your God will reward&lt;br /&gt;
&lt;br /&gt;
BT: Is ka badla khoda tomahi di.&lt;br /&gt;
&lt;br /&gt;
Here, the word reward is being used for Bala Kari, an example of transitional by Paraphrasing.&lt;br /&gt;
Let  take another example from &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
&lt;br /&gt;
ST: unkho nai Jan khateli pa rak kar sakena ko donda.&lt;br /&gt;
&lt;br /&gt;
TT: even putting their lives online, they search sakina &lt;br /&gt;
&lt;br /&gt;
BT: apni zindagio ko khatri me dal kar unkho nai sakina ko dond nekala.&lt;br /&gt;
&lt;br /&gt;
The above idioms are examples of pure idiom translated from Urdu into English with the help of paraphrases strategies. However, under the same strategies, the idioms of another short story of Manto,s &amp;quot;license,&amp;quot; are translated by Aatish Taseer. Some of the examples are given below.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
ST: Abu kochwan bara cheel jabela ta. It is the binomial type of idioms taken from the first sentence of the short story &amp;quot;license&amp;quot; by Sadat &lt;br /&gt;
Hasan Manto &lt;br /&gt;
&lt;br /&gt;
TT: Abu kochwan is stylish man.&lt;br /&gt;
&lt;br /&gt;
BT: Abu kochwan aik wazahdar admi ta.&lt;br /&gt;
&lt;br /&gt;
From the above idiom, it is clear that there is no perfect equivalence of cheela chabela idiom in English; that is, the translator goes &lt;br /&gt;
through paraphrasing strategies. Look at another example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
ST: Lein har waqat bank bani rekhi ka usi be had showk ta&lt;br /&gt;
&lt;br /&gt;
TT: He had a weakness for style and fashion.&lt;br /&gt;
&lt;br /&gt;
BT: Dan saj ke rekhna uski kamzori me sai ik ta.&lt;br /&gt;
&lt;br /&gt;
So all of the above examples, which are analyzed one by one, are examples of idioms being translated through paraphrasing strategies. Beaugrande and Dressler define paraphrases as &amp;quot;approximate conceptual equivalence among outwardly different material.&amp;quot;(De Beaugrande and Dressler 1981, 50) Similarly, in this regard, Hirst defines paraphrases as &amp;quot;talk(ing) about the same situation in a different way.&amp;quot; (Hirst 1980:12) Munday declared that &amp;quot;equivalence is particularly useful in translating idioms and proverbs” For instance, if the English idiom like a bear with a sore head is rendered into Persian as (mesle borje zahremar), meaning like a tower of snake venom, the strategy of equivalence has been applied. (Munday 1981:13).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:55, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
According to Leonardi, &amp;quot;Equivalence can be said to be the central issue in translation.&amp;quot; In this regard, house believes that &amp;quot;a translation text should match not only its source text in function but also employ equivalent situational-dimensional means to achieve that function&amp;quot; (Baker 2002:49).  who shares this approach, states that equivalence is used &amp;quot;for the sake of convenience—because most translators are used to it rather than because it has any theoretical status&amp;quot; (Kenny 1998:77). &lt;br /&gt;
&lt;br /&gt;
Despite different attitudes to the concept of equivalence, most specialists pay much attention to its meaning in the theory of translation. The translation is a form of communication, and that is why it is vital to establish equivalence between the source text and the target text. Although Vinay and Darbelnet believe that equivalence is used differently than in modern translation theory, it is evident that equivalence is one of the basic concepts of translation that cannot be neglected.Vinay and Darbelnet 1999:18)&lt;br /&gt;
Consequently, based on the Above mentioned studies using 'Paraphrasing' in translation stands as the core concept in the process of translation, and still, most of the translators cling to it for producing a more comprehensible and explicable text. These language ideas and translation models are ideal constructs, presented abstractly in order to be differentiated precisely. They may exist in an uneasy combination in actual theories and practices, resulting in logical tensions or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation. Theories and actions must be contextualized in historical settings. They've been utilized as analytical tools to describe various topics in section introductions. Theoretical writings and current events these language notions and translation models are ideal constructs expressed in an abstract manner in order to be distinguished precisely in real-life hypotheses they may exist in an uncomfortable mix, resulting in logical conflicts or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
4.2	Using an idiom of Similar Meaning and Form &lt;br /&gt;
&lt;br /&gt;
As mentioned earlier, this strategy type is being used by Aatish Taseer during their translated work of Manto's short stories &amp;quot;khol do&amp;quot; and&amp;quot; license&amp;quot; on an occasional basis. Some examples are mention below.&lt;br /&gt;
&lt;br /&gt;
From khol do.&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
ST: Larki ka rang zard hogaya.&lt;br /&gt;
&lt;br /&gt;
TT: The girl's face became fail&lt;br /&gt;
&lt;br /&gt;
BT: larki ka rang zar hogya.&lt;br /&gt;
&lt;br /&gt;
Similarly, another example from the license is&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: Abu our us ke mat beer hogaie&lt;br /&gt;
&lt;br /&gt;
TT: They fall in love with each other.&lt;br /&gt;
&lt;br /&gt;
BT: WO ik dosri ke mokhbat me geriftar hogaie&lt;br /&gt;
&lt;br /&gt;
The above idioms are pure ones and are being translated with the help of similar meanings and similar forms.&lt;br /&gt;
&lt;br /&gt;
The procedures: transposition, modulation, equivalence, and adaptation, and when it comes to defining the term Equivalence, (Vinay and Darbelnet 2000:90) propose that it consists in rendering &amp;quot;the same situation … by two texts using completely different stylistic and structural methods&amp;quot;, and when it comes to translating idiomatic expressions like &amp;quot;Il pleut à seaux&amp;quot; it can be translated as &amp;quot;It is raining cats and dogs&amp;quot; using the idiom of similar form and meaning in the target language.&lt;br /&gt;
&lt;br /&gt;
As Baker states, this strategy involves using an idiom in the TL which conveys roughly the same meaning as that of the source language idiom and, in addition, consists of identical lexical items. The salient point is that this kind of match can only occasionally be achieved, which cannot be picked up more often by translators. Accordingly, both translators mentioned in the current study had quite a slim chance of using this strategy type.(Baker 1992:12)&lt;br /&gt;
&lt;br /&gt;
4.3 Using an idiom of similar meaning but different form:&lt;br /&gt;
&lt;br /&gt;
During translating Manto short stories, &amp;quot;khol do&amp;quot; and &amp;quot;license,&amp;quot; some of the idioms are translated with the help of this strategy. Some of the examples are given below from two different short stories.&lt;br /&gt;
&lt;br /&gt;
Example number one is from the short story &amp;quot;khol do&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
ST: Aur bolwai gos ayai thee?&lt;br /&gt;
&lt;br /&gt;
TT: The roitors come abroad.&lt;br /&gt;
&lt;br /&gt;
BT: pasadi bahar agai hai.&lt;br /&gt;
&lt;br /&gt;
The above idiom is a pure type of idiom being translated with the help of above mention strategy. The word rioter is being used for bolwai, which is not a perfect word for bolwai. In Urdu bolwai, people believe in violence when minorities or the low population of any country want some rights. These people stop them by using violence, burn down their properties, rapes women, and do things like that. Another example from the license is below.&lt;br /&gt;
&lt;br /&gt;
Example 9:&lt;br /&gt;
&lt;br /&gt;
ST: Dosri kotwal abu ko dek kar jal ban ho jati.&lt;br /&gt;
&lt;br /&gt;
TT: The other coachman burn with envy.&lt;br /&gt;
&lt;br /&gt;
BT: Abu ke kamyabi dek kar aur kotwal abu sai khasad karni lagi’&lt;br /&gt;
&lt;br /&gt;
The above idioms are a pure idiom that reflects the effect of jealousy between competitors to achieve equivalency. Aatish Taseer uses envy word for jal ban instead of other which have similar meaning but different form. Look at the other example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: Dino lat vo lagal se kam karni laga.&lt;br /&gt;
&lt;br /&gt;
TT: Dino came with an excuse.&lt;br /&gt;
&lt;br /&gt;
BT: Dino abb bahi tarashni laga.&lt;br /&gt;
	&lt;br /&gt;
The above idioms are types of binomial idioms translated with the help of idioms with similar meanings and different forms. (Newmark 1988, 81) mentions the difference between translation methods and translation procedures. He writes that &amp;quot;[w]hile translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language&amp;quot; (Newmark 1988: 81). Idiomatic translation in his definition reproduces the 'message' of the original. However, it distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original, leading to using an idiom of similar meaning but a different form. Besides, it is often possible to find an idiom or fixed expression in the target language with a meaning similar to that of the source idiom or expression but which consists of different lexical items (Baker 1992, 12). Therefore, translators discover idiomatic expressions in the target language with different forms than in the source language. In the current study, the translators approached this strategy merely for 9% of the total times, which means the frequency of Iranian and English idioms with the same meaning and different forms is not considered high. &lt;br /&gt;
&lt;br /&gt;
4.4 Translation by omission:&lt;br /&gt;
&lt;br /&gt;
A translator is less using these strategies, and we did not find any clue on this type of strategy in an area under consideration.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:48, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== Findings===&lt;br /&gt;
&lt;br /&gt;
Mandelbit believed that idioms with different cognitive mapping in the target language would be more challenging to translate.(Mandelbit 1995:40)  After conducting this study and data analysis of collected data, the result revealed that the translator frequently used three out of four strategies of the Mona Baker model during the translation process, which is a translation by Paraphrasing, translation by similar meaning and similar form, translation by similar meaning and different form. In contrast, translation by omission does not found in his work.&lt;br /&gt;
After detail and careful analysis of data, more than half of idioms like &amp;quot;swelling sea of man,” my lord break his arrogance, “weakness for style and fashion.&amp;quot; As I mentioned earlier, many more are translated under the umbrella of Paraphrasing, which is considered the most common method used for translating idioms.&lt;br /&gt;
&lt;br /&gt;
Similarly, it also reflects strategies like similar meaning and different form and similar meaning and similar form. The idiom &amp;quot;rioter came abroad,” burn with envy,” The girl's face became pale, &amp;quot; They fall in love with each other&amp;quot; are translated with the help of two mention strategies, respectively.&lt;br /&gt;
&lt;br /&gt;
Although translation by omission is a strategy used on rare occasions because of its meaning, its meaning cannot be easily paraphrased or stylistic reason. Here, the researcher also did not find any idiom translated with the help of the omission strategy.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 17:18, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
By going through the detailed discussion and analysis of the data collected, it was finally concluded that the idioms which are present in two short stories, &amp;quot;khol do&amp;quot; and &amp;quot;License,&amp;quot; are translated under the frame of Mona Baker's idiomatic model. Translation by Paraphrasing is mainly used while idioms of similar meaning and form and idioms of similar meaning and different forms are used occasionally. The researcher discusses all the strategies with related examples in the order of maximum used to minimum used. The strategy by omission did not find it works. All the data are collected from different sources and analyzed with the help of different researcher tools, and the result is written in light of the finding. Different from previous studies, the writer presents the strategies to translate idioms by each type of idiomatic expression found in the story. From the result, it is considered the translation of idiomatic expressions in the story is quite accurate. As the number of accurate data is more the data which is not related to the translation. We take conclusion from the translation through idiomatic expression and paraphrasing is the best way to translate a novel or a story however it is very difficult job to do because it needs more accurate and precise knowledge about the source language and an inspiring method to express ideas in the target language. However, translation is thing through which we can connect the world with each other and also we can study and observe diverse cultures.         &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abu-Saydeh, A. F. (2004). Translation of English idioms into Arabic. Babel, 114-131.&lt;br /&gt;
&lt;br /&gt;
Ahsan, S. (2020). A comparative study of two translations of manto's short story &amp;quot;Toba Tek&amp;quot;. International Journal of English Language Studies, 12-27.&lt;br /&gt;
&lt;br /&gt;
Alexander, R. J. (1987). Mimeograph. In R. J. Alexander (Ed.) Collocation and Culture. Trier: University of Trier, West Germany.&lt;br /&gt;
&lt;br /&gt;
Al-Qinai, J. (2000). Translation quality assessment. strategies, parameters and procedures. Translator's Journal, 497-519.&lt;br /&gt;
&lt;br /&gt;
Bayashi, J. (2020). Japanese-English translation: An advanced guide. Oxfordshire: Routledge.&lt;br /&gt;
&lt;br /&gt;
Das, V. &amp;amp;. (1995). Critical events: An anthropological perspective on contemporary India. New Delhi: Oxford Printing Press.&lt;br /&gt;
&lt;br /&gt;
Mufti, A. (2007). The Language of English India. In I. &amp;amp;. End (Ed.) Enlightenment in the Colony. Princeton University Press.&lt;br /&gt;
&lt;br /&gt;
Waka Xia, L. (2019). A discourse analysis of news translation in China. Syydney: Routledge.&lt;br /&gt;
&lt;br /&gt;
= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
===Ambiguity===&lt;br /&gt;
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===Lexical and Structural Mismatches===&lt;br /&gt;
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===Multiword units: Idioms and Collocations===&lt;br /&gt;
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===Summary===&lt;br /&gt;
&lt;br /&gt;
===Further Reading===&lt;br /&gt;
&lt;br /&gt;
=刘胜楠 A Case Study of ''Ne Zha'' on Subtitle Translation Strategies from the Perspective of Skopos Theory= &lt;br /&gt;
[[Trans_Type_EN_15]]&lt;/div&gt;</summary>
		<author><name>Atta Ur Rahman</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=132481</id>
		<title>Translation types, strategies, styles, methods</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=132481"/>
		<updated>2021-12-13T17:18:03Z</updated>

		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* Findings */&lt;/p&gt;
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&lt;div&gt;'''Translation types, strategies, styles, methods'''&lt;br /&gt;
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[[Translation_types,_strategies,_styles,_methods|Overview Page of Translation types, strategies, styles, methods]]&lt;br /&gt;
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30 Chapters（0/30)&lt;br /&gt;
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[[Trans_Type_EN_1]] [[Trans_Type_EN_2]] [[Trans_Type_EN_3]] [[Trans_Type_EN_4]] [[Trans_Type_EN_5]] [[Trans_Type_EN_6]] [[Trans_Type_EN_7]] [[Trans_Type_EN_8]] [[Trans_Type_EN_9]] [[Trans_Type_EN_10]] [[Trans_Type_EN_11]] [[Trans_Type_EN_12]] [[Trans_Type_EN_13]] [[Trans_Type_EN_14]] [[Trans_Type_EN_15]] [[Trans_Type_EN_16]] [[Trans_Type_EN_17]] [[Trans_Type_EN_18]] [[Trans_Type_EN_19]] [[Trans_Type_EN_20]] [[Trans_Type_EN_21]] [[Trans_Type_EN_22]] [[Trans_Type_EN_23]] [[Trans_Type_EN_24]] [[Trans_Type_EN_25]] [[Trans_Type_EN_26]] [[Trans_Type_EN_27]] [[Trans_Type_EN_28]] [[Trans_Type_EN_29]] [[Trans_Type_EN_30]] ...&lt;br /&gt;
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[[Book_projects|Back to translation project overview]]&lt;br /&gt;
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[[DCG-To-Do|To the To Do List]]&lt;br /&gt;
&lt;br /&gt;
=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
&lt;br /&gt;
'''浅析美版《甄嬛传》的字幕翻译策略'''&lt;br /&gt;
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[[Trans_Type_EN_1]]&lt;br /&gt;
&lt;br /&gt;
阳佳颖 Yang Jiaying, Hunan Normal University, China&lt;br /&gt;
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=Chapter 2: The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
'''纽马克翻译理论指导下旅游文本中翻译策略与翻译方法的使用——以''Everglades National Park, Florida (Excerpt)''为例'''&lt;br /&gt;
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[[Trans_Type_EN_2]]&lt;br /&gt;
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刘晓 Liu Xiao, Hunan Normal University, China&lt;br /&gt;
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=Chapter 3: Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
交际翻译理论指导下小说题材所适用的翻译方法和翻译策略—以韩国小说集《恩珠的电影》（节选）为例&lt;br /&gt;
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[[Trans_Type_EN_3]]&lt;br /&gt;
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刘越Liu Yue ，Hunan Normal University，China&lt;br /&gt;
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=Chapter 4: On Translation Strategies and Translation Methods in Chinese Translation of English Prose -- A Case Study of Chinese Translation of English Prose &amp;quot;Pleasures of Ignorance&amp;quot;=&lt;br /&gt;
&lt;br /&gt;
'''浅析英语散文汉译中的翻译策略和翻译方法——以英语散文《无知的乐趣》汉译本为例'''&lt;br /&gt;
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[[Trans_Type_EN_4]]&lt;br /&gt;
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毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
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=Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
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毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
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=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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彭瑞雪 Peng Ruixue, Hunan University, China&lt;br /&gt;
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=Chapter 7: A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
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=Chapter 8:Translation methods and strategies applicable to the style of biographical literature -- Taking ''Incidents in Life of Slave Girl'' (excerpt) as an example=&lt;br /&gt;
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'''传记文学的文体所适用的翻译技巧与策略——以英文传记《一名女奴的人生际遇》(节选)为例'''&lt;br /&gt;
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颜子涵 Yan Zihan, Hunan Normal University, China&lt;br /&gt;
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=Chapter 9: On the Translation Strategies of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hung-ming and Xu Yuanchong=&lt;br /&gt;
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'''视域融合视角下看《论语》英译的翻译策略—以辜鸿铭和许渊冲的英译本为例'''&lt;br /&gt;
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邝艳丽 Kuang Yanli, Hunan Normal University, China&lt;br /&gt;
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=杨柳青 Bian Zhilin's Literary Translation Theories and Practice——Take His Translation of Romantic Poems as Examples=&lt;br /&gt;
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Yang Liuqing杨柳青,Hunan Normal University,China.&lt;br /&gt;
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=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
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===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
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===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
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===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012:37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær 2015:10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005;9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004;1). Translation is essential for cultures and languages to exchange information. Newmark defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects(Newmark 1988;2). Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
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Nida indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style(Nida 1964;32). Larson has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context(Larson 1998;23).--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:41, 13 December 2021 (UTC) &lt;br /&gt;
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Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”(Snell-Hornby 1988;33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957;167). By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
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The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003;16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
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This study is aimed to probe Newmark's translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988;81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:41, 13 December 2021 (UTC)&lt;br /&gt;
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===Translation and Culture===&lt;br /&gt;
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2. Translation and Culture &lt;br /&gt;
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Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
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The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988;7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988;5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988;7).  &lt;br /&gt;
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In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language”(Catford 1965;20). According to Venuti translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader”(Venuti 1995;18). Schjoldager stated that“a translation is a text that expresses what another text has expressed in another language”(Schjoldager 2008;19). Culture is a complex whole which includes knowledge,belief,art,law,morals,customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014;2). Hermanns contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures(Hermanns 1999;22) Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014;2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001;328). &lt;br /&gt;
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Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
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2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
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Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora,fauna,food,clothes,housing, work,leisure,politics,law,and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988;327) Christine Nord names them “culturemes” (Nord 1997;9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012;1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Aixela, 1997; Davies, 2003), others choose cultural words (Newmark 2003;87) or culture-bound phenomena/concepts (Baker, 1992, Newmark, 2003, Robinson, 2003). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker, 1992, 21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988, 94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988, 95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988, 95).--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:02, 13 December 2021 (UTC)&lt;br /&gt;
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2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
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The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85;22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003;16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:02, 13 December 2021 (UTC)&lt;br /&gt;
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===Types of Translation ===&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
Newmark determines 8 types of translation which are: &lt;br /&gt;
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3.1 Word-for-Word Translation &lt;br /&gt;
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This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
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3.2 Literal translation &lt;br /&gt;
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In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
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3.4 Semantic Translation &lt;br /&gt;
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Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
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3.5 Adaptation &lt;br /&gt;
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This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015;15). &lt;br /&gt;
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3.6 Free Translation &lt;br /&gt;
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The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
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3.7 Idiomatic Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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3.8 Communicative Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:05, 13 December 2021 (UTC) &lt;br /&gt;
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===Translation Strategies  ===&lt;br /&gt;
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4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
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4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela translators need to choose several strategies based on the source language culture and target culture. He distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, he tries to command by the level of their intercultural intervention. He divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies). &lt;br /&gt;
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4.1.1. Conservation: &lt;br /&gt;
In conservation,the less compelling process includes repetition,orthographic adaptation,linguistic translation,extratextual gloss and intratextual gloss. &lt;br /&gt;
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4.1.1.1 Repetition:In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus,the translator keeps as much as possible the original reference (Aixela 1996;61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
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4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
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4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
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4.1.1.4 Extra-textual Gloss: Here,the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes,endings,words,ideas,translators in dictionaries, italics and so on. &lt;br /&gt;
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4.1.1.5 Intra-textual Gloss:It's like the past but the translator feels that he/she can include the globe as an indirect part of the text,not to distract the reader. &lt;br /&gt;
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4.2.1 Substitution &lt;br /&gt;
In substitution, According Aixela “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here&amp;quot;(Aixela 1996;87)--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:40, 13 December 2021 (UTC) &lt;br /&gt;
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4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
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4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
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4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela 1997;63). &lt;br /&gt;
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4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Shokri Ketabi 2015;8). &lt;br /&gt;
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4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela 1996;64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
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4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela 1997;43). &lt;br /&gt;
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4.3 Mona Baker's Translation Strategies &lt;br /&gt;
Baker's strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation.Baker She suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies(Baker 1992;90) which are the following: &lt;br /&gt;
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4.3.1 Translation by a more general word: According to Baker,this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
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4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
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4.3.3 Translation by cultural substitution:This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
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4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
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4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
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4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
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4.3.7 Translation by omission: Losing phrases or words that are not vital to text development.&lt;br /&gt;
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4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view,however,Baker,s translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:40, 13 December 2021 (UTC)&lt;br /&gt;
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===Cultural Categories  ===&lt;br /&gt;
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5. Cultural categories &lt;br /&gt;
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5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
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5.1.2 Material culture &lt;br /&gt;
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Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.”(Newmark 1988;90)  &lt;br /&gt;
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5.1.3 Social culture &lt;br /&gt;
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The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
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5.1.4 Organisation &lt;br /&gt;
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Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
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5.2 Newmark Classification CSIs &lt;br /&gt;
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Newmark established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items. (Newmark 1988;97) --[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:50, 13 December 2021 (UTC)&lt;br /&gt;
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5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
 &lt;br /&gt;
Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
&lt;br /&gt;
2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
&lt;br /&gt;
3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
&lt;br /&gt;
4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
&lt;br /&gt;
5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
&lt;br /&gt;
6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
&lt;br /&gt;
7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
&lt;br /&gt;
8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
&lt;br /&gt;
9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
&lt;br /&gt;
10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
&lt;br /&gt;
11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
&lt;br /&gt;
12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
&lt;br /&gt;
13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
&lt;br /&gt;
14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
&lt;br /&gt;
16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
&lt;br /&gt;
17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
&lt;br /&gt;
18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
&lt;br /&gt;
19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
&lt;br /&gt;
20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
&lt;br /&gt;
21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
&lt;br /&gt;
22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
&lt;br /&gt;
23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
&lt;br /&gt;
24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996;31)“translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by (Newmark 1988;81)“translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.” &lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation,then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:55, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity,as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts,the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term,and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part,but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:01, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark's strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However,the translator must be competent in using the translation procedures to provide an accurate translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
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Aguado-Gimenez, P., &amp;amp; Pérez-Paredes, P. F. (2005). Translation-strategies use: A classroombased examination of Baker’s taxonomy. Meta: journal des traducteurs/Meta: &lt;br /&gt;
Translators' Journal, 50(1), 294-311. &lt;br /&gt;
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Ahmadi, M. R.S and Nosrati, Fatemah. (2012). Domestication and Foreignization Strategies in Translation of Culture-Specific Items. Translations of English-Persian Children’s Literature. San Francisco: Grin Publishing. Google Books. &lt;br /&gt;
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Al Saleh, R. A. (2019). An Application of Newmark's Procedures to Muhammad Abul Quasem's Alleman, J. C. Bee. W. Ulitkin, I. Files, F., Zetzsche, J., Chatonnet-Marton, P. &amp;amp; y del Árbol, E. V. Translation Strategies. &lt;br /&gt;
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Al-Sofi, B. B. M. A., &amp;amp; Abouabdulqader, H. (2020). Bridging the gap between translation and culture: towards a cultural dimension of translation. International journal of linguistics, literature and culture, 6(1), 1-13. &lt;br /&gt;
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Blažytė, D., &amp;amp; Liubinienė, V. (2016). Culture-specific items (CSI) and their translation strategies in Martin Lindstrom’s&amp;quot; Brand sense&amp;quot;. Kalbų studijos, (29), 42-57. &lt;br /&gt;
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Bush, P. (1998) &amp;quot;Literary Translation.&amp;quot; In: M. Baker, ed. Routledge Encyclopedia of Translation Studies, London: Routledge, pp.127-130. &lt;br /&gt;
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Explained. Manchester: St. Jerome. Accessed 10 November. 2018. Google Books Schjoldager, A. (2008). Understanding translation. Academica: Århus. &lt;br /&gt;
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&lt;br /&gt;
=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims to observe the development of translation studies through its different types, various strategies, styles and particular methods. In this paper, the readers are introduced to some famous translation scholars including their view of translation studies. At the further discussions, this study lets the readers acknowledge the main issues on translation studies, focusing on different styles of variations such as grammar, sentence structure, textual analysis, strategies and methods. This study may help those who are interested to conduct translation researches and help them by giving options of which theories is beneficial to their analysis. Moreover, it aims to explore the clear definition of translation as well as help the readers to understand the basic concept which are used in the field of translation. The present study, therefore, attempts to outline the scope of the discipline of translation studies and more importantly, it is an attempt to outline its activity that required a deep mastering of language, a good source of knowledge and target cultures.&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation, styles of variations, strategies&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
It is undoubtedly right that translation is important to share information. In line with these premise, the number of translation professionals is getting higher. In fact, the result of translation researches tends to help human daily life in term of evaluation, designing translator machines, and cultural studies.	 Therefore, translation means converting written information from one language into another. It is the new discipline appeared in the second half of the 20th century. The term “Translation Studies” was coined by James S. Holmes, an American-Dutch poet and translator of poetry, in his seminal paper “The Name and Nature of Translation Studies”.  Translation enables effective communication between people around the world. It is a courier for the transmission of knowledge, a protector of cultural heritage, and essential to the development of a global economy. Translation helps us to know about the developments in the field of creative arts, education, literature, business, science and politics. It has shifted from the traditional conception of the fixed, stable and unchangeable nature of the text and its meaning to a text with wide scope for variations. Translation also helps in nation building. In this globalised world, the demand for translation and language related services has increased many times. Translation is not only needed for the creation of national identity but has also become an essential tool for keeping pace with the processes of globalization and localization. The activity of translation has a long-standing tradition and has been widely practiced throughout history, but in our rapidly changing world its role has become of paramount importance. Nowadays, knowledge in which cultural exchanges have been widening, has been increasingly expanding and international communication has been intensifying, the phenomenon of translation has become fundamental. Be it for scientific, medical, technological, commercial, legal, cultural or literary purposes, today human communication depends heavily on translation and, consequently, interest in the field is also growing. Accordingly, the discussion, in the present study, proceeds primarily from the perspectives of “Translation Studies” and “Linguistics”. One major goal is to show the interrelationships between linguistics and translation, and how they benefit from each other. Nowadays, translation research has started to take another path, which is more automatic. The invention of the internet, together with the new technological developments in communication and digital materials, has increased cultural exchanges between nations. This leads translators to look for ways to cope with these changes and to look for more practical techniques that enable them to translate more and waste less. They also felt the need to enter the world of cinematographic translation, hence the birth of audiovisual translation. The latter technique, also called screen translation, is concerned with the translation of all kinds of TV programs, including films, series, and documentaries. This field is based on computers and translation software programs, and it is composed of two methods; dubbing and subtitling. In fact, audiovisual translation marks a changing era in the domain of translation.&lt;br /&gt;
In short, translation has very wide and rich history in the West. Since its birth, translation was the subject of a variety of research and conflicts between theorists. Each theorist approaches it according to his viewpoint and field of research, the fact that gives its history a changing quality.&lt;br /&gt;
&lt;br /&gt;
Discussion &lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation. For each type, a selection of examples will be considered for analysis based on translation theories and techniques. We will show that some chunks of text require literal translation, while other requires interpretive method. In addition, this paper will also examine various strategies and its styles of variations based on translational study. The following strategies will be presented in the paper as; &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	They involve text manipulation.&lt;br /&gt;
•	They must be applied to the process.&lt;br /&gt;
•	They are goal-oriented.&lt;br /&gt;
•	They are problem-centered.&lt;br /&gt;
•	They are applied consciously.&lt;br /&gt;
•	They are inter-subjective.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Most theorists agree that strategies are used by translators when they encounter a problem and literal translation is not useful. Different researchers have investigated and described various translation strategies from their different perspectives. It intends to show what translation strategies exist and when and why they are used by professional translators. Different scholars have various perspectives to the aspects of the act of translation, so, they define and describe different types of strategies. Bergen's (n. d.) classification of the strategies includes three categorizations which will be discussed mainly in this paper: &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	Comprehension strategies &lt;br /&gt;
•	Transfer strategies&lt;br /&gt;
•	Production strategies&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
An addition to this paper, styles of variations will also be introduced to the readers through different aspects and examples. The concept of style can be defined in terms of the distinctive way an individual or a group uses language, or better still the discourse used to perform distinct functions of language aimed at achieving specific purposes. However, this does not entail that style is simply a matter of form since it is the product of other components such as the genre of discourse, its semantics, syntax and phonology. Indeed, in order to analyze a given stylistic variation one needs an extensive checklist that includes lexical and grammatical categories, allusions, and figures of speech. Style can be understood to refer to the recurring typical features of the source text compared to the typical features of the translated text.  In a quantitative and qualitative analysis, this variation is shown to be influenced by several pragmatic and social factors, and to index the interpreters' stances towards source speakers and towards the immigrant court users who are the recipients of translations from English. It is argued that translation styles have profound consequences for limited English speakers, as the insistence on institutional norms in translating to them is viewed as a gate keeping behavior that may impede their full participation in the proceedings. &lt;br /&gt;
&lt;br /&gt;
What is translation? &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Translation went through various definitions going from a mere linguistics activity during the sixties, a cultural and communicative activity during the seventies reflects the social impacting activity in the latest founding of the literature. &lt;br /&gt;
“Translation is traditionally known as being the replacement of textual material in one language into equivalent textual material in another language”. &lt;br /&gt;
House (2015) mentions that translation is considered as the “replacement” of a text in the source language by a semantically and pragmatically equivalent text in the target language. It is strongly related to a source language and target language cultures. It requires a high level of mastery languages, an awareness of any contextual factors within which the discourse emerges. There is no need to mention how it affected civilizations through different areas of mankind history. For example, An Arab-Islamic civilizations. There have always been different directions on how one should or should not translate. In the Arab tradition, two main methods existed and were in complete divergence namely the literal and the free method. &lt;br /&gt;
On the other hand, in the Western tradition there are various methods currently exist namely, the linguistic, the hermeneutic, the interpretive, the functionalist, the interventionist, the poly-systemic and the text-typologist method.  More so, it may be important to point out that translation has been defined in many ways, and every definition reflects the theoretical approach underpinning it. &lt;br /&gt;
As Shuttlworth and Cowie (1997) observe throughout the history of research into translation, the phenomenon has been variously delimited by formal descriptions, echoing the frameworks of the scholars proposing them. For example, Bell (1991: XV) starts with an informal definition of translation, which runs as follows: the transformation of a text originally in one language into an equivalent text in a different language retaining, as far as is possible, the content of the message and the formal features and functional roles of the original text. &lt;br /&gt;
At the beginning of the ‘scientific’ (Newmark, 1988, p. 2) study of translation, Catford (1965, p. 20) described it in these terms, the replacement of textual material in one language (SL) by the equivalent textual material in another language. &lt;br /&gt;
Thirty years later, in Germany, the concept of translation as a form of ‘equivalence’ is maintained, as we can see from Koller’s definition (1995, p. 196): “The result of a text processing activity, by means of which a source language text is transposed into a target-language text. Between the resultant text in L2 (the target-language text) and the source text in L1 (the source language text) there exists a relationship, which can be designated as a translational, or equivalence relation”. Because complete equivalence (in the sense of synonymy or sameness) cannot take place in any of his categories, Jakobson (1959) declares that all poetic art is, therefore, technically untranslatable. That is, the translator has to take the question of interpretation into account in addition to the problem of selecting a TL phrase which will have a roughly similar meaning. Exact translation is impossible. In this regard, Bassnett (1996) claims that all texts, being part of a literary system descended from and related to other systems are “translations of translation of translations”: every text is unique and at the same time, it is the translation of another text. No text is entirely original because language itself, in its essence, is already a translation: firstly, of the non-verbal world and secondly, since every sign and every phrase is the translation of another sign and another phrase. However, this argument can be turned around without losing any of its validity: all texts are original because every translation is distinctive. Every translation, up to a certain point, is an invention and as such it constitutes a unique text.&lt;br /&gt;
In this analysis of the above definition, Manfredi (2008), points out that the above distinction can be divided into two main perspectives, those that consider translation either as a ‘process’ or a ‘product’. To this twofold categorization, Bell (1991, p. 13) adds a further variable, since he suggests making a distinction between translating (the process), a translation (the product) and translation (i.e., “the abstract concept which encompasses both the process of translating and the product of that process”. Moreover, thanks to advances in new technologies, today we can also incorporate into TS the contribution of corpus linguistics, which allows both theorists and translators analyses of large amounts of electronic texts (Manfredi, 2008). On the other hand, Halliday (1992, p. 15) takes translation to refer to the total process and relationship of equivalence between two languages; we then distinguish, within translation, between “translating” (written text) and “interpreting” (spoken text). Halliday, thus, proposes distinguishing the activity of “translation” (as a process) from the product(s) of “translating”, including both “translation” (concerning written text) and ‘interpreting’ (regarding spoken text.&lt;br /&gt;
“Translation is the production of a functional target text maintaining a relationship with a given source text that is specified according to the intended or demanding function of the target text.&lt;br /&gt;
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Types of Translation&lt;br /&gt;
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Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation.&lt;br /&gt;
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Technical translation &lt;br /&gt;
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Technical translation is a type of specialized translation involving the translation of documents produced by technical writers, or more specifically, texts which relate to technological subject areas or texts which deal with the practical application of scientific and technological information. (Wikipedia) &lt;br /&gt;
Translators' main goal is to accurately translate the technical terminology to match the document and the message of the original content.&lt;br /&gt;
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The benefits of technical translation&lt;br /&gt;
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A professional technical translation service is provided by translators with dual specialties, that is, professionals who are fluent in the language pair, but who are also experts in the field covered by the documents to be translated.&lt;br /&gt;
When you need to have your documents translated by a technical translator, translators who are not experts may not be able to provide the necessary solutions and terminology for a quality translation. If the translator is not an expert in the field, he/she will have to learn the new terminology while working. This means that translation will take longer, have higher chances of inaccuracies, and may result in higher costs. Therefore, the main advantages of hiring an agency specialized in this type of service are as follows:&lt;br /&gt;
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Literary translation&lt;br /&gt;
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Literary translation is the translation of creative and dramatic prose and poetry into other languages. This includes the translation of literature from ancient languages and the translation of modern fiction so that it can reach a wider audience. &lt;br /&gt;
Literary translation is of huge importance. It helps to shape our understanding of the world around us in many ways.                                                     Reading Homer and Sophocles as part of a classical education in school helps to build an understanding of history, politics, philosophy and so much more. Meanwhile, reading contemporary translations provides fascinating insights into life in other cultures and other countries.                                                       In a fast-paced world so rife with misunderstanding and confusion, such efforts to share knowledge and experiences across cultural boundaries should be applauded.&lt;br /&gt;
The translation of literature differs greatly from other forms of translation. The sheer size of the texts involved in literary translation sets it apart.                Tackling a translation that runs to hundreds of thousands of words is not a task for the faint-hearted. Nor is recreating poetry in a new language, without losing the beauty and essence of the original work.&lt;br /&gt;
One of the key challenges of literary translation is the need to balance staying faithful to the original work with the need to create something unique and distinctive that will evoke the same feelings and responses as the original. This can be particularly challenging when it comes to translating poetry.&lt;br /&gt;
Poems are written with incredible attention to detail. Not only are the words and phrases important, but the number of syllables and the entire rhythm of the completed work. It’s a challenging task to complete just in one language, let alone when trying to recreate a poet’s work during a translation. Daniel Hahn, director of the British Centre for Literary Translation, sums up the issue beautifully. &lt;br /&gt;
As literary translators will attest, a single word can be extremely troublesome. The author of a work of fiction has chosen that word for a good reason, so the translator must ensure that it is faithfully delivered in the target language. However, what if no direct translation is available? Or what if several options exist, each with a slightly different nuance? Urdu language translator Fahmida Riaz outlines her approach to such thorny issues.&lt;br /&gt;
For instance, “Every piece you translate comes from the pen of an individual, so you have to give it an individual treatment. I try to retain the ambience of the original culture, rather than the language, as it is reflected in the text.” &lt;br /&gt;
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Pragmatic translation&lt;br /&gt;
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Pragmatic translation is the basic assumption that provided a source language text contains no misstatements of fact, is competently written and has to be fully translated rather than summarized or functionally reorientated; one's purpose in translating it is to be referentially and pragmatically accurate. In this paper, I shall not deal with referential accuracy but concentrate instead on the pragmatic aspects of translation. As the term pragmatic translation may be used in a variety of ways, I should like to state my own definition of pragmatic, which derives from Charles Morris and ultimately from Charles S. Peirce. I am using pragmatic as one of the two factors in translation: pragmatic denotes the reader's or readership's reception of the translation, as opposed to referential, which denotes the relationship between the translation and the extra-linguistic reality it describes. &lt;br /&gt;
Translation is a properly way to a properly communication and pragmatics is how to use language in communication properly. By translation, many things from different languages and cultures can understand to each other. In other words, translation can be stated as a facilitator to make a communication runs well.&lt;br /&gt;
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===An Overview on Translation Studies  ===&lt;br /&gt;
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===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
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=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
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===Conclusion ===&lt;br /&gt;
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=== References ===&lt;br /&gt;
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= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature  --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:45, 12 December 2021 (UTC)&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
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In this chapter, the researcher wants to highlight the different concepts about the fundamental question that &amp;quot;what is idiomatic expression&amp;quot;  and the views of various critics, theorists and linguistic experts, and prominent scholars of translation studies.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:38, 13 December 2021 (UTC) Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
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Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
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&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda 2006: 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984: 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992: 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to Newmark, “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”(Newmark 1981: 11).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:38, 13 December 2021 (UTC)&lt;br /&gt;
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The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to Corelli, English has a sizeable idiomatic base. About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.(Corelli 2006: 53)&lt;br /&gt;
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The main issue that idiomatic and fixed expressions pose for translators, according to Baker is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.(Baker 1992: 65)&lt;br /&gt;
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Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.(Ahsan 2020: 12-27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:44, 13 December 2021 (UTC)&lt;br /&gt;
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===Literature Review ===&lt;br /&gt;
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In this chapter, the author/researcher defines the strategy and its different definitions from various perspectivess. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented.(Venutti !995, 35 Krings defines it as the content of the project, while Seguinet divided the term into three steps.(Krings 2000:21). However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. (Locher 2002:76) In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
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The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
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A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward. (Bergen 1996:33)&lt;br /&gt;
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Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint. (Vinute 1998:41).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to Seguinot (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.(Seguinot 1989:27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
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Furthermore, Loescher defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot;(Loescher 1991:8) As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998:4) claim moreover, 'Bell' distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.(Bell 1998:188)&lt;br /&gt;
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According to Venuti, &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot;(Venuti 1998, 240). He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to Jaaskelainen, product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.(Jaaskelainen 2005:15)&lt;br /&gt;
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Furthermore, Jaaskelainen distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making.(Jaaskelainen 2005:16). Newmarkdistinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;(Newmark 1988, 221)&lt;br /&gt;
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Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016:13).&lt;br /&gt;
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The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010:15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017:54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984:12). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
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Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985:9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female..(Ahsan 2020: 12-27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:31, 13 December 2021 (UTC)&lt;br /&gt;
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=== Theoritical Framework ===&lt;br /&gt;
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In this paper, various strategies have been used, like using an idiom of similar meaning and similar form, the idiom of similar meaning and different form, translation by Paraphrasing, translation by omission. The approach of employing idioms of similar meaning and form, according to Mona Baker, entails using an idiom in the target language that can express about the same meaning as the source language idiom, as well as having lexical similarity. On the other hand, this type of matching happens periodically as well as regularly.(Baker, 1992, 13)&lt;br /&gt;
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Similarly, employing idioms with similar meanings but different forms means that it is possible to locate an idiom or fixed expression in the target text language that has a similar meaning to the source idiom or expression but is made up of distinct lexical elements. Consider the case of English and French, both of which use the idiom mentioned above. In English, one good deed is rewarded with another, whereas in French, handsome deeds are rewarded with handsome deeds.&lt;br /&gt;
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Furthermore, we did not come across any idioms in the category mentioned above during translating idioms. To deal with this issue, the translators used the most popular approach, known as a translation by paraphrase, which is short, straightforward, and time-saving. When a match cannot be identified in the target language or when it appears improper to employ idiomatic language in target material due to aesthetic differences between the source and target languages, this is the most typical approach for translating an idiom from source to target language. However, one thing to keep in mind is that a perfect translation is not required is necessary or possible.&lt;br /&gt;
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Last but not least, to overcome the problem of idiom translation, the translator employs the strategy of translation by omission. This can be defined as an idiom being omitted entirely in the target text with a single word. This is done because the idiom has no close match in the target language; its meaning cannot be easily paraphrased or due to stylistic reasons.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:38, 13 December 2021 (UTC) &lt;br /&gt;
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Data analysis Techniques:&lt;br /&gt;
Textual analysis is the method of data analysis in qualitative research that brings forth the hidden and potent message, structure, and function of research in giving text, Alan Mckee (defines textual analysis as whenever we perform textual analysis on the text, we make an educated guess at some time of the most likely interpretations that might be made of that text (Alan 2001:3)&lt;br /&gt;
Analysis of the translation of short stories in light of Mona baker's theory &amp;quot;khol do and license&amp;quot; are short stories written by Sadat Hassan Manto and translated by many translators from Urdu into English. During translation, the translator adopted many strategies for translating idiomatic expression, sometimes by Paraphrasing, sometimes by omission, sometimes using similar idioms of form and meaning while sometimes using different words and the same form, the whole.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:51, 12 December 2021 (UTC)&lt;br /&gt;
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===Discussion and Analysis===&lt;br /&gt;
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The chapter analyzes and discusses all the data collected by the author/researcher from different sources. All the examples of idioms are firstly identified, then translated into the target text, and back-translated for the sole purpose of exploring the strategies being used by the translator. A separate section is given to every strategy with its related example. Moreover, the idiomatic expression, the target work for finding, is highlighted through the bold letter.&lt;br /&gt;
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4.1	Translation by Paraphrasing:&lt;br /&gt;
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Based on our findings, the most often used strategy was &amp;quot;translation by paraphrasing.&amp;quot; An inspection also reveals that Aatish Taseer preferred this strategy. Here are some examples applied by the translators, and in the following section, the logic behind their preference towards this strategy is elaborate. The following are examples from two short stories of Sadat Husain Manto's &amp;quot;khol do&amp;quot; and &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 1: &lt;br /&gt;
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ST: Sirajuddin ne subah das baji anki kholi to logo ka aik mutalatam samandar deka.&lt;br /&gt;
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TT: Ten a.m., Siraj Uddin opens his eyes on the cold floor of the camp, seeing the swelling sea of men.&lt;br /&gt;
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BT: sub ke das baji jab Sirajuddin ne apni anki koli to logo ka aik ublaha howa samandar ka nizara dekni laga.&lt;br /&gt;
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So, the above idioms are literal idioms being translated with the help of 'Paraphrasing' because there is no perfect equivalent of mutalatam words in English languages. A similar look at another idiom from short stories &amp;quot;khol do.&amp;quot;&lt;br /&gt;
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Example 2:&lt;br /&gt;
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ST: Khuda tomahra bala kari.&lt;br /&gt;
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TT: Your God will reward&lt;br /&gt;
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BT: Is ka badla khoda tomahi di.&lt;br /&gt;
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Here, the word reward is being used for Bala Kari, an example of transitional by Paraphrasing.&lt;br /&gt;
Let  take another example from &amp;quot;khol do.&amp;quot;&lt;br /&gt;
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Example 3:&lt;br /&gt;
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ST: unkho nai Jan khateli pa rak kar sakena ko donda.&lt;br /&gt;
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TT: even putting their lives online, they search sakina &lt;br /&gt;
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BT: apni zindagio ko khatri me dal kar unkho nai sakina ko dond nekala.&lt;br /&gt;
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The above idioms are examples of pure idiom translated from Urdu into English with the help of paraphrases strategies. However, under the same strategies, the idioms of another short story of Manto,s &amp;quot;license,&amp;quot; are translated by Aatish Taseer. Some of the examples are given below.&lt;br /&gt;
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Example 4:&lt;br /&gt;
&lt;br /&gt;
ST: Abu kochwan bara cheel jabela ta. It is the binomial type of idioms taken from the first sentence of the short story &amp;quot;license&amp;quot; by Sadat &lt;br /&gt;
Hasan Manto &lt;br /&gt;
&lt;br /&gt;
TT: Abu kochwan is stylish man.&lt;br /&gt;
&lt;br /&gt;
BT: Abu kochwan aik wazahdar admi ta.&lt;br /&gt;
&lt;br /&gt;
From the above idiom, it is clear that there is no perfect equivalence of cheela chabela idiom in English; that is, the translator goes &lt;br /&gt;
through paraphrasing strategies. Look at another example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
ST: Lein har waqat bank bani rekhi ka usi be had showk ta&lt;br /&gt;
&lt;br /&gt;
TT: He had a weakness for style and fashion.&lt;br /&gt;
&lt;br /&gt;
BT: Dan saj ke rekhna uski kamzori me sai ik ta.&lt;br /&gt;
&lt;br /&gt;
So all of the above examples, which are analyzed one by one, are examples of idioms being translated through paraphrasing strategies. Beaugrande and Dressler define paraphrases as &amp;quot;approximate conceptual equivalence among outwardly different material.&amp;quot;(De Beaugrande and Dressler 1981, 50) Similarly, in this regard, Hirst defines paraphrases as &amp;quot;talk(ing) about the same situation in a different way.&amp;quot; (Hirst 1980:12) Munday declared that &amp;quot;equivalence is particularly useful in translating idioms and proverbs” For instance, if the English idiom like a bear with a sore head is rendered into Persian as (mesle borje zahremar), meaning like a tower of snake venom, the strategy of equivalence has been applied. (Munday 1981:13).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:55, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
According to Leonardi, &amp;quot;Equivalence can be said to be the central issue in translation.&amp;quot; In this regard, house believes that &amp;quot;a translation text should match not only its source text in function but also employ equivalent situational-dimensional means to achieve that function&amp;quot; (Baker 2002:49).  who shares this approach, states that equivalence is used &amp;quot;for the sake of convenience—because most translators are used to it rather than because it has any theoretical status&amp;quot; (Kenny 1998:77). &lt;br /&gt;
&lt;br /&gt;
Despite different attitudes to the concept of equivalence, most specialists pay much attention to its meaning in the theory of translation. The translation is a form of communication, and that is why it is vital to establish equivalence between the source text and the target text. Although Vinay and Darbelnet believe that equivalence is used differently than in modern translation theory, it is evident that equivalence is one of the basic concepts of translation that cannot be neglected.Vinay and Darbelnet 1999:18)&lt;br /&gt;
Consequently, based on the Above mentioned studies using 'Paraphrasing' in translation stands as the core concept in the process of translation, and still, most of the translators cling to it for producing a more comprehensible and explicable text. These language ideas and translation models are ideal constructs, presented abstractly in order to be differentiated precisely. They may exist in an uneasy combination in actual theories and practices, resulting in logical tensions or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation. Theories and actions must be contextualized in historical settings. They've been utilized as analytical tools to describe various topics in section introductions. Theoretical writings and current events these language notions and translation models are ideal constructs expressed in an abstract manner in order to be distinguished precisely in real-life hypotheses they may exist in an uncomfortable mix, resulting in logical conflicts or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
4.2	Using an idiom of Similar Meaning and Form &lt;br /&gt;
&lt;br /&gt;
As mentioned earlier, this strategy type is being used by Aatish Taseer during their translated work of Manto's short stories &amp;quot;khol do&amp;quot; and&amp;quot; license&amp;quot; on an occasional basis. Some examples are mention below.&lt;br /&gt;
&lt;br /&gt;
From khol do.&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
ST: Larki ka rang zard hogaya.&lt;br /&gt;
&lt;br /&gt;
TT: The girl's face became fail&lt;br /&gt;
&lt;br /&gt;
BT: larki ka rang zar hogya.&lt;br /&gt;
&lt;br /&gt;
Similarly, another example from the license is&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: Abu our us ke mat beer hogaie&lt;br /&gt;
&lt;br /&gt;
TT: They fall in love with each other.&lt;br /&gt;
&lt;br /&gt;
BT: WO ik dosri ke mokhbat me geriftar hogaie&lt;br /&gt;
&lt;br /&gt;
The above idioms are pure ones and are being translated with the help of similar meanings and similar forms.&lt;br /&gt;
&lt;br /&gt;
The procedures: transposition, modulation, equivalence, and adaptation, and when it comes to defining the term Equivalence, (Vinay and Darbelnet 2000:90) propose that it consists in rendering &amp;quot;the same situation … by two texts using completely different stylistic and structural methods&amp;quot;, and when it comes to translating idiomatic expressions like &amp;quot;Il pleut à seaux&amp;quot; it can be translated as &amp;quot;It is raining cats and dogs&amp;quot; using the idiom of similar form and meaning in the target language.&lt;br /&gt;
&lt;br /&gt;
As Baker states, this strategy involves using an idiom in the TL which conveys roughly the same meaning as that of the source language idiom and, in addition, consists of identical lexical items. The salient point is that this kind of match can only occasionally be achieved, which cannot be picked up more often by translators. Accordingly, both translators mentioned in the current study had quite a slim chance of using this strategy type.(Baker 1992:12)&lt;br /&gt;
&lt;br /&gt;
4.3 Using an idiom of similar meaning but different form:&lt;br /&gt;
&lt;br /&gt;
During translating Manto short stories, &amp;quot;khol do&amp;quot; and &amp;quot;license,&amp;quot; some of the idioms are translated with the help of this strategy. Some of the examples are given below from two different short stories.&lt;br /&gt;
&lt;br /&gt;
Example number one is from the short story &amp;quot;khol do&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
ST: Aur bolwai gos ayai thee?&lt;br /&gt;
&lt;br /&gt;
TT: The roitors come abroad.&lt;br /&gt;
&lt;br /&gt;
BT: pasadi bahar agai hai.&lt;br /&gt;
&lt;br /&gt;
The above idiom is a pure type of idiom being translated with the help of above mention strategy. The word rioter is being used for bolwai, which is not a perfect word for bolwai. In Urdu bolwai, people believe in violence when minorities or the low population of any country want some rights. These people stop them by using violence, burn down their properties, rapes women, and do things like that. Another example from the license is below.&lt;br /&gt;
&lt;br /&gt;
Example 9:&lt;br /&gt;
&lt;br /&gt;
ST: Dosri kotwal abu ko dek kar jal ban ho jati.&lt;br /&gt;
&lt;br /&gt;
TT: The other coachman burn with envy.&lt;br /&gt;
&lt;br /&gt;
BT: Abu ke kamyabi dek kar aur kotwal abu sai khasad karni lagi’&lt;br /&gt;
&lt;br /&gt;
The above idioms are a pure idiom that reflects the effect of jealousy between competitors to achieve equivalency. Aatish Taseer uses envy word for jal ban instead of other which have similar meaning but different form. Look at the other example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: Dino lat vo lagal se kam karni laga.&lt;br /&gt;
&lt;br /&gt;
TT: Dino came with an excuse.&lt;br /&gt;
&lt;br /&gt;
BT: Dino abb bahi tarashni laga.&lt;br /&gt;
	&lt;br /&gt;
The above idioms are types of binomial idioms translated with the help of idioms with similar meanings and different forms. (Newmark 1988, 81) mentions the difference between translation methods and translation procedures. He writes that &amp;quot;[w]hile translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language&amp;quot; (Newmark 1988: 81). Idiomatic translation in his definition reproduces the 'message' of the original. However, it distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original, leading to using an idiom of similar meaning but a different form. Besides, it is often possible to find an idiom or fixed expression in the target language with a meaning similar to that of the source idiom or expression but which consists of different lexical items (Baker 1992, 12). Therefore, translators discover idiomatic expressions in the target language with different forms than in the source language. In the current study, the translators approached this strategy merely for 9% of the total times, which means the frequency of Iranian and English idioms with the same meaning and different forms is not considered high. &lt;br /&gt;
&lt;br /&gt;
4.4 Translation by omission:&lt;br /&gt;
&lt;br /&gt;
A translator is less using these strategies, and we did not find any clue on this type of strategy in an area under consideration.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:48, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== Findings===&lt;br /&gt;
&lt;br /&gt;
Mandelbit believed that idioms with different cognitive mapping in the target language would be more challenging to translate.(Mandelbit 1995:40)  After conducting this study and data analysis of collected data, the result revealed that the translator frequently used three out of four strategies of the Mona Baker model during the translation process, which is a translation by Paraphrasing, translation by similar meaning and similar form, translation by similar meaning and different form. In contrast, translation by omission does not found in his work.&lt;br /&gt;
After detail and careful analysis of data, more than half of idioms like &amp;quot;swelling sea of man,” my lord break his arrogance, “weakness for style and fashion.&amp;quot; As I mentioned earlier, many more are translated under the umbrella of Paraphrasing, which is considered the most common method used for translating idioms.&lt;br /&gt;
&lt;br /&gt;
Similarly, it also reflects strategies like similar meaning and different form and similar meaning and similar form. The idiom &amp;quot;rioter came abroad,” burn with envy,” The girl's face became pale, &amp;quot; They fall in love with each other&amp;quot; are translated with the help of two mention strategies, respectively.&lt;br /&gt;
&lt;br /&gt;
Although translation by omission is a strategy used on rare occasions because of its meaning, its meaning cannot be easily paraphrased or stylistic reason. Here, the researcher also did not find any idiom translated with the help of the omission strategy.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 17:18, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
Go through detailed discussion and analysis of data collected from my source. We finally concluded that the idioms present in two short stories, &amp;quot;khol do&amp;quot; and &amp;quot;License,&amp;quot; are translated under the frame of Mona Baker's idiomatic model. Translation by Paraphrasing is mainly used while idioms of similar meaning and form and idioms of similar meaning and different forms are used occasionally. The researcher discusses all the strategies with related examples in the order of maximum used to minimum used. The strategy by omission did not find it works. All the data are collected from different sources and analyzed with the help of different researcher tools, and the result is written in light of the finding. Different from previous studies, the writer presents the strategies to translate idioms by each type of idiomatic expression found in the story. From the result, it is considered the translation of idiomatic expressions in the story is quite accurate. As the number of accurate data is more the data which is not related to the translation. We take conclusion from the translation through idiomatic expression and paraphrasing is the best way to translate a novel or a story however it is very difficult job to do because it needs more accurate and precise knowledge about the source language and an inspiring method to express ideas in the target language. However, translation is thing through which we can connect the world with each other and also we can study and observe diverse cultures.            &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abu-Saydeh, A. F. (2004). Translation of English idioms into Arabic. Babel, 114-131.&lt;br /&gt;
&lt;br /&gt;
Ahsan, S. (2020). A comparative study of two translations of manto's short story &amp;quot;Toba Tek&amp;quot;. International Journal of English Language Studies, 12-27.&lt;br /&gt;
&lt;br /&gt;
Alexander, R. J. (1987). Mimeograph. In R. J. Alexander (Ed.) Collocation and Culture. Trier: University of Trier, West Germany.&lt;br /&gt;
&lt;br /&gt;
Al-Qinai, J. (2000). Translation quality assessment. strategies, parameters and procedures. Translator's Journal, 497-519.&lt;br /&gt;
&lt;br /&gt;
Bayashi, J. (2020). Japanese-English translation: An advanced guide. Oxfordshire: Routledge.&lt;br /&gt;
&lt;br /&gt;
Das, V. &amp;amp;. (1995). Critical events: An anthropological perspective on contemporary India. New Delhi: Oxford Printing Press.&lt;br /&gt;
&lt;br /&gt;
Mufti, A. (2007). The Language of English India. In I. &amp;amp;. End (Ed.) Enlightenment in the Colony. Princeton University Press.&lt;br /&gt;
&lt;br /&gt;
Waka Xia, L. (2019). A discourse analysis of news translation in China. Syydney: Routledge.&lt;br /&gt;
&lt;br /&gt;
= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
===Ambiguity===&lt;br /&gt;
&lt;br /&gt;
===Lexical and Structural Mismatches===&lt;br /&gt;
&lt;br /&gt;
===Multiword units: Idioms and Collocations===&lt;br /&gt;
&lt;br /&gt;
===Summary===&lt;br /&gt;
&lt;br /&gt;
===Further Reading===&lt;br /&gt;
&lt;br /&gt;
=刘胜楠 A Case Study of ''Ne Zha'' on Subtitle Translation Strategies from the Perspective of Skopos Theory= &lt;br /&gt;
[[Trans_Type_EN_15]]&lt;/div&gt;</summary>
		<author><name>Atta Ur Rahman</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=132464</id>
		<title>Translation types, strategies, styles, methods</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=132464"/>
		<updated>2021-12-13T16:55:48Z</updated>

		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* Discussion and Analysis */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''Translation types, strategies, styles, methods'''&lt;br /&gt;
&lt;br /&gt;
[[Translation_types,_strategies,_styles,_methods|Overview Page of Translation types, strategies, styles, methods]]&lt;br /&gt;
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30 Chapters（0/30)&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_1]] [[Trans_Type_EN_2]] [[Trans_Type_EN_3]] [[Trans_Type_EN_4]] [[Trans_Type_EN_5]] [[Trans_Type_EN_6]] [[Trans_Type_EN_7]] [[Trans_Type_EN_8]] [[Trans_Type_EN_9]] [[Trans_Type_EN_10]] [[Trans_Type_EN_11]] [[Trans_Type_EN_12]] [[Trans_Type_EN_13]] [[Trans_Type_EN_14]] [[Trans_Type_EN_15]] [[Trans_Type_EN_16]] [[Trans_Type_EN_17]] [[Trans_Type_EN_18]] [[Trans_Type_EN_19]] [[Trans_Type_EN_20]] [[Trans_Type_EN_21]] [[Trans_Type_EN_22]] [[Trans_Type_EN_23]] [[Trans_Type_EN_24]] [[Trans_Type_EN_25]] [[Trans_Type_EN_26]] [[Trans_Type_EN_27]] [[Trans_Type_EN_28]] [[Trans_Type_EN_29]] [[Trans_Type_EN_30]] ...&lt;br /&gt;
&lt;br /&gt;
[[Book_projects|Back to translation project overview]]&lt;br /&gt;
&lt;br /&gt;
[[DCG-To-Do|To the To Do List]]&lt;br /&gt;
&lt;br /&gt;
=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
&lt;br /&gt;
'''浅析美版《甄嬛传》的字幕翻译策略'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_1]]&lt;br /&gt;
&lt;br /&gt;
阳佳颖 Yang Jiaying, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 2: The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
'''纽马克翻译理论指导下旅游文本中翻译策略与翻译方法的使用——以''Everglades National Park, Florida (Excerpt)''为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_2]]&lt;br /&gt;
&lt;br /&gt;
刘晓 Liu Xiao, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 3: Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
交际翻译理论指导下小说题材所适用的翻译方法和翻译策略—以韩国小说集《恩珠的电影》（节选）为例&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_3]]&lt;br /&gt;
&lt;br /&gt;
刘越Liu Yue ，Hunan Normal University，China&lt;br /&gt;
&lt;br /&gt;
=Chapter 4: On Translation Strategies and Translation Methods in Chinese Translation of English Prose -- A Case Study of Chinese Translation of English Prose &amp;quot;Pleasures of Ignorance&amp;quot;=&lt;br /&gt;
&lt;br /&gt;
'''浅析英语散文汉译中的翻译策略和翻译方法——以英语散文《无知的乐趣》汉译本为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_4]]&lt;br /&gt;
&lt;br /&gt;
毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_5]]&lt;br /&gt;
&lt;br /&gt;
毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
&lt;br /&gt;
=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_6]]&lt;br /&gt;
&lt;br /&gt;
彭瑞雪 Peng Ruixue, Hunan University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 7: A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_7]]&lt;br /&gt;
&lt;br /&gt;
秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 8:Translation methods and strategies applicable to the style of biographical literature -- Taking ''Incidents in Life of Slave Girl'' (excerpt) as an example=&lt;br /&gt;
&lt;br /&gt;
'''传记文学的文体所适用的翻译技巧与策略——以英文传记《一名女奴的人生际遇》(节选)为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_8]]&lt;br /&gt;
&lt;br /&gt;
颜子涵 Yan Zihan, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 9: On the Translation Strategies of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hung-ming and Xu Yuanchong=&lt;br /&gt;
&lt;br /&gt;
'''视域融合视角下看《论语》英译的翻译策略—以辜鸿铭和许渊冲的英译本为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_9]]&lt;br /&gt;
&lt;br /&gt;
邝艳丽 Kuang Yanli, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=杨柳青 Bian Zhilin's Literary Translation Theories and Practice——Take His Translation of Romantic Poems as Examples=&lt;br /&gt;
&lt;br /&gt;
Yang Liuqing杨柳青,Hunan Normal University,China.&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_10]]&lt;br /&gt;
&lt;br /&gt;
=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012:37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær 2015:10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005;9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004;1). Translation is essential for cultures and languages to exchange information. Newmark (1988) defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects(Newmark 1988;2). Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
&lt;br /&gt;
Nida indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style(Nida 1964;32). Larson (1998) has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context(Larson 1998;23).--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:41, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”.(Snell-Hornby 1988;33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957;167). By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
&lt;br /&gt;
The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003;16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
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This study is aimed to probe Newmark's translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988;81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:41, 13 December 2021 (UTC)&lt;br /&gt;
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===Translation and Culture===&lt;br /&gt;
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2. Translation and Culture &lt;br /&gt;
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Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
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The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988;7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988;5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988;7).  &lt;br /&gt;
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In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language”(Catford 1965;20). According to Venuti translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader”(Venuti 1995;18). Schjoldager stated that“a translation is a text that expresses what another text has expressed in another language”(Schjoldager 2008;19). Culture is a complex whole which includes knowledge,belief,art,law,morals,customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014;2). Hermanns contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures(Hermanns 1999;22) Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014;2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001;328). &lt;br /&gt;
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Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
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2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
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Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora, fauna, food, clothes, housing, work, leisure, politics, law, and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988;327) Christine Nord names them “culturemes” (Nord 1997;9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012;1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Aixela, 1997; Davies, 2003), others choose cultural words (Newmark, 2003) or culture-bound phenomena/concepts (Baker, 1992, Newmark, 2003, Robinson, 2003). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker, 1992, 21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988, 94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988, 95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988, 95).--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:02, 13 December 2021 (UTC)&lt;br /&gt;
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2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
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The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85;22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003;16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:02, 13 December 2021 (UTC)&lt;br /&gt;
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===Types of Translation ===&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
Newmark determines 8 types of translation which are: &lt;br /&gt;
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3.1 Word-for-Word Translation &lt;br /&gt;
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This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
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3.2 Literal translation &lt;br /&gt;
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In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
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3.4 Semantic Translation &lt;br /&gt;
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Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
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3.5 Adaptation &lt;br /&gt;
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This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015;15). &lt;br /&gt;
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3.6 Free Translation &lt;br /&gt;
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The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
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3.7 Idiomatic Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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3.8 Communicative Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:05, 13 December 2021 (UTC) &lt;br /&gt;
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===Translation Strategies  ===&lt;br /&gt;
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4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
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4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela translators need to choose several strategies based on the source language culture and target culture. He distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, he tries to command by the level of their intercultural intervention. He divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies). &lt;br /&gt;
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4.1.1. Conservation: &lt;br /&gt;
In conservation,the less compelling process includes repetition,orthographic adaptation,linguistic translation,extratextual gloss and intratextual gloss. &lt;br /&gt;
&lt;br /&gt;
4.1.1.1 Repetition:In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus,the translator keeps as much as possible the original reference (Aixela 1996;61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
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4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
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4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
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4.1.1.4 Extra-textual Gloss: Here,the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes,endings,words,ideas,translators in dictionaries, italics and so on. &lt;br /&gt;
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4.1.1.5 Intra-textual Gloss:It's like the past but the translator feels that he/she can include the globe as an indirect part of the text,not to distract the reader. &lt;br /&gt;
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4.2.1 Substitution &lt;br /&gt;
In substitution, According Aixela “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here&amp;quot;(Aixela 1996;87)--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:40, 13 December 2021 (UTC) &lt;br /&gt;
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4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
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4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
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4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela 1997;63). &lt;br /&gt;
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4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Shokri Ketabi 2015;8). &lt;br /&gt;
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4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela 1996;64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
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4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela 1997;43). &lt;br /&gt;
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4.3 Mona Baker's Translation Strategies &lt;br /&gt;
Baker's strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation.Baker She suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies(Baker 1992;90) which are the following: &lt;br /&gt;
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4.3.1 Translation by a more general word: According to Baker,this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
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4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
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4.3.3 Translation by cultural substitution:This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
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4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
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4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
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4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
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4.3.7 Translation by omission: Losing phrases or words that are not vital to text development.&lt;br /&gt;
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4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view,however,Baker,s translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:40, 13 December 2021 (UTC)&lt;br /&gt;
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===Cultural Categories  ===&lt;br /&gt;
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5. Cultural categories &lt;br /&gt;
 &lt;br /&gt;
5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
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5.1.2 Material culture &lt;br /&gt;
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Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.”(Newmark 1988;90)  &lt;br /&gt;
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5.1.3 Social culture &lt;br /&gt;
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The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
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5.1.4 Organisation &lt;br /&gt;
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Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
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5.2 Newmark Classification CSIs &lt;br /&gt;
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Newmark established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items. (Newmark 1988;97) --[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:50, 13 December 2021 (UTC)&lt;br /&gt;
 &lt;br /&gt;
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5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
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Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
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2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
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3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
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4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
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5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
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6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
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7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
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8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
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9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
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10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
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11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
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12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
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13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
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14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
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15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
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16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
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17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
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18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
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19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
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20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
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21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
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22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
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23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
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24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
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25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
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26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
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27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
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28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
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29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
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30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
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31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
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32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
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33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
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34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
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35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
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36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
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37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
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38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
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39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
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40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
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41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
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42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
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43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
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44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
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45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996, 31), “translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by (Newmark 1988, 81), “translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.” &lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation, then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions. &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity, as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts, the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term, and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part, but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark (1988) has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9. &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark’s strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark (1988) were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However, the translator must be competent in using the translation procedures to provide an accurate translation. &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abdi, H. (2019). Translating culture-specific items (CSIs) as a conundrum for Iranian MA translation students: Considering the level of study. Journal of new advances in English Language Teaching and Applied Linguistics, 1(1), 88-109. &lt;br /&gt;
&lt;br /&gt;
Aguado-Gimenez, P., &amp;amp; Pérez-Paredes, P. F. (2005). Translation-strategies use: A classroombased examination of Baker’s taxonomy. Meta: journal des traducteurs/Meta: &lt;br /&gt;
Translators' Journal, 50(1), 294-311. &lt;br /&gt;
&lt;br /&gt;
Ahmadi, M. R.S and Nosrati, Fatemah. (2012). Domestication and Foreignization Strategies in Translation of Culture-Specific Items. Translations of English-Persian Children’s Literature. San Francisco: Grin Publishing. Google Books. &lt;br /&gt;
&lt;br /&gt;
Al Saleh, R. A. (2019). An Application of Newmark's Procedures to Muhammad Abul Quasem's Alleman, J. C. Bee. W. Ulitkin, I. Files, F., Zetzsche, J., Chatonnet-Marton, P. &amp;amp; y del Árbol, E. V. Translation Strategies. &lt;br /&gt;
&lt;br /&gt;
Al-Sofi, B. B. M. A., &amp;amp; Abouabdulqader, H. (2020). Bridging the gap between translation and culture: towards a cultural dimension of translation. International journal of linguistics, literature and culture, 6(1), 1-13. &lt;br /&gt;
&lt;br /&gt;
Baker, M., 1992. In Other Words: A Coursebook on Translation. London: Routledge, p.20–42. &lt;br /&gt;
&lt;br /&gt;
Blažytė, D., &amp;amp; Liubinienė, V. (2016). Culture-specific items (CSI) and their translation strategies in Martin Lindstrom’s&amp;quot; Brand sense&amp;quot;. Kalbų studijos, (29), 42-57. &lt;br /&gt;
&lt;br /&gt;
Bush, P. (1998) &amp;quot;Literary Translation.&amp;quot; In: M. Baker, ed. Routledge Encyclopedia of Translation Studies, London: Routledge, pp.127-130. &lt;br /&gt;
&lt;br /&gt;
Catford. J. C. (1965). A linguistic theory of translation. Oxford: Oxford University Press. &lt;br /&gt;
English Translation of Mohammad Al-Ghazali's Islamic Guidance.Literature and Culture, 6(1), 1-13. &lt;br /&gt;
&lt;br /&gt;
Gečaitė, L. (2020). Culture-Specific Items and Their Translation Strategies in Victoria Hislop's Novel The Sunrise.” (2020). &lt;br /&gt;
&lt;br /&gt;
Hassan, B. E. A. (2014). Between English and Arabic: A practical course in translation. &lt;br /&gt;
Cambridge Scholars Publishing. &lt;br /&gt;
&lt;br /&gt;
Hermans, T. (1999). Translation in systems. Manchester: St. Jerome Publication  House, J. (Ed.). (2014). Translation: a multidisciplinary approach. Springer. &lt;br /&gt;
Issa, A. L. S. M., &amp;amp; Hammood, L. H. R.- Quranic-Specific Phrases under the Study of Translation; Significance and Applications. &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. (33), p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. 33, p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Lambert, J. (1998) Literary Translation. In: M. Baker, ed. Routledge Encyclopedia of Translation Studies. London: Routledge, 130-134. &lt;br /&gt;
&lt;br /&gt;
Landers, Clifford E. (2001) Literary Translation: A practical guide. New Jersey University Press: Multilingual Maters. &lt;br /&gt;
&lt;br /&gt;
Lustig, Myron, W. and Koeser, Joline  (2003), Intercultural Competence: Interpersonal Communication Across Cultures, Boston: Allyn and Bacon. &lt;br /&gt;
&lt;br /&gt;
Malmkjær, K. (1993). Who Can Make Nice A Better Word Than Pretty? Collocation, Translation, and Psycholoinguistics. In: Baker, M., Francis, G. and Tognini-Bonelli, E. &lt;br /&gt;
eds. Text and Technology. Philadelphia/Amsterdam: John Benjamins Publishing Company. pp.213-32. &lt;br /&gt;
&lt;br /&gt;
Mosavat, S., &amp;amp; Rahimpour, S. (2016). The Most and Least Used Translation Strategies for &lt;br /&gt;
Conveying Culture-Specific-Items in Young Adult Literature from English into Persian. International Journal of Humanities and Cultural Studies (IJHCS) ISSN 23565926, 1853-1873. &lt;br /&gt;
&lt;br /&gt;
Munday, J. (1997). Systems in Translation: A computer-assisted systemic approach to the analysis of translation of García Márquez. Ph.D thesis, University of Bradford. &lt;br /&gt;
&lt;br /&gt;
Newmark, P. (2001). A Textbook of Translation. Shanghai: Shanghai Foreign Language &lt;br /&gt;
Education Press &lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. (1988). A Textbook of Translation. New Jersey: Prentice-Halls &lt;br /&gt;
&lt;br /&gt;
Nord, Christiane. (1997). Translating as a Purposeful Activity: Functionalist Approaches &lt;br /&gt;
Explained. Manchester: St. Jerome. Accessed 10 November. 2018. Google Books Schjoldager, A. (2008). Understanding translation. Academica: Århus. &lt;br /&gt;
&lt;br /&gt;
Silalahi, M., &amp;amp; Lubis, S. (2013). Translation Procedures of Cultural Terms Found In Sejarah Bilingual For Students of Senior High School. &lt;br /&gt;
Valipoor, K., &amp;amp; andAzizeh Chalak, H. H. T. (2019). Cultural-specific items in translation of the Holy Quran by Irving: 43-51. &lt;br /&gt;
&lt;br /&gt;
Venuti, L. (1995). The translator’s invisibility: A history of translation. London and New York: &lt;br /&gt;
Routledge &lt;br /&gt;
&lt;br /&gt;
Widiarto, O. V. V. (2016). The translation procedures of cultural expressions applied in a game of thrones translated into Perebutan Tahta novel by Barokah Ruziati (Doctoral dissertation, Dian Nuswantoro University).&lt;br /&gt;
&lt;br /&gt;
=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims to observe the development of translation studies through its different types, various strategies, styles and particular methods. In this paper, the readers are introduced to some famous translation scholars including their view of translation studies. At the further discussions, this study lets the readers acknowledge the main issues on translation studies, focusing on different styles of variations such as grammar, sentence structure, textual analysis, strategies and methods. This study may help those who are interested to conduct translation researches and help them by giving options of which theories is beneficial to their analysis. Moreover, it aims to explore the clear definition of translation as well as help the readers to understand the basic concept which are used in the field of translation. The present study, therefore, attempts to outline the scope of the discipline of translation studies and more importantly, it is an attempt to outline its activity that required a deep mastering of language, a good source of knowledge and target cultures.&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation, styles of variations, strategies&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
It is undoubtedly right that translation is important to share information. In line with these premise, the number of translation professionals is getting higher. In fact, the result of translation researches tends to help human daily life in term of evaluation, designing translator machines, and cultural studies.	 Therefore, translation means converting written information from one language into another. It is the new discipline appeared in the second half of the 20th century. The term “Translation Studies” was coined by James S. Holmes, an American-Dutch poet and translator of poetry, in his seminal paper “The Name and Nature of Translation Studies”.  Translation enables effective communication between people around the world. It is a courier for the transmission of knowledge, a protector of cultural heritage, and essential to the development of a global economy. Translation helps us to know about the developments in the field of creative arts, education, literature, business, science and politics. It has shifted from the traditional conception of the fixed, stable and unchangeable nature of the text and its meaning to a text with wide scope for variations. Translation also helps in nation building. In this globalised world, the demand for translation and language related services has increased many times. Translation is not only needed for the creation of national identity but has also become an essential tool for keeping pace with the processes of globalization and localization. The activity of translation has a long-standing tradition and has been widely practiced throughout history, but in our rapidly changing world its role has become of paramount importance. Nowadays, knowledge in which cultural exchanges have been widening, has been increasingly expanding and international communication has been intensifying, the phenomenon of translation has become fundamental. Be it for scientific, medical, technological, commercial, legal, cultural or literary purposes, today human communication depends heavily on translation and, consequently, interest in the field is also growing. Accordingly, the discussion, in the present study, proceeds primarily from the perspectives of “Translation Studies” and “Linguistics”. One major goal is to show the interrelationships between linguistics and translation, and how they benefit from each other. Nowadays, translation research has started to take another path, which is more automatic. The invention of the internet, together with the new technological developments in communication and digital materials, has increased cultural exchanges between nations. This leads translators to look for ways to cope with these changes and to look for more practical techniques that enable them to translate more and waste less. They also felt the need to enter the world of cinematographic translation, hence the birth of audiovisual translation. The latter technique, also called screen translation, is concerned with the translation of all kinds of TV programs, including films, series, and documentaries. This field is based on computers and translation software programs, and it is composed of two methods; dubbing and subtitling. In fact, audiovisual translation marks a changing era in the domain of translation.&lt;br /&gt;
In short, translation has very wide and rich history in the West. Since its birth, translation was the subject of a variety of research and conflicts between theorists. Each theorist approaches it according to his viewpoint and field of research, the fact that gives its history a changing quality.&lt;br /&gt;
&lt;br /&gt;
Discussion &lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation. For each type, a selection of examples will be considered for analysis based on translation theories and techniques. We will show that some chunks of text require literal translation, while other requires interpretive method. In addition, this paper will also examine various strategies and its styles of variations based on translational study. The following strategies will be presented in the paper as; &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	They involve text manipulation.&lt;br /&gt;
•	They must be applied to the process.&lt;br /&gt;
•	They are goal-oriented.&lt;br /&gt;
•	They are problem-centered.&lt;br /&gt;
•	They are applied consciously.&lt;br /&gt;
•	They are inter-subjective.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Most theorists agree that strategies are used by translators when they encounter a problem and literal translation is not useful. Different researchers have investigated and described various translation strategies from their different perspectives. It intends to show what translation strategies exist and when and why they are used by professional translators. Different scholars have various perspectives to the aspects of the act of translation, so, they define and describe different types of strategies. Bergen's (n. d.) classification of the strategies includes three categorizations which will be discussed mainly in this paper: &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	Comprehension strategies &lt;br /&gt;
•	Transfer strategies&lt;br /&gt;
•	Production strategies&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
An addition to this paper, styles of variations will also be introduced to the readers through different aspects and examples. The concept of style can be defined in terms of the distinctive way an individual or a group uses language, or better still the discourse used to perform distinct functions of language aimed at achieving specific purposes. However, this does not entail that style is simply a matter of form since it is the product of other components such as the genre of discourse, its semantics, syntax and phonology. Indeed, in order to analyze a given stylistic variation one needs an extensive checklist that includes lexical and grammatical categories, allusions, and figures of speech. Style can be understood to refer to the recurring typical features of the source text compared to the typical features of the translated text.  In a quantitative and qualitative analysis, this variation is shown to be influenced by several pragmatic and social factors, and to index the interpreters' stances towards source speakers and towards the immigrant court users who are the recipients of translations from English. It is argued that translation styles have profound consequences for limited English speakers, as the insistence on institutional norms in translating to them is viewed as a gate keeping behavior that may impede their full participation in the proceedings. &lt;br /&gt;
&lt;br /&gt;
What is translation? &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Translation went through various definitions going from a mere linguistics activity during the sixties, a cultural and communicative activity during the seventies reflects the social impacting activity in the latest founding of the literature. &lt;br /&gt;
“Translation is traditionally known as being the replacement of textual material in one language into equivalent textual material in another language”. &lt;br /&gt;
House (2015) mentions that translation is considered as the “replacement” of a text in the source language by a semantically and pragmatically equivalent text in the target language. It is strongly related to a source language and target language cultures. It requires a high level of mastery languages, an awareness of any contextual factors within which the discourse emerges. There is no need to mention how it affected civilizations through different areas of mankind history. For example, An Arab-Islamic civilizations. There have always been different directions on how one should or should not translate. In the Arab tradition, two main methods existed and were in complete divergence namely the literal and the free method. &lt;br /&gt;
On the other hand, in the Western tradition there are various methods currently exist namely, the linguistic, the hermeneutic, the interpretive, the functionalist, the interventionist, the poly-systemic and the text-typologist method.  More so, it may be important to point out that translation has been defined in many ways, and every definition reflects the theoretical approach underpinning it. &lt;br /&gt;
As Shuttlworth and Cowie (1997) observe throughout the history of research into translation, the phenomenon has been variously delimited by formal descriptions, echoing the frameworks of the scholars proposing them. For example, Bell (1991: XV) starts with an informal definition of translation, which runs as follows: the transformation of a text originally in one language into an equivalent text in a different language retaining, as far as is possible, the content of the message and the formal features and functional roles of the original text. &lt;br /&gt;
At the beginning of the ‘scientific’ (Newmark, 1988, p. 2) study of translation, Catford (1965, p. 20) described it in these terms, the replacement of textual material in one language (SL) by the equivalent textual material in another language. &lt;br /&gt;
Thirty years later, in Germany, the concept of translation as a form of ‘equivalence’ is maintained, as we can see from Koller’s definition (1995, p. 196): “The result of a text processing activity, by means of which a source language text is transposed into a target-language text. Between the resultant text in L2 (the target-language text) and the source text in L1 (the source language text) there exists a relationship, which can be designated as a translational, or equivalence relation”. Because complete equivalence (in the sense of synonymy or sameness) cannot take place in any of his categories, Jakobson (1959) declares that all poetic art is, therefore, technically untranslatable. That is, the translator has to take the question of interpretation into account in addition to the problem of selecting a TL phrase which will have a roughly similar meaning. Exact translation is impossible. In this regard, Bassnett (1996) claims that all texts, being part of a literary system descended from and related to other systems are “translations of translation of translations”: every text is unique and at the same time, it is the translation of another text. No text is entirely original because language itself, in its essence, is already a translation: firstly, of the non-verbal world and secondly, since every sign and every phrase is the translation of another sign and another phrase. However, this argument can be turned around without losing any of its validity: all texts are original because every translation is distinctive. Every translation, up to a certain point, is an invention and as such it constitutes a unique text.&lt;br /&gt;
In this analysis of the above definition, Manfredi (2008), points out that the above distinction can be divided into two main perspectives, those that consider translation either as a ‘process’ or a ‘product’. To this twofold categorization, Bell (1991, p. 13) adds a further variable, since he suggests making a distinction between translating (the process), a translation (the product) and translation (i.e., “the abstract concept which encompasses both the process of translating and the product of that process”. Moreover, thanks to advances in new technologies, today we can also incorporate into TS the contribution of corpus linguistics, which allows both theorists and translators analyses of large amounts of electronic texts (Manfredi, 2008). On the other hand, Halliday (1992, p. 15) takes translation to refer to the total process and relationship of equivalence between two languages; we then distinguish, within translation, between “translating” (written text) and “interpreting” (spoken text). Halliday, thus, proposes distinguishing the activity of “translation” (as a process) from the product(s) of “translating”, including both “translation” (concerning written text) and ‘interpreting’ (regarding spoken text.&lt;br /&gt;
“Translation is the production of a functional target text maintaining a relationship with a given source text that is specified according to the intended or demanding function of the target text.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Types of Translation&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation.&lt;br /&gt;
&lt;br /&gt;
Technical translation &lt;br /&gt;
&lt;br /&gt;
Technical translation is a type of specialized translation involving the translation of documents produced by technical writers, or more specifically, texts which relate to technological subject areas or texts which deal with the practical application of scientific and technological information. (Wikipedia) &lt;br /&gt;
Translators' main goal is to accurately translate the technical terminology to match the document and the message of the original content.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The benefits of technical translation&lt;br /&gt;
&lt;br /&gt;
A professional technical translation service is provided by translators with dual specialties, that is, professionals who are fluent in the language pair, but who are also experts in the field covered by the documents to be translated.&lt;br /&gt;
When you need to have your documents translated by a technical translator, translators who are not experts may not be able to provide the necessary solutions and terminology for a quality translation. If the translator is not an expert in the field, he/she will have to learn the new terminology while working. This means that translation will take longer, have higher chances of inaccuracies, and may result in higher costs. Therefore, the main advantages of hiring an agency specialized in this type of service are as follows:&lt;br /&gt;
&lt;br /&gt;
Literary translation&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Literary translation is the translation of creative and dramatic prose and poetry into other languages. This includes the translation of literature from ancient languages and the translation of modern fiction so that it can reach a wider audience. &lt;br /&gt;
Literary translation is of huge importance. It helps to shape our understanding of the world around us in many ways.                                                     Reading Homer and Sophocles as part of a classical education in school helps to build an understanding of history, politics, philosophy and so much more. Meanwhile, reading contemporary translations provides fascinating insights into life in other cultures and other countries.                                                       In a fast-paced world so rife with misunderstanding and confusion, such efforts to share knowledge and experiences across cultural boundaries should be applauded.&lt;br /&gt;
The translation of literature differs greatly from other forms of translation. The sheer size of the texts involved in literary translation sets it apart.                Tackling a translation that runs to hundreds of thousands of words is not a task for the faint-hearted. Nor is recreating poetry in a new language, without losing the beauty and essence of the original work.&lt;br /&gt;
One of the key challenges of literary translation is the need to balance staying faithful to the original work with the need to create something unique and distinctive that will evoke the same feelings and responses as the original. This can be particularly challenging when it comes to translating poetry.&lt;br /&gt;
Poems are written with incredible attention to detail. Not only are the words and phrases important, but the number of syllables and the entire rhythm of the completed work. It’s a challenging task to complete just in one language, let alone when trying to recreate a poet’s work during a translation. Daniel Hahn, director of the British Centre for Literary Translation, sums up the issue beautifully. &lt;br /&gt;
As literary translators will attest, a single word can be extremely troublesome. The author of a work of fiction has chosen that word for a good reason, so the translator must ensure that it is faithfully delivered in the target language. However, what if no direct translation is available? Or what if several options exist, each with a slightly different nuance? Urdu language translator Fahmida Riaz outlines her approach to such thorny issues.&lt;br /&gt;
For instance, “Every piece you translate comes from the pen of an individual, so you have to give it an individual treatment. I try to retain the ambience of the original culture, rather than the language, as it is reflected in the text.” &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Pragmatic translation&lt;br /&gt;
&lt;br /&gt;
Pragmatic translation is the basic assumption that provided a source language text contains no misstatements of fact, is competently written and has to be fully translated rather than summarized or functionally reorientated; one's purpose in translating it is to be referentially and pragmatically accurate. In this paper, I shall not deal with referential accuracy but concentrate instead on the pragmatic aspects of translation. As the term pragmatic translation may be used in a variety of ways, I should like to state my own definition of pragmatic, which derives from Charles Morris and ultimately from Charles S. Peirce. I am using pragmatic as one of the two factors in translation: pragmatic denotes the reader's or readership's reception of the translation, as opposed to referential, which denotes the relationship between the translation and the extra-linguistic reality it describes. &lt;br /&gt;
Translation is a properly way to a properly communication and pragmatics is how to use language in communication properly. By translation, many things from different languages and cultures can understand to each other. In other words, translation can be stated as a facilitator to make a communication runs well.&lt;br /&gt;
&lt;br /&gt;
===An Overview on Translation Studies  ===&lt;br /&gt;
&lt;br /&gt;
===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
&lt;br /&gt;
=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature  --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:45, 12 December 2021 (UTC)&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
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In this chapter, the researcher wants to highlight the different concepts about the fundamental question that &amp;quot;what is idiomatic expression&amp;quot;  and the views of various critics, theorists and linguistic experts, and prominent scholars of translation studies.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:38, 13 December 2021 (UTC) Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
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Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
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&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda 2006: 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984: 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992: 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to Newmark, “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”(Newmark 1981: 11).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:38, 13 December 2021 (UTC)&lt;br /&gt;
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The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to Corelli, English has a sizeable idiomatic base. About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.(Corelli 2006: 53)&lt;br /&gt;
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The main issue that idiomatic and fixed expressions pose for translators, according to Baker is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.(Baker 1992: 65)&lt;br /&gt;
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Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.(Ahsan 2020: 12-27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:44, 13 December 2021 (UTC)&lt;br /&gt;
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===Literature Review ===&lt;br /&gt;
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In this chapter, the author/researcher defines the strategy and its different definitions from various perspectivess. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented.(Venutti !995, 35 Krings defines it as the content of the project, while Seguinet divided the term into three steps.(Krings 2000:21). However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. (Locher 2002:76) In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
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The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
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A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward. (Bergen 1996:33)&lt;br /&gt;
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Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint. (Vinute 1998:41).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to Seguinot (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.(Seguinot 1989:27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
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Furthermore, Loescher defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot;(Loescher 1991:8) As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998:4) claim moreover, 'Bell' distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.(Bell 1998:188)&lt;br /&gt;
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According to Venuti, &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot;(Venuti 1998, 240). He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to Jaaskelainen, product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.(Jaaskelainen 2005:15)&lt;br /&gt;
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Furthermore, Jaaskelainen distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making.(Jaaskelainen 2005:16). Newmarkdistinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;(Newmark 1988, 221)&lt;br /&gt;
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Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016:13).&lt;br /&gt;
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The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010:15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017:54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984:12). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
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Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985:9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female..(Ahsan 2020: 12-27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:31, 13 December 2021 (UTC)&lt;br /&gt;
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=== Theoritical Framework ===&lt;br /&gt;
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In this paper, various strategies have been used, like using an idiom of similar meaning and similar form, the idiom of similar meaning and different form, translation by Paraphrasing, translation by omission. The approach of employing idioms of similar meaning and form, according to Mona Baker, entails using an idiom in the target language that can express about the same meaning as the source language idiom, as well as having lexical similarity. On the other hand, this type of matching happens periodically as well as regularly.(Baker, 1992, 13)&lt;br /&gt;
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Similarly, employing idioms with similar meanings but different forms means that it is possible to locate an idiom or fixed expression in the target text language that has a similar meaning to the source idiom or expression but is made up of distinct lexical elements. Consider the case of English and French, both of which use the idiom mentioned above. In English, one good deed is rewarded with another, whereas in French, handsome deeds are rewarded with handsome deeds.&lt;br /&gt;
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Furthermore, we did not come across any idioms in the category mentioned above during translating idioms. To deal with this issue, the translators used the most popular approach, known as a translation by paraphrase, which is short, straightforward, and time-saving. When a match cannot be identified in the target language or when it appears improper to employ idiomatic language in target material due to aesthetic differences between the source and target languages, this is the most typical approach for translating an idiom from source to target language. However, one thing to keep in mind is that a perfect translation is not required is necessary or possible.&lt;br /&gt;
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Last but not least, to overcome the problem of idiom translation, the translator employs the strategy of translation by omission. This can be defined as an idiom being omitted entirely in the target text with a single word. This is done because the idiom has no close match in the target language; its meaning cannot be easily paraphrased or due to stylistic reasons.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:38, 13 December 2021 (UTC) &lt;br /&gt;
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Data analysis Techniques:&lt;br /&gt;
Textual analysis is the method of data analysis in qualitative research that brings forth the hidden and potent message, structure, and function of research in giving text, Alan Mckee (defines textual analysis as whenever we perform textual analysis on the text, we make an educated guess at some time of the most likely interpretations that might be made of that text (Alan 2001:3)&lt;br /&gt;
Analysis of the translation of short stories in light of Mona baker's theory &amp;quot;khol do and license&amp;quot; are short stories written by Sadat Hassan Manto and translated by many translators from Urdu into English. During translation, the translator adopted many strategies for translating idiomatic expression, sometimes by Paraphrasing, sometimes by omission, sometimes using similar idioms of form and meaning while sometimes using different words and the same form, the whole.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:51, 12 December 2021 (UTC)&lt;br /&gt;
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===Discussion and Analysis===&lt;br /&gt;
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The chapter analyzes and discusses all the data collected by the author/researcher from different sources. All the examples of idioms are firstly identified, then translated into the target text, and back-translated for the sole purpose of exploring the strategies being used by the translator. A separate section is given to every strategy with its related example. Moreover, the idiomatic expression, the target work for finding, is highlighted through the bold letter.&lt;br /&gt;
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4.1	Translation by Paraphrasing:&lt;br /&gt;
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Based on our findings, the most often used strategy was &amp;quot;translation by paraphrasing.&amp;quot; An inspection also reveals that Aatish Taseer preferred this strategy. Here are some examples applied by the translators, and in the following section, the logic behind their preference towards this strategy is elaborate. The following are examples from two short stories of Sadat Husain Manto's &amp;quot;khol do&amp;quot; and &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 1: &lt;br /&gt;
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ST: Sirajuddin ne subah das baji anki kholi to logo ka aik mutalatam samandar deka.&lt;br /&gt;
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TT: Ten a.m., Siraj Uddin opens his eyes on the cold floor of the camp, seeing the swelling sea of men.&lt;br /&gt;
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BT: sub ke das baji jab Sirajuddin ne apni anki koli to logo ka aik ublaha howa samandar ka nizara dekni laga.&lt;br /&gt;
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So, the above idioms are literal idioms being translated with the help of 'Paraphrasing' because there is no perfect equivalent of mutalatam words in English languages. A similar look at another idiom from short stories &amp;quot;khol do.&amp;quot;&lt;br /&gt;
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Example 2:&lt;br /&gt;
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ST: Khuda tomahra bala kari.&lt;br /&gt;
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TT: Your God will reward&lt;br /&gt;
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BT: Is ka badla khoda tomahi di.&lt;br /&gt;
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Here, the word reward is being used for Bala Kari, an example of transitional by Paraphrasing.&lt;br /&gt;
Let  take another example from &amp;quot;khol do.&amp;quot;&lt;br /&gt;
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Example 3:&lt;br /&gt;
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ST: unkho nai Jan khateli pa rak kar sakena ko donda.&lt;br /&gt;
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TT: even putting their lives online, they search sakina &lt;br /&gt;
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BT: apni zindagio ko khatri me dal kar unkho nai sakina ko dond nekala.&lt;br /&gt;
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The above idioms are examples of pure idiom translated from Urdu into English with the help of paraphrases strategies. However, under the same strategies, the idioms of another short story of Manto,s &amp;quot;license,&amp;quot; are translated by Aatish Taseer. Some of the examples are given below.&lt;br /&gt;
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Example 4:&lt;br /&gt;
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ST: Abu kochwan bara cheel jabela ta. It is the binomial type of idioms taken from the first sentence of the short story &amp;quot;license&amp;quot; by Sadat &lt;br /&gt;
Hasan Manto &lt;br /&gt;
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TT: Abu kochwan is stylish man.&lt;br /&gt;
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BT: Abu kochwan aik wazahdar admi ta.&lt;br /&gt;
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From the above idiom, it is clear that there is no perfect equivalence of cheela chabela idiom in English; that is, the translator goes &lt;br /&gt;
through paraphrasing strategies. Look at another example from &amp;quot;license.&amp;quot;&lt;br /&gt;
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Example 5:&lt;br /&gt;
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ST: Lein har waqat bank bani rekhi ka usi be had showk ta&lt;br /&gt;
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TT: He had a weakness for style and fashion.&lt;br /&gt;
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BT: Dan saj ke rekhna uski kamzori me sai ik ta.&lt;br /&gt;
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So all of the above examples, which are analyzed one by one, are examples of idioms being translated through paraphrasing strategies. Beaugrande and Dressler define paraphrases as &amp;quot;approximate conceptual equivalence among outwardly different material.&amp;quot;(De Beaugrande and Dressler 1981, 50) Similarly, in this regard, Hirst defines paraphrases as &amp;quot;talk(ing) about the same situation in a different way.&amp;quot; (Hirst 1980:12) Munday declared that &amp;quot;equivalence is particularly useful in translating idioms and proverbs” For instance, if the English idiom like a bear with a sore head is rendered into Persian as (mesle borje zahremar), meaning like a tower of snake venom, the strategy of equivalence has been applied. (Munday 1981:13).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:55, 13 December 2021 (UTC)&lt;br /&gt;
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According to Leonardi, &amp;quot;Equivalence can be said to be the central issue in translation.&amp;quot; In this regard, house believes that &amp;quot;a translation text should match not only its source text in function but also employ equivalent situational-dimensional means to achieve that function&amp;quot; (Baker 2002:49).  who shares this approach, states that equivalence is used &amp;quot;for the sake of convenience—because most translators are used to it rather than because it has any theoretical status&amp;quot; (Kenny 1998:77). &lt;br /&gt;
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Despite different attitudes to the concept of equivalence, most specialists pay much attention to its meaning in the theory of translation. The translation is a form of communication, and that is why it is vital to establish equivalence between the source text and the target text. Although Vinay and Darbelnet believe that equivalence is used differently than in modern translation theory, it is evident that equivalence is one of the basic concepts of translation that cannot be neglected.Vinay and Darbelnet 1999:18)&lt;br /&gt;
Consequently, based on the Above mentioned studies using 'Paraphrasing' in translation stands as the core concept in the process of translation, and still, most of the translators cling to it for producing a more comprehensible and explicable text. These language ideas and translation models are ideal constructs, presented abstractly in order to be differentiated precisely. They may exist in an uneasy combination in actual theories and practices, resulting in logical tensions or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation. Theories and actions must be contextualized in historical settings. They've been utilized as analytical tools to describe various topics in section introductions. Theoretical writings and current events these language notions and translation models are ideal constructs expressed in an abstract manner in order to be distinguished precisely in real-life hypotheses they may exist in an uncomfortable mix, resulting in logical conflicts or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation.&lt;br /&gt;
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4.2	Using an idiom of Similar Meaning and Form &lt;br /&gt;
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As mentioned earlier, this strategy type is being used by Aatish Taseer during their translated work of Manto's short stories &amp;quot;khol do&amp;quot; and&amp;quot; license&amp;quot; on an occasional basis. Some examples are mention below.&lt;br /&gt;
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From khol do.&lt;br /&gt;
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Example 6:&lt;br /&gt;
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ST: Larki ka rang zard hogaya.&lt;br /&gt;
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TT: The girl's face became fail&lt;br /&gt;
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BT: larki ka rang zar hogya.&lt;br /&gt;
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Similarly, another example from the license is&lt;br /&gt;
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Example 7:&lt;br /&gt;
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ST: Abu our us ke mat beer hogaie&lt;br /&gt;
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TT: They fall in love with each other.&lt;br /&gt;
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BT: WO ik dosri ke mokhbat me geriftar hogaie&lt;br /&gt;
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The above idioms are pure ones and are being translated with the help of similar meanings and similar forms.&lt;br /&gt;
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The procedures: transposition, modulation, equivalence, and adaptation, and when it comes to defining the term Equivalence, (Vinay and Darbelnet 2000:90) propose that it consists in rendering &amp;quot;the same situation … by two texts using completely different stylistic and structural methods&amp;quot;, and when it comes to translating idiomatic expressions like &amp;quot;Il pleut à seaux&amp;quot; it can be translated as &amp;quot;It is raining cats and dogs&amp;quot; using the idiom of similar form and meaning in the target language.&lt;br /&gt;
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As Baker states, this strategy involves using an idiom in the TL which conveys roughly the same meaning as that of the source language idiom and, in addition, consists of identical lexical items. The salient point is that this kind of match can only occasionally be achieved, which cannot be picked up more often by translators. Accordingly, both translators mentioned in the current study had quite a slim chance of using this strategy type.(Baker 1992:12)&lt;br /&gt;
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4.3 Using an idiom of similar meaning but different form:&lt;br /&gt;
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During translating Manto short stories, &amp;quot;khol do&amp;quot; and &amp;quot;license,&amp;quot; some of the idioms are translated with the help of this strategy. Some of the examples are given below from two different short stories.&lt;br /&gt;
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Example number one is from the short story &amp;quot;khol do&amp;quot;&lt;br /&gt;
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Example 8:&lt;br /&gt;
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ST: Aur bolwai gos ayai thee?&lt;br /&gt;
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TT: The roitors come abroad.&lt;br /&gt;
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BT: pasadi bahar agai hai.&lt;br /&gt;
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The above idiom is a pure type of idiom being translated with the help of above mention strategy. The word rioter is being used for bolwai, which is not a perfect word for bolwai. In Urdu bolwai, people believe in violence when minorities or the low population of any country want some rights. These people stop them by using violence, burn down their properties, rapes women, and do things like that. Another example from the license is below.&lt;br /&gt;
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Example 9:&lt;br /&gt;
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ST: Dosri kotwal abu ko dek kar jal ban ho jati.&lt;br /&gt;
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TT: The other coachman burn with envy.&lt;br /&gt;
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BT: Abu ke kamyabi dek kar aur kotwal abu sai khasad karni lagi’&lt;br /&gt;
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The above idioms are a pure idiom that reflects the effect of jealousy between competitors to achieve equivalency. Aatish Taseer uses envy word for jal ban instead of other which have similar meaning but different form. Look at the other example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: Dino lat vo lagal se kam karni laga.&lt;br /&gt;
&lt;br /&gt;
TT: Dino came with an excuse.&lt;br /&gt;
&lt;br /&gt;
BT: Dino abb bahi tarashni laga.&lt;br /&gt;
	&lt;br /&gt;
The above idioms are types of binomial idioms translated with the help of idioms with similar meanings and different forms. (Newmark 1988, 81) mentions the difference between translation methods and translation procedures. He writes that &amp;quot;[w]hile translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language&amp;quot; (Newmark 1988: 81). Idiomatic translation in his definition reproduces the 'message' of the original. However, it distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original, leading to using an idiom of similar meaning but a different form. Besides, it is often possible to find an idiom or fixed expression in the target language with a meaning similar to that of the source idiom or expression but which consists of different lexical items (Baker 1992, 12). Therefore, translators discover idiomatic expressions in the target language with different forms than in the source language. In the current study, the translators approached this strategy merely for 9% of the total times, which means the frequency of Iranian and English idioms with the same meaning and different forms is not considered high. &lt;br /&gt;
&lt;br /&gt;
4.4 Translation by omission:&lt;br /&gt;
&lt;br /&gt;
A translator is less using these strategies, and we did not find any clue on this type of strategy in an area under consideration.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:48, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== Findings===&lt;br /&gt;
&lt;br /&gt;
(Mandelbit 1995) believed that idioms with different cognitive mapping in the target language would be more challenging to translate. After conducting study and data analysis of collected data, the result revealed that the translator frequently used three out of four strategies of the Mona Baker model during the translation process, which is a translation by Paraphrasing, translation by similar meaning and similar form, translation by similar meaning and different form. In contrast, translation by omission does not found in his work.&lt;br /&gt;
After detail and careful analysis of data, more than half of idioms like &amp;quot;swelling sea of man,” my lord break his arrogance, “weakness for style and fashion.&amp;quot; As I mentioned earlier, many more are translated under the umbrella of Paraphrasing, which is considered the most common method used for translating idioms.&lt;br /&gt;
&lt;br /&gt;
Similarly, we also reflect strategies like similar meaning and different form and similar meaning and similar form. The idiom &amp;quot;rioter came abroad,” burn with envy,” The girl's face became pale, &amp;quot; They fall in love with each other&amp;quot; are translated with the help of two mention strategies, respectively.&lt;br /&gt;
&lt;br /&gt;
Although translation by omission is a strategy used on rare occasions because of its meaning, its meaning cannot be easily paraphrased or stylistic reason. Here, the researcher also did not find any idiom translated with the help of the omission strategy.&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
Go through detailed discussion and analysis of data collected from my source. We finally concluded that the idioms present in two short stories, &amp;quot;khol do&amp;quot; and &amp;quot;License,&amp;quot; are translated under the frame of Mona Baker's idiomatic model. Translation by Paraphrasing is mainly used while idioms of similar meaning and form and idioms of similar meaning and different forms are used occasionally. The researcher discusses all the strategies with related examples in the order of maximum used to minimum used. The strategy by omission did not find it works. All the data are collected from different sources and analyzed with the help of different researcher tools, and the result is written in light of the finding. Different from previous studies, the writer presents the strategies to translate idioms by each type of idiomatic expression found in the story. From the result, it is considered the translation of idiomatic expressions in the story is quite accurate. As the number of accurate data is more the data which is not related to the translation. We take conclusion from the translation through idiomatic expression and paraphrasing is the best way to translate a novel or a story however it is very difficult job to do because it needs more accurate and precise knowledge about the source language and an inspiring method to express ideas in the target language. However, translation is thing through which we can connect the world with each other and also we can study and observe diverse cultures.            &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abu-Saydeh, A. F. (2004). Translation of English idioms into Arabic. Babel, 114-131.&lt;br /&gt;
&lt;br /&gt;
Ahsan, S. (2020). A comparative study of two translations of manto's short story &amp;quot;Toba Tek&amp;quot;. International Journal of English Language Studies, 12-27.&lt;br /&gt;
&lt;br /&gt;
Alexander, R. J. (1987). Mimeograph. In R. J. Alexander (Ed.) Collocation and Culture. Trier: University of Trier, West Germany.&lt;br /&gt;
&lt;br /&gt;
Al-Qinai, J. (2000). Translation quality assessment. strategies, parameters and procedures. Translator's Journal, 497-519.&lt;br /&gt;
&lt;br /&gt;
Bayashi, J. (2020). Japanese-English translation: An advanced guide. Oxfordshire: Routledge.&lt;br /&gt;
&lt;br /&gt;
Das, V. &amp;amp;. (1995). Critical events: An anthropological perspective on contemporary India. New Delhi: Oxford Printing Press.&lt;br /&gt;
&lt;br /&gt;
Mufti, A. (2007). The Language of English India. In I. &amp;amp;. End (Ed.) Enlightenment in the Colony. Princeton University Press.&lt;br /&gt;
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Waka Xia, L. (2019). A discourse analysis of news translation in China. Syydney: Routledge.&lt;br /&gt;
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= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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===Key words ===&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
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===Ambiguity===&lt;br /&gt;
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===Lexical and Structural Mismatches===&lt;br /&gt;
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===Multiword units: Idioms and Collocations===&lt;br /&gt;
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===Summary===&lt;br /&gt;
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===Further Reading===&lt;br /&gt;
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=刘胜楠 A Case Study of ''Ne Zha'' on Subtitle Translation Strategies from the Perspective of Skopos Theory= &lt;br /&gt;
[[Trans_Type_EN_15]]&lt;/div&gt;</summary>
		<author><name>Atta Ur Rahman</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=132450</id>
		<title>Translation types, strategies, styles, methods</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=132450"/>
		<updated>2021-12-13T16:38:42Z</updated>

		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* Theoritical Framework */&lt;/p&gt;
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&lt;div&gt;'''Translation types, strategies, styles, methods'''&lt;br /&gt;
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[[Translation_types,_strategies,_styles,_methods|Overview Page of Translation types, strategies, styles, methods]]&lt;br /&gt;
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30 Chapters（0/30)&lt;br /&gt;
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[[Trans_Type_EN_1]] [[Trans_Type_EN_2]] [[Trans_Type_EN_3]] [[Trans_Type_EN_4]] [[Trans_Type_EN_5]] [[Trans_Type_EN_6]] [[Trans_Type_EN_7]] [[Trans_Type_EN_8]] [[Trans_Type_EN_9]] [[Trans_Type_EN_10]] [[Trans_Type_EN_11]] [[Trans_Type_EN_12]] [[Trans_Type_EN_13]] [[Trans_Type_EN_14]] [[Trans_Type_EN_15]] [[Trans_Type_EN_16]] [[Trans_Type_EN_17]] [[Trans_Type_EN_18]] [[Trans_Type_EN_19]] [[Trans_Type_EN_20]] [[Trans_Type_EN_21]] [[Trans_Type_EN_22]] [[Trans_Type_EN_23]] [[Trans_Type_EN_24]] [[Trans_Type_EN_25]] [[Trans_Type_EN_26]] [[Trans_Type_EN_27]] [[Trans_Type_EN_28]] [[Trans_Type_EN_29]] [[Trans_Type_EN_30]] ...&lt;br /&gt;
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[[Book_projects|Back to translation project overview]]&lt;br /&gt;
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[[DCG-To-Do|To the To Do List]]&lt;br /&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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'''浅析美版《甄嬛传》的字幕翻译策略'''&lt;br /&gt;
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[[Trans_Type_EN_1]]&lt;br /&gt;
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阳佳颖 Yang Jiaying, Hunan Normal University, China&lt;br /&gt;
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=Chapter 2: The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
'''纽马克翻译理论指导下旅游文本中翻译策略与翻译方法的使用——以''Everglades National Park, Florida (Excerpt)''为例'''&lt;br /&gt;
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[[Trans_Type_EN_2]]&lt;br /&gt;
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刘晓 Liu Xiao, Hunan Normal University, China&lt;br /&gt;
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=Chapter 3: Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
交际翻译理论指导下小说题材所适用的翻译方法和翻译策略—以韩国小说集《恩珠的电影》（节选）为例&lt;br /&gt;
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[[Trans_Type_EN_3]]&lt;br /&gt;
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刘越Liu Yue ，Hunan Normal University，China&lt;br /&gt;
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=Chapter 4: On Translation Strategies and Translation Methods in Chinese Translation of English Prose -- A Case Study of Chinese Translation of English Prose &amp;quot;Pleasures of Ignorance&amp;quot;=&lt;br /&gt;
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'''浅析英语散文汉译中的翻译策略和翻译方法——以英语散文《无知的乐趣》汉译本为例'''&lt;br /&gt;
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[[Trans_Type_EN_4]]&lt;br /&gt;
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毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
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=Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
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[[Trans_Type_EN_5]]&lt;br /&gt;
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毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
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=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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[[Trans_Type_EN_6]]&lt;br /&gt;
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彭瑞雪 Peng Ruixue, Hunan University, China&lt;br /&gt;
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=Chapter 7: A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
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[[Trans_Type_EN_7]]&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
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=Chapter 8:Translation methods and strategies applicable to the style of biographical literature -- Taking ''Incidents in Life of Slave Girl'' (excerpt) as an example=&lt;br /&gt;
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'''传记文学的文体所适用的翻译技巧与策略——以英文传记《一名女奴的人生际遇》(节选)为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_8]]&lt;br /&gt;
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颜子涵 Yan Zihan, Hunan Normal University, China&lt;br /&gt;
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=Chapter 9: On the Translation Strategies of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hung-ming and Xu Yuanchong=&lt;br /&gt;
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'''视域融合视角下看《论语》英译的翻译策略—以辜鸿铭和许渊冲的英译本为例'''&lt;br /&gt;
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[[Trans_Type_EN_9]]&lt;br /&gt;
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邝艳丽 Kuang Yanli, Hunan Normal University, China&lt;br /&gt;
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=杨柳青 Bian Zhilin's Literary Translation Theories and Practice——Take His Translation of Romantic Poems as Examples=&lt;br /&gt;
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Yang Liuqing杨柳青,Hunan Normal University,China.&lt;br /&gt;
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[[Trans_Type_EN_10]]&lt;br /&gt;
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=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012:37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær 2015:10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005;9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004;1). Translation is essential for cultures and languages to exchange information. Newmark (1988) defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects(Newmark 1988;2). Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
&lt;br /&gt;
Nida indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style(Nida 1964;32). Larson (1998) has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context(Larson 1998;23).--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:41, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”.(Snell-Hornby 1988;33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957;167). By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
&lt;br /&gt;
The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003;16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
&lt;br /&gt;
This study is aimed to probe Newmark's translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988;81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:41, 13 December 2021 (UTC)&lt;br /&gt;
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===Translation and Culture===&lt;br /&gt;
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2. Translation and Culture &lt;br /&gt;
&lt;br /&gt;
Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
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The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988;7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988;5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988;7).  &lt;br /&gt;
&lt;br /&gt;
In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language”(Catford 1965;20). According to Venuti translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader”(Venuti 1995;18). Schjoldager stated that“a translation is a text that expresses what another text has expressed in another language”(Schjoldager 2008;19). Culture is a complex whole which includes knowledge,belief,art,law,morals,customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014;2). Hermanns contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures(Hermanns 1999;22) Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014;2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001;328). &lt;br /&gt;
&lt;br /&gt;
Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
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2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
&lt;br /&gt;
Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora, fauna, food, clothes, housing, work, leisure, politics, law, and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988;327) Christine Nord names them “culturemes” (Nord 1997;9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012;1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Aixela, 1997; Davies, 2003), others choose cultural words (Newmark, 2003) or culture-bound phenomena/concepts (Baker, 1992, Newmark, 2003, Robinson, 2003). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker, 1992, 21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988, 94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988, 95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988, 95).--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:02, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
&lt;br /&gt;
The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85;22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003;16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:02, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Types of Translation ===&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
Newmark determines 8 types of translation which are: &lt;br /&gt;
 &lt;br /&gt;
3.1 Word-for-Word Translation &lt;br /&gt;
&lt;br /&gt;
This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
&lt;br /&gt;
3.2 Literal translation &lt;br /&gt;
&lt;br /&gt;
In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
&lt;br /&gt;
3.4 Semantic Translation &lt;br /&gt;
&lt;br /&gt;
Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
&lt;br /&gt;
3.5 Adaptation &lt;br /&gt;
&lt;br /&gt;
This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015;15). &lt;br /&gt;
&lt;br /&gt;
3.6 Free Translation &lt;br /&gt;
&lt;br /&gt;
The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
&lt;br /&gt;
3.7 Idiomatic Translation &lt;br /&gt;
&lt;br /&gt;
This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
&lt;br /&gt;
3.8 Communicative Translation &lt;br /&gt;
&lt;br /&gt;
This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:05, 13 December 2021 (UTC) &lt;br /&gt;
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&lt;br /&gt;
===Translation Strategies  ===&lt;br /&gt;
&lt;br /&gt;
4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
&lt;br /&gt;
4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela (1996), translators need to choose several strategies based on the source language culture and target culture.  He distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, he tries to command by the level of their intercultural intervention. He divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies). &lt;br /&gt;
&lt;br /&gt;
4.1.1. Conservation: &lt;br /&gt;
In conservation, the less compelling process includes repetition, orthographic adaptation, linguistic translation, extratextual gloss and intratextual gloss. &lt;br /&gt;
&lt;br /&gt;
4.1.1.1 Repetition: In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus, the translator keeps as much as possible the original reference (Aixela, 1996, p. 61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
&lt;br /&gt;
4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
&lt;br /&gt;
4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
&lt;br /&gt;
4.1.1.4 Extra-textual Gloss: Here, the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes, endings, words, ideas, translators in dictionaries, italics and so on. &lt;br /&gt;
&lt;br /&gt;
4.1.1.5 Intra-textual Gloss: It's like the past but the translator feels that he/she can include the globe as an indirect part of the text, not to distract the reader. &lt;br /&gt;
&lt;br /&gt;
4.2.1 Substitution &lt;br /&gt;
In substitution, According (Aixela, 1996) “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here”. &lt;br /&gt;
&lt;br /&gt;
4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
&lt;br /&gt;
4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
&lt;br /&gt;
4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela, 1997, p.63). &lt;br /&gt;
&lt;br /&gt;
4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Shokri, Ketabi, 2015, p.8). &lt;br /&gt;
&lt;br /&gt;
4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela, 1996, p. 64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
&lt;br /&gt;
4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela, 1997). &lt;br /&gt;
&lt;br /&gt;
4.3 Mona Baker’s Translation Strategies &lt;br /&gt;
Baker’s strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation. (Baker, 1992). He suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies, which are the following: &lt;br /&gt;
&lt;br /&gt;
4.3.1 Translation by a more general word: According to Baker, this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
&lt;br /&gt;
4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
&lt;br /&gt;
4.3.3 Translation by cultural substitution: This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
&lt;br /&gt;
4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
&lt;br /&gt;
4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
&lt;br /&gt;
4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
&lt;br /&gt;
4.3.7 Translation by omission: Losing phrases or words that are not vital to text development. &lt;br /&gt;
&lt;br /&gt;
4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view, however, Baker's (1992) translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
&lt;br /&gt;
===Cultural Categories  ===&lt;br /&gt;
&lt;br /&gt;
5. Cultural categories &lt;br /&gt;
 &lt;br /&gt;
5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
&lt;br /&gt;
5.1.2 Material culture &lt;br /&gt;
&lt;br /&gt;
Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.” &lt;br /&gt;
&lt;br /&gt;
5.1.3 Social culture &lt;br /&gt;
&lt;br /&gt;
The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
&lt;br /&gt;
5.1.4 Organisation &lt;br /&gt;
&lt;br /&gt;
Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
 &lt;br /&gt;
5.2 Newmark Classification CSIs &lt;br /&gt;
&lt;br /&gt;
Newmark (1988) established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items. (Newmark 1988, 97) &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
 &lt;br /&gt;
Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
&lt;br /&gt;
2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
&lt;br /&gt;
3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
&lt;br /&gt;
4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
&lt;br /&gt;
5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
&lt;br /&gt;
6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
&lt;br /&gt;
7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
&lt;br /&gt;
8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
&lt;br /&gt;
9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
&lt;br /&gt;
10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
&lt;br /&gt;
11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
&lt;br /&gt;
12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
&lt;br /&gt;
13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
&lt;br /&gt;
14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
&lt;br /&gt;
16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
&lt;br /&gt;
17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
&lt;br /&gt;
18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
&lt;br /&gt;
19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
&lt;br /&gt;
20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
&lt;br /&gt;
21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
&lt;br /&gt;
22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
&lt;br /&gt;
23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
&lt;br /&gt;
24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996, 31), “translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by (Newmark 1988, 81), “translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.” &lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation, then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions. &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity, as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts, the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term, and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part, but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark (1988) has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9. &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark’s strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark (1988) were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However, the translator must be competent in using the translation procedures to provide an accurate translation. &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
Hermans, T. (1999). Translation in systems. Manchester: St. Jerome Publication  House, J. (Ed.). (2014). Translation: a multidisciplinary approach. Springer. &lt;br /&gt;
Issa, A. L. S. M., &amp;amp; Hammood, L. H. R.- Quranic-Specific Phrases under the Study of Translation; Significance and Applications. &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. (33), p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. 33, p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Lambert, J. (1998) Literary Translation. In: M. Baker, ed. Routledge Encyclopedia of Translation Studies. London: Routledge, 130-134. &lt;br /&gt;
&lt;br /&gt;
Landers, Clifford E. (2001) Literary Translation: A practical guide. New Jersey University Press: Multilingual Maters. &lt;br /&gt;
&lt;br /&gt;
Lustig, Myron, W. and Koeser, Joline  (2003), Intercultural Competence: Interpersonal Communication Across Cultures, Boston: Allyn and Bacon. &lt;br /&gt;
&lt;br /&gt;
Malmkjær, K. (1993). Who Can Make Nice A Better Word Than Pretty? Collocation, Translation, and Psycholoinguistics. In: Baker, M., Francis, G. and Tognini-Bonelli, E. &lt;br /&gt;
eds. Text and Technology. Philadelphia/Amsterdam: John Benjamins Publishing Company. pp.213-32. &lt;br /&gt;
&lt;br /&gt;
Mosavat, S., &amp;amp; Rahimpour, S. (2016). The Most and Least Used Translation Strategies for &lt;br /&gt;
Conveying Culture-Specific-Items in Young Adult Literature from English into Persian. International Journal of Humanities and Cultural Studies (IJHCS) ISSN 23565926, 1853-1873. &lt;br /&gt;
&lt;br /&gt;
Munday, J. (1997). Systems in Translation: A computer-assisted systemic approach to the analysis of translation of García Márquez. Ph.D thesis, University of Bradford. &lt;br /&gt;
&lt;br /&gt;
Newmark, P. (2001). A Textbook of Translation. Shanghai: Shanghai Foreign Language &lt;br /&gt;
Education Press &lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. (1988). A Textbook of Translation. New Jersey: Prentice-Halls &lt;br /&gt;
&lt;br /&gt;
Nord, Christiane. (1997). Translating as a Purposeful Activity: Functionalist Approaches &lt;br /&gt;
Explained. Manchester: St. Jerome. Accessed 10 November. 2018. Google Books Schjoldager, A. (2008). Understanding translation. Academica: Århus. &lt;br /&gt;
&lt;br /&gt;
Silalahi, M., &amp;amp; Lubis, S. (2013). Translation Procedures of Cultural Terms Found In Sejarah Bilingual For Students of Senior High School. &lt;br /&gt;
Valipoor, K., &amp;amp; andAzizeh Chalak, H. H. T. (2019). Cultural-specific items in translation of the Holy Quran by Irving: 43-51. &lt;br /&gt;
&lt;br /&gt;
Venuti, L. (1995). The translator’s invisibility: A history of translation. London and New York: &lt;br /&gt;
Routledge &lt;br /&gt;
&lt;br /&gt;
Widiarto, O. V. V. (2016). The translation procedures of cultural expressions applied in a game of thrones translated into Perebutan Tahta novel by Barokah Ruziati (Doctoral dissertation, Dian Nuswantoro University).&lt;br /&gt;
&lt;br /&gt;
=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims to observe the development of translation studies through its different types, various strategies, styles and particular methods. In this paper, the readers are introduced to some famous translation scholars including their view of translation studies. At the further discussions, this study lets the readers acknowledge the main issues on translation studies, focusing on different styles of variations such as grammar, sentence structure, textual analysis, strategies and methods. This study may help those who are interested to conduct translation researches and help them by giving options of which theories is beneficial to their analysis. Moreover, it aims to explore the clear definition of translation as well as help the readers to understand the basic concept which are used in the field of translation. The present study, therefore, attempts to outline the scope of the discipline of translation studies and more importantly, it is an attempt to outline its activity that required a deep mastering of language, a good source of knowledge and target cultures.&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation, styles of variations, strategies&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
It is undoubtedly right that translation is important to share information. In line with these premise, the number of translation professionals is getting higher. In fact, the result of translation researches tends to help human daily life in term of evaluation, designing translator machines, and cultural studies.	 Therefore, translation means converting written information from one language into another. It is the new discipline appeared in the second half of the 20th century. The term “Translation Studies” was coined by James S. Holmes, an American-Dutch poet and translator of poetry, in his seminal paper “The Name and Nature of Translation Studies”.  Translation enables effective communication between people around the world. It is a courier for the transmission of knowledge, a protector of cultural heritage, and essential to the development of a global economy. Translation helps us to know about the developments in the field of creative arts, education, literature, business, science and politics. It has shifted from the traditional conception of the fixed, stable and unchangeable nature of the text and its meaning to a text with wide scope for variations. Translation also helps in nation building. In this globalised world, the demand for translation and language related services has increased many times. Translation is not only needed for the creation of national identity but has also become an essential tool for keeping pace with the processes of globalization and localization. The activity of translation has a long-standing tradition and has been widely practiced throughout history, but in our rapidly changing world its role has become of paramount importance. Nowadays, knowledge in which cultural exchanges have been widening, has been increasingly expanding and international communication has been intensifying, the phenomenon of translation has become fundamental. Be it for scientific, medical, technological, commercial, legal, cultural or literary purposes, today human communication depends heavily on translation and, consequently, interest in the field is also growing. Accordingly, the discussion, in the present study, proceeds primarily from the perspectives of “Translation Studies” and “Linguistics”. One major goal is to show the interrelationships between linguistics and translation, and how they benefit from each other. Nowadays, translation research has started to take another path, which is more automatic. The invention of the internet, together with the new technological developments in communication and digital materials, has increased cultural exchanges between nations. This leads translators to look for ways to cope with these changes and to look for more practical techniques that enable them to translate more and waste less. They also felt the need to enter the world of cinematographic translation, hence the birth of audiovisual translation. The latter technique, also called screen translation, is concerned with the translation of all kinds of TV programs, including films, series, and documentaries. This field is based on computers and translation software programs, and it is composed of two methods; dubbing and subtitling. In fact, audiovisual translation marks a changing era in the domain of translation.&lt;br /&gt;
In short, translation has very wide and rich history in the West. Since its birth, translation was the subject of a variety of research and conflicts between theorists. Each theorist approaches it according to his viewpoint and field of research, the fact that gives its history a changing quality.&lt;br /&gt;
&lt;br /&gt;
Discussion &lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation. For each type, a selection of examples will be considered for analysis based on translation theories and techniques. We will show that some chunks of text require literal translation, while other requires interpretive method. In addition, this paper will also examine various strategies and its styles of variations based on translational study. The following strategies will be presented in the paper as; &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	They involve text manipulation.&lt;br /&gt;
•	They must be applied to the process.&lt;br /&gt;
•	They are goal-oriented.&lt;br /&gt;
•	They are problem-centered.&lt;br /&gt;
•	They are applied consciously.&lt;br /&gt;
•	They are inter-subjective.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Most theorists agree that strategies are used by translators when they encounter a problem and literal translation is not useful. Different researchers have investigated and described various translation strategies from their different perspectives. It intends to show what translation strategies exist and when and why they are used by professional translators. Different scholars have various perspectives to the aspects of the act of translation, so, they define and describe different types of strategies. Bergen's (n. d.) classification of the strategies includes three categorizations which will be discussed mainly in this paper: &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	Comprehension strategies &lt;br /&gt;
•	Transfer strategies&lt;br /&gt;
•	Production strategies&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
An addition to this paper, styles of variations will also be introduced to the readers through different aspects and examples. The concept of style can be defined in terms of the distinctive way an individual or a group uses language, or better still the discourse used to perform distinct functions of language aimed at achieving specific purposes. However, this does not entail that style is simply a matter of form since it is the product of other components such as the genre of discourse, its semantics, syntax and phonology. Indeed, in order to analyze a given stylistic variation one needs an extensive checklist that includes lexical and grammatical categories, allusions, and figures of speech. Style can be understood to refer to the recurring typical features of the source text compared to the typical features of the translated text.  In a quantitative and qualitative analysis, this variation is shown to be influenced by several pragmatic and social factors, and to index the interpreters' stances towards source speakers and towards the immigrant court users who are the recipients of translations from English. It is argued that translation styles have profound consequences for limited English speakers, as the insistence on institutional norms in translating to them is viewed as a gate keeping behavior that may impede their full participation in the proceedings. &lt;br /&gt;
&lt;br /&gt;
What is translation? &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Translation went through various definitions going from a mere linguistics activity during the sixties, a cultural and communicative activity during the seventies reflects the social impacting activity in the latest founding of the literature. &lt;br /&gt;
“Translation is traditionally known as being the replacement of textual material in one language into equivalent textual material in another language”. &lt;br /&gt;
House (2015) mentions that translation is considered as the “replacement” of a text in the source language by a semantically and pragmatically equivalent text in the target language. It is strongly related to a source language and target language cultures. It requires a high level of mastery languages, an awareness of any contextual factors within which the discourse emerges. There is no need to mention how it affected civilizations through different areas of mankind history. For example, An Arab-Islamic civilizations. There have always been different directions on how one should or should not translate. In the Arab tradition, two main methods existed and were in complete divergence namely the literal and the free method. &lt;br /&gt;
On the other hand, in the Western tradition there are various methods currently exist namely, the linguistic, the hermeneutic, the interpretive, the functionalist, the interventionist, the poly-systemic and the text-typologist method.  More so, it may be important to point out that translation has been defined in many ways, and every definition reflects the theoretical approach underpinning it. &lt;br /&gt;
As Shuttlworth and Cowie (1997) observe throughout the history of research into translation, the phenomenon has been variously delimited by formal descriptions, echoing the frameworks of the scholars proposing them. For example, Bell (1991: XV) starts with an informal definition of translation, which runs as follows: the transformation of a text originally in one language into an equivalent text in a different language retaining, as far as is possible, the content of the message and the formal features and functional roles of the original text. &lt;br /&gt;
At the beginning of the ‘scientific’ (Newmark, 1988, p. 2) study of translation, Catford (1965, p. 20) described it in these terms, the replacement of textual material in one language (SL) by the equivalent textual material in another language. &lt;br /&gt;
Thirty years later, in Germany, the concept of translation as a form of ‘equivalence’ is maintained, as we can see from Koller’s definition (1995, p. 196): “The result of a text processing activity, by means of which a source language text is transposed into a target-language text. Between the resultant text in L2 (the target-language text) and the source text in L1 (the source language text) there exists a relationship, which can be designated as a translational, or equivalence relation”. Because complete equivalence (in the sense of synonymy or sameness) cannot take place in any of his categories, Jakobson (1959) declares that all poetic art is, therefore, technically untranslatable. That is, the translator has to take the question of interpretation into account in addition to the problem of selecting a TL phrase which will have a roughly similar meaning. Exact translation is impossible. In this regard, Bassnett (1996) claims that all texts, being part of a literary system descended from and related to other systems are “translations of translation of translations”: every text is unique and at the same time, it is the translation of another text. No text is entirely original because language itself, in its essence, is already a translation: firstly, of the non-verbal world and secondly, since every sign and every phrase is the translation of another sign and another phrase. However, this argument can be turned around without losing any of its validity: all texts are original because every translation is distinctive. Every translation, up to a certain point, is an invention and as such it constitutes a unique text.&lt;br /&gt;
In this analysis of the above definition, Manfredi (2008), points out that the above distinction can be divided into two main perspectives, those that consider translation either as a ‘process’ or a ‘product’. To this twofold categorization, Bell (1991, p. 13) adds a further variable, since he suggests making a distinction between translating (the process), a translation (the product) and translation (i.e., “the abstract concept which encompasses both the process of translating and the product of that process”. Moreover, thanks to advances in new technologies, today we can also incorporate into TS the contribution of corpus linguistics, which allows both theorists and translators analyses of large amounts of electronic texts (Manfredi, 2008). On the other hand, Halliday (1992, p. 15) takes translation to refer to the total process and relationship of equivalence between two languages; we then distinguish, within translation, between “translating” (written text) and “interpreting” (spoken text). Halliday, thus, proposes distinguishing the activity of “translation” (as a process) from the product(s) of “translating”, including both “translation” (concerning written text) and ‘interpreting’ (regarding spoken text.&lt;br /&gt;
“Translation is the production of a functional target text maintaining a relationship with a given source text that is specified according to the intended or demanding function of the target text.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Types of Translation&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation.&lt;br /&gt;
&lt;br /&gt;
Technical translation &lt;br /&gt;
&lt;br /&gt;
Technical translation is a type of specialized translation involving the translation of documents produced by technical writers, or more specifically, texts which relate to technological subject areas or texts which deal with the practical application of scientific and technological information. (Wikipedia) &lt;br /&gt;
Translators' main goal is to accurately translate the technical terminology to match the document and the message of the original content.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The benefits of technical translation&lt;br /&gt;
&lt;br /&gt;
A professional technical translation service is provided by translators with dual specialties, that is, professionals who are fluent in the language pair, but who are also experts in the field covered by the documents to be translated.&lt;br /&gt;
When you need to have your documents translated by a technical translator, translators who are not experts may not be able to provide the necessary solutions and terminology for a quality translation. If the translator is not an expert in the field, he/she will have to learn the new terminology while working. This means that translation will take longer, have higher chances of inaccuracies, and may result in higher costs. Therefore, the main advantages of hiring an agency specialized in this type of service are as follows:&lt;br /&gt;
&lt;br /&gt;
Literary translation&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Literary translation is the translation of creative and dramatic prose and poetry into other languages. This includes the translation of literature from ancient languages and the translation of modern fiction so that it can reach a wider audience. &lt;br /&gt;
Literary translation is of huge importance. It helps to shape our understanding of the world around us in many ways.                                                     Reading Homer and Sophocles as part of a classical education in school helps to build an understanding of history, politics, philosophy and so much more. Meanwhile, reading contemporary translations provides fascinating insights into life in other cultures and other countries.                                                       In a fast-paced world so rife with misunderstanding and confusion, such efforts to share knowledge and experiences across cultural boundaries should be applauded.&lt;br /&gt;
The translation of literature differs greatly from other forms of translation. The sheer size of the texts involved in literary translation sets it apart.                Tackling a translation that runs to hundreds of thousands of words is not a task for the faint-hearted. Nor is recreating poetry in a new language, without losing the beauty and essence of the original work.&lt;br /&gt;
One of the key challenges of literary translation is the need to balance staying faithful to the original work with the need to create something unique and distinctive that will evoke the same feelings and responses as the original. This can be particularly challenging when it comes to translating poetry.&lt;br /&gt;
Poems are written with incredible attention to detail. Not only are the words and phrases important, but the number of syllables and the entire rhythm of the completed work. It’s a challenging task to complete just in one language, let alone when trying to recreate a poet’s work during a translation. Daniel Hahn, director of the British Centre for Literary Translation, sums up the issue beautifully. &lt;br /&gt;
As literary translators will attest, a single word can be extremely troublesome. The author of a work of fiction has chosen that word for a good reason, so the translator must ensure that it is faithfully delivered in the target language. However, what if no direct translation is available? Or what if several options exist, each with a slightly different nuance? Urdu language translator Fahmida Riaz outlines her approach to such thorny issues.&lt;br /&gt;
For instance, “Every piece you translate comes from the pen of an individual, so you have to give it an individual treatment. I try to retain the ambience of the original culture, rather than the language, as it is reflected in the text.” &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Pragmatic translation&lt;br /&gt;
&lt;br /&gt;
Pragmatic translation is the basic assumption that provided a source language text contains no misstatements of fact, is competently written and has to be fully translated rather than summarized or functionally reorientated; one's purpose in translating it is to be referentially and pragmatically accurate. In this paper, I shall not deal with referential accuracy but concentrate instead on the pragmatic aspects of translation. As the term pragmatic translation may be used in a variety of ways, I should like to state my own definition of pragmatic, which derives from Charles Morris and ultimately from Charles S. Peirce. I am using pragmatic as one of the two factors in translation: pragmatic denotes the reader's or readership's reception of the translation, as opposed to referential, which denotes the relationship between the translation and the extra-linguistic reality it describes. &lt;br /&gt;
Translation is a properly way to a properly communication and pragmatics is how to use language in communication properly. By translation, many things from different languages and cultures can understand to each other. In other words, translation can be stated as a facilitator to make a communication runs well.&lt;br /&gt;
&lt;br /&gt;
===An Overview on Translation Studies  ===&lt;br /&gt;
&lt;br /&gt;
===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
&lt;br /&gt;
=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature  --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:45, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the researcher wants to highlight the different concepts about the fundamental question that &amp;quot;what is idiomatic expression&amp;quot;  and the views of various critics, theorists and linguistic experts, and prominent scholars of translation studies.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:38, 13 December 2021 (UTC) Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
&lt;br /&gt;
Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda 2006: 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984: 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992: 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to Newmark, “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”(Newmark 1981: 11).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:38, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to Corelli, English has a sizeable idiomatic base. About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.(Corelli 2006: 53)&lt;br /&gt;
&lt;br /&gt;
The main issue that idiomatic and fixed expressions pose for translators, according to Baker is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.(Baker 1992: 65)&lt;br /&gt;
&lt;br /&gt;
Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.(Ahsan 2020: 12-27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:44, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Literature Review ===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the author/researcher defines the strategy and its different definitions from various perspectivess. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented.(Venutti !995, 35 Krings defines it as the content of the project, while Seguinet divided the term into three steps.(Krings 2000:21). However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. (Locher 2002:76) In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
&lt;br /&gt;
A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward. (Bergen 1996:33)&lt;br /&gt;
&lt;br /&gt;
Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint. (Vinute 1998:41).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to Seguinot (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.(Seguinot 1989:27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Furthermore, Loescher defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot;(Loescher 1991:8) As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998:4) claim moreover, 'Bell' distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.(Bell 1998:188)&lt;br /&gt;
&lt;br /&gt;
According to Venuti, &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot;(Venuti 1998, 240). He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to Jaaskelainen, product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.(Jaaskelainen 2005:15)&lt;br /&gt;
&lt;br /&gt;
Furthermore, Jaaskelainen distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making.(Jaaskelainen 2005:16). Newmarkdistinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;(Newmark 1988, 221)&lt;br /&gt;
&lt;br /&gt;
Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016:13).&lt;br /&gt;
&lt;br /&gt;
The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010:15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017:54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984:12). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
&lt;br /&gt;
Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985:9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female..(Ahsan 2020: 12-27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:31, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== Theoritical Framework ===&lt;br /&gt;
&lt;br /&gt;
In this paper, various strategies have been used, like using an idiom of similar meaning and similar form, the idiom of similar meaning and different form, translation by Paraphrasing, translation by omission. The approach of employing idioms of similar meaning and form, according to Mona Baker, entails using an idiom in the target language that can express about the same meaning as the source language idiom, as well as having lexical similarity. On the other hand, this type of matching happens periodically as well as regularly.(Baker, 1992, 13)&lt;br /&gt;
&lt;br /&gt;
Similarly, employing idioms with similar meanings but different forms means that it is possible to locate an idiom or fixed expression in the target text language that has a similar meaning to the source idiom or expression but is made up of distinct lexical elements. Consider the case of English and French, both of which use the idiom mentioned above. In English, one good deed is rewarded with another, whereas in French, handsome deeds are rewarded with handsome deeds.&lt;br /&gt;
&lt;br /&gt;
Furthermore, we did not come across any idioms in the category mentioned above during translating idioms. To deal with this issue, the translators used the most popular approach, known as a translation by paraphrase, which is short, straightforward, and time-saving. When a match cannot be identified in the target language or when it appears improper to employ idiomatic language in target material due to aesthetic differences between the source and target languages, this is the most typical approach for translating an idiom from source to target language. However, one thing to keep in mind is that a perfect translation is not required is necessary or possible.&lt;br /&gt;
&lt;br /&gt;
Last but not least, to overcome the problem of idiom translation, the translator employs the strategy of translation by omission. This can be defined as an idiom being omitted entirely in the target text with a single word. This is done because the idiom has no close match in the target language; its meaning cannot be easily paraphrased or due to stylistic reasons.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:38, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Data analysis Techniques:&lt;br /&gt;
Textual analysis is the method of data analysis in qualitative research that brings forth the hidden and potent message, structure, and function of research in giving text, Alan Mckee (defines textual analysis as whenever we perform textual analysis on the text, we make an educated guess at some time of the most likely interpretations that might be made of that text (Alan 2001:3)&lt;br /&gt;
Analysis of the translation of short stories in light of Mona baker's theory &amp;quot;khol do and license&amp;quot; are short stories written by Sadat Hassan Manto and translated by many translators from Urdu into English. During translation, the translator adopted many strategies for translating idiomatic expression, sometimes by Paraphrasing, sometimes by omission, sometimes using similar idioms of form and meaning while sometimes using different words and the same form, the whole.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:51, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Discussion and Analysis===&lt;br /&gt;
&lt;br /&gt;
The chapter analyzes and discusses all the data collected by the author/researcher from different sources. All the examples of idioms are first identified, then translated into the target text, and back-translated for the sole purpose of exploring the strategies being used by the translator. A separate section is given to every strategy with its related example. Moreover, the idiomatic expression, the target work for finding, is highlighted through the bold letter.&lt;br /&gt;
&lt;br /&gt;
4.1	Translation by Paraphrasing:&lt;br /&gt;
&lt;br /&gt;
Based on our findings, the most often used strategy was &amp;quot;translation by paraphrasing.&amp;quot; An inspection also reveals that Aatish Taseer preferred this strategy. Here are some examples applied by the translators, and in the following section, the logic behind their preference towards this strategy is elaborate. The following are examples from two short stories of Sadat Husain Manto's &amp;quot;khol do&amp;quot; and &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 1: &lt;br /&gt;
&lt;br /&gt;
ST: Sirajuddin ne subah das baji anki kholi to logo ka ail mutalatam samandar deka.&lt;br /&gt;
&lt;br /&gt;
TT: Ten a.m., Siraj Uddin opens his eyes on the cold floor of the camp, seeing the swelling sea of men.&lt;br /&gt;
&lt;br /&gt;
BT: sub ke das baji jab Sirajuddin ne apni anki koli to logo ka aik ublaha howa samandar ka nizara dekni laga.&lt;br /&gt;
&lt;br /&gt;
So, the above idioms are literal idioms being translated with the help of Paraphrasing because there is no perfect equivalent of mutalatam words in English languages. A similar look at another idiom from short stories &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&lt;br /&gt;
ST: Khuda tomahra bala kari.&lt;br /&gt;
&lt;br /&gt;
TT: Your God will reward&lt;br /&gt;
&lt;br /&gt;
BT: Is ka badla khoda tomahi di.&lt;br /&gt;
&lt;br /&gt;
Here, the word reward is being used for Bala Kari, an example of transitional by Paraphrasing.&lt;br /&gt;
Let  take another example from &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
&lt;br /&gt;
ST: unkho nai Jan khateli pa rak kar sakena ko donda.&lt;br /&gt;
&lt;br /&gt;
TT: even putting their lives online, they search sakina &lt;br /&gt;
&lt;br /&gt;
BT: apni zindagio ko khatri me dal kar unkho nai sakina ko dond nekala.&lt;br /&gt;
&lt;br /&gt;
The above idioms are examples of pure idiom translated from Urdu into English with the help of paraphrases strategies. However, under the same strategies, the idioms of another short story of Manto,s &amp;quot;license,&amp;quot; are translated by Aatish Taseer. Some of the examples are given below.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
ST: Abu kochwan bara cheel jabela ta. It is the binomial type of idioms taken from the first sentence of the short story &amp;quot;license&amp;quot; by Sadat &lt;br /&gt;
Hasan Manto &lt;br /&gt;
&lt;br /&gt;
TT: Abu kochwan is stylish man.&lt;br /&gt;
&lt;br /&gt;
BT: Abu kochwan aik wazahdar admi ta.&lt;br /&gt;
&lt;br /&gt;
From the above idiom, it is clear that there is no perfect equivalence of cheela chabela idiom in English; that is, the translator goes &lt;br /&gt;
through paraphrasing strategies. Look at another example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
ST: Lein har waqat bank bani rekhi ka usi be had showk ta&lt;br /&gt;
&lt;br /&gt;
TT: He had a weakness for style and fashion.&lt;br /&gt;
&lt;br /&gt;
BT: Dan saj ke rekhna uski kamzori me sai ik ta.&lt;br /&gt;
&lt;br /&gt;
So all of the above examples, which are analyzed one by one, are examples of idioms being translated through paraphrasing strategies. (De Beaugrande and Dressler 1981, 50) define paraphrases as &amp;quot;approximate conceptual equivalence among outwardly different material.&amp;quot; Similarly, in this regard, Hirst defines paraphrases as &amp;quot;talk(ing) about the same situation in a different way.&amp;quot; Munday declared that &amp;quot;equivalence is particularly useful in translating idioms and proverbs” For instance, if the English idiom like a bear with a sore head is rendered into Persian as (mesle borje zahremar), meaning like a tower of snake venom, the strategy of equivalence has been applied. &lt;br /&gt;
&lt;br /&gt;
According to Leonardi, &amp;quot;Equivalence can be said to be the central issue in translation.&amp;quot; In this regard, house believes that &amp;quot;a translation text should match not only its source text in function but also employ equivalent situational-dimensional means to achieve that function&amp;quot; (Baker 2002, 49).  who shares this approach, states that equivalence is used &amp;quot;for the sake of convenience—because most translators are used to it rather than because it has any theoretical status&amp;quot; (Kenny 1998, 77). &lt;br /&gt;
&lt;br /&gt;
Despite different attitudes to the concept of equivalence, most specialists pay much attention to its meaning in the theory of translation. The translation is a form of communication, and that is why it is vital to establish equivalence between the source text and the target text. Although Vinay and Darbelnet believe that equivalence is used differently than in modern translation theory, it is evident that equivalence is one of the basic concepts of translation that cannot be neglected. Consequently, based on the Above mentioned studies using Paraphrasing in translation stands as the core concept in the process of translation, and still, most of the translators cling to it for producing a more comprehensible and explicable text. These language ideas and translation models are ideal constructs, presented abstractly in order to be differentiated precisely. They may exist in an uneasy combination in actual theories and practices, resulting in logical tensions or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation. Theories and actions must be contextualized in historical settings. They've been utilized as analytical tools to describe various topics in section introductions. Theoretical writings and current events these language notions and translation models are ideal constructs expressed in an abstract manner in order to be distinguished precisely in real-life hypotheses they may exist in an uncomfortable mix, resulting in logical conflicts or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
4.2	Using an idiom of Similar Meaning and Form &lt;br /&gt;
&lt;br /&gt;
As mentioned earlier, this strategy type is being used by Aatish Taseer during their translated work of Manto's short stories &amp;quot;khol do&amp;quot; and&amp;quot; license&amp;quot; on an occasional basis. Some examples are mention below.&lt;br /&gt;
&lt;br /&gt;
From khol do.&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
ST: Larki ka rang zard hogaya.&lt;br /&gt;
&lt;br /&gt;
TT: The girl's face became fail&lt;br /&gt;
&lt;br /&gt;
BT: larki ka rang zar hogya.&lt;br /&gt;
&lt;br /&gt;
Similarly, another example from the license is&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: Abu our us ke mat beer hogaie&lt;br /&gt;
&lt;br /&gt;
TT: They fall in love with each other.&lt;br /&gt;
&lt;br /&gt;
BT: WO ik dosri ke mokhbat me geriftar hogaie&lt;br /&gt;
&lt;br /&gt;
The above idioms are pure ones and are being translated with the help of similar meanings and similar forms.&lt;br /&gt;
&lt;br /&gt;
The procedures: transposition, modulation, equivalence, and adaptation, and when it comes to defining the term Equivalence, (Vinay and Darbelnet 2000, 90) propose that it consists in rendering &amp;quot;the same situation … by two texts using completely different stylistic and structural methods&amp;quot;, and when it comes to translating idiomatic expressions like &amp;quot;Il pleut à seaux&amp;quot; it can be translated as &amp;quot;It is raining cats and dogs&amp;quot; using the idiom of similar form and meaning in the target language.&lt;br /&gt;
&lt;br /&gt;
As (Baker 1992, 12) states, this strategy involves using an idiom in the TL which conveys roughly the same meaning as that of the source language idiom and, in addition, consists of identical lexical items. The salient point is that this kind of match can only occasionally be achieved, which cannot be picked up more often by translators. Accordingly, both translators mentioned in the current study had quite a slim chance of using this strategy type. &lt;br /&gt;
&lt;br /&gt;
4.3 Using an idiom of similar meaning but different form:&lt;br /&gt;
&lt;br /&gt;
During translating Manto short stories, &amp;quot;khol do&amp;quot; and &amp;quot;license,&amp;quot; some of the idioms are translated with the help of this strategy. Some of the examples are given below from two different short stories.&lt;br /&gt;
&lt;br /&gt;
Example number one is from the short story &amp;quot;khol do&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
ST: Aur bolwai gos ayai thee?&lt;br /&gt;
&lt;br /&gt;
TT: The roitors come abroad.&lt;br /&gt;
&lt;br /&gt;
BT: pasadi bahar agai hai.&lt;br /&gt;
&lt;br /&gt;
The above idiom is a pure type of idiom being translated with the help of above mention strategy. The word rioter is being used for bolwai, which is not a perfect word for bolwai. In Urdu bolwai, people believe in violence when minorities or the low population of any country want some rights. These people stop them by using violence, burn down their properties, rapes women, and do things like that. Another example from the license is below.&lt;br /&gt;
&lt;br /&gt;
Example 9:&lt;br /&gt;
&lt;br /&gt;
ST: Dosri kotwal abu ko dek kar jal ban ho jati.&lt;br /&gt;
&lt;br /&gt;
TT: The other coachman burn with envy.&lt;br /&gt;
&lt;br /&gt;
BT: Abu ke kamyabi dek kar aur kotwal abu sai khasad karni lagi’&lt;br /&gt;
&lt;br /&gt;
The above idioms are a pure idiom that reflects the effect of jealousy between competitors to achieve equivalency. Aatish Taseer uses envy word for jal ban instead of other which have similar meaning but different form. Look at the other example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: Dino lat vo lagal se kam karni laga.&lt;br /&gt;
&lt;br /&gt;
TT: Dino came with an excuse.&lt;br /&gt;
&lt;br /&gt;
BT: Dino abb bahi tarashni laga.&lt;br /&gt;
	&lt;br /&gt;
The above idioms are types of binomial idioms translated with the help of idioms with similar meanings and different forms. (Newmark 1988, 81) mentions the difference between translation methods and translation procedures. He writes that &amp;quot;[w]hile translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language&amp;quot; (Newmark 1988, 81). Idiomatic translation in his definition reproduces the 'message' of the original. However, it distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original, leading to using an idiom of similar meaning but a different form. Besides, it is often possible to find an idiom or fixed expression in the target language with a meaning similar to that of the source idiom or expression but which consists of different lexical items (Baker 1992, 12). Therefore, translators discover idiomatic expressions in the target language with different forms than in the source language. In the current study, the translators approached this strategy merely for 9% of the total times, which means the frequency of Iranian and English idioms with the same meaning and different forms is not considered high. &lt;br /&gt;
&lt;br /&gt;
4.4 Translation by omission:&lt;br /&gt;
&lt;br /&gt;
A translator is less using these strategies, and we did not find any clue on this type of strategy in an area under consideration.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:48, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== Findings===&lt;br /&gt;
&lt;br /&gt;
(Mandelbit 1995) believed that idioms with different cognitive mapping in the target language would be more challenging to translate. After conducting study and data analysis of collected data, the result revealed that the translator frequently used three out of four strategies of the Mona Baker model during the translation process, which is a translation by Paraphrasing, translation by similar meaning and similar form, translation by similar meaning and different form. In contrast, translation by omission does not found in his work.&lt;br /&gt;
After detail and careful analysis of data, more than half of idioms like &amp;quot;swelling sea of man,” my lord break his arrogance, “weakness for style and fashion.&amp;quot; As I mentioned earlier, many more are translated under the umbrella of Paraphrasing, which is considered the most common method used for translating idioms.&lt;br /&gt;
&lt;br /&gt;
Similarly, we also reflect strategies like similar meaning and different form and similar meaning and similar form. The idiom &amp;quot;rioter came abroad,” burn with envy,” The girl's face became pale, &amp;quot; They fall in love with each other&amp;quot; are translated with the help of two mention strategies, respectively.&lt;br /&gt;
&lt;br /&gt;
Although translation by omission is a strategy used on rare occasions because of its meaning, its meaning cannot be easily paraphrased or stylistic reason. Here, the researcher also did not find any idiom translated with the help of the omission strategy.&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
Go through detailed discussion and analysis of data collected from my source. We finally concluded that the idioms present in two short stories, &amp;quot;khol do&amp;quot; and &amp;quot;License,&amp;quot; are translated under the frame of Mona Baker's idiomatic model. Translation by Paraphrasing is mainly used while idioms of similar meaning and form and idioms of similar meaning and different forms are used occasionally. The researcher discusses all the strategies with related examples in the order of maximum used to minimum used. The strategy by omission did not find it works. All the data are collected from different sources and analyzed with the help of different researcher tools, and the result is written in light of the finding. Different from previous studies, the writer presents the strategies to translate idioms by each type of idiomatic expression found in the story. From the result, it is considered the translation of idiomatic expressions in the story is quite accurate. As the number of accurate data is more the data which is not related to the translation. We take conclusion from the translation through idiomatic expression and paraphrasing is the best way to translate a novel or a story however it is very difficult job to do because it needs more accurate and precise knowledge about the source language and an inspiring method to express ideas in the target language. However, translation is thing through which we can connect the world with each other and also we can study and observe diverse cultures.            &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abu-Saydeh, A. F. (2004). Translation of English idioms into Arabic. Babel, 114-131.&lt;br /&gt;
&lt;br /&gt;
Ahsan, S. (2020). A comparative study of two translations of manto's short story &amp;quot;Toba Tek&amp;quot;. International Journal of English Language Studies, 12-27.&lt;br /&gt;
&lt;br /&gt;
Alexander, R. J. (1987). Mimeograph. In R. J. Alexander (Ed.) Collocation and Culture. Trier: University of Trier, West Germany.&lt;br /&gt;
&lt;br /&gt;
Al-Qinai, J. (2000). Translation quality assessment. strategies, parameters and procedures. Translator's Journal, 497-519.&lt;br /&gt;
&lt;br /&gt;
Bayashi, J. (2020). Japanese-English translation: An advanced guide. Oxfordshire: Routledge.&lt;br /&gt;
&lt;br /&gt;
Das, V. &amp;amp;. (1995). Critical events: An anthropological perspective on contemporary India. New Delhi: Oxford Printing Press.&lt;br /&gt;
&lt;br /&gt;
Mufti, A. (2007). The Language of English India. In I. &amp;amp;. End (Ed.) Enlightenment in the Colony. Princeton University Press.&lt;br /&gt;
&lt;br /&gt;
Waka Xia, L. (2019). A discourse analysis of news translation in China. Syydney: Routledge.&lt;br /&gt;
&lt;br /&gt;
= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
===Ambiguity===&lt;br /&gt;
&lt;br /&gt;
===Lexical and Structural Mismatches===&lt;br /&gt;
&lt;br /&gt;
===Multiword units: Idioms and Collocations===&lt;br /&gt;
&lt;br /&gt;
===Summary===&lt;br /&gt;
&lt;br /&gt;
===Further Reading===&lt;br /&gt;
&lt;br /&gt;
=刘胜楠 A Case Study of ''Ne Zha'' on Subtitle Translation Strategies from the Perspective of Skopos Theory= &lt;br /&gt;
[[Trans_Type_EN_15]]&lt;/div&gt;</summary>
		<author><name>Atta Ur Rahman</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=132446</id>
		<title>Translation types, strategies, styles, methods</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=132446"/>
		<updated>2021-12-13T16:31:53Z</updated>

		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* Literature Review */&lt;/p&gt;
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&lt;div&gt;'''Translation types, strategies, styles, methods'''&lt;br /&gt;
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[[Translation_types,_strategies,_styles,_methods|Overview Page of Translation types, strategies, styles, methods]]&lt;br /&gt;
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30 Chapters（0/30)&lt;br /&gt;
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[[Trans_Type_EN_1]] [[Trans_Type_EN_2]] [[Trans_Type_EN_3]] [[Trans_Type_EN_4]] [[Trans_Type_EN_5]] [[Trans_Type_EN_6]] [[Trans_Type_EN_7]] [[Trans_Type_EN_8]] [[Trans_Type_EN_9]] [[Trans_Type_EN_10]] [[Trans_Type_EN_11]] [[Trans_Type_EN_12]] [[Trans_Type_EN_13]] [[Trans_Type_EN_14]] [[Trans_Type_EN_15]] [[Trans_Type_EN_16]] [[Trans_Type_EN_17]] [[Trans_Type_EN_18]] [[Trans_Type_EN_19]] [[Trans_Type_EN_20]] [[Trans_Type_EN_21]] [[Trans_Type_EN_22]] [[Trans_Type_EN_23]] [[Trans_Type_EN_24]] [[Trans_Type_EN_25]] [[Trans_Type_EN_26]] [[Trans_Type_EN_27]] [[Trans_Type_EN_28]] [[Trans_Type_EN_29]] [[Trans_Type_EN_30]] ...&lt;br /&gt;
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[[Book_projects|Back to translation project overview]]&lt;br /&gt;
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[[DCG-To-Do|To the To Do List]]&lt;br /&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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'''浅析美版《甄嬛传》的字幕翻译策略'''&lt;br /&gt;
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[[Trans_Type_EN_1]]&lt;br /&gt;
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阳佳颖 Yang Jiaying, Hunan Normal University, China&lt;br /&gt;
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=Chapter 2: The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
'''纽马克翻译理论指导下旅游文本中翻译策略与翻译方法的使用——以''Everglades National Park, Florida (Excerpt)''为例'''&lt;br /&gt;
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[[Trans_Type_EN_2]]&lt;br /&gt;
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刘晓 Liu Xiao, Hunan Normal University, China&lt;br /&gt;
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=Chapter 3: Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
交际翻译理论指导下小说题材所适用的翻译方法和翻译策略—以韩国小说集《恩珠的电影》（节选）为例&lt;br /&gt;
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[[Trans_Type_EN_3]]&lt;br /&gt;
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刘越Liu Yue ，Hunan Normal University，China&lt;br /&gt;
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=Chapter 4: On Translation Strategies and Translation Methods in Chinese Translation of English Prose -- A Case Study of Chinese Translation of English Prose &amp;quot;Pleasures of Ignorance&amp;quot;=&lt;br /&gt;
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'''浅析英语散文汉译中的翻译策略和翻译方法——以英语散文《无知的乐趣》汉译本为例'''&lt;br /&gt;
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[[Trans_Type_EN_4]]&lt;br /&gt;
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毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
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=Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
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毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
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=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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[[Trans_Type_EN_6]]&lt;br /&gt;
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彭瑞雪 Peng Ruixue, Hunan University, China&lt;br /&gt;
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=Chapter 7: A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
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[[Trans_Type_EN_7]]&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
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=Chapter 8:Translation methods and strategies applicable to the style of biographical literature -- Taking ''Incidents in Life of Slave Girl'' (excerpt) as an example=&lt;br /&gt;
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'''传记文学的文体所适用的翻译技巧与策略——以英文传记《一名女奴的人生际遇》(节选)为例'''&lt;br /&gt;
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[[Trans_Type_EN_8]]&lt;br /&gt;
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颜子涵 Yan Zihan, Hunan Normal University, China&lt;br /&gt;
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=Chapter 9: On the Translation Strategies of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hung-ming and Xu Yuanchong=&lt;br /&gt;
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'''视域融合视角下看《论语》英译的翻译策略—以辜鸿铭和许渊冲的英译本为例'''&lt;br /&gt;
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[[Trans_Type_EN_9]]&lt;br /&gt;
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邝艳丽 Kuang Yanli, Hunan Normal University, China&lt;br /&gt;
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=杨柳青 Bian Zhilin's Literary Translation Theories and Practice——Take His Translation of Romantic Poems as Examples=&lt;br /&gt;
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Yang Liuqing杨柳青,Hunan Normal University,China.&lt;br /&gt;
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=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
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===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
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===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
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===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012:37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær 2015:10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005;9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004;1). Translation is essential for cultures and languages to exchange information. Newmark (1988) defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects(Newmark 1988;2). Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
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Nida indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style(Nida 1964;32). Larson (1998) has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context(Larson 1998;23).--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:41, 13 December 2021 (UTC) &lt;br /&gt;
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Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”.(Snell-Hornby 1988;33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957;167). By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
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The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003;16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
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This study is aimed to probe Newmark's translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988;81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:41, 13 December 2021 (UTC)&lt;br /&gt;
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===Translation and Culture===&lt;br /&gt;
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2. Translation and Culture &lt;br /&gt;
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Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
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The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988;7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988;5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988;7).  &lt;br /&gt;
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In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language”(Catford 1965;20). According to Venuti translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader”(Venuti 1995;18). Schjoldager stated that“a translation is a text that expresses what another text has expressed in another language”(Schjoldager 2008;19). Culture is a complex whole which includes knowledge,belief,art,law,morals,customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014;2). Hermanns contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures(Hermanns 1999;22) Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014;2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001;328). &lt;br /&gt;
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Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
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2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
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Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora, fauna, food, clothes, housing, work, leisure, politics, law, and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988;327) Christine Nord names them “culturemes” (Nord 1997;9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012;1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Aixela, 1997; Davies, 2003), others choose cultural words (Newmark, 2003) or culture-bound phenomena/concepts (Baker, 1992, Newmark, 2003, Robinson, 2003). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker, 1992, 21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988, 94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988, 95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988, 95).--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:02, 13 December 2021 (UTC)&lt;br /&gt;
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2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
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The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85;22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003;16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:02, 13 December 2021 (UTC)&lt;br /&gt;
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===Types of Translation ===&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
Newmark determines 8 types of translation which are: &lt;br /&gt;
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3.1 Word-for-Word Translation &lt;br /&gt;
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This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
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3.2 Literal translation &lt;br /&gt;
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In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
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3.4 Semantic Translation &lt;br /&gt;
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Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
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3.5 Adaptation &lt;br /&gt;
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This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015;15). &lt;br /&gt;
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3.6 Free Translation &lt;br /&gt;
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The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
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3.7 Idiomatic Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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3.8 Communicative Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:05, 13 December 2021 (UTC) &lt;br /&gt;
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===Translation Strategies  ===&lt;br /&gt;
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4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
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4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela (1996), translators need to choose several strategies based on the source language culture and target culture.  He distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, he tries to command by the level of their intercultural intervention. He divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies). &lt;br /&gt;
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4.1.1. Conservation: &lt;br /&gt;
In conservation, the less compelling process includes repetition, orthographic adaptation, linguistic translation, extratextual gloss and intratextual gloss. &lt;br /&gt;
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4.1.1.1 Repetition: In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus, the translator keeps as much as possible the original reference (Aixela, 1996, p. 61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
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4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
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4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
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4.1.1.4 Extra-textual Gloss: Here, the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes, endings, words, ideas, translators in dictionaries, italics and so on. &lt;br /&gt;
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4.1.1.5 Intra-textual Gloss: It's like the past but the translator feels that he/she can include the globe as an indirect part of the text, not to distract the reader. &lt;br /&gt;
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4.2.1 Substitution &lt;br /&gt;
In substitution, According (Aixela, 1996) “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here”. &lt;br /&gt;
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4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
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4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
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4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela, 1997, p.63). &lt;br /&gt;
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4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Shokri, Ketabi, 2015, p.8). &lt;br /&gt;
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4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela, 1996, p. 64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
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4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela, 1997). &lt;br /&gt;
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4.3 Mona Baker’s Translation Strategies &lt;br /&gt;
Baker’s strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation. (Baker, 1992). He suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies, which are the following: &lt;br /&gt;
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4.3.1 Translation by a more general word: According to Baker, this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
&lt;br /&gt;
4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
&lt;br /&gt;
4.3.3 Translation by cultural substitution: This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
&lt;br /&gt;
4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
&lt;br /&gt;
4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
&lt;br /&gt;
4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
&lt;br /&gt;
4.3.7 Translation by omission: Losing phrases or words that are not vital to text development. &lt;br /&gt;
&lt;br /&gt;
4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view, however, Baker's (1992) translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
&lt;br /&gt;
===Cultural Categories  ===&lt;br /&gt;
&lt;br /&gt;
5. Cultural categories &lt;br /&gt;
 &lt;br /&gt;
5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
&lt;br /&gt;
5.1.2 Material culture &lt;br /&gt;
&lt;br /&gt;
Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.” &lt;br /&gt;
&lt;br /&gt;
5.1.3 Social culture &lt;br /&gt;
&lt;br /&gt;
The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
&lt;br /&gt;
5.1.4 Organisation &lt;br /&gt;
&lt;br /&gt;
Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
 &lt;br /&gt;
5.2 Newmark Classification CSIs &lt;br /&gt;
&lt;br /&gt;
Newmark (1988) established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items. (Newmark 1988, 97) &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
 &lt;br /&gt;
Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
&lt;br /&gt;
2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
&lt;br /&gt;
3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
&lt;br /&gt;
4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
&lt;br /&gt;
5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
&lt;br /&gt;
6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
&lt;br /&gt;
7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
&lt;br /&gt;
8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
&lt;br /&gt;
9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
&lt;br /&gt;
10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
&lt;br /&gt;
11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
&lt;br /&gt;
12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
&lt;br /&gt;
13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
&lt;br /&gt;
14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
&lt;br /&gt;
16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
&lt;br /&gt;
17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
&lt;br /&gt;
18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
&lt;br /&gt;
19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
&lt;br /&gt;
20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
&lt;br /&gt;
21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
&lt;br /&gt;
22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
&lt;br /&gt;
23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
&lt;br /&gt;
24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996, 31), “translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by (Newmark 1988, 81), “translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.” &lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation, then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions. &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity, as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts, the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term, and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part, but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark (1988) has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9. &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark’s strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark (1988) were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However, the translator must be competent in using the translation procedures to provide an accurate translation. &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
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=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims to observe the development of translation studies through its different types, various strategies, styles and particular methods. In this paper, the readers are introduced to some famous translation scholars including their view of translation studies. At the further discussions, this study lets the readers acknowledge the main issues on translation studies, focusing on different styles of variations such as grammar, sentence structure, textual analysis, strategies and methods. This study may help those who are interested to conduct translation researches and help them by giving options of which theories is beneficial to their analysis. Moreover, it aims to explore the clear definition of translation as well as help the readers to understand the basic concept which are used in the field of translation. The present study, therefore, attempts to outline the scope of the discipline of translation studies and more importantly, it is an attempt to outline its activity that required a deep mastering of language, a good source of knowledge and target cultures.&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation, styles of variations, strategies&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
It is undoubtedly right that translation is important to share information. In line with these premise, the number of translation professionals is getting higher. In fact, the result of translation researches tends to help human daily life in term of evaluation, designing translator machines, and cultural studies.	 Therefore, translation means converting written information from one language into another. It is the new discipline appeared in the second half of the 20th century. The term “Translation Studies” was coined by James S. Holmes, an American-Dutch poet and translator of poetry, in his seminal paper “The Name and Nature of Translation Studies”.  Translation enables effective communication between people around the world. It is a courier for the transmission of knowledge, a protector of cultural heritage, and essential to the development of a global economy. Translation helps us to know about the developments in the field of creative arts, education, literature, business, science and politics. It has shifted from the traditional conception of the fixed, stable and unchangeable nature of the text and its meaning to a text with wide scope for variations. Translation also helps in nation building. In this globalised world, the demand for translation and language related services has increased many times. Translation is not only needed for the creation of national identity but has also become an essential tool for keeping pace with the processes of globalization and localization. The activity of translation has a long-standing tradition and has been widely practiced throughout history, but in our rapidly changing world its role has become of paramount importance. Nowadays, knowledge in which cultural exchanges have been widening, has been increasingly expanding and international communication has been intensifying, the phenomenon of translation has become fundamental. Be it for scientific, medical, technological, commercial, legal, cultural or literary purposes, today human communication depends heavily on translation and, consequently, interest in the field is also growing. Accordingly, the discussion, in the present study, proceeds primarily from the perspectives of “Translation Studies” and “Linguistics”. One major goal is to show the interrelationships between linguistics and translation, and how they benefit from each other. Nowadays, translation research has started to take another path, which is more automatic. The invention of the internet, together with the new technological developments in communication and digital materials, has increased cultural exchanges between nations. This leads translators to look for ways to cope with these changes and to look for more practical techniques that enable them to translate more and waste less. They also felt the need to enter the world of cinematographic translation, hence the birth of audiovisual translation. The latter technique, also called screen translation, is concerned with the translation of all kinds of TV programs, including films, series, and documentaries. This field is based on computers and translation software programs, and it is composed of two methods; dubbing and subtitling. In fact, audiovisual translation marks a changing era in the domain of translation.&lt;br /&gt;
In short, translation has very wide and rich history in the West. Since its birth, translation was the subject of a variety of research and conflicts between theorists. Each theorist approaches it according to his viewpoint and field of research, the fact that gives its history a changing quality.&lt;br /&gt;
&lt;br /&gt;
Discussion &lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation. For each type, a selection of examples will be considered for analysis based on translation theories and techniques. We will show that some chunks of text require literal translation, while other requires interpretive method. In addition, this paper will also examine various strategies and its styles of variations based on translational study. The following strategies will be presented in the paper as; &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	They involve text manipulation.&lt;br /&gt;
•	They must be applied to the process.&lt;br /&gt;
•	They are goal-oriented.&lt;br /&gt;
•	They are problem-centered.&lt;br /&gt;
•	They are applied consciously.&lt;br /&gt;
•	They are inter-subjective.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Most theorists agree that strategies are used by translators when they encounter a problem and literal translation is not useful. Different researchers have investigated and described various translation strategies from their different perspectives. It intends to show what translation strategies exist and when and why they are used by professional translators. Different scholars have various perspectives to the aspects of the act of translation, so, they define and describe different types of strategies. Bergen's (n. d.) classification of the strategies includes three categorizations which will be discussed mainly in this paper: &lt;br /&gt;
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•	Comprehension strategies &lt;br /&gt;
•	Transfer strategies&lt;br /&gt;
•	Production strategies&lt;br /&gt;
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An addition to this paper, styles of variations will also be introduced to the readers through different aspects and examples. The concept of style can be defined in terms of the distinctive way an individual or a group uses language, or better still the discourse used to perform distinct functions of language aimed at achieving specific purposes. However, this does not entail that style is simply a matter of form since it is the product of other components such as the genre of discourse, its semantics, syntax and phonology. Indeed, in order to analyze a given stylistic variation one needs an extensive checklist that includes lexical and grammatical categories, allusions, and figures of speech. Style can be understood to refer to the recurring typical features of the source text compared to the typical features of the translated text.  In a quantitative and qualitative analysis, this variation is shown to be influenced by several pragmatic and social factors, and to index the interpreters' stances towards source speakers and towards the immigrant court users who are the recipients of translations from English. It is argued that translation styles have profound consequences for limited English speakers, as the insistence on institutional norms in translating to them is viewed as a gate keeping behavior that may impede their full participation in the proceedings. &lt;br /&gt;
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What is translation? &lt;br /&gt;
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Translation went through various definitions going from a mere linguistics activity during the sixties, a cultural and communicative activity during the seventies reflects the social impacting activity in the latest founding of the literature. &lt;br /&gt;
“Translation is traditionally known as being the replacement of textual material in one language into equivalent textual material in another language”. &lt;br /&gt;
House (2015) mentions that translation is considered as the “replacement” of a text in the source language by a semantically and pragmatically equivalent text in the target language. It is strongly related to a source language and target language cultures. It requires a high level of mastery languages, an awareness of any contextual factors within which the discourse emerges. There is no need to mention how it affected civilizations through different areas of mankind history. For example, An Arab-Islamic civilizations. There have always been different directions on how one should or should not translate. In the Arab tradition, two main methods existed and were in complete divergence namely the literal and the free method. &lt;br /&gt;
On the other hand, in the Western tradition there are various methods currently exist namely, the linguistic, the hermeneutic, the interpretive, the functionalist, the interventionist, the poly-systemic and the text-typologist method.  More so, it may be important to point out that translation has been defined in many ways, and every definition reflects the theoretical approach underpinning it. &lt;br /&gt;
As Shuttlworth and Cowie (1997) observe throughout the history of research into translation, the phenomenon has been variously delimited by formal descriptions, echoing the frameworks of the scholars proposing them. For example, Bell (1991: XV) starts with an informal definition of translation, which runs as follows: the transformation of a text originally in one language into an equivalent text in a different language retaining, as far as is possible, the content of the message and the formal features and functional roles of the original text. &lt;br /&gt;
At the beginning of the ‘scientific’ (Newmark, 1988, p. 2) study of translation, Catford (1965, p. 20) described it in these terms, the replacement of textual material in one language (SL) by the equivalent textual material in another language. &lt;br /&gt;
Thirty years later, in Germany, the concept of translation as a form of ‘equivalence’ is maintained, as we can see from Koller’s definition (1995, p. 196): “The result of a text processing activity, by means of which a source language text is transposed into a target-language text. Between the resultant text in L2 (the target-language text) and the source text in L1 (the source language text) there exists a relationship, which can be designated as a translational, or equivalence relation”. Because complete equivalence (in the sense of synonymy or sameness) cannot take place in any of his categories, Jakobson (1959) declares that all poetic art is, therefore, technically untranslatable. That is, the translator has to take the question of interpretation into account in addition to the problem of selecting a TL phrase which will have a roughly similar meaning. Exact translation is impossible. In this regard, Bassnett (1996) claims that all texts, being part of a literary system descended from and related to other systems are “translations of translation of translations”: every text is unique and at the same time, it is the translation of another text. No text is entirely original because language itself, in its essence, is already a translation: firstly, of the non-verbal world and secondly, since every sign and every phrase is the translation of another sign and another phrase. However, this argument can be turned around without losing any of its validity: all texts are original because every translation is distinctive. Every translation, up to a certain point, is an invention and as such it constitutes a unique text.&lt;br /&gt;
In this analysis of the above definition, Manfredi (2008), points out that the above distinction can be divided into two main perspectives, those that consider translation either as a ‘process’ or a ‘product’. To this twofold categorization, Bell (1991, p. 13) adds a further variable, since he suggests making a distinction between translating (the process), a translation (the product) and translation (i.e., “the abstract concept which encompasses both the process of translating and the product of that process”. Moreover, thanks to advances in new technologies, today we can also incorporate into TS the contribution of corpus linguistics, which allows both theorists and translators analyses of large amounts of electronic texts (Manfredi, 2008). On the other hand, Halliday (1992, p. 15) takes translation to refer to the total process and relationship of equivalence between two languages; we then distinguish, within translation, between “translating” (written text) and “interpreting” (spoken text). Halliday, thus, proposes distinguishing the activity of “translation” (as a process) from the product(s) of “translating”, including both “translation” (concerning written text) and ‘interpreting’ (regarding spoken text.&lt;br /&gt;
“Translation is the production of a functional target text maintaining a relationship with a given source text that is specified according to the intended or demanding function of the target text.&lt;br /&gt;
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Types of Translation&lt;br /&gt;
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Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation.&lt;br /&gt;
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Technical translation &lt;br /&gt;
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Technical translation is a type of specialized translation involving the translation of documents produced by technical writers, or more specifically, texts which relate to technological subject areas or texts which deal with the practical application of scientific and technological information. (Wikipedia) &lt;br /&gt;
Translators' main goal is to accurately translate the technical terminology to match the document and the message of the original content.&lt;br /&gt;
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The benefits of technical translation&lt;br /&gt;
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A professional technical translation service is provided by translators with dual specialties, that is, professionals who are fluent in the language pair, but who are also experts in the field covered by the documents to be translated.&lt;br /&gt;
When you need to have your documents translated by a technical translator, translators who are not experts may not be able to provide the necessary solutions and terminology for a quality translation. If the translator is not an expert in the field, he/she will have to learn the new terminology while working. This means that translation will take longer, have higher chances of inaccuracies, and may result in higher costs. Therefore, the main advantages of hiring an agency specialized in this type of service are as follows:&lt;br /&gt;
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Literary translation&lt;br /&gt;
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Literary translation is the translation of creative and dramatic prose and poetry into other languages. This includes the translation of literature from ancient languages and the translation of modern fiction so that it can reach a wider audience. &lt;br /&gt;
Literary translation is of huge importance. It helps to shape our understanding of the world around us in many ways.                                                     Reading Homer and Sophocles as part of a classical education in school helps to build an understanding of history, politics, philosophy and so much more. Meanwhile, reading contemporary translations provides fascinating insights into life in other cultures and other countries.                                                       In a fast-paced world so rife with misunderstanding and confusion, such efforts to share knowledge and experiences across cultural boundaries should be applauded.&lt;br /&gt;
The translation of literature differs greatly from other forms of translation. The sheer size of the texts involved in literary translation sets it apart.                Tackling a translation that runs to hundreds of thousands of words is not a task for the faint-hearted. Nor is recreating poetry in a new language, without losing the beauty and essence of the original work.&lt;br /&gt;
One of the key challenges of literary translation is the need to balance staying faithful to the original work with the need to create something unique and distinctive that will evoke the same feelings and responses as the original. This can be particularly challenging when it comes to translating poetry.&lt;br /&gt;
Poems are written with incredible attention to detail. Not only are the words and phrases important, but the number of syllables and the entire rhythm of the completed work. It’s a challenging task to complete just in one language, let alone when trying to recreate a poet’s work during a translation. Daniel Hahn, director of the British Centre for Literary Translation, sums up the issue beautifully. &lt;br /&gt;
As literary translators will attest, a single word can be extremely troublesome. The author of a work of fiction has chosen that word for a good reason, so the translator must ensure that it is faithfully delivered in the target language. However, what if no direct translation is available? Or what if several options exist, each with a slightly different nuance? Urdu language translator Fahmida Riaz outlines her approach to such thorny issues.&lt;br /&gt;
For instance, “Every piece you translate comes from the pen of an individual, so you have to give it an individual treatment. I try to retain the ambience of the original culture, rather than the language, as it is reflected in the text.” &lt;br /&gt;
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Pragmatic translation&lt;br /&gt;
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Pragmatic translation is the basic assumption that provided a source language text contains no misstatements of fact, is competently written and has to be fully translated rather than summarized or functionally reorientated; one's purpose in translating it is to be referentially and pragmatically accurate. In this paper, I shall not deal with referential accuracy but concentrate instead on the pragmatic aspects of translation. As the term pragmatic translation may be used in a variety of ways, I should like to state my own definition of pragmatic, which derives from Charles Morris and ultimately from Charles S. Peirce. I am using pragmatic as one of the two factors in translation: pragmatic denotes the reader's or readership's reception of the translation, as opposed to referential, which denotes the relationship between the translation and the extra-linguistic reality it describes. &lt;br /&gt;
Translation is a properly way to a properly communication and pragmatics is how to use language in communication properly. By translation, many things from different languages and cultures can understand to each other. In other words, translation can be stated as a facilitator to make a communication runs well.&lt;br /&gt;
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===An Overview on Translation Studies  ===&lt;br /&gt;
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===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
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=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
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===Conclusion ===&lt;br /&gt;
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=== References ===&lt;br /&gt;
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= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature  --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:45, 12 December 2021 (UTC)&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
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In this chapter, the researcher wants to highlight the different concepts about the fundamental question that &amp;quot;what is idiomatic expression&amp;quot;  and the views of various critics, theorists and linguistic experts, and prominent scholars of translation studies.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:38, 13 December 2021 (UTC) Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
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Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
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&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda 2006: 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984: 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992: 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to Newmark, “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”(Newmark 1981: 11).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:38, 13 December 2021 (UTC)&lt;br /&gt;
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The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to Corelli, English has a sizeable idiomatic base. About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.(Corelli 2006: 53)&lt;br /&gt;
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The main issue that idiomatic and fixed expressions pose for translators, according to Baker is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.(Baker 1992: 65)&lt;br /&gt;
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Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.(Ahsan 2020: 12-27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:44, 13 December 2021 (UTC)&lt;br /&gt;
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===Literature Review ===&lt;br /&gt;
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In this chapter, the author/researcher defines the strategy and its different definitions from various perspectivess. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented.(Venutti !995, 35 Krings defines it as the content of the project, while Seguinet divided the term into three steps.(Krings 2000:21). However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. (Locher 2002:76) In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
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The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
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A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward. (Bergen 1996:33)&lt;br /&gt;
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Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint. (Vinute 1998:41).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to Seguinot (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.(Seguinot 1989:27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
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Furthermore, Loescher defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot;(Loescher 1991:8) As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998:4) claim moreover, 'Bell' distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.(Bell 1998:188)&lt;br /&gt;
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According to Venuti, &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot;(Venuti 1998, 240). He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to Jaaskelainen, product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.(Jaaskelainen 2005:15)&lt;br /&gt;
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Furthermore, Jaaskelainen distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making.(Jaaskelainen 2005:16). Newmarkdistinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;(Newmark 1988, 221)&lt;br /&gt;
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Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016:13).&lt;br /&gt;
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The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010:15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017:54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984:12). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
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Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985:9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female..(Ahsan 2020: 12-27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:31, 13 December 2021 (UTC)&lt;br /&gt;
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=== Theoritical Framework ===&lt;br /&gt;
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Different strategies have been used, like using an idiom of similar meaning and similar form, the idiom of similar meaning and different form, translation by Paraphrasing, translation by omission. The approach of employing idioms of similar meaning and form, according to Mona Baker, entails using an idiom in the target language that can express about the same meaning as the source language idiom, as well as having lexical similarity. On the other hand, this type of matching happens periodically as well as regularly.&lt;br /&gt;
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Similarly, employing idioms with similar meanings but different forms means that it is possible to locate an idiom or fixed expression in the target text language that has a similar meaning to the source idiom or expression but is made up of distinct lexical elements. Consider the case of English and French, both of which use the idiom mentioned above. In English, one good deed is rewarded with another, whereas in French, handsome deeds are rewarded with handsome deeds.&lt;br /&gt;
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Furthermore, we did not come across any idioms in the category mentioned above during translating idioms. To deal with this issue, the translators used the most popular approach, known as a translation by paraphrase, which is short, straightforward, and time-saving. When a match cannot be identified in the target language or when it appears improper to employ idiomatic language in target material due to aesthetic differences between the source and target languages, this is the most typical approach for translating an idiom from source to target language. However, one thing to keep in mind is that a perfect translation is not required is necessary or possible.&lt;br /&gt;
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Last but not least, to overcome the problem of idiom translation, the translator employs the strategy of translation by omission. This can be defined as an idiom being omitted entirely in the target text with a single word. This is done because the idiom has no close match in the target language; its meaning cannot be easily paraphrased or due to stylistic reasons. &lt;br /&gt;
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Data analysis Techniques:&lt;br /&gt;
Textual analysis is the method of data analysis in qualitative research that brings forth the hidden and potent message, structure, and function of research in giving text, Alan Mckee (defines textual analysis as whenever we perform textual analysis on the text, we make an educated guess at some time of the most likely interpretations that might be made of that text (Alan Mckee 2001, 3)&lt;br /&gt;
Analysis of the translation of short stories in light of Mona baker's theory &amp;quot;khol do and license&amp;quot; are short stories written by Sadat Hassan Manto and translated by many translators from Urdu into English. During translation, the translator adopted many strategies for translating idiomatic expression, sometimes by Paraphrasing, sometimes by omission, sometimes using similar idioms of form and meaning while sometimes using different words and the same form, the whole.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:51, 12 December 2021 (UTC)&lt;br /&gt;
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===Discussion and Analysis===&lt;br /&gt;
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The chapter analyzes and discusses all the data collected by the author/researcher from different sources. All the examples of idioms are first identified, then translated into the target text, and back-translated for the sole purpose of exploring the strategies being used by the translator. A separate section is given to every strategy with its related example. Moreover, the idiomatic expression, the target work for finding, is highlighted through the bold letter.&lt;br /&gt;
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4.1	Translation by Paraphrasing:&lt;br /&gt;
&lt;br /&gt;
Based on our findings, the most often used strategy was &amp;quot;translation by paraphrasing.&amp;quot; An inspection also reveals that Aatish Taseer preferred this strategy. Here are some examples applied by the translators, and in the following section, the logic behind their preference towards this strategy is elaborate. The following are examples from two short stories of Sadat Husain Manto's &amp;quot;khol do&amp;quot; and &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 1: &lt;br /&gt;
&lt;br /&gt;
ST: Sirajuddin ne subah das baji anki kholi to logo ka ail mutalatam samandar deka.&lt;br /&gt;
&lt;br /&gt;
TT: Ten a.m., Siraj Uddin opens his eyes on the cold floor of the camp, seeing the swelling sea of men.&lt;br /&gt;
&lt;br /&gt;
BT: sub ke das baji jab Sirajuddin ne apni anki koli to logo ka aik ublaha howa samandar ka nizara dekni laga.&lt;br /&gt;
&lt;br /&gt;
So, the above idioms are literal idioms being translated with the help of Paraphrasing because there is no perfect equivalent of mutalatam words in English languages. A similar look at another idiom from short stories &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&lt;br /&gt;
ST: Khuda tomahra bala kari.&lt;br /&gt;
&lt;br /&gt;
TT: Your God will reward&lt;br /&gt;
&lt;br /&gt;
BT: Is ka badla khoda tomahi di.&lt;br /&gt;
&lt;br /&gt;
Here, the word reward is being used for Bala Kari, an example of transitional by Paraphrasing.&lt;br /&gt;
Let  take another example from &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
&lt;br /&gt;
ST: unkho nai Jan khateli pa rak kar sakena ko donda.&lt;br /&gt;
&lt;br /&gt;
TT: even putting their lives online, they search sakina &lt;br /&gt;
&lt;br /&gt;
BT: apni zindagio ko khatri me dal kar unkho nai sakina ko dond nekala.&lt;br /&gt;
&lt;br /&gt;
The above idioms are examples of pure idiom translated from Urdu into English with the help of paraphrases strategies. However, under the same strategies, the idioms of another short story of Manto,s &amp;quot;license,&amp;quot; are translated by Aatish Taseer. Some of the examples are given below.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
ST: Abu kochwan bara cheel jabela ta. It is the binomial type of idioms taken from the first sentence of the short story &amp;quot;license&amp;quot; by Sadat &lt;br /&gt;
Hasan Manto &lt;br /&gt;
&lt;br /&gt;
TT: Abu kochwan is stylish man.&lt;br /&gt;
&lt;br /&gt;
BT: Abu kochwan aik wazahdar admi ta.&lt;br /&gt;
&lt;br /&gt;
From the above idiom, it is clear that there is no perfect equivalence of cheela chabela idiom in English; that is, the translator goes &lt;br /&gt;
through paraphrasing strategies. Look at another example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
ST: Lein har waqat bank bani rekhi ka usi be had showk ta&lt;br /&gt;
&lt;br /&gt;
TT: He had a weakness for style and fashion.&lt;br /&gt;
&lt;br /&gt;
BT: Dan saj ke rekhna uski kamzori me sai ik ta.&lt;br /&gt;
&lt;br /&gt;
So all of the above examples, which are analyzed one by one, are examples of idioms being translated through paraphrasing strategies. (De Beaugrande and Dressler 1981, 50) define paraphrases as &amp;quot;approximate conceptual equivalence among outwardly different material.&amp;quot; Similarly, in this regard, Hirst defines paraphrases as &amp;quot;talk(ing) about the same situation in a different way.&amp;quot; Munday declared that &amp;quot;equivalence is particularly useful in translating idioms and proverbs” For instance, if the English idiom like a bear with a sore head is rendered into Persian as (mesle borje zahremar), meaning like a tower of snake venom, the strategy of equivalence has been applied. &lt;br /&gt;
&lt;br /&gt;
According to Leonardi, &amp;quot;Equivalence can be said to be the central issue in translation.&amp;quot; In this regard, house believes that &amp;quot;a translation text should match not only its source text in function but also employ equivalent situational-dimensional means to achieve that function&amp;quot; (Baker 2002, 49).  who shares this approach, states that equivalence is used &amp;quot;for the sake of convenience—because most translators are used to it rather than because it has any theoretical status&amp;quot; (Kenny 1998, 77). &lt;br /&gt;
&lt;br /&gt;
Despite different attitudes to the concept of equivalence, most specialists pay much attention to its meaning in the theory of translation. The translation is a form of communication, and that is why it is vital to establish equivalence between the source text and the target text. Although Vinay and Darbelnet believe that equivalence is used differently than in modern translation theory, it is evident that equivalence is one of the basic concepts of translation that cannot be neglected. Consequently, based on the Above mentioned studies using Paraphrasing in translation stands as the core concept in the process of translation, and still, most of the translators cling to it for producing a more comprehensible and explicable text. These language ideas and translation models are ideal constructs, presented abstractly in order to be differentiated precisely. They may exist in an uneasy combination in actual theories and practices, resulting in logical tensions or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation. Theories and actions must be contextualized in historical settings. They've been utilized as analytical tools to describe various topics in section introductions. Theoretical writings and current events these language notions and translation models are ideal constructs expressed in an abstract manner in order to be distinguished precisely in real-life hypotheses they may exist in an uncomfortable mix, resulting in logical conflicts or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
4.2	Using an idiom of Similar Meaning and Form &lt;br /&gt;
&lt;br /&gt;
As mentioned earlier, this strategy type is being used by Aatish Taseer during their translated work of Manto's short stories &amp;quot;khol do&amp;quot; and&amp;quot; license&amp;quot; on an occasional basis. Some examples are mention below.&lt;br /&gt;
&lt;br /&gt;
From khol do.&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
ST: Larki ka rang zard hogaya.&lt;br /&gt;
&lt;br /&gt;
TT: The girl's face became fail&lt;br /&gt;
&lt;br /&gt;
BT: larki ka rang zar hogya.&lt;br /&gt;
&lt;br /&gt;
Similarly, another example from the license is&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: Abu our us ke mat beer hogaie&lt;br /&gt;
&lt;br /&gt;
TT: They fall in love with each other.&lt;br /&gt;
&lt;br /&gt;
BT: WO ik dosri ke mokhbat me geriftar hogaie&lt;br /&gt;
&lt;br /&gt;
The above idioms are pure ones and are being translated with the help of similar meanings and similar forms.&lt;br /&gt;
&lt;br /&gt;
The procedures: transposition, modulation, equivalence, and adaptation, and when it comes to defining the term Equivalence, (Vinay and Darbelnet 2000, 90) propose that it consists in rendering &amp;quot;the same situation … by two texts using completely different stylistic and structural methods&amp;quot;, and when it comes to translating idiomatic expressions like &amp;quot;Il pleut à seaux&amp;quot; it can be translated as &amp;quot;It is raining cats and dogs&amp;quot; using the idiom of similar form and meaning in the target language.&lt;br /&gt;
&lt;br /&gt;
As (Baker 1992, 12) states, this strategy involves using an idiom in the TL which conveys roughly the same meaning as that of the source language idiom and, in addition, consists of identical lexical items. The salient point is that this kind of match can only occasionally be achieved, which cannot be picked up more often by translators. Accordingly, both translators mentioned in the current study had quite a slim chance of using this strategy type. &lt;br /&gt;
&lt;br /&gt;
4.3 Using an idiom of similar meaning but different form:&lt;br /&gt;
&lt;br /&gt;
During translating Manto short stories, &amp;quot;khol do&amp;quot; and &amp;quot;license,&amp;quot; some of the idioms are translated with the help of this strategy. Some of the examples are given below from two different short stories.&lt;br /&gt;
&lt;br /&gt;
Example number one is from the short story &amp;quot;khol do&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
ST: Aur bolwai gos ayai thee?&lt;br /&gt;
&lt;br /&gt;
TT: The roitors come abroad.&lt;br /&gt;
&lt;br /&gt;
BT: pasadi bahar agai hai.&lt;br /&gt;
&lt;br /&gt;
The above idiom is a pure type of idiom being translated with the help of above mention strategy. The word rioter is being used for bolwai, which is not a perfect word for bolwai. In Urdu bolwai, people believe in violence when minorities or the low population of any country want some rights. These people stop them by using violence, burn down their properties, rapes women, and do things like that. Another example from the license is below.&lt;br /&gt;
&lt;br /&gt;
Example 9:&lt;br /&gt;
&lt;br /&gt;
ST: Dosri kotwal abu ko dek kar jal ban ho jati.&lt;br /&gt;
&lt;br /&gt;
TT: The other coachman burn with envy.&lt;br /&gt;
&lt;br /&gt;
BT: Abu ke kamyabi dek kar aur kotwal abu sai khasad karni lagi’&lt;br /&gt;
&lt;br /&gt;
The above idioms are a pure idiom that reflects the effect of jealousy between competitors to achieve equivalency. Aatish Taseer uses envy word for jal ban instead of other which have similar meaning but different form. Look at the other example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: Dino lat vo lagal se kam karni laga.&lt;br /&gt;
&lt;br /&gt;
TT: Dino came with an excuse.&lt;br /&gt;
&lt;br /&gt;
BT: Dino abb bahi tarashni laga.&lt;br /&gt;
	&lt;br /&gt;
The above idioms are types of binomial idioms translated with the help of idioms with similar meanings and different forms. (Newmark 1988, 81) mentions the difference between translation methods and translation procedures. He writes that &amp;quot;[w]hile translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language&amp;quot; (Newmark 1988, 81). Idiomatic translation in his definition reproduces the 'message' of the original. However, it distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original, leading to using an idiom of similar meaning but a different form. Besides, it is often possible to find an idiom or fixed expression in the target language with a meaning similar to that of the source idiom or expression but which consists of different lexical items (Baker 1992, 12). Therefore, translators discover idiomatic expressions in the target language with different forms than in the source language. In the current study, the translators approached this strategy merely for 9% of the total times, which means the frequency of Iranian and English idioms with the same meaning and different forms is not considered high. &lt;br /&gt;
&lt;br /&gt;
4.4 Translation by omission:&lt;br /&gt;
&lt;br /&gt;
A translator is less using these strategies, and we did not find any clue on this type of strategy in an area under consideration.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:48, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== Findings===&lt;br /&gt;
&lt;br /&gt;
(Mandelbit 1995) believed that idioms with different cognitive mapping in the target language would be more challenging to translate. After conducting study and data analysis of collected data, the result revealed that the translator frequently used three out of four strategies of the Mona Baker model during the translation process, which is a translation by Paraphrasing, translation by similar meaning and similar form, translation by similar meaning and different form. In contrast, translation by omission does not found in his work.&lt;br /&gt;
After detail and careful analysis of data, more than half of idioms like &amp;quot;swelling sea of man,” my lord break his arrogance, “weakness for style and fashion.&amp;quot; As I mentioned earlier, many more are translated under the umbrella of Paraphrasing, which is considered the most common method used for translating idioms.&lt;br /&gt;
&lt;br /&gt;
Similarly, we also reflect strategies like similar meaning and different form and similar meaning and similar form. The idiom &amp;quot;rioter came abroad,” burn with envy,” The girl's face became pale, &amp;quot; They fall in love with each other&amp;quot; are translated with the help of two mention strategies, respectively.&lt;br /&gt;
&lt;br /&gt;
Although translation by omission is a strategy used on rare occasions because of its meaning, its meaning cannot be easily paraphrased or stylistic reason. Here, the researcher also did not find any idiom translated with the help of the omission strategy.&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
Go through detailed discussion and analysis of data collected from my source. We finally concluded that the idioms present in two short stories, &amp;quot;khol do&amp;quot; and &amp;quot;License,&amp;quot; are translated under the frame of Mona Baker's idiomatic model. Translation by Paraphrasing is mainly used while idioms of similar meaning and form and idioms of similar meaning and different forms are used occasionally. The researcher discusses all the strategies with related examples in the order of maximum used to minimum used. The strategy by omission did not find it works. All the data are collected from different sources and analyzed with the help of different researcher tools, and the result is written in light of the finding. Different from previous studies, the writer presents the strategies to translate idioms by each type of idiomatic expression found in the story. From the result, it is considered the translation of idiomatic expressions in the story is quite accurate. As the number of accurate data is more the data which is not related to the translation. We take conclusion from the translation through idiomatic expression and paraphrasing is the best way to translate a novel or a story however it is very difficult job to do because it needs more accurate and precise knowledge about the source language and an inspiring method to express ideas in the target language. However, translation is thing through which we can connect the world with each other and also we can study and observe diverse cultures.            &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abu-Saydeh, A. F. (2004). Translation of English idioms into Arabic. Babel, 114-131.&lt;br /&gt;
&lt;br /&gt;
Ahsan, S. (2020). A comparative study of two translations of manto's short story &amp;quot;Toba Tek&amp;quot;. International Journal of English Language Studies, 12-27.&lt;br /&gt;
&lt;br /&gt;
Alexander, R. J. (1987). Mimeograph. In R. J. Alexander (Ed.) Collocation and Culture. Trier: University of Trier, West Germany.&lt;br /&gt;
&lt;br /&gt;
Al-Qinai, J. (2000). Translation quality assessment. strategies, parameters and procedures. Translator's Journal, 497-519.&lt;br /&gt;
&lt;br /&gt;
Bayashi, J. (2020). Japanese-English translation: An advanced guide. Oxfordshire: Routledge.&lt;br /&gt;
&lt;br /&gt;
Das, V. &amp;amp;. (1995). Critical events: An anthropological perspective on contemporary India. New Delhi: Oxford Printing Press.&lt;br /&gt;
&lt;br /&gt;
Mufti, A. (2007). The Language of English India. In I. &amp;amp;. End (Ed.) Enlightenment in the Colony. Princeton University Press.&lt;br /&gt;
&lt;br /&gt;
Waka Xia, L. (2019). A discourse analysis of news translation in China. Syydney: Routledge.&lt;br /&gt;
&lt;br /&gt;
= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
===Ambiguity===&lt;br /&gt;
&lt;br /&gt;
===Lexical and Structural Mismatches===&lt;br /&gt;
&lt;br /&gt;
===Multiword units: Idioms and Collocations===&lt;br /&gt;
&lt;br /&gt;
===Summary===&lt;br /&gt;
&lt;br /&gt;
===Further Reading===&lt;br /&gt;
&lt;br /&gt;
=刘胜楠 A Case Study of ''Ne Zha'' on Subtitle Translation Strategies from the Perspective of Skopos Theory= &lt;br /&gt;
[[Trans_Type_EN_15]]&lt;/div&gt;</summary>
		<author><name>Atta Ur Rahman</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=132443</id>
		<title>Translation types, strategies, styles, methods</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=132443"/>
		<updated>2021-12-13T16:30:31Z</updated>

		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* Literature Review */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''Translation types, strategies, styles, methods'''&lt;br /&gt;
&lt;br /&gt;
[[Translation_types,_strategies,_styles,_methods|Overview Page of Translation types, strategies, styles, methods]]&lt;br /&gt;
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30 Chapters（0/30)&lt;br /&gt;
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[[Trans_Type_EN_1]] [[Trans_Type_EN_2]] [[Trans_Type_EN_3]] [[Trans_Type_EN_4]] [[Trans_Type_EN_5]] [[Trans_Type_EN_6]] [[Trans_Type_EN_7]] [[Trans_Type_EN_8]] [[Trans_Type_EN_9]] [[Trans_Type_EN_10]] [[Trans_Type_EN_11]] [[Trans_Type_EN_12]] [[Trans_Type_EN_13]] [[Trans_Type_EN_14]] [[Trans_Type_EN_15]] [[Trans_Type_EN_16]] [[Trans_Type_EN_17]] [[Trans_Type_EN_18]] [[Trans_Type_EN_19]] [[Trans_Type_EN_20]] [[Trans_Type_EN_21]] [[Trans_Type_EN_22]] [[Trans_Type_EN_23]] [[Trans_Type_EN_24]] [[Trans_Type_EN_25]] [[Trans_Type_EN_26]] [[Trans_Type_EN_27]] [[Trans_Type_EN_28]] [[Trans_Type_EN_29]] [[Trans_Type_EN_30]] ...&lt;br /&gt;
&lt;br /&gt;
[[Book_projects|Back to translation project overview]]&lt;br /&gt;
&lt;br /&gt;
[[DCG-To-Do|To the To Do List]]&lt;br /&gt;
&lt;br /&gt;
=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
&lt;br /&gt;
'''浅析美版《甄嬛传》的字幕翻译策略'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_1]]&lt;br /&gt;
&lt;br /&gt;
阳佳颖 Yang Jiaying, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 2: The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
'''纽马克翻译理论指导下旅游文本中翻译策略与翻译方法的使用——以''Everglades National Park, Florida (Excerpt)''为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_2]]&lt;br /&gt;
&lt;br /&gt;
刘晓 Liu Xiao, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 3: Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
交际翻译理论指导下小说题材所适用的翻译方法和翻译策略—以韩国小说集《恩珠的电影》（节选）为例&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_3]]&lt;br /&gt;
&lt;br /&gt;
刘越Liu Yue ，Hunan Normal University，China&lt;br /&gt;
&lt;br /&gt;
=Chapter 4: On Translation Strategies and Translation Methods in Chinese Translation of English Prose -- A Case Study of Chinese Translation of English Prose &amp;quot;Pleasures of Ignorance&amp;quot;=&lt;br /&gt;
&lt;br /&gt;
'''浅析英语散文汉译中的翻译策略和翻译方法——以英语散文《无知的乐趣》汉译本为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_4]]&lt;br /&gt;
&lt;br /&gt;
毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_5]]&lt;br /&gt;
&lt;br /&gt;
毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
&lt;br /&gt;
=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_6]]&lt;br /&gt;
&lt;br /&gt;
彭瑞雪 Peng Ruixue, Hunan University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 7: A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_7]]&lt;br /&gt;
&lt;br /&gt;
秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 8:Translation methods and strategies applicable to the style of biographical literature -- Taking ''Incidents in Life of Slave Girl'' (excerpt) as an example=&lt;br /&gt;
&lt;br /&gt;
'''传记文学的文体所适用的翻译技巧与策略——以英文传记《一名女奴的人生际遇》(节选)为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_8]]&lt;br /&gt;
&lt;br /&gt;
颜子涵 Yan Zihan, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 9: On the Translation Strategies of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hung-ming and Xu Yuanchong=&lt;br /&gt;
&lt;br /&gt;
'''视域融合视角下看《论语》英译的翻译策略—以辜鸿铭和许渊冲的英译本为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_9]]&lt;br /&gt;
&lt;br /&gt;
邝艳丽 Kuang Yanli, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=杨柳青 Bian Zhilin's Literary Translation Theories and Practice——Take His Translation of Romantic Poems as Examples=&lt;br /&gt;
&lt;br /&gt;
Yang Liuqing杨柳青,Hunan Normal University,China.&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_10]]&lt;br /&gt;
&lt;br /&gt;
=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012:37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær 2015:10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005;9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004;1). Translation is essential for cultures and languages to exchange information. Newmark (1988) defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects(Newmark 1988;2). Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
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Nida indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style(Nida 1964;32). Larson (1998) has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context(Larson 1998;23).--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:41, 13 December 2021 (UTC) &lt;br /&gt;
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Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”.(Snell-Hornby 1988;33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957;167). By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
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The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003;16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
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This study is aimed to probe Newmark's translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988;81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:41, 13 December 2021 (UTC)&lt;br /&gt;
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===Translation and Culture===&lt;br /&gt;
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2. Translation and Culture &lt;br /&gt;
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Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
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The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988;7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988;5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988;7).  &lt;br /&gt;
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In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language”(Catford 1965;20). According to Venuti translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader”(Venuti 1995;18). Schjoldager stated that“a translation is a text that expresses what another text has expressed in another language”(Schjoldager 2008;19). Culture is a complex whole which includes knowledge,belief,art,law,morals,customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014;2). Hermanns contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures(Hermanns 1999;22) Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014;2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001;328). &lt;br /&gt;
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Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
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2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
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Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora, fauna, food, clothes, housing, work, leisure, politics, law, and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988;327) Christine Nord names them “culturemes” (Nord 1997;9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012;1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Aixela, 1997; Davies, 2003), others choose cultural words (Newmark, 2003) or culture-bound phenomena/concepts (Baker, 1992, Newmark, 2003, Robinson, 2003). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker, 1992, 21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988, 94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988, 95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988, 95).--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:02, 13 December 2021 (UTC)&lt;br /&gt;
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2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
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The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85;22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003;16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:02, 13 December 2021 (UTC)&lt;br /&gt;
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===Types of Translation ===&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
Newmark determines 8 types of translation which are: &lt;br /&gt;
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3.1 Word-for-Word Translation &lt;br /&gt;
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This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
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3.2 Literal translation &lt;br /&gt;
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In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
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3.4 Semantic Translation &lt;br /&gt;
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Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
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3.5 Adaptation &lt;br /&gt;
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This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015;15). &lt;br /&gt;
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3.6 Free Translation &lt;br /&gt;
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The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
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3.7 Idiomatic Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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3.8 Communicative Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:05, 13 December 2021 (UTC) &lt;br /&gt;
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===Translation Strategies  ===&lt;br /&gt;
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4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
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4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela (1996), translators need to choose several strategies based on the source language culture and target culture.  He distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, he tries to command by the level of their intercultural intervention. He divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies). &lt;br /&gt;
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4.1.1. Conservation: &lt;br /&gt;
In conservation, the less compelling process includes repetition, orthographic adaptation, linguistic translation, extratextual gloss and intratextual gloss. &lt;br /&gt;
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4.1.1.1 Repetition: In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus, the translator keeps as much as possible the original reference (Aixela, 1996, p. 61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
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4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
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4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
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4.1.1.4 Extra-textual Gloss: Here, the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes, endings, words, ideas, translators in dictionaries, italics and so on. &lt;br /&gt;
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4.1.1.5 Intra-textual Gloss: It's like the past but the translator feels that he/she can include the globe as an indirect part of the text, not to distract the reader. &lt;br /&gt;
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4.2.1 Substitution &lt;br /&gt;
In substitution, According (Aixela, 1996) “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here”. &lt;br /&gt;
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4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
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4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
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4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela, 1997, p.63). &lt;br /&gt;
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4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Shokri, Ketabi, 2015, p.8). &lt;br /&gt;
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4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela, 1996, p. 64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
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4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela, 1997). &lt;br /&gt;
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4.3 Mona Baker’s Translation Strategies &lt;br /&gt;
Baker’s strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation. (Baker, 1992). He suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies, which are the following: &lt;br /&gt;
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4.3.1 Translation by a more general word: According to Baker, this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
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4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
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4.3.3 Translation by cultural substitution: This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
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4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
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4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
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4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
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4.3.7 Translation by omission: Losing phrases or words that are not vital to text development. &lt;br /&gt;
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4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view, however, Baker's (1992) translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
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===Cultural Categories  ===&lt;br /&gt;
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5. Cultural categories &lt;br /&gt;
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5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
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5.1.2 Material culture &lt;br /&gt;
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Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.” &lt;br /&gt;
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5.1.3 Social culture &lt;br /&gt;
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The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
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5.1.4 Organisation &lt;br /&gt;
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Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
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5.2 Newmark Classification CSIs &lt;br /&gt;
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Newmark (1988) established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items. (Newmark 1988, 97) &lt;br /&gt;
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5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
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Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
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2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
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3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
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4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
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5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
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6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
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7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
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8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
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9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
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10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
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11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
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12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
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13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
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14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
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15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
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16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
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17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
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18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
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19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
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20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
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21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
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22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
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23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
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24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
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25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
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26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
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27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
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28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
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29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
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30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
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31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
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32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
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33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
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34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
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35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
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36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996, 31), “translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by (Newmark 1988, 81), “translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.” &lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation, then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions. &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity, as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts, the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term, and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part, but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark (1988) has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9. &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark’s strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark (1988) were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However, the translator must be competent in using the translation procedures to provide an accurate translation. &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abdi, H. (2019). Translating culture-specific items (CSIs) as a conundrum for Iranian MA translation students: Considering the level of study. Journal of new advances in English Language Teaching and Applied Linguistics, 1(1), 88-109. &lt;br /&gt;
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Aguado-Gimenez, P., &amp;amp; Pérez-Paredes, P. F. (2005). Translation-strategies use: A classroombased examination of Baker’s taxonomy. Meta: journal des traducteurs/Meta: &lt;br /&gt;
Translators' Journal, 50(1), 294-311. &lt;br /&gt;
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Ahmadi, M. R.S and Nosrati, Fatemah. (2012). Domestication and Foreignization Strategies in Translation of Culture-Specific Items. Translations of English-Persian Children’s Literature. San Francisco: Grin Publishing. Google Books. &lt;br /&gt;
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Al Saleh, R. A. (2019). An Application of Newmark's Procedures to Muhammad Abul Quasem's Alleman, J. C. Bee. W. Ulitkin, I. Files, F., Zetzsche, J., Chatonnet-Marton, P. &amp;amp; y del Árbol, E. V. Translation Strategies. &lt;br /&gt;
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Al-Sofi, B. B. M. A., &amp;amp; Abouabdulqader, H. (2020). Bridging the gap between translation and culture: towards a cultural dimension of translation. International journal of linguistics, literature and culture, 6(1), 1-13. &lt;br /&gt;
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Baker, M., 1992. In Other Words: A Coursebook on Translation. London: Routledge, p.20–42. &lt;br /&gt;
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Blažytė, D., &amp;amp; Liubinienė, V. (2016). Culture-specific items (CSI) and their translation strategies in Martin Lindstrom’s&amp;quot; Brand sense&amp;quot;. Kalbų studijos, (29), 42-57. &lt;br /&gt;
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Bush, P. (1998) &amp;quot;Literary Translation.&amp;quot; In: M. Baker, ed. Routledge Encyclopedia of Translation Studies, London: Routledge, pp.127-130. &lt;br /&gt;
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Catford. J. C. (1965). A linguistic theory of translation. Oxford: Oxford University Press. &lt;br /&gt;
English Translation of Mohammad Al-Ghazali's Islamic Guidance.Literature and Culture, 6(1), 1-13. &lt;br /&gt;
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Gečaitė, L. (2020). Culture-Specific Items and Their Translation Strategies in Victoria Hislop's Novel The Sunrise.” (2020). &lt;br /&gt;
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Hassan, B. E. A. (2014). Between English and Arabic: A practical course in translation. &lt;br /&gt;
Cambridge Scholars Publishing. &lt;br /&gt;
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Hermans, T. (1999). Translation in systems. Manchester: St. Jerome Publication  House, J. (Ed.). (2014). Translation: a multidisciplinary approach. Springer. &lt;br /&gt;
Issa, A. L. S. M., &amp;amp; Hammood, L. H. R.- Quranic-Specific Phrases under the Study of Translation; Significance and Applications. &lt;br /&gt;
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Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. (33), p. 83-87). &lt;br /&gt;
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Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. 33, p. 83-87). &lt;br /&gt;
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Lambert, J. (1998) Literary Translation. In: M. Baker, ed. Routledge Encyclopedia of Translation Studies. London: Routledge, 130-134. &lt;br /&gt;
&lt;br /&gt;
Landers, Clifford E. (2001) Literary Translation: A practical guide. New Jersey University Press: Multilingual Maters. &lt;br /&gt;
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Lustig, Myron, W. and Koeser, Joline  (2003), Intercultural Competence: Interpersonal Communication Across Cultures, Boston: Allyn and Bacon. &lt;br /&gt;
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Malmkjær, K. (1993). Who Can Make Nice A Better Word Than Pretty? Collocation, Translation, and Psycholoinguistics. In: Baker, M., Francis, G. and Tognini-Bonelli, E. &lt;br /&gt;
eds. Text and Technology. Philadelphia/Amsterdam: John Benjamins Publishing Company. pp.213-32. &lt;br /&gt;
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Mosavat, S., &amp;amp; Rahimpour, S. (2016). The Most and Least Used Translation Strategies for &lt;br /&gt;
Conveying Culture-Specific-Items in Young Adult Literature from English into Persian. International Journal of Humanities and Cultural Studies (IJHCS) ISSN 23565926, 1853-1873. &lt;br /&gt;
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Munday, J. (1997). Systems in Translation: A computer-assisted systemic approach to the analysis of translation of García Márquez. Ph.D thesis, University of Bradford. &lt;br /&gt;
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Newmark, P. (2001). A Textbook of Translation. Shanghai: Shanghai Foreign Language &lt;br /&gt;
Education Press &lt;br /&gt;
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Newmark, Peter. (1988). A Textbook of Translation. New Jersey: Prentice-Halls &lt;br /&gt;
&lt;br /&gt;
Nord, Christiane. (1997). Translating as a Purposeful Activity: Functionalist Approaches &lt;br /&gt;
Explained. Manchester: St. Jerome. Accessed 10 November. 2018. Google Books Schjoldager, A. (2008). Understanding translation. Academica: Århus. &lt;br /&gt;
&lt;br /&gt;
Silalahi, M., &amp;amp; Lubis, S. (2013). Translation Procedures of Cultural Terms Found In Sejarah Bilingual For Students of Senior High School. &lt;br /&gt;
Valipoor, K., &amp;amp; andAzizeh Chalak, H. H. T. (2019). Cultural-specific items in translation of the Holy Quran by Irving: 43-51. &lt;br /&gt;
&lt;br /&gt;
Venuti, L. (1995). The translator’s invisibility: A history of translation. London and New York: &lt;br /&gt;
Routledge &lt;br /&gt;
&lt;br /&gt;
Widiarto, O. V. V. (2016). The translation procedures of cultural expressions applied in a game of thrones translated into Perebutan Tahta novel by Barokah Ruziati (Doctoral dissertation, Dian Nuswantoro University).&lt;br /&gt;
&lt;br /&gt;
=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims to observe the development of translation studies through its different types, various strategies, styles and particular methods. In this paper, the readers are introduced to some famous translation scholars including their view of translation studies. At the further discussions, this study lets the readers acknowledge the main issues on translation studies, focusing on different styles of variations such as grammar, sentence structure, textual analysis, strategies and methods. This study may help those who are interested to conduct translation researches and help them by giving options of which theories is beneficial to their analysis. Moreover, it aims to explore the clear definition of translation as well as help the readers to understand the basic concept which are used in the field of translation. The present study, therefore, attempts to outline the scope of the discipline of translation studies and more importantly, it is an attempt to outline its activity that required a deep mastering of language, a good source of knowledge and target cultures.&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation, styles of variations, strategies&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
It is undoubtedly right that translation is important to share information. In line with these premise, the number of translation professionals is getting higher. In fact, the result of translation researches tends to help human daily life in term of evaluation, designing translator machines, and cultural studies.	 Therefore, translation means converting written information from one language into another. It is the new discipline appeared in the second half of the 20th century. The term “Translation Studies” was coined by James S. Holmes, an American-Dutch poet and translator of poetry, in his seminal paper “The Name and Nature of Translation Studies”.  Translation enables effective communication between people around the world. It is a courier for the transmission of knowledge, a protector of cultural heritage, and essential to the development of a global economy. Translation helps us to know about the developments in the field of creative arts, education, literature, business, science and politics. It has shifted from the traditional conception of the fixed, stable and unchangeable nature of the text and its meaning to a text with wide scope for variations. Translation also helps in nation building. In this globalised world, the demand for translation and language related services has increased many times. Translation is not only needed for the creation of national identity but has also become an essential tool for keeping pace with the processes of globalization and localization. The activity of translation has a long-standing tradition and has been widely practiced throughout history, but in our rapidly changing world its role has become of paramount importance. Nowadays, knowledge in which cultural exchanges have been widening, has been increasingly expanding and international communication has been intensifying, the phenomenon of translation has become fundamental. Be it for scientific, medical, technological, commercial, legal, cultural or literary purposes, today human communication depends heavily on translation and, consequently, interest in the field is also growing. Accordingly, the discussion, in the present study, proceeds primarily from the perspectives of “Translation Studies” and “Linguistics”. One major goal is to show the interrelationships between linguistics and translation, and how they benefit from each other. Nowadays, translation research has started to take another path, which is more automatic. The invention of the internet, together with the new technological developments in communication and digital materials, has increased cultural exchanges between nations. This leads translators to look for ways to cope with these changes and to look for more practical techniques that enable them to translate more and waste less. They also felt the need to enter the world of cinematographic translation, hence the birth of audiovisual translation. The latter technique, also called screen translation, is concerned with the translation of all kinds of TV programs, including films, series, and documentaries. This field is based on computers and translation software programs, and it is composed of two methods; dubbing and subtitling. In fact, audiovisual translation marks a changing era in the domain of translation.&lt;br /&gt;
In short, translation has very wide and rich history in the West. Since its birth, translation was the subject of a variety of research and conflicts between theorists. Each theorist approaches it according to his viewpoint and field of research, the fact that gives its history a changing quality.&lt;br /&gt;
&lt;br /&gt;
Discussion &lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation. For each type, a selection of examples will be considered for analysis based on translation theories and techniques. We will show that some chunks of text require literal translation, while other requires interpretive method. In addition, this paper will also examine various strategies and its styles of variations based on translational study. The following strategies will be presented in the paper as; &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	They involve text manipulation.&lt;br /&gt;
•	They must be applied to the process.&lt;br /&gt;
•	They are goal-oriented.&lt;br /&gt;
•	They are problem-centered.&lt;br /&gt;
•	They are applied consciously.&lt;br /&gt;
•	They are inter-subjective.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Most theorists agree that strategies are used by translators when they encounter a problem and literal translation is not useful. Different researchers have investigated and described various translation strategies from their different perspectives. It intends to show what translation strategies exist and when and why they are used by professional translators. Different scholars have various perspectives to the aspects of the act of translation, so, they define and describe different types of strategies. Bergen's (n. d.) classification of the strategies includes three categorizations which will be discussed mainly in this paper: &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	Comprehension strategies &lt;br /&gt;
•	Transfer strategies&lt;br /&gt;
•	Production strategies&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
An addition to this paper, styles of variations will also be introduced to the readers through different aspects and examples. The concept of style can be defined in terms of the distinctive way an individual or a group uses language, or better still the discourse used to perform distinct functions of language aimed at achieving specific purposes. However, this does not entail that style is simply a matter of form since it is the product of other components such as the genre of discourse, its semantics, syntax and phonology. Indeed, in order to analyze a given stylistic variation one needs an extensive checklist that includes lexical and grammatical categories, allusions, and figures of speech. Style can be understood to refer to the recurring typical features of the source text compared to the typical features of the translated text.  In a quantitative and qualitative analysis, this variation is shown to be influenced by several pragmatic and social factors, and to index the interpreters' stances towards source speakers and towards the immigrant court users who are the recipients of translations from English. It is argued that translation styles have profound consequences for limited English speakers, as the insistence on institutional norms in translating to them is viewed as a gate keeping behavior that may impede their full participation in the proceedings. &lt;br /&gt;
&lt;br /&gt;
What is translation? &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Translation went through various definitions going from a mere linguistics activity during the sixties, a cultural and communicative activity during the seventies reflects the social impacting activity in the latest founding of the literature. &lt;br /&gt;
“Translation is traditionally known as being the replacement of textual material in one language into equivalent textual material in another language”. &lt;br /&gt;
House (2015) mentions that translation is considered as the “replacement” of a text in the source language by a semantically and pragmatically equivalent text in the target language. It is strongly related to a source language and target language cultures. It requires a high level of mastery languages, an awareness of any contextual factors within which the discourse emerges. There is no need to mention how it affected civilizations through different areas of mankind history. For example, An Arab-Islamic civilizations. There have always been different directions on how one should or should not translate. In the Arab tradition, two main methods existed and were in complete divergence namely the literal and the free method. &lt;br /&gt;
On the other hand, in the Western tradition there are various methods currently exist namely, the linguistic, the hermeneutic, the interpretive, the functionalist, the interventionist, the poly-systemic and the text-typologist method.  More so, it may be important to point out that translation has been defined in many ways, and every definition reflects the theoretical approach underpinning it. &lt;br /&gt;
As Shuttlworth and Cowie (1997) observe throughout the history of research into translation, the phenomenon has been variously delimited by formal descriptions, echoing the frameworks of the scholars proposing them. For example, Bell (1991: XV) starts with an informal definition of translation, which runs as follows: the transformation of a text originally in one language into an equivalent text in a different language retaining, as far as is possible, the content of the message and the formal features and functional roles of the original text. &lt;br /&gt;
At the beginning of the ‘scientific’ (Newmark, 1988, p. 2) study of translation, Catford (1965, p. 20) described it in these terms, the replacement of textual material in one language (SL) by the equivalent textual material in another language. &lt;br /&gt;
Thirty years later, in Germany, the concept of translation as a form of ‘equivalence’ is maintained, as we can see from Koller’s definition (1995, p. 196): “The result of a text processing activity, by means of which a source language text is transposed into a target-language text. Between the resultant text in L2 (the target-language text) and the source text in L1 (the source language text) there exists a relationship, which can be designated as a translational, or equivalence relation”. Because complete equivalence (in the sense of synonymy or sameness) cannot take place in any of his categories, Jakobson (1959) declares that all poetic art is, therefore, technically untranslatable. That is, the translator has to take the question of interpretation into account in addition to the problem of selecting a TL phrase which will have a roughly similar meaning. Exact translation is impossible. In this regard, Bassnett (1996) claims that all texts, being part of a literary system descended from and related to other systems are “translations of translation of translations”: every text is unique and at the same time, it is the translation of another text. No text is entirely original because language itself, in its essence, is already a translation: firstly, of the non-verbal world and secondly, since every sign and every phrase is the translation of another sign and another phrase. However, this argument can be turned around without losing any of its validity: all texts are original because every translation is distinctive. Every translation, up to a certain point, is an invention and as such it constitutes a unique text.&lt;br /&gt;
In this analysis of the above definition, Manfredi (2008), points out that the above distinction can be divided into two main perspectives, those that consider translation either as a ‘process’ or a ‘product’. To this twofold categorization, Bell (1991, p. 13) adds a further variable, since he suggests making a distinction between translating (the process), a translation (the product) and translation (i.e., “the abstract concept which encompasses both the process of translating and the product of that process”. Moreover, thanks to advances in new technologies, today we can also incorporate into TS the contribution of corpus linguistics, which allows both theorists and translators analyses of large amounts of electronic texts (Manfredi, 2008). On the other hand, Halliday (1992, p. 15) takes translation to refer to the total process and relationship of equivalence between two languages; we then distinguish, within translation, between “translating” (written text) and “interpreting” (spoken text). Halliday, thus, proposes distinguishing the activity of “translation” (as a process) from the product(s) of “translating”, including both “translation” (concerning written text) and ‘interpreting’ (regarding spoken text.&lt;br /&gt;
“Translation is the production of a functional target text maintaining a relationship with a given source text that is specified according to the intended or demanding function of the target text.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Types of Translation&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation.&lt;br /&gt;
&lt;br /&gt;
Technical translation &lt;br /&gt;
&lt;br /&gt;
Technical translation is a type of specialized translation involving the translation of documents produced by technical writers, or more specifically, texts which relate to technological subject areas or texts which deal with the practical application of scientific and technological information. (Wikipedia) &lt;br /&gt;
Translators' main goal is to accurately translate the technical terminology to match the document and the message of the original content.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The benefits of technical translation&lt;br /&gt;
&lt;br /&gt;
A professional technical translation service is provided by translators with dual specialties, that is, professionals who are fluent in the language pair, but who are also experts in the field covered by the documents to be translated.&lt;br /&gt;
When you need to have your documents translated by a technical translator, translators who are not experts may not be able to provide the necessary solutions and terminology for a quality translation. If the translator is not an expert in the field, he/she will have to learn the new terminology while working. This means that translation will take longer, have higher chances of inaccuracies, and may result in higher costs. Therefore, the main advantages of hiring an agency specialized in this type of service are as follows:&lt;br /&gt;
&lt;br /&gt;
Literary translation&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Literary translation is the translation of creative and dramatic prose and poetry into other languages. This includes the translation of literature from ancient languages and the translation of modern fiction so that it can reach a wider audience. &lt;br /&gt;
Literary translation is of huge importance. It helps to shape our understanding of the world around us in many ways.                                                     Reading Homer and Sophocles as part of a classical education in school helps to build an understanding of history, politics, philosophy and so much more. Meanwhile, reading contemporary translations provides fascinating insights into life in other cultures and other countries.                                                       In a fast-paced world so rife with misunderstanding and confusion, such efforts to share knowledge and experiences across cultural boundaries should be applauded.&lt;br /&gt;
The translation of literature differs greatly from other forms of translation. The sheer size of the texts involved in literary translation sets it apart.                Tackling a translation that runs to hundreds of thousands of words is not a task for the faint-hearted. Nor is recreating poetry in a new language, without losing the beauty and essence of the original work.&lt;br /&gt;
One of the key challenges of literary translation is the need to balance staying faithful to the original work with the need to create something unique and distinctive that will evoke the same feelings and responses as the original. This can be particularly challenging when it comes to translating poetry.&lt;br /&gt;
Poems are written with incredible attention to detail. Not only are the words and phrases important, but the number of syllables and the entire rhythm of the completed work. It’s a challenging task to complete just in one language, let alone when trying to recreate a poet’s work during a translation. Daniel Hahn, director of the British Centre for Literary Translation, sums up the issue beautifully. &lt;br /&gt;
As literary translators will attest, a single word can be extremely troublesome. The author of a work of fiction has chosen that word for a good reason, so the translator must ensure that it is faithfully delivered in the target language. However, what if no direct translation is available? Or what if several options exist, each with a slightly different nuance? Urdu language translator Fahmida Riaz outlines her approach to such thorny issues.&lt;br /&gt;
For instance, “Every piece you translate comes from the pen of an individual, so you have to give it an individual treatment. I try to retain the ambience of the original culture, rather than the language, as it is reflected in the text.” &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Pragmatic translation&lt;br /&gt;
&lt;br /&gt;
Pragmatic translation is the basic assumption that provided a source language text contains no misstatements of fact, is competently written and has to be fully translated rather than summarized or functionally reorientated; one's purpose in translating it is to be referentially and pragmatically accurate. In this paper, I shall not deal with referential accuracy but concentrate instead on the pragmatic aspects of translation. As the term pragmatic translation may be used in a variety of ways, I should like to state my own definition of pragmatic, which derives from Charles Morris and ultimately from Charles S. Peirce. I am using pragmatic as one of the two factors in translation: pragmatic denotes the reader's or readership's reception of the translation, as opposed to referential, which denotes the relationship between the translation and the extra-linguistic reality it describes. &lt;br /&gt;
Translation is a properly way to a properly communication and pragmatics is how to use language in communication properly. By translation, many things from different languages and cultures can understand to each other. In other words, translation can be stated as a facilitator to make a communication runs well.&lt;br /&gt;
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===An Overview on Translation Studies  ===&lt;br /&gt;
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===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
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=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
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===Conclusion ===&lt;br /&gt;
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=== References ===&lt;br /&gt;
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= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature  --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:45, 12 December 2021 (UTC)&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
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In this chapter, the researcher wants to highlight the different concepts about the fundamental question that &amp;quot;what is idiomatic expression&amp;quot;  and the views of various critics, theorists and linguistic experts, and prominent scholars of translation studies.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:38, 13 December 2021 (UTC) Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
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Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
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&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda 2006: 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984: 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992: 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to Newmark, “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”(Newmark 1981: 11).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:38, 13 December 2021 (UTC)&lt;br /&gt;
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The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to Corelli, English has a sizeable idiomatic base. About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.(Corelli 2006: 53)&lt;br /&gt;
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The main issue that idiomatic and fixed expressions pose for translators, according to Baker is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.(Baker 1992: 65)&lt;br /&gt;
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Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.(Ahsan 2020: 12-27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:44, 13 December 2021 (UTC)&lt;br /&gt;
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===Literature Review ===&lt;br /&gt;
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In this chapter, the author/researcher defines the strategy and its different definitions from various perspectivess. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented.(Venutti !995, 35 Krings defines it as the content of the project, while Seguinet divided the term into three steps.(Krings 2000:21). However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. (Locher 2002:76) In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
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The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
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A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward. (Bergen 1996:33)&lt;br /&gt;
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Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint. (Vinute 1998:41).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to Seguinot (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.(Seguinot 1989:27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
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Furthermore, Loescher defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot;(Loescher 1991:8) As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998:4) claim moreover, 'Bell' distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.(Bell 1998:188)&lt;br /&gt;
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According to Venuti, &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot;(Venuti 1998, 240). He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to Jaaskelainen, product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.(Jaaskelainen 2005:15)&lt;br /&gt;
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Furthermore, Jaaskelainen distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making.(Jaaskelainen 2005:16). Newmarkdistinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;(Newmark 1988, 221)&lt;br /&gt;
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Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016:13).&lt;br /&gt;
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The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010:15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017:54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984:12). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
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Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985:9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female.&lt;br /&gt;
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=== Theoritical Framework ===&lt;br /&gt;
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Different strategies have been used, like using an idiom of similar meaning and similar form, the idiom of similar meaning and different form, translation by Paraphrasing, translation by omission. The approach of employing idioms of similar meaning and form, according to Mona Baker, entails using an idiom in the target language that can express about the same meaning as the source language idiom, as well as having lexical similarity. On the other hand, this type of matching happens periodically as well as regularly.&lt;br /&gt;
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Similarly, employing idioms with similar meanings but different forms means that it is possible to locate an idiom or fixed expression in the target text language that has a similar meaning to the source idiom or expression but is made up of distinct lexical elements. Consider the case of English and French, both of which use the idiom mentioned above. In English, one good deed is rewarded with another, whereas in French, handsome deeds are rewarded with handsome deeds.&lt;br /&gt;
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Furthermore, we did not come across any idioms in the category mentioned above during translating idioms. To deal with this issue, the translators used the most popular approach, known as a translation by paraphrase, which is short, straightforward, and time-saving. When a match cannot be identified in the target language or when it appears improper to employ idiomatic language in target material due to aesthetic differences between the source and target languages, this is the most typical approach for translating an idiom from source to target language. However, one thing to keep in mind is that a perfect translation is not required is necessary or possible.&lt;br /&gt;
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Last but not least, to overcome the problem of idiom translation, the translator employs the strategy of translation by omission. This can be defined as an idiom being omitted entirely in the target text with a single word. This is done because the idiom has no close match in the target language; its meaning cannot be easily paraphrased or due to stylistic reasons. &lt;br /&gt;
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Data analysis Techniques:&lt;br /&gt;
Textual analysis is the method of data analysis in qualitative research that brings forth the hidden and potent message, structure, and function of research in giving text, Alan Mckee (defines textual analysis as whenever we perform textual analysis on the text, we make an educated guess at some time of the most likely interpretations that might be made of that text (Alan Mckee 2001, 3)&lt;br /&gt;
Analysis of the translation of short stories in light of Mona baker's theory &amp;quot;khol do and license&amp;quot; are short stories written by Sadat Hassan Manto and translated by many translators from Urdu into English. During translation, the translator adopted many strategies for translating idiomatic expression, sometimes by Paraphrasing, sometimes by omission, sometimes using similar idioms of form and meaning while sometimes using different words and the same form, the whole.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:51, 12 December 2021 (UTC)&lt;br /&gt;
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===Discussion and Analysis===&lt;br /&gt;
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The chapter analyzes and discusses all the data collected by the author/researcher from different sources. All the examples of idioms are first identified, then translated into the target text, and back-translated for the sole purpose of exploring the strategies being used by the translator. A separate section is given to every strategy with its related example. Moreover, the idiomatic expression, the target work for finding, is highlighted through the bold letter.&lt;br /&gt;
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4.1	Translation by Paraphrasing:&lt;br /&gt;
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Based on our findings, the most often used strategy was &amp;quot;translation by paraphrasing.&amp;quot; An inspection also reveals that Aatish Taseer preferred this strategy. Here are some examples applied by the translators, and in the following section, the logic behind their preference towards this strategy is elaborate. The following are examples from two short stories of Sadat Husain Manto's &amp;quot;khol do&amp;quot; and &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 1: &lt;br /&gt;
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ST: Sirajuddin ne subah das baji anki kholi to logo ka ail mutalatam samandar deka.&lt;br /&gt;
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TT: Ten a.m., Siraj Uddin opens his eyes on the cold floor of the camp, seeing the swelling sea of men.&lt;br /&gt;
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BT: sub ke das baji jab Sirajuddin ne apni anki koli to logo ka aik ublaha howa samandar ka nizara dekni laga.&lt;br /&gt;
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So, the above idioms are literal idioms being translated with the help of Paraphrasing because there is no perfect equivalent of mutalatam words in English languages. A similar look at another idiom from short stories &amp;quot;khol do.&amp;quot;&lt;br /&gt;
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Example 2:&lt;br /&gt;
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ST: Khuda tomahra bala kari.&lt;br /&gt;
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TT: Your God will reward&lt;br /&gt;
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BT: Is ka badla khoda tomahi di.&lt;br /&gt;
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Here, the word reward is being used for Bala Kari, an example of transitional by Paraphrasing.&lt;br /&gt;
Let  take another example from &amp;quot;khol do.&amp;quot;&lt;br /&gt;
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Example 3:&lt;br /&gt;
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ST: unkho nai Jan khateli pa rak kar sakena ko donda.&lt;br /&gt;
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TT: even putting their lives online, they search sakina &lt;br /&gt;
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BT: apni zindagio ko khatri me dal kar unkho nai sakina ko dond nekala.&lt;br /&gt;
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The above idioms are examples of pure idiom translated from Urdu into English with the help of paraphrases strategies. However, under the same strategies, the idioms of another short story of Manto,s &amp;quot;license,&amp;quot; are translated by Aatish Taseer. Some of the examples are given below.&lt;br /&gt;
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Example 4:&lt;br /&gt;
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ST: Abu kochwan bara cheel jabela ta. It is the binomial type of idioms taken from the first sentence of the short story &amp;quot;license&amp;quot; by Sadat &lt;br /&gt;
Hasan Manto &lt;br /&gt;
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TT: Abu kochwan is stylish man.&lt;br /&gt;
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BT: Abu kochwan aik wazahdar admi ta.&lt;br /&gt;
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From the above idiom, it is clear that there is no perfect equivalence of cheela chabela idiom in English; that is, the translator goes &lt;br /&gt;
through paraphrasing strategies. Look at another example from &amp;quot;license.&amp;quot;&lt;br /&gt;
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Example 5:&lt;br /&gt;
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ST: Lein har waqat bank bani rekhi ka usi be had showk ta&lt;br /&gt;
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TT: He had a weakness for style and fashion.&lt;br /&gt;
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BT: Dan saj ke rekhna uski kamzori me sai ik ta.&lt;br /&gt;
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So all of the above examples, which are analyzed one by one, are examples of idioms being translated through paraphrasing strategies. (De Beaugrande and Dressler 1981, 50) define paraphrases as &amp;quot;approximate conceptual equivalence among outwardly different material.&amp;quot; Similarly, in this regard, Hirst defines paraphrases as &amp;quot;talk(ing) about the same situation in a different way.&amp;quot; Munday declared that &amp;quot;equivalence is particularly useful in translating idioms and proverbs” For instance, if the English idiom like a bear with a sore head is rendered into Persian as (mesle borje zahremar), meaning like a tower of snake venom, the strategy of equivalence has been applied. &lt;br /&gt;
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According to Leonardi, &amp;quot;Equivalence can be said to be the central issue in translation.&amp;quot; In this regard, house believes that &amp;quot;a translation text should match not only its source text in function but also employ equivalent situational-dimensional means to achieve that function&amp;quot; (Baker 2002, 49).  who shares this approach, states that equivalence is used &amp;quot;for the sake of convenience—because most translators are used to it rather than because it has any theoretical status&amp;quot; (Kenny 1998, 77). &lt;br /&gt;
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Despite different attitudes to the concept of equivalence, most specialists pay much attention to its meaning in the theory of translation. The translation is a form of communication, and that is why it is vital to establish equivalence between the source text and the target text. Although Vinay and Darbelnet believe that equivalence is used differently than in modern translation theory, it is evident that equivalence is one of the basic concepts of translation that cannot be neglected. Consequently, based on the Above mentioned studies using Paraphrasing in translation stands as the core concept in the process of translation, and still, most of the translators cling to it for producing a more comprehensible and explicable text. These language ideas and translation models are ideal constructs, presented abstractly in order to be differentiated precisely. They may exist in an uneasy combination in actual theories and practices, resulting in logical tensions or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation. Theories and actions must be contextualized in historical settings. They've been utilized as analytical tools to describe various topics in section introductions. Theoretical writings and current events these language notions and translation models are ideal constructs expressed in an abstract manner in order to be distinguished precisely in real-life hypotheses they may exist in an uncomfortable mix, resulting in logical conflicts or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation.&lt;br /&gt;
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4.2	Using an idiom of Similar Meaning and Form &lt;br /&gt;
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As mentioned earlier, this strategy type is being used by Aatish Taseer during their translated work of Manto's short stories &amp;quot;khol do&amp;quot; and&amp;quot; license&amp;quot; on an occasional basis. Some examples are mention below.&lt;br /&gt;
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From khol do.&lt;br /&gt;
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Example 6:&lt;br /&gt;
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ST: Larki ka rang zard hogaya.&lt;br /&gt;
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TT: The girl's face became fail&lt;br /&gt;
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BT: larki ka rang zar hogya.&lt;br /&gt;
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Similarly, another example from the license is&lt;br /&gt;
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Example 7:&lt;br /&gt;
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ST: Abu our us ke mat beer hogaie&lt;br /&gt;
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TT: They fall in love with each other.&lt;br /&gt;
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BT: WO ik dosri ke mokhbat me geriftar hogaie&lt;br /&gt;
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The above idioms are pure ones and are being translated with the help of similar meanings and similar forms.&lt;br /&gt;
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The procedures: transposition, modulation, equivalence, and adaptation, and when it comes to defining the term Equivalence, (Vinay and Darbelnet 2000, 90) propose that it consists in rendering &amp;quot;the same situation … by two texts using completely different stylistic and structural methods&amp;quot;, and when it comes to translating idiomatic expressions like &amp;quot;Il pleut à seaux&amp;quot; it can be translated as &amp;quot;It is raining cats and dogs&amp;quot; using the idiom of similar form and meaning in the target language.&lt;br /&gt;
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As (Baker 1992, 12) states, this strategy involves using an idiom in the TL which conveys roughly the same meaning as that of the source language idiom and, in addition, consists of identical lexical items. The salient point is that this kind of match can only occasionally be achieved, which cannot be picked up more often by translators. Accordingly, both translators mentioned in the current study had quite a slim chance of using this strategy type. &lt;br /&gt;
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4.3 Using an idiom of similar meaning but different form:&lt;br /&gt;
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During translating Manto short stories, &amp;quot;khol do&amp;quot; and &amp;quot;license,&amp;quot; some of the idioms are translated with the help of this strategy. Some of the examples are given below from two different short stories.&lt;br /&gt;
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Example number one is from the short story &amp;quot;khol do&amp;quot;&lt;br /&gt;
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Example 8:&lt;br /&gt;
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ST: Aur bolwai gos ayai thee?&lt;br /&gt;
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TT: The roitors come abroad.&lt;br /&gt;
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BT: pasadi bahar agai hai.&lt;br /&gt;
&lt;br /&gt;
The above idiom is a pure type of idiom being translated with the help of above mention strategy. The word rioter is being used for bolwai, which is not a perfect word for bolwai. In Urdu bolwai, people believe in violence when minorities or the low population of any country want some rights. These people stop them by using violence, burn down their properties, rapes women, and do things like that. Another example from the license is below.&lt;br /&gt;
&lt;br /&gt;
Example 9:&lt;br /&gt;
&lt;br /&gt;
ST: Dosri kotwal abu ko dek kar jal ban ho jati.&lt;br /&gt;
&lt;br /&gt;
TT: The other coachman burn with envy.&lt;br /&gt;
&lt;br /&gt;
BT: Abu ke kamyabi dek kar aur kotwal abu sai khasad karni lagi’&lt;br /&gt;
&lt;br /&gt;
The above idioms are a pure idiom that reflects the effect of jealousy between competitors to achieve equivalency. Aatish Taseer uses envy word for jal ban instead of other which have similar meaning but different form. Look at the other example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: Dino lat vo lagal se kam karni laga.&lt;br /&gt;
&lt;br /&gt;
TT: Dino came with an excuse.&lt;br /&gt;
&lt;br /&gt;
BT: Dino abb bahi tarashni laga.&lt;br /&gt;
	&lt;br /&gt;
The above idioms are types of binomial idioms translated with the help of idioms with similar meanings and different forms. (Newmark 1988, 81) mentions the difference between translation methods and translation procedures. He writes that &amp;quot;[w]hile translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language&amp;quot; (Newmark 1988, 81). Idiomatic translation in his definition reproduces the 'message' of the original. However, it distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original, leading to using an idiom of similar meaning but a different form. Besides, it is often possible to find an idiom or fixed expression in the target language with a meaning similar to that of the source idiom or expression but which consists of different lexical items (Baker 1992, 12). Therefore, translators discover idiomatic expressions in the target language with different forms than in the source language. In the current study, the translators approached this strategy merely for 9% of the total times, which means the frequency of Iranian and English idioms with the same meaning and different forms is not considered high. &lt;br /&gt;
&lt;br /&gt;
4.4 Translation by omission:&lt;br /&gt;
&lt;br /&gt;
A translator is less using these strategies, and we did not find any clue on this type of strategy in an area under consideration.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:48, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== Findings===&lt;br /&gt;
&lt;br /&gt;
(Mandelbit 1995) believed that idioms with different cognitive mapping in the target language would be more challenging to translate. After conducting study and data analysis of collected data, the result revealed that the translator frequently used three out of four strategies of the Mona Baker model during the translation process, which is a translation by Paraphrasing, translation by similar meaning and similar form, translation by similar meaning and different form. In contrast, translation by omission does not found in his work.&lt;br /&gt;
After detail and careful analysis of data, more than half of idioms like &amp;quot;swelling sea of man,” my lord break his arrogance, “weakness for style and fashion.&amp;quot; As I mentioned earlier, many more are translated under the umbrella of Paraphrasing, which is considered the most common method used for translating idioms.&lt;br /&gt;
&lt;br /&gt;
Similarly, we also reflect strategies like similar meaning and different form and similar meaning and similar form. The idiom &amp;quot;rioter came abroad,” burn with envy,” The girl's face became pale, &amp;quot; They fall in love with each other&amp;quot; are translated with the help of two mention strategies, respectively.&lt;br /&gt;
&lt;br /&gt;
Although translation by omission is a strategy used on rare occasions because of its meaning, its meaning cannot be easily paraphrased or stylistic reason. Here, the researcher also did not find any idiom translated with the help of the omission strategy.&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
Go through detailed discussion and analysis of data collected from my source. We finally concluded that the idioms present in two short stories, &amp;quot;khol do&amp;quot; and &amp;quot;License,&amp;quot; are translated under the frame of Mona Baker's idiomatic model. Translation by Paraphrasing is mainly used while idioms of similar meaning and form and idioms of similar meaning and different forms are used occasionally. The researcher discusses all the strategies with related examples in the order of maximum used to minimum used. The strategy by omission did not find it works. All the data are collected from different sources and analyzed with the help of different researcher tools, and the result is written in light of the finding. Different from previous studies, the writer presents the strategies to translate idioms by each type of idiomatic expression found in the story. From the result, it is considered the translation of idiomatic expressions in the story is quite accurate. As the number of accurate data is more the data which is not related to the translation. We take conclusion from the translation through idiomatic expression and paraphrasing is the best way to translate a novel or a story however it is very difficult job to do because it needs more accurate and precise knowledge about the source language and an inspiring method to express ideas in the target language. However, translation is thing through which we can connect the world with each other and also we can study and observe diverse cultures.            &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abu-Saydeh, A. F. (2004). Translation of English idioms into Arabic. Babel, 114-131.&lt;br /&gt;
&lt;br /&gt;
Ahsan, S. (2020). A comparative study of two translations of manto's short story &amp;quot;Toba Tek&amp;quot;. International Journal of English Language Studies, 12-27.&lt;br /&gt;
&lt;br /&gt;
Alexander, R. J. (1987). Mimeograph. In R. J. Alexander (Ed.) Collocation and Culture. Trier: University of Trier, West Germany.&lt;br /&gt;
&lt;br /&gt;
Al-Qinai, J. (2000). Translation quality assessment. strategies, parameters and procedures. Translator's Journal, 497-519.&lt;br /&gt;
&lt;br /&gt;
Bayashi, J. (2020). Japanese-English translation: An advanced guide. Oxfordshire: Routledge.&lt;br /&gt;
&lt;br /&gt;
Das, V. &amp;amp;. (1995). Critical events: An anthropological perspective on contemporary India. New Delhi: Oxford Printing Press.&lt;br /&gt;
&lt;br /&gt;
Mufti, A. (2007). The Language of English India. In I. &amp;amp;. End (Ed.) Enlightenment in the Colony. Princeton University Press.&lt;br /&gt;
&lt;br /&gt;
Waka Xia, L. (2019). A discourse analysis of news translation in China. Syydney: Routledge.&lt;br /&gt;
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= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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===Key words ===&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
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===Ambiguity===&lt;br /&gt;
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===Lexical and Structural Mismatches===&lt;br /&gt;
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===Multiword units: Idioms and Collocations===&lt;br /&gt;
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===Summary===&lt;br /&gt;
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===Further Reading===&lt;br /&gt;
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=刘胜楠 A Case Study of ''Ne Zha'' on Subtitle Translation Strategies from the Perspective of Skopos Theory= &lt;br /&gt;
[[Trans_Type_EN_15]]&lt;/div&gt;</summary>
		<author><name>Atta Ur Rahman</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=132409</id>
		<title>Translation types, strategies, styles, methods</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=132409"/>
		<updated>2021-12-13T15:48:30Z</updated>

		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* Introduction */&lt;/p&gt;
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&lt;div&gt;'''Translation types, strategies, styles, methods'''&lt;br /&gt;
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[[Translation_types,_strategies,_styles,_methods|Overview Page of Translation types, strategies, styles, methods]]&lt;br /&gt;
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30 Chapters（0/30)&lt;br /&gt;
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[[Trans_Type_EN_1]] [[Trans_Type_EN_2]] [[Trans_Type_EN_3]] [[Trans_Type_EN_4]] [[Trans_Type_EN_5]] [[Trans_Type_EN_6]] [[Trans_Type_EN_7]] [[Trans_Type_EN_8]] [[Trans_Type_EN_9]] [[Trans_Type_EN_10]] [[Trans_Type_EN_11]] [[Trans_Type_EN_12]] [[Trans_Type_EN_13]] [[Trans_Type_EN_14]] [[Trans_Type_EN_15]] [[Trans_Type_EN_16]] [[Trans_Type_EN_17]] [[Trans_Type_EN_18]] [[Trans_Type_EN_19]] [[Trans_Type_EN_20]] [[Trans_Type_EN_21]] [[Trans_Type_EN_22]] [[Trans_Type_EN_23]] [[Trans_Type_EN_24]] [[Trans_Type_EN_25]] [[Trans_Type_EN_26]] [[Trans_Type_EN_27]] [[Trans_Type_EN_28]] [[Trans_Type_EN_29]] [[Trans_Type_EN_30]] ...&lt;br /&gt;
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[[Book_projects|Back to translation project overview]]&lt;br /&gt;
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[[DCG-To-Do|To the To Do List]]&lt;br /&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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'''浅析美版《甄嬛传》的字幕翻译策略'''&lt;br /&gt;
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[[Trans_Type_EN_1]]&lt;br /&gt;
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阳佳颖 Yang Jiaying, Hunan Normal University, China&lt;br /&gt;
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=Chapter 2: The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
'''纽马克翻译理论指导下旅游文本中翻译策略与翻译方法的使用——以''Everglades National Park, Florida (Excerpt)''为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_2]]&lt;br /&gt;
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刘晓 Liu Xiao, Hunan Normal University, China&lt;br /&gt;
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=Chapter 3: Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
交际翻译理论指导下小说题材所适用的翻译方法和翻译策略—以韩国小说集《恩珠的电影》（节选）为例&lt;br /&gt;
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[[Trans_Type_EN_3]]&lt;br /&gt;
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刘越Liu Yue ，Hunan Normal University，China&lt;br /&gt;
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=Chapter 4: On Translation Strategies and Translation Methods in Chinese Translation of English Prose -- A Case Study of Chinese Translation of English Prose &amp;quot;Pleasures of Ignorance&amp;quot;=&lt;br /&gt;
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'''浅析英语散文汉译中的翻译策略和翻译方法——以英语散文《无知的乐趣》汉译本为例'''&lt;br /&gt;
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[[Trans_Type_EN_4]]&lt;br /&gt;
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毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
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=Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
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[[Trans_Type_EN_5]]&lt;br /&gt;
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毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
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=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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[[Trans_Type_EN_6]]&lt;br /&gt;
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彭瑞雪 Peng Ruixue 202120081517, Hunan University, China&lt;br /&gt;
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=Chapter 7: A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
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[[Trans_Type_EN_7]]&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
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=Chapter 8:Translation methods and strategies applicable to the style of biographical literature -- Taking ''Incidents in Life of Slave Girl'' (excerpt) as an example=&lt;br /&gt;
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传记文学的文体所适用的翻译技巧与策略——以英文传记《一名女奴的人生际遇》(节选)为例&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_8]]&lt;br /&gt;
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颜子涵 Yan Zihan, Hunan Normal University, China&lt;br /&gt;
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=Chapter 9: On the Translation Strategies of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hung-ming and Xu Yuanchong=&lt;br /&gt;
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'''视域融合视角下看《论语》英译的翻译策略—以辜鸿铭和许渊冲的英译本为例'''&lt;br /&gt;
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[[Trans_Type_EN_9]]&lt;br /&gt;
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邝艳丽 Kuang Yanli, Hunan Normal University, China&lt;br /&gt;
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=杨柳青 Bian Zhilin's Literary Translation Theories and Practice——Take His Translation of Romantic Poems as Examples=&lt;br /&gt;
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Yang Liuqing杨柳青,Hunan Normal University,China.&lt;br /&gt;
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[[Trans_Type_EN_10]]&lt;br /&gt;
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=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012:37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær 2015:10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005;9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004;1). Translation is essential for cultures and languages to exchange information. Newmark (1988) defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects(Newmark 1988;2). Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
&lt;br /&gt;
Nida indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style(Nida 1964;32). Larson (1998) has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context(Larson 1998;23).--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:41, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”.(Snell-Hornby 1988;33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957;167). By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
&lt;br /&gt;
The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003;16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
&lt;br /&gt;
This study is aimed to probe Newmark's translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988;81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:41, 13 December 2021 (UTC)&lt;br /&gt;
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===Translation and Culture===&lt;br /&gt;
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2. Translation and Culture &lt;br /&gt;
&lt;br /&gt;
Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
&lt;br /&gt;
The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988, 7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988, 5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988, 7).  &lt;br /&gt;
&lt;br /&gt;
In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford (1965) defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language” (Catford 1965, 20). According to Venuti’s translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader” (Venuti 1995, 18). Schjoldager stated that “a translation is a text that expresses what another text has expressed in another language” (Schjoldager 2008, 19). Culture is a complex whole which includes knowledge, belief, art, law, morals, customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan (2014), claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014, 2). Hermanns (1999) contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures. Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014, 2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark (2001), illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001, 328). &lt;br /&gt;
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Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
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2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
&lt;br /&gt;
Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora, fauna, food, clothes, housing, work, leisure, politics, law, and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988, 327) Christine Nord names them “culturemes” (Nord 1997, 9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012, 1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Aixela, 1997; Davies, 2003), others choose cultural words (Newmark, 2003) or culture-bound phenomena/concepts (Baker, 1992, Newmark, 2003, Robinson, 2003). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker, 1992, 21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988, 94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988, 95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988, 95).&lt;br /&gt;
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2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
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The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85, P. 22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003, 16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.&lt;br /&gt;
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===Types of Translation ===&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
Newmark (1988) determines 8 types of translation which are: &lt;br /&gt;
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3.1 Word-for-Word Translation &lt;br /&gt;
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This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
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3.2 Literal translation &lt;br /&gt;
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In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
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3.4 Semantic Translation &lt;br /&gt;
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Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
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3.5 Adaptation &lt;br /&gt;
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This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015, 15). &lt;br /&gt;
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3.6 Free Translation &lt;br /&gt;
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The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
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3.7 Idiomatic Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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3.8 Communicative Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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===Translation Strategies  ===&lt;br /&gt;
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4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
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4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela (1996), translators need to choose several strategies based on the source language culture and target culture.  He distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, he tries to command by the level of their intercultural intervention. He divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies). &lt;br /&gt;
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4.1.1. Conservation: &lt;br /&gt;
In conservation, the less compelling process includes repetition, orthographic adaptation, linguistic translation, extratextual gloss and intratextual gloss. &lt;br /&gt;
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4.1.1.1 Repetition: In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus, the translator keeps as much as possible the original reference (Aixela, 1996, p. 61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
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4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
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4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
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4.1.1.4 Extra-textual Gloss: Here, the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes, endings, words, ideas, translators in dictionaries, italics and so on. &lt;br /&gt;
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4.1.1.5 Intra-textual Gloss: It's like the past but the translator feels that he/she can include the globe as an indirect part of the text, not to distract the reader. &lt;br /&gt;
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4.2.1 Substitution &lt;br /&gt;
In substitution, According (Aixela, 1996) “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here”. &lt;br /&gt;
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4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
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4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
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4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela, 1997, p.63). &lt;br /&gt;
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4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Shokri, Ketabi, 2015, p.8). &lt;br /&gt;
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4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela, 1996, p. 64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
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4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela, 1997). &lt;br /&gt;
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4.3 Mona Baker’s Translation Strategies &lt;br /&gt;
Baker’s strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation. (Baker, 1992). He suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies, which are the following: &lt;br /&gt;
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4.3.1 Translation by a more general word: According to Baker, this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
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4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
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4.3.3 Translation by cultural substitution: This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
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4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
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4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
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4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
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4.3.7 Translation by omission: Losing phrases or words that are not vital to text development. &lt;br /&gt;
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4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view, however, Baker's (1992) translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
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===Cultural Categories  ===&lt;br /&gt;
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5. Cultural categories &lt;br /&gt;
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5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
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5.1.2 Material culture &lt;br /&gt;
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Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.” &lt;br /&gt;
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5.1.3 Social culture &lt;br /&gt;
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The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
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5.1.4 Organisation &lt;br /&gt;
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Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
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5.2 Newmark Classification CSIs &lt;br /&gt;
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Newmark (1988) established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items. (Newmark 1988, 97) &lt;br /&gt;
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5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
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Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
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2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
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3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
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4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
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5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
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6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
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7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
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8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
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9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
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10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
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11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
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12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
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13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
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14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
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15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
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16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
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17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
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18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
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19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
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20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
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21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
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22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
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23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
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24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
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25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
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26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
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27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
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28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
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29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
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30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
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31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
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32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
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33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
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34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
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35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
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36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
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37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
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38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
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39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
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40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
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41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
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42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
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43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
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44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
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45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
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46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
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47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
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48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
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49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
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50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
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51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
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52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
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53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
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54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
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55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
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56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
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57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
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58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
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59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
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60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
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61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
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62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
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63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
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64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
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65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
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66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
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67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
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68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
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69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
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70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
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71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
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72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
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73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
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74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
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75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
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76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
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77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
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78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
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79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
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80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
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81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
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82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
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83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
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84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
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85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
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86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
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87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
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88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
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89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
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90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
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91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
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92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
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93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
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94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
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95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
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===Translation Procedure ===&lt;br /&gt;
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6. Translation Procedure&lt;br /&gt;
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There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996, 31), “translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by (Newmark 1988, 81), “translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.” &lt;br /&gt;
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6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
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6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation, then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions. &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity, as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts, the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term, and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part, but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark (1988) has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9. &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark’s strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark (1988) were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However, the translator must be competent in using the translation procedures to provide an accurate translation. &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
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Issa, A. L. S. M., &amp;amp; Hammood, L. H. R.- Quranic-Specific Phrases under the Study of Translation; Significance and Applications. &lt;br /&gt;
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Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. (33), p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. 33, p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Lambert, J. (1998) Literary Translation. In: M. Baker, ed. Routledge Encyclopedia of Translation Studies. London: Routledge, 130-134. &lt;br /&gt;
&lt;br /&gt;
Landers, Clifford E. (2001) Literary Translation: A practical guide. New Jersey University Press: Multilingual Maters. &lt;br /&gt;
&lt;br /&gt;
Lustig, Myron, W. and Koeser, Joline  (2003), Intercultural Competence: Interpersonal Communication Across Cultures, Boston: Allyn and Bacon. &lt;br /&gt;
&lt;br /&gt;
Malmkjær, K. (1993). Who Can Make Nice A Better Word Than Pretty? Collocation, Translation, and Psycholoinguistics. In: Baker, M., Francis, G. and Tognini-Bonelli, E. &lt;br /&gt;
eds. Text and Technology. Philadelphia/Amsterdam: John Benjamins Publishing Company. pp.213-32. &lt;br /&gt;
&lt;br /&gt;
Mosavat, S., &amp;amp; Rahimpour, S. (2016). The Most and Least Used Translation Strategies for &lt;br /&gt;
Conveying Culture-Specific-Items in Young Adult Literature from English into Persian. International Journal of Humanities and Cultural Studies (IJHCS) ISSN 23565926, 1853-1873. &lt;br /&gt;
&lt;br /&gt;
Munday, J. (1997). Systems in Translation: A computer-assisted systemic approach to the analysis of translation of García Márquez. Ph.D thesis, University of Bradford. &lt;br /&gt;
&lt;br /&gt;
Newmark, P. (2001). A Textbook of Translation. Shanghai: Shanghai Foreign Language &lt;br /&gt;
Education Press &lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. (1988). A Textbook of Translation. New Jersey: Prentice-Halls &lt;br /&gt;
&lt;br /&gt;
Nord, Christiane. (1997). Translating as a Purposeful Activity: Functionalist Approaches &lt;br /&gt;
Explained. Manchester: St. Jerome. Accessed 10 November. 2018. Google Books Schjoldager, A. (2008). Understanding translation. Academica: Århus. &lt;br /&gt;
&lt;br /&gt;
Silalahi, M., &amp;amp; Lubis, S. (2013). Translation Procedures of Cultural Terms Found In Sejarah Bilingual For Students of Senior High School. &lt;br /&gt;
Valipoor, K., &amp;amp; andAzizeh Chalak, H. H. T. (2019). Cultural-specific items in translation of the Holy Quran by Irving: 43-51. &lt;br /&gt;
&lt;br /&gt;
Venuti, L. (1995). The translator’s invisibility: A history of translation. London and New York: &lt;br /&gt;
Routledge &lt;br /&gt;
&lt;br /&gt;
Widiarto, O. V. V. (2016). The translation procedures of cultural expressions applied in a game of thrones translated into Perebutan Tahta novel by Barokah Ruziati (Doctoral dissertation, Dian Nuswantoro University).&lt;br /&gt;
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=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims to observe the development of translation studies through its different types, various strategies, styles and particular methods. In this paper, the readers are introduced to some famous translation scholars including their view of translation studies. At the further discussions, this study lets the readers acknowledge the main issues on translation studies, focusing on different styles of variations such as grammar, sentence structure, textual analysis, strategies and methods. This study may help those who are interested to conduct translation researches and help them by giving options of which theories is beneficial to their analysis. Moreover, it aims to explore the clear definition of translation as well as help the readers to understand the basic concept which are used in the field of translation. The present study, therefore, attempts to outline the scope of the discipline of translation studies and more importantly, it is an attempt to outline its activity that required a deep mastering of language, a good source of knowledge and target cultures.&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation, styles of variations, strategies&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
It is undoubtedly right that translation is important to share information. In line with these premise, the number of translation professionals is getting higher. In fact, the result of translation researches tends to help human daily life in term of evaluation, designing translator machines, and cultural studies.	 Therefore, translation means converting written information from one language into another. It is the new discipline appeared in the second half of the 20th century. The term “Translation Studies” was coined by James S. Holmes, an American-Dutch poet and translator of poetry, in his seminal paper “The Name and Nature of Translation Studies”.  Translation enables effective communication between people around the world. It is a courier for the transmission of knowledge, a protector of cultural heritage, and essential to the development of a global economy. Translation helps us to know about the developments in the field of creative arts, education, literature, business, science and politics. It has shifted from the traditional conception of the fixed, stable and unchangeable nature of the text and its meaning to a text with wide scope for variations. Translation also helps in nation building. In this globalised world, the demand for translation and language related services has increased many times. Translation is not only needed for the creation of national identity but has also become an essential tool for keeping pace with the processes of globalization and localization. The activity of translation has a long-standing tradition and has been widely practiced throughout history, but in our rapidly changing world its role has become of paramount importance. Nowadays, knowledge in which cultural exchanges have been widening, has been increasingly expanding and international communication has been intensifying, the phenomenon of translation has become fundamental. Be it for scientific, medical, technological, commercial, legal, cultural or literary purposes, today human communication depends heavily on translation and, consequently, interest in the field is also growing. Accordingly, the discussion, in the present study, proceeds primarily from the perspectives of “Translation Studies” and “Linguistics”. One major goal is to show the interrelationships between linguistics and translation, and how they benefit from each other. Nowadays, translation research has started to take another path, which is more automatic. The invention of the internet, together with the new technological developments in communication and digital materials, has increased cultural exchanges between nations. This leads translators to look for ways to cope with these changes and to look for more practical techniques that enable them to translate more and waste less. They also felt the need to enter the world of cinematographic translation, hence the birth of audiovisual translation. The latter technique, also called screen translation, is concerned with the translation of all kinds of TV programs, including films, series, and documentaries. This field is based on computers and translation software programs, and it is composed of two methods; dubbing and subtitling. In fact, audiovisual translation marks a changing era in the domain of translation.&lt;br /&gt;
In short, translation has very wide and rich history in the West. Since its birth, translation was the subject of a variety of research and conflicts between theorists. Each theorist approaches it according to his viewpoint and field of research, the fact that gives its history a changing quality.&lt;br /&gt;
&lt;br /&gt;
Discussion &lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation. For each type, a selection of examples will be considered for analysis based on translation theories and techniques. We will show that some chunks of text require literal translation, while other requires interpretive method. In addition, this paper will also examine various strategies and its styles of variations based on translational study. The following strategies will be presented in the paper as; &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	They involve text manipulation.&lt;br /&gt;
•	They must be applied to the process.&lt;br /&gt;
•	They are goal-oriented.&lt;br /&gt;
•	They are problem-centered.&lt;br /&gt;
•	They are applied consciously.&lt;br /&gt;
•	They are inter-subjective.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Most theorists agree that strategies are used by translators when they encounter a problem and literal translation is not useful. Different researchers have investigated and described various translation strategies from their different perspectives. It intends to show what translation strategies exist and when and why they are used by professional translators. Different scholars have various perspectives to the aspects of the act of translation, so, they define and describe different types of strategies. Bergen's (n. d.) classification of the strategies includes three categorizations which will be discussed mainly in this paper: &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	Comprehension strategies &lt;br /&gt;
•	Transfer strategies&lt;br /&gt;
•	Production strategies&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
An addition to this paper, styles of variations will also be introduced to the readers through different aspects and examples. The concept of style can be defined in terms of the distinctive way an individual or a group uses language, or better still the discourse used to perform distinct functions of language aimed at achieving specific purposes. However, this does not entail that style is simply a matter of form since it is the product of other components such as the genre of discourse, its semantics, syntax and phonology. Indeed, in order to analyze a given stylistic variation one needs an extensive checklist that includes lexical and grammatical categories, allusions, and figures of speech. Style can be understood to refer to the recurring typical features of the source text compared to the typical features of the translated text.  In a quantitative and qualitative analysis, this variation is shown to be influenced by several pragmatic and social factors, and to index the interpreters' stances towards source speakers and towards the immigrant court users who are the recipients of translations from English. It is argued that translation styles have profound consequences for limited English speakers, as the insistence on institutional norms in translating to them is viewed as a gate keeping behavior that may impede their full participation in the proceedings. &lt;br /&gt;
&lt;br /&gt;
What is translation? &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Translation went through various definitions going from a mere linguistics activity during the sixties, a cultural and communicative activity during the seventies reflects the social impacting activity in the latest founding of the literature. &lt;br /&gt;
“Translation is traditionally known as being the replacement of textual material in one language into equivalent textual material in another language”. &lt;br /&gt;
House (2015) mentions that translation is considered as the “replacement” of a text in the source language by a semantically and pragmatically equivalent text in the target language. It is strongly related to a source language and target language cultures. It requires a high level of mastery languages, an awareness of any contextual factors within which the discourse emerges. There is no need to mention how it affected civilizations through different areas of mankind history. For example, An Arab-Islamic civilizations. There have always been different directions on how one should or should not translate. In the Arab tradition, two main methods existed and were in complete divergence namely the literal and the free method. &lt;br /&gt;
On the other hand, in the Western tradition there are various methods currently exist namely, the linguistic, the hermeneutic, the interpretive, the functionalist, the interventionist, the poly-systemic and the text-typologist method.  More so, it may be important to point out that translation has been defined in many ways, and every definition reflects the theoretical approach underpinning it. &lt;br /&gt;
As Shuttlworth and Cowie (1997) observe throughout the history of research into translation, the phenomenon has been variously delimited by formal descriptions, echoing the frameworks of the scholars proposing them. For example, Bell (1991: XV) starts with an informal definition of translation, which runs as follows: the transformation of a text originally in one language into an equivalent text in a different language retaining, as far as is possible, the content of the message and the formal features and functional roles of the original text. &lt;br /&gt;
At the beginning of the ‘scientific’ (Newmark, 1988, p. 2) study of translation, Catford (1965, p. 20) described it in these terms, the replacement of textual material in one language (SL) by the equivalent textual material in another language. &lt;br /&gt;
Thirty years later, in Germany, the concept of translation as a form of ‘equivalence’ is maintained, as we can see from Koller’s definition (1995, p. 196): “The result of a text processing activity, by means of which a source language text is transposed into a target-language text. Between the resultant text in L2 (the target-language text) and the source text in L1 (the source language text) there exists a relationship, which can be designated as a translational, or equivalence relation”. Because complete equivalence (in the sense of synonymy or sameness) cannot take place in any of his categories, Jakobson (1959) declares that all poetic art is, therefore, technically untranslatable. That is, the translator has to take the question of interpretation into account in addition to the problem of selecting a TL phrase which will have a roughly similar meaning. Exact translation is impossible. In this regard, Bassnett (1996) claims that all texts, being part of a literary system descended from and related to other systems are “translations of translation of translations”: every text is unique and at the same time, it is the translation of another text. No text is entirely original because language itself, in its essence, is already a translation: firstly, of the non-verbal world and secondly, since every sign and every phrase is the translation of another sign and another phrase. However, this argument can be turned around without losing any of its validity: all texts are original because every translation is distinctive. Every translation, up to a certain point, is an invention and as such it constitutes a unique text.&lt;br /&gt;
In this analysis of the above definition, Manfredi (2008), points out that the above distinction can be divided into two main perspectives, those that consider translation either as a ‘process’ or a ‘product’. To this twofold categorization, Bell (1991, p. 13) adds a further variable, since he suggests making a distinction between translating (the process), a translation (the product) and translation (i.e., “the abstract concept which encompasses both the process of translating and the product of that process”. Moreover, thanks to advances in new technologies, today we can also incorporate into TS the contribution of corpus linguistics, which allows both theorists and translators analyses of large amounts of electronic texts (Manfredi, 2008). On the other hand, Halliday (1992, p. 15) takes translation to refer to the total process and relationship of equivalence between two languages; we then distinguish, within translation, between “translating” (written text) and “interpreting” (spoken text). Halliday, thus, proposes distinguishing the activity of “translation” (as a process) from the product(s) of “translating”, including both “translation” (concerning written text) and ‘interpreting’ (regarding spoken text.&lt;br /&gt;
“Translation is the production of a functional target text maintaining a relationship with a given source text that is specified according to the intended or demanding function of the target text.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Types of Translation&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation.&lt;br /&gt;
&lt;br /&gt;
Technical translation &lt;br /&gt;
&lt;br /&gt;
Technical translation is a type of specialized translation involving the translation of documents produced by technical writers, or more specifically, texts which relate to technological subject areas or texts which deal with the practical application of scientific and technological information. (Wikipedia) &lt;br /&gt;
Translators' main goal is to accurately translate the technical terminology to match the document and the message of the original content.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The benefits of technical translation&lt;br /&gt;
&lt;br /&gt;
A professional technical translation service is provided by translators with dual specialties, that is, professionals who are fluent in the language pair, but who are also experts in the field covered by the documents to be translated.&lt;br /&gt;
When you need to have your documents translated by a technical translator, translators who are not experts may not be able to provide the necessary solutions and terminology for a quality translation. If the translator is not an expert in the field, he/she will have to learn the new terminology while working. This means that translation will take longer, have higher chances of inaccuracies, and may result in higher costs. Therefore, the main advantages of hiring an agency specialized in this type of service are as follows:&lt;br /&gt;
&lt;br /&gt;
Literary translation&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Literary translation is the translation of creative and dramatic prose and poetry into other languages. This includes the translation of literature from ancient languages and the translation of modern fiction so that it can reach a wider audience. &lt;br /&gt;
Literary translation is of huge importance. It helps to shape our understanding of the world around us in many ways.                                                     Reading Homer and Sophocles as part of a classical education in school helps to build an understanding of history, politics, philosophy and so much more. Meanwhile, reading contemporary translations provides fascinating insights into life in other cultures and other countries.                                                       In a fast-paced world so rife with misunderstanding and confusion, such efforts to share knowledge and experiences across cultural boundaries should be applauded.&lt;br /&gt;
The translation of literature differs greatly from other forms of translation. The sheer size of the texts involved in literary translation sets it apart.                Tackling a translation that runs to hundreds of thousands of words is not a task for the faint-hearted. Nor is recreating poetry in a new language, without losing the beauty and essence of the original work.&lt;br /&gt;
One of the key challenges of literary translation is the need to balance staying faithful to the original work with the need to create something unique and distinctive that will evoke the same feelings and responses as the original. This can be particularly challenging when it comes to translating poetry.&lt;br /&gt;
Poems are written with incredible attention to detail. Not only are the words and phrases important, but the number of syllables and the entire rhythm of the completed work. It’s a challenging task to complete just in one language, let alone when trying to recreate a poet’s work during a translation. Daniel Hahn, director of the British Centre for Literary Translation, sums up the issue beautifully. &lt;br /&gt;
As literary translators will attest, a single word can be extremely troublesome. The author of a work of fiction has chosen that word for a good reason, so the translator must ensure that it is faithfully delivered in the target language. However, what if no direct translation is available? Or what if several options exist, each with a slightly different nuance? Urdu language translator Fahmida Riaz outlines her approach to such thorny issues.&lt;br /&gt;
For instance, “Every piece you translate comes from the pen of an individual, so you have to give it an individual treatment. I try to retain the ambience of the original culture, rather than the language, as it is reflected in the text.” &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Pragmatic translation&lt;br /&gt;
&lt;br /&gt;
Pragmatic translation is the basic assumption that provided a source language text contains no misstatements of fact, is competently written and has to be fully translated rather than summarized or functionally reorientated; one's purpose in translating it is to be referentially and pragmatically accurate. In this paper, I shall not deal with referential accuracy but concentrate instead on the pragmatic aspects of translation. As the term pragmatic translation may be used in a variety of ways, I should like to state my own definition of pragmatic, which derives from Charles Morris and ultimately from Charles S. Peirce. I am using pragmatic as one of the two factors in translation: pragmatic denotes the reader's or readership's reception of the translation, as opposed to referential, which denotes the relationship between the translation and the extra-linguistic reality it describes. &lt;br /&gt;
Translation is a properly way to a properly communication and pragmatics is how to use language in communication properly. By translation, many things from different languages and cultures can understand to each other. In other words, translation can be stated as a facilitator to make a communication runs well.&lt;br /&gt;
&lt;br /&gt;
===An Overview on Translation Studies  ===&lt;br /&gt;
&lt;br /&gt;
===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
&lt;br /&gt;
=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature  --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:45, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the researcher wants to highlight the different concepts about the fundamental question that &amp;quot;what is idiomatic expression&amp;quot;  and the views of various critics, theorists and linguistic experts, and prominent scholars of translation studies.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:38, 13 December 2021 (UTC) Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
&lt;br /&gt;
Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda 2006: 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984: 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992: 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to Newmark, “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”(Newmark 1981: 11).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:38, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to Corelli, English has a sizeable idiomatic base. About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.(Corelli 2006: 53)&lt;br /&gt;
&lt;br /&gt;
The main issue that idiomatic and fixed expressions pose for translators, according to Baker is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.(Baker 1992: 65)&lt;br /&gt;
&lt;br /&gt;
Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.(Ahsan 2020: 12-27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:44, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Literature Review ===&lt;br /&gt;
In this chapter, the author/researcher defines the strategy and its different definitions from the perspective of different subjects and fields. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented. Krings defines it as the content of the project, while Seguinet divided the term into three steps. However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. &lt;br /&gt;
&lt;br /&gt;
The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward.&lt;br /&gt;
Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint.&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to (Seguinot 1989, 27) (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.&lt;br /&gt;
&lt;br /&gt;
Furthermore, (Loescher 1991, 8) defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot; As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998, 4) claim moreover, (Bell 1998, 188) distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.&lt;br /&gt;
&lt;br /&gt;
According to (Venuti 1998, 240), &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot; He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to (Jaaskelainen 2005, 15), product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.&lt;br /&gt;
&lt;br /&gt;
Furthermore, (Jaaskelainen 2005, 16) distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making. (Newmark 1988, 221) distinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016, 13).&lt;br /&gt;
&lt;br /&gt;
The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010, 15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017, 54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
&lt;br /&gt;
Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985, 9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female.&lt;br /&gt;
Several research articles are found on translated work (license and khol do) of Urdu famous short stories writer Sadat Hassan Manto's from a different perspective like psychoanalysis, postcolonial, feminist approaches but to explore the problem of translations strategies face by translator Aatish Taseer during the process of translation has not been mention till date. To summarize this, the research includes a critical, in-depth, comprehensive analysis of issues that previously did not address.&lt;br /&gt;
&lt;br /&gt;
=== Theoritical Framework ===&lt;br /&gt;
&lt;br /&gt;
Different strategies have been used, like using an idiom of similar meaning and similar form, the idiom of similar meaning and different form, translation by Paraphrasing, translation by omission. The approach of employing idioms of similar meaning and form, according to Mona Baker, entails using an idiom in the target language that can express about the same meaning as the source language idiom, as well as having lexical similarity. On the other hand, this type of matching happens periodically as well as regularly.&lt;br /&gt;
&lt;br /&gt;
Similarly, employing idioms with similar meanings but different forms means that it is possible to locate an idiom or fixed expression in the target text language that has a similar meaning to the source idiom or expression but is made up of distinct lexical elements. Consider the case of English and French, both of which use the idiom mentioned above. In English, one good deed is rewarded with another, whereas in French, handsome deeds are rewarded with handsome deeds.&lt;br /&gt;
&lt;br /&gt;
Furthermore, we did not come across any idioms in the category mentioned above during translating idioms. To deal with this issue, the translators used the most popular approach, known as a translation by paraphrase, which is short, straightforward, and time-saving. When a match cannot be identified in the target language or when it appears improper to employ idiomatic language in target material due to aesthetic differences between the source and target languages, this is the most typical approach for translating an idiom from source to target language. However, one thing to keep in mind is that a perfect translation is not required is necessary or possible.&lt;br /&gt;
&lt;br /&gt;
Last but not least, to overcome the problem of idiom translation, the translator employs the strategy of translation by omission. This can be defined as an idiom being omitted entirely in the target text with a single word. This is done because the idiom has no close match in the target language; its meaning cannot be easily paraphrased or due to stylistic reasons. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Data analysis Techniques:&lt;br /&gt;
Textual analysis is the method of data analysis in qualitative research that brings forth the hidden and potent message, structure, and function of research in giving text, Alan Mckee (defines textual analysis as whenever we perform textual analysis on the text, we make an educated guess at some time of the most likely interpretations that might be made of that text (Alan Mckee 2001, 3)&lt;br /&gt;
Analysis of the translation of short stories in light of Mona baker's theory &amp;quot;khol do and license&amp;quot; are short stories written by Sadat Hassan Manto and translated by many translators from Urdu into English. During translation, the translator adopted many strategies for translating idiomatic expression, sometimes by Paraphrasing, sometimes by omission, sometimes using similar idioms of form and meaning while sometimes using different words and the same form, the whole.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:51, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Discussion and Analysis===&lt;br /&gt;
&lt;br /&gt;
The chapter analyzes and discusses all the data collected by the author/researcher from different sources. All the examples of idioms are first identified, then translated into the target text, and back-translated for the sole purpose of exploring the strategies being used by the translator. A separate section is given to every strategy with its related example. Moreover, the idiomatic expression, the target work for finding, is highlighted through the bold letter.&lt;br /&gt;
&lt;br /&gt;
4.1	Translation by Paraphrasing:&lt;br /&gt;
&lt;br /&gt;
Based on our findings, the most often used strategy was &amp;quot;translation by paraphrasing.&amp;quot; An inspection also reveals that Aatish Taseer preferred this strategy. Here are some examples applied by the translators, and in the following section, the logic behind their preference towards this strategy is elaborate. The following are examples from two short stories of Sadat Husain Manto's &amp;quot;khol do&amp;quot; and &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 1: &lt;br /&gt;
&lt;br /&gt;
ST: Sirajuddin ne subah das baji anki kholi to logo ka ail mutalatam samandar deka.&lt;br /&gt;
&lt;br /&gt;
TT: Ten a.m., Siraj Uddin opens his eyes on the cold floor of the camp, seeing the swelling sea of men.&lt;br /&gt;
&lt;br /&gt;
BT: sub ke das baji jab Sirajuddin ne apni anki koli to logo ka aik ublaha howa samandar ka nizara dekni laga.&lt;br /&gt;
&lt;br /&gt;
So, the above idioms are literal idioms being translated with the help of Paraphrasing because there is no perfect equivalent of mutalatam words in English languages. A similar look at another idiom from short stories &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&lt;br /&gt;
ST: Khuda tomahra bala kari.&lt;br /&gt;
&lt;br /&gt;
TT: Your God will reward&lt;br /&gt;
&lt;br /&gt;
BT: Is ka badla khoda tomahi di.&lt;br /&gt;
&lt;br /&gt;
Here, the word reward is being used for Bala Kari, an example of transitional by Paraphrasing.&lt;br /&gt;
Let  take another example from &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
&lt;br /&gt;
ST: unkho nai Jan khateli pa rak kar sakena ko donda.&lt;br /&gt;
&lt;br /&gt;
TT: even putting their lives online, they search sakina &lt;br /&gt;
&lt;br /&gt;
BT: apni zindagio ko khatri me dal kar unkho nai sakina ko dond nekala.&lt;br /&gt;
&lt;br /&gt;
The above idioms are examples of pure idiom translated from Urdu into English with the help of paraphrases strategies. However, under the same strategies, the idioms of another short story of Manto,s &amp;quot;license,&amp;quot; are translated by Aatish Taseer. Some of the examples are given below.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
ST: Abu kochwan bara cheel jabela ta. It is the binomial type of idioms taken from the first sentence of the short story &amp;quot;license&amp;quot; by Sadat &lt;br /&gt;
Hasan Manto &lt;br /&gt;
&lt;br /&gt;
TT: Abu kochwan is stylish man.&lt;br /&gt;
&lt;br /&gt;
BT: Abu kochwan aik wazahdar admi ta.&lt;br /&gt;
&lt;br /&gt;
From the above idiom, it is clear that there is no perfect equivalence of cheela chabela idiom in English; that is, the translator goes &lt;br /&gt;
through paraphrasing strategies. Look at another example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
ST: Lein har waqat bank bani rekhi ka usi be had showk ta&lt;br /&gt;
&lt;br /&gt;
TT: He had a weakness for style and fashion.&lt;br /&gt;
&lt;br /&gt;
BT: Dan saj ke rekhna uski kamzori me sai ik ta.&lt;br /&gt;
&lt;br /&gt;
So all of the above examples, which are analyzed one by one, are examples of idioms being translated through paraphrasing strategies. (De Beaugrande and Dressler 1981, 50) define paraphrases as &amp;quot;approximate conceptual equivalence among outwardly different material.&amp;quot; Similarly, in this regard, Hirst defines paraphrases as &amp;quot;talk(ing) about the same situation in a different way.&amp;quot; Munday declared that &amp;quot;equivalence is particularly useful in translating idioms and proverbs” For instance, if the English idiom like a bear with a sore head is rendered into Persian as (mesle borje zahremar), meaning like a tower of snake venom, the strategy of equivalence has been applied. &lt;br /&gt;
&lt;br /&gt;
According to Leonardi, &amp;quot;Equivalence can be said to be the central issue in translation.&amp;quot; In this regard, house believes that &amp;quot;a translation text should match not only its source text in function but also employ equivalent situational-dimensional means to achieve that function&amp;quot; (Baker 2002, 49).  who shares this approach, states that equivalence is used &amp;quot;for the sake of convenience—because most translators are used to it rather than because it has any theoretical status&amp;quot; (Kenny 1998, 77). &lt;br /&gt;
&lt;br /&gt;
Despite different attitudes to the concept of equivalence, most specialists pay much attention to its meaning in the theory of translation. The translation is a form of communication, and that is why it is vital to establish equivalence between the source text and the target text. Although Vinay and Darbelnet believe that equivalence is used differently than in modern translation theory, it is evident that equivalence is one of the basic concepts of translation that cannot be neglected. Consequently, based on the Above mentioned studies using Paraphrasing in translation stands as the core concept in the process of translation, and still, most of the translators cling to it for producing a more comprehensible and explicable text. These language ideas and translation models are ideal constructs, presented abstractly in order to be differentiated precisely. They may exist in an uneasy combination in actual theories and practices, resulting in logical tensions or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation. Theories and actions must be contextualized in historical settings. They've been utilized as analytical tools to describe various topics in section introductions. Theoretical writings and current events these language notions and translation models are ideal constructs expressed in an abstract manner in order to be distinguished precisely in real-life hypotheses they may exist in an uncomfortable mix, resulting in logical conflicts or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
4.2	Using an idiom of Similar Meaning and Form &lt;br /&gt;
&lt;br /&gt;
As mentioned earlier, this strategy type is being used by Aatish Taseer during their translated work of Manto's short stories &amp;quot;khol do&amp;quot; and&amp;quot; license&amp;quot; on an occasional basis. Some examples are mention below.&lt;br /&gt;
&lt;br /&gt;
From khol do.&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
ST: Larki ka rang zard hogaya.&lt;br /&gt;
&lt;br /&gt;
TT: The girl's face became fail&lt;br /&gt;
&lt;br /&gt;
BT: larki ka rang zar hogya.&lt;br /&gt;
&lt;br /&gt;
Similarly, another example from the license is&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: Abu our us ke mat beer hogaie&lt;br /&gt;
&lt;br /&gt;
TT: They fall in love with each other.&lt;br /&gt;
&lt;br /&gt;
BT: WO ik dosri ke mokhbat me geriftar hogaie&lt;br /&gt;
&lt;br /&gt;
The above idioms are pure ones and are being translated with the help of similar meanings and similar forms.&lt;br /&gt;
&lt;br /&gt;
The procedures: transposition, modulation, equivalence, and adaptation, and when it comes to defining the term Equivalence, (Vinay and Darbelnet 2000, 90) propose that it consists in rendering &amp;quot;the same situation … by two texts using completely different stylistic and structural methods&amp;quot;, and when it comes to translating idiomatic expressions like &amp;quot;Il pleut à seaux&amp;quot; it can be translated as &amp;quot;It is raining cats and dogs&amp;quot; using the idiom of similar form and meaning in the target language.&lt;br /&gt;
&lt;br /&gt;
As (Baker 1992, 12) states, this strategy involves using an idiom in the TL which conveys roughly the same meaning as that of the source language idiom and, in addition, consists of identical lexical items. The salient point is that this kind of match can only occasionally be achieved, which cannot be picked up more often by translators. Accordingly, both translators mentioned in the current study had quite a slim chance of using this strategy type. &lt;br /&gt;
&lt;br /&gt;
4.3 Using an idiom of similar meaning but different form:&lt;br /&gt;
&lt;br /&gt;
During translating Manto short stories, &amp;quot;khol do&amp;quot; and &amp;quot;license,&amp;quot; some of the idioms are translated with the help of this strategy. Some of the examples are given below from two different short stories.&lt;br /&gt;
&lt;br /&gt;
Example number one is from the short story &amp;quot;khol do&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
ST: Aur bolwai gos ayai thee?&lt;br /&gt;
&lt;br /&gt;
TT: The roitors come abroad.&lt;br /&gt;
&lt;br /&gt;
BT: pasadi bahar agai hai.&lt;br /&gt;
&lt;br /&gt;
The above idiom is a pure type of idiom being translated with the help of above mention strategy. The word rioter is being used for bolwai, which is not a perfect word for bolwai. In Urdu bolwai, people believe in violence when minorities or the low population of any country want some rights. These people stop them by using violence, burn down their properties, rapes women, and do things like that. Another example from the license is below.&lt;br /&gt;
&lt;br /&gt;
Example 9:&lt;br /&gt;
&lt;br /&gt;
ST: Dosri kotwal abu ko dek kar jal ban ho jati.&lt;br /&gt;
&lt;br /&gt;
TT: The other coachman burn with envy.&lt;br /&gt;
&lt;br /&gt;
BT: Abu ke kamyabi dek kar aur kotwal abu sai khasad karni lagi’&lt;br /&gt;
&lt;br /&gt;
The above idioms are a pure idiom that reflects the effect of jealousy between competitors to achieve equivalency. Aatish Taseer uses envy word for jal ban instead of other which have similar meaning but different form. Look at the other example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: Dino lat vo lagal se kam karni laga.&lt;br /&gt;
&lt;br /&gt;
TT: Dino came with an excuse.&lt;br /&gt;
&lt;br /&gt;
BT: Dino abb bahi tarashni laga.&lt;br /&gt;
	&lt;br /&gt;
The above idioms are types of binomial idioms translated with the help of idioms with similar meanings and different forms. (Newmark 1988, 81) mentions the difference between translation methods and translation procedures. He writes that &amp;quot;[w]hile translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language&amp;quot; (Newmark 1988, 81). Idiomatic translation in his definition reproduces the 'message' of the original. However, it distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original, leading to using an idiom of similar meaning but a different form. Besides, it is often possible to find an idiom or fixed expression in the target language with a meaning similar to that of the source idiom or expression but which consists of different lexical items (Baker 1992, 12). Therefore, translators discover idiomatic expressions in the target language with different forms than in the source language. In the current study, the translators approached this strategy merely for 9% of the total times, which means the frequency of Iranian and English idioms with the same meaning and different forms is not considered high. &lt;br /&gt;
&lt;br /&gt;
4.4 Translation by omission:&lt;br /&gt;
&lt;br /&gt;
A translator is less using these strategies, and we did not find any clue on this type of strategy in an area under consideration.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:48, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== Findings===&lt;br /&gt;
&lt;br /&gt;
(Mandelbit 1995) believed that idioms with different cognitive mapping in the target language would be more challenging to translate. After conducting study and data analysis of collected data, the result revealed that the translator frequently used three out of four strategies of the Mona Baker model during the translation process, which is a translation by Paraphrasing, translation by similar meaning and similar form, translation by similar meaning and different form. In contrast, translation by omission does not found in his work.&lt;br /&gt;
After detail and careful analysis of data, more than half of idioms like &amp;quot;swelling sea of man,” my lord break his arrogance, “weakness for style and fashion.&amp;quot; As I mentioned earlier, many more are translated under the umbrella of Paraphrasing, which is considered the most common method used for translating idioms.&lt;br /&gt;
&lt;br /&gt;
Similarly, we also reflect strategies like similar meaning and different form and similar meaning and similar form. The idiom &amp;quot;rioter came abroad,” burn with envy,” The girl's face became pale, &amp;quot; They fall in love with each other&amp;quot; are translated with the help of two mention strategies, respectively.&lt;br /&gt;
&lt;br /&gt;
Although translation by omission is a strategy used on rare occasions because of its meaning, its meaning cannot be easily paraphrased or stylistic reason. Here, the researcher also did not find any idiom translated with the help of the omission strategy.&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
Go through detailed discussion and analysis of data collected from my source. We finally concluded that the idioms present in two short stories, &amp;quot;khol do&amp;quot; and &amp;quot;License,&amp;quot; are translated under the frame of Mona Baker's idiomatic model. Translation by Paraphrasing is mainly used while idioms of similar meaning and form and idioms of similar meaning and different forms are used occasionally. The researcher discusses all the strategies with related examples in the order of maximum used to minimum used. The strategy by omission did not find it works. All the data are collected from different sources and analyzed with the help of different researcher tools, and the result is written in light of the finding. Different from previous studies, the writer presents the strategies to translate idioms by each type of idiomatic expression found in the story. From the result, it is considered the translation of idiomatic expressions in the story is quite accurate. As the number of accurate data is more the data which is not related to the translation. We take conclusion from the translation through idiomatic expression and paraphrasing is the best way to translate a novel or a story however it is very difficult job to do because it needs more accurate and precise knowledge about the source language and an inspiring method to express ideas in the target language. However, translation is thing through which we can connect the world with each other and also we can study and observe diverse cultures.            &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abu-Saydeh, A. F. (2004). Translation of English idioms into Arabic. Babel, 114-131.&lt;br /&gt;
&lt;br /&gt;
Ahsan, S. (2020). A comparative study of two translations of manto's short story &amp;quot;Toba Tek&amp;quot;. International Journal of English Language Studies, 12-27.&lt;br /&gt;
&lt;br /&gt;
Alexander, R. J. (1987). Mimeograph. In R. J. Alexander (Ed.) Collocation and Culture. Trier: University of Trier, West Germany.&lt;br /&gt;
&lt;br /&gt;
Al-Qinai, J. (2000). Translation quality assessment. strategies, parameters and procedures. Translator's Journal, 497-519.&lt;br /&gt;
&lt;br /&gt;
Bayashi, J. (2020). Japanese-English translation: An advanced guide. Oxfordshire: Routledge.&lt;br /&gt;
&lt;br /&gt;
Das, V. &amp;amp;. (1995). Critical events: An anthropological perspective on contemporary India. New Delhi: Oxford Printing Press.&lt;br /&gt;
&lt;br /&gt;
Mufti, A. (2007). The Language of English India. In I. &amp;amp;. End (Ed.) Enlightenment in the Colony. Princeton University Press.&lt;br /&gt;
&lt;br /&gt;
Waka Xia, L. (2019). A discourse analysis of news translation in China. Syydney: Routledge.&lt;br /&gt;
&lt;br /&gt;
= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
===Ambiguity===&lt;br /&gt;
&lt;br /&gt;
===Lexical and Structural Mismatches===&lt;br /&gt;
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===Multiword units: Idioms and Collocations===&lt;br /&gt;
&lt;br /&gt;
===Summary===&lt;br /&gt;
&lt;br /&gt;
===Further Reading===&lt;br /&gt;
&lt;br /&gt;
=刘胜楠 A Case Study of ''Ne Zha'' on Subtitle Translation Strategies from the Perspective of Skopos Theory= &lt;br /&gt;
[[Trans_Type_EN_15]]&lt;/div&gt;</summary>
		<author><name>Atta Ur Rahman</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=132406</id>
		<title>Translation types, strategies, styles, methods</title>
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		<updated>2021-12-13T15:44:45Z</updated>

		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* Introduction */&lt;/p&gt;
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30 Chapters（0/30)&lt;br /&gt;
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[[Trans_Type_EN_1]] [[Trans_Type_EN_2]] [[Trans_Type_EN_3]] [[Trans_Type_EN_4]] [[Trans_Type_EN_5]] [[Trans_Type_EN_6]] [[Trans_Type_EN_7]] [[Trans_Type_EN_8]] [[Trans_Type_EN_9]] [[Trans_Type_EN_10]] [[Trans_Type_EN_11]] [[Trans_Type_EN_12]] [[Trans_Type_EN_13]] [[Trans_Type_EN_14]] [[Trans_Type_EN_15]] [[Trans_Type_EN_16]] [[Trans_Type_EN_17]] [[Trans_Type_EN_18]] [[Trans_Type_EN_19]] [[Trans_Type_EN_20]] [[Trans_Type_EN_21]] [[Trans_Type_EN_22]] [[Trans_Type_EN_23]] [[Trans_Type_EN_24]] [[Trans_Type_EN_25]] [[Trans_Type_EN_26]] [[Trans_Type_EN_27]] [[Trans_Type_EN_28]] [[Trans_Type_EN_29]] [[Trans_Type_EN_30]] ...&lt;br /&gt;
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[[Book_projects|Back to translation project overview]]&lt;br /&gt;
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[[DCG-To-Do|To the To Do List]]&lt;br /&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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'''浅析美版《甄嬛传》的字幕翻译策略'''&lt;br /&gt;
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[[Trans_Type_EN_1]]&lt;br /&gt;
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阳佳颖 Yang Jiaying, Hunan Normal University, China&lt;br /&gt;
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=Chapter 2: The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
'''纽马克翻译理论指导下旅游文本中翻译策略与翻译方法的使用——以''Everglades National Park, Florida (Excerpt)''为例'''&lt;br /&gt;
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[[Trans_Type_EN_2]]&lt;br /&gt;
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刘晓 Liu Xiao, Hunan Normal University, China&lt;br /&gt;
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=Chapter 3: Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
交际翻译理论指导下小说题材所适用的翻译方法和翻译策略—以韩国小说集《恩珠的电影》（节选）为例&lt;br /&gt;
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[[Trans_Type_EN_3]]&lt;br /&gt;
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刘越Liu Yue ，Hunan Normal University，China&lt;br /&gt;
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=Chapter 4: On Translation Strategies and Translation Methods in Chinese Translation of English Prose -- A Case Study of Chinese Translation of English Prose &amp;quot;Pleasures of Ignorance&amp;quot;=&lt;br /&gt;
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'''浅析英语散文汉译中的翻译策略和翻译方法——以英语散文《无知的乐趣》汉译本为例'''&lt;br /&gt;
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[[Trans_Type_EN_4]]&lt;br /&gt;
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毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
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=Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
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毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
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=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
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从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。	&lt;br /&gt;
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Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
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Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
翻译风格，巴黎的忧郁，郭宏安，亚丁&lt;br /&gt;
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==Introduction==&lt;br /&gt;
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The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
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Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations. Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
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==Liu Miqing’s theory of translation style==&lt;br /&gt;
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Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
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Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.&lt;br /&gt;
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In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
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==Form Markers==&lt;br /&gt;
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According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
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===Register Markers===&lt;br /&gt;
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“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
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The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
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Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
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Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
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Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
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This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
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===Lexical Markers===&lt;br /&gt;
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Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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'''Eg. (b)'''&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence, translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
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==Non-formal Markers==&lt;br /&gt;
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The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
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Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
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According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
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Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
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The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
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The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
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Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
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Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.&lt;br /&gt;
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==References==&lt;br /&gt;
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[1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[3] 刘宓庆 Liu Mingqing. 新编当代翻译理论[M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp;amp; Publishing Corporation, 2005.&lt;br /&gt;
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[4] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.&lt;br /&gt;
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[5] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.&lt;br /&gt;
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=Chapter 7: A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
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[[Trans_Type_EN_7]]&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
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=Chapter 8:Translation methods and strategies applicable to the style of biographical literature -- Taking ''Incidents in Life of Slave Girl'' (excerpt) as an example=&lt;br /&gt;
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传记文学的文体所适用的翻译技巧与策略——以英文传记《一名女奴的人生际遇》(节选)为例&lt;br /&gt;
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[[Trans_Type_EN_8]]&lt;br /&gt;
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颜子涵 Yan Zihan, Hunan Normal University, China&lt;br /&gt;
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=Chapter 9: On the Translation Strategies of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hung-ming and Xu Yuanchong=&lt;br /&gt;
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'''视域融合视角下看《论语》英译的翻译策略—以辜鸿铭和许渊冲的英译本为例'''&lt;br /&gt;
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[[Trans_Type_EN_9]]&lt;br /&gt;
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邝艳丽 Kuang Yanli, Hunan Normal University, China&lt;br /&gt;
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=杨柳青 Bian Zhilin's Literary Translation Theories and Practice——Take His Translation of Romantic Poems as Examples=&lt;br /&gt;
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Yang Liuqing杨柳青,Hunan Normal University,China.&lt;br /&gt;
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[[Trans_Type_EN_10]]&lt;br /&gt;
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=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
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===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
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===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
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===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012:37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær 2015:10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005;9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004;1). Translation is essential for cultures and languages to exchange information. Newmark (1988) defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects(Newmark 1988;2). Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
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Nida indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style(Nida 1964;32). Larson (1998) has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context(Larson 1998;23).--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:41, 13 December 2021 (UTC) &lt;br /&gt;
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Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”.(Snell-Hornby 1988;33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957;167). By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
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The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003;16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
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This study is aimed to probe Newmark's translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988;81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:41, 13 December 2021 (UTC)&lt;br /&gt;
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===Translation and Culture===&lt;br /&gt;
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2. Translation and Culture &lt;br /&gt;
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Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
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The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988, 7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988, 5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988, 7).  &lt;br /&gt;
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In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford (1965) defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language” (Catford 1965, 20). According to Venuti’s translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader” (Venuti 1995, 18). Schjoldager stated that “a translation is a text that expresses what another text has expressed in another language” (Schjoldager 2008, 19). Culture is a complex whole which includes knowledge, belief, art, law, morals, customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan (2014), claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014, 2). Hermanns (1999) contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures. Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014, 2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark (2001), illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001, 328). &lt;br /&gt;
&lt;br /&gt;
Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
&lt;br /&gt;
2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
&lt;br /&gt;
Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora, fauna, food, clothes, housing, work, leisure, politics, law, and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988, 327) Christine Nord names them “culturemes” (Nord 1997, 9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012, 1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Aixela, 1997; Davies, 2003), others choose cultural words (Newmark, 2003) or culture-bound phenomena/concepts (Baker, 1992, Newmark, 2003, Robinson, 2003). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker, 1992, 21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988, 94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988, 95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988, 95).&lt;br /&gt;
&lt;br /&gt;
2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
&lt;br /&gt;
The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85, P. 22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003, 16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.&lt;br /&gt;
&lt;br /&gt;
===Types of Translation ===&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
Newmark (1988) determines 8 types of translation which are: &lt;br /&gt;
 &lt;br /&gt;
3.1 Word-for-Word Translation &lt;br /&gt;
&lt;br /&gt;
This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
&lt;br /&gt;
3.2 Literal translation &lt;br /&gt;
&lt;br /&gt;
In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
&lt;br /&gt;
3.4 Semantic Translation &lt;br /&gt;
&lt;br /&gt;
Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
&lt;br /&gt;
3.5 Adaptation &lt;br /&gt;
&lt;br /&gt;
This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015, 15). &lt;br /&gt;
&lt;br /&gt;
3.6 Free Translation &lt;br /&gt;
&lt;br /&gt;
The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
&lt;br /&gt;
3.7 Idiomatic Translation &lt;br /&gt;
&lt;br /&gt;
This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
&lt;br /&gt;
3.8 Communicative Translation &lt;br /&gt;
&lt;br /&gt;
This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
===Translation Strategies  ===&lt;br /&gt;
&lt;br /&gt;
4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
&lt;br /&gt;
4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela (1996), translators need to choose several strategies based on the source language culture and target culture.  He distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, he tries to command by the level of their intercultural intervention. He divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies). &lt;br /&gt;
&lt;br /&gt;
4.1.1. Conservation: &lt;br /&gt;
In conservation, the less compelling process includes repetition, orthographic adaptation, linguistic translation, extratextual gloss and intratextual gloss. &lt;br /&gt;
&lt;br /&gt;
4.1.1.1 Repetition: In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus, the translator keeps as much as possible the original reference (Aixela, 1996, p. 61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
&lt;br /&gt;
4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
&lt;br /&gt;
4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
&lt;br /&gt;
4.1.1.4 Extra-textual Gloss: Here, the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes, endings, words, ideas, translators in dictionaries, italics and so on. &lt;br /&gt;
&lt;br /&gt;
4.1.1.5 Intra-textual Gloss: It's like the past but the translator feels that he/she can include the globe as an indirect part of the text, not to distract the reader. &lt;br /&gt;
&lt;br /&gt;
4.2.1 Substitution &lt;br /&gt;
In substitution, According (Aixela, 1996) “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here”. &lt;br /&gt;
&lt;br /&gt;
4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
&lt;br /&gt;
4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
&lt;br /&gt;
4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela, 1997, p.63). &lt;br /&gt;
&lt;br /&gt;
4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Shokri, Ketabi, 2015, p.8). &lt;br /&gt;
&lt;br /&gt;
4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela, 1996, p. 64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
&lt;br /&gt;
4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela, 1997). &lt;br /&gt;
&lt;br /&gt;
4.3 Mona Baker’s Translation Strategies &lt;br /&gt;
Baker’s strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation. (Baker, 1992). He suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies, which are the following: &lt;br /&gt;
&lt;br /&gt;
4.3.1 Translation by a more general word: According to Baker, this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
&lt;br /&gt;
4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
&lt;br /&gt;
4.3.3 Translation by cultural substitution: This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
&lt;br /&gt;
4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
&lt;br /&gt;
4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
&lt;br /&gt;
4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
&lt;br /&gt;
4.3.7 Translation by omission: Losing phrases or words that are not vital to text development. &lt;br /&gt;
&lt;br /&gt;
4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view, however, Baker's (1992) translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
&lt;br /&gt;
===Cultural Categories  ===&lt;br /&gt;
&lt;br /&gt;
5. Cultural categories &lt;br /&gt;
 &lt;br /&gt;
5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
&lt;br /&gt;
5.1.2 Material culture &lt;br /&gt;
&lt;br /&gt;
Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.” &lt;br /&gt;
&lt;br /&gt;
5.1.3 Social culture &lt;br /&gt;
&lt;br /&gt;
The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
&lt;br /&gt;
5.1.4 Organisation &lt;br /&gt;
&lt;br /&gt;
Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
 &lt;br /&gt;
5.2 Newmark Classification CSIs &lt;br /&gt;
&lt;br /&gt;
Newmark (1988) established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items. (Newmark 1988, 97) &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
 &lt;br /&gt;
Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
&lt;br /&gt;
2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
&lt;br /&gt;
3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
&lt;br /&gt;
4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
&lt;br /&gt;
5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
&lt;br /&gt;
6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
&lt;br /&gt;
7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
&lt;br /&gt;
8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
&lt;br /&gt;
9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
&lt;br /&gt;
10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
&lt;br /&gt;
11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
&lt;br /&gt;
12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
&lt;br /&gt;
13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
&lt;br /&gt;
14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
&lt;br /&gt;
16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
&lt;br /&gt;
17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
&lt;br /&gt;
18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
&lt;br /&gt;
19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
&lt;br /&gt;
20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
&lt;br /&gt;
21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
&lt;br /&gt;
22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
&lt;br /&gt;
23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
&lt;br /&gt;
24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996, 31), “translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by (Newmark 1988, 81), “translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.” &lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation, then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions. &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity, as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts, the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term, and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part, but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark (1988) has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9. &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark’s strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark (1988) were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However, the translator must be competent in using the translation procedures to provide an accurate translation. &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abdi, H. (2019). Translating culture-specific items (CSIs) as a conundrum for Iranian MA translation students: Considering the level of study. Journal of new advances in English Language Teaching and Applied Linguistics, 1(1), 88-109. &lt;br /&gt;
&lt;br /&gt;
Aguado-Gimenez, P., &amp;amp; Pérez-Paredes, P. F. (2005). Translation-strategies use: A classroombased examination of Baker’s taxonomy. Meta: journal des traducteurs/Meta: &lt;br /&gt;
Translators' Journal, 50(1), 294-311. &lt;br /&gt;
&lt;br /&gt;
Ahmadi, M. R.S and Nosrati, Fatemah. (2012). Domestication and Foreignization Strategies in Translation of Culture-Specific Items. Translations of English-Persian Children’s Literature. San Francisco: Grin Publishing. Google Books. &lt;br /&gt;
&lt;br /&gt;
Al Saleh, R. A. (2019). An Application of Newmark's Procedures to Muhammad Abul Quasem's Alleman, J. C. Bee. W. Ulitkin, I. Files, F., Zetzsche, J., Chatonnet-Marton, P. &amp;amp; y del Árbol, E. V. Translation Strategies. &lt;br /&gt;
&lt;br /&gt;
Al-Sofi, B. B. M. A., &amp;amp; Abouabdulqader, H. (2020). Bridging the gap between translation and culture: towards a cultural dimension of translation. International journal of linguistics, literature and culture, 6(1), 1-13. &lt;br /&gt;
&lt;br /&gt;
Baker, M., 1992. In Other Words: A Coursebook on Translation. London: Routledge, p.20–42. &lt;br /&gt;
&lt;br /&gt;
Blažytė, D., &amp;amp; Liubinienė, V. (2016). Culture-specific items (CSI) and their translation strategies in Martin Lindstrom’s&amp;quot; Brand sense&amp;quot;. Kalbų studijos, (29), 42-57. &lt;br /&gt;
&lt;br /&gt;
Bush, P. (1998) &amp;quot;Literary Translation.&amp;quot; In: M. Baker, ed. Routledge Encyclopedia of Translation Studies, London: Routledge, pp.127-130. &lt;br /&gt;
&lt;br /&gt;
Catford. J. C. (1965). A linguistic theory of translation. Oxford: Oxford University Press. &lt;br /&gt;
English Translation of Mohammad Al-Ghazali's Islamic Guidance.Literature and Culture, 6(1), 1-13. &lt;br /&gt;
&lt;br /&gt;
Gečaitė, L. (2020). Culture-Specific Items and Their Translation Strategies in Victoria Hislop's Novel The Sunrise.” (2020). &lt;br /&gt;
&lt;br /&gt;
Hassan, B. E. A. (2014). Between English and Arabic: A practical course in translation. &lt;br /&gt;
Cambridge Scholars Publishing. &lt;br /&gt;
&lt;br /&gt;
Hermans, T. (1999). Translation in systems. Manchester: St. Jerome Publication  House, J. (Ed.). (2014). Translation: a multidisciplinary approach. Springer. &lt;br /&gt;
Issa, A. L. S. M., &amp;amp; Hammood, L. H. R.- Quranic-Specific Phrases under the Study of Translation; Significance and Applications. &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. (33), p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. 33, p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Lambert, J. (1998) Literary Translation. In: M. Baker, ed. Routledge Encyclopedia of Translation Studies. London: Routledge, 130-134. &lt;br /&gt;
&lt;br /&gt;
Landers, Clifford E. (2001) Literary Translation: A practical guide. New Jersey University Press: Multilingual Maters. &lt;br /&gt;
&lt;br /&gt;
Lustig, Myron, W. and Koeser, Joline  (2003), Intercultural Competence: Interpersonal Communication Across Cultures, Boston: Allyn and Bacon. &lt;br /&gt;
&lt;br /&gt;
Malmkjær, K. (1993). Who Can Make Nice A Better Word Than Pretty? Collocation, Translation, and Psycholoinguistics. In: Baker, M., Francis, G. and Tognini-Bonelli, E. &lt;br /&gt;
eds. Text and Technology. Philadelphia/Amsterdam: John Benjamins Publishing Company. pp.213-32. &lt;br /&gt;
&lt;br /&gt;
Mosavat, S., &amp;amp; Rahimpour, S. (2016). The Most and Least Used Translation Strategies for &lt;br /&gt;
Conveying Culture-Specific-Items in Young Adult Literature from English into Persian. International Journal of Humanities and Cultural Studies (IJHCS) ISSN 23565926, 1853-1873. &lt;br /&gt;
&lt;br /&gt;
Munday, J. (1997). Systems in Translation: A computer-assisted systemic approach to the analysis of translation of García Márquez. Ph.D thesis, University of Bradford. &lt;br /&gt;
&lt;br /&gt;
Newmark, P. (2001). A Textbook of Translation. Shanghai: Shanghai Foreign Language &lt;br /&gt;
Education Press &lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. (1988). A Textbook of Translation. New Jersey: Prentice-Halls &lt;br /&gt;
&lt;br /&gt;
Nord, Christiane. (1997). Translating as a Purposeful Activity: Functionalist Approaches &lt;br /&gt;
Explained. Manchester: St. Jerome. Accessed 10 November. 2018. Google Books Schjoldager, A. (2008). Understanding translation. Academica: Århus. &lt;br /&gt;
&lt;br /&gt;
Silalahi, M., &amp;amp; Lubis, S. (2013). Translation Procedures of Cultural Terms Found In Sejarah Bilingual For Students of Senior High School. &lt;br /&gt;
Valipoor, K., &amp;amp; andAzizeh Chalak, H. H. T. (2019). Cultural-specific items in translation of the Holy Quran by Irving: 43-51. &lt;br /&gt;
&lt;br /&gt;
Venuti, L. (1995). The translator’s invisibility: A history of translation. London and New York: &lt;br /&gt;
Routledge &lt;br /&gt;
&lt;br /&gt;
Widiarto, O. V. V. (2016). The translation procedures of cultural expressions applied in a game of thrones translated into Perebutan Tahta novel by Barokah Ruziati (Doctoral dissertation, Dian Nuswantoro University).&lt;br /&gt;
&lt;br /&gt;
=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims to observe the development of translation studies through its different types, various strategies, styles and particular methods. In this paper, the readers are introduced to some famous translation scholars including their view of translation studies. At the further discussions, this study lets the readers acknowledge the main issues on translation studies, focusing on different styles of variations such as grammar, sentence structure, textual analysis, strategies and methods. This study may help those who are interested to conduct translation researches and help them by giving options of which theories is beneficial to their analysis. Moreover, it aims to explore the clear definition of translation as well as help the readers to understand the basic concept which are used in the field of translation. The present study, therefore, attempts to outline the scope of the discipline of translation studies and more importantly, it is an attempt to outline its activity that required a deep mastering of language, a good source of knowledge and target cultures.&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation, styles of variations, strategies&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
It is undoubtedly right that translation is important to share information. In line with these premise, the number of translation professionals is getting higher. In fact, the result of translation researches tends to help human daily life in term of evaluation, designing translator machines, and cultural studies.	 Therefore, translation means converting written information from one language into another. It is the new discipline appeared in the second half of the 20th century. The term “Translation Studies” was coined by James S. Holmes, an American-Dutch poet and translator of poetry, in his seminal paper “The Name and Nature of Translation Studies”.  Translation enables effective communication between people around the world. It is a courier for the transmission of knowledge, a protector of cultural heritage, and essential to the development of a global economy. Translation helps us to know about the developments in the field of creative arts, education, literature, business, science and politics. It has shifted from the traditional conception of the fixed, stable and unchangeable nature of the text and its meaning to a text with wide scope for variations. Translation also helps in nation building. In this globalised world, the demand for translation and language related services has increased many times. Translation is not only needed for the creation of national identity but has also become an essential tool for keeping pace with the processes of globalization and localization. The activity of translation has a long-standing tradition and has been widely practiced throughout history, but in our rapidly changing world its role has become of paramount importance. Nowadays, knowledge in which cultural exchanges have been widening, has been increasingly expanding and international communication has been intensifying, the phenomenon of translation has become fundamental. Be it for scientific, medical, technological, commercial, legal, cultural or literary purposes, today human communication depends heavily on translation and, consequently, interest in the field is also growing. Accordingly, the discussion, in the present study, proceeds primarily from the perspectives of “Translation Studies” and “Linguistics”. One major goal is to show the interrelationships between linguistics and translation, and how they benefit from each other. Nowadays, translation research has started to take another path, which is more automatic. The invention of the internet, together with the new technological developments in communication and digital materials, has increased cultural exchanges between nations. This leads translators to look for ways to cope with these changes and to look for more practical techniques that enable them to translate more and waste less. They also felt the need to enter the world of cinematographic translation, hence the birth of audiovisual translation. The latter technique, also called screen translation, is concerned with the translation of all kinds of TV programs, including films, series, and documentaries. This field is based on computers and translation software programs, and it is composed of two methods; dubbing and subtitling. In fact, audiovisual translation marks a changing era in the domain of translation.&lt;br /&gt;
In short, translation has very wide and rich history in the West. Since its birth, translation was the subject of a variety of research and conflicts between theorists. Each theorist approaches it according to his viewpoint and field of research, the fact that gives its history a changing quality.&lt;br /&gt;
&lt;br /&gt;
Discussion &lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation. For each type, a selection of examples will be considered for analysis based on translation theories and techniques. We will show that some chunks of text require literal translation, while other requires interpretive method. In addition, this paper will also examine various strategies and its styles of variations based on translational study. The following strategies will be presented in the paper as; &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	They involve text manipulation.&lt;br /&gt;
•	They must be applied to the process.&lt;br /&gt;
•	They are goal-oriented.&lt;br /&gt;
•	They are problem-centered.&lt;br /&gt;
•	They are applied consciously.&lt;br /&gt;
•	They are inter-subjective.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Most theorists agree that strategies are used by translators when they encounter a problem and literal translation is not useful. Different researchers have investigated and described various translation strategies from their different perspectives. It intends to show what translation strategies exist and when and why they are used by professional translators. Different scholars have various perspectives to the aspects of the act of translation, so, they define and describe different types of strategies. Bergen's (n. d.) classification of the strategies includes three categorizations which will be discussed mainly in this paper: &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	Comprehension strategies &lt;br /&gt;
•	Transfer strategies&lt;br /&gt;
•	Production strategies&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
An addition to this paper, styles of variations will also be introduced to the readers through different aspects and examples. The concept of style can be defined in terms of the distinctive way an individual or a group uses language, or better still the discourse used to perform distinct functions of language aimed at achieving specific purposes. However, this does not entail that style is simply a matter of form since it is the product of other components such as the genre of discourse, its semantics, syntax and phonology. Indeed, in order to analyze a given stylistic variation one needs an extensive checklist that includes lexical and grammatical categories, allusions, and figures of speech. Style can be understood to refer to the recurring typical features of the source text compared to the typical features of the translated text.  In a quantitative and qualitative analysis, this variation is shown to be influenced by several pragmatic and social factors, and to index the interpreters' stances towards source speakers and towards the immigrant court users who are the recipients of translations from English. It is argued that translation styles have profound consequences for limited English speakers, as the insistence on institutional norms in translating to them is viewed as a gate keeping behavior that may impede their full participation in the proceedings. &lt;br /&gt;
&lt;br /&gt;
What is translation? &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Translation went through various definitions going from a mere linguistics activity during the sixties, a cultural and communicative activity during the seventies reflects the social impacting activity in the latest founding of the literature. &lt;br /&gt;
“Translation is traditionally known as being the replacement of textual material in one language into equivalent textual material in another language”. &lt;br /&gt;
House (2015) mentions that translation is considered as the “replacement” of a text in the source language by a semantically and pragmatically equivalent text in the target language. It is strongly related to a source language and target language cultures. It requires a high level of mastery languages, an awareness of any contextual factors within which the discourse emerges. There is no need to mention how it affected civilizations through different areas of mankind history. For example, An Arab-Islamic civilizations. There have always been different directions on how one should or should not translate. In the Arab tradition, two main methods existed and were in complete divergence namely the literal and the free method. &lt;br /&gt;
On the other hand, in the Western tradition there are various methods currently exist namely, the linguistic, the hermeneutic, the interpretive, the functionalist, the interventionist, the poly-systemic and the text-typologist method.  More so, it may be important to point out that translation has been defined in many ways, and every definition reflects the theoretical approach underpinning it. &lt;br /&gt;
As Shuttlworth and Cowie (1997) observe throughout the history of research into translation, the phenomenon has been variously delimited by formal descriptions, echoing the frameworks of the scholars proposing them. For example, Bell (1991: XV) starts with an informal definition of translation, which runs as follows: the transformation of a text originally in one language into an equivalent text in a different language retaining, as far as is possible, the content of the message and the formal features and functional roles of the original text. &lt;br /&gt;
At the beginning of the ‘scientific’ (Newmark, 1988, p. 2) study of translation, Catford (1965, p. 20) described it in these terms, the replacement of textual material in one language (SL) by the equivalent textual material in another language. &lt;br /&gt;
Thirty years later, in Germany, the concept of translation as a form of ‘equivalence’ is maintained, as we can see from Koller’s definition (1995, p. 196): “The result of a text processing activity, by means of which a source language text is transposed into a target-language text. Between the resultant text in L2 (the target-language text) and the source text in L1 (the source language text) there exists a relationship, which can be designated as a translational, or equivalence relation”. Because complete equivalence (in the sense of synonymy or sameness) cannot take place in any of his categories, Jakobson (1959) declares that all poetic art is, therefore, technically untranslatable. That is, the translator has to take the question of interpretation into account in addition to the problem of selecting a TL phrase which will have a roughly similar meaning. Exact translation is impossible. In this regard, Bassnett (1996) claims that all texts, being part of a literary system descended from and related to other systems are “translations of translation of translations”: every text is unique and at the same time, it is the translation of another text. No text is entirely original because language itself, in its essence, is already a translation: firstly, of the non-verbal world and secondly, since every sign and every phrase is the translation of another sign and another phrase. However, this argument can be turned around without losing any of its validity: all texts are original because every translation is distinctive. Every translation, up to a certain point, is an invention and as such it constitutes a unique text.&lt;br /&gt;
In this analysis of the above definition, Manfredi (2008), points out that the above distinction can be divided into two main perspectives, those that consider translation either as a ‘process’ or a ‘product’. To this twofold categorization, Bell (1991, p. 13) adds a further variable, since he suggests making a distinction between translating (the process), a translation (the product) and translation (i.e., “the abstract concept which encompasses both the process of translating and the product of that process”. Moreover, thanks to advances in new technologies, today we can also incorporate into TS the contribution of corpus linguistics, which allows both theorists and translators analyses of large amounts of electronic texts (Manfredi, 2008). On the other hand, Halliday (1992, p. 15) takes translation to refer to the total process and relationship of equivalence between two languages; we then distinguish, within translation, between “translating” (written text) and “interpreting” (spoken text). Halliday, thus, proposes distinguishing the activity of “translation” (as a process) from the product(s) of “translating”, including both “translation” (concerning written text) and ‘interpreting’ (regarding spoken text.&lt;br /&gt;
“Translation is the production of a functional target text maintaining a relationship with a given source text that is specified according to the intended or demanding function of the target text.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Types of Translation&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation.&lt;br /&gt;
&lt;br /&gt;
Technical translation &lt;br /&gt;
&lt;br /&gt;
Technical translation is a type of specialized translation involving the translation of documents produced by technical writers, or more specifically, texts which relate to technological subject areas or texts which deal with the practical application of scientific and technological information. (Wikipedia) &lt;br /&gt;
Translators' main goal is to accurately translate the technical terminology to match the document and the message of the original content.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The benefits of technical translation&lt;br /&gt;
&lt;br /&gt;
A professional technical translation service is provided by translators with dual specialties, that is, professionals who are fluent in the language pair, but who are also experts in the field covered by the documents to be translated.&lt;br /&gt;
When you need to have your documents translated by a technical translator, translators who are not experts may not be able to provide the necessary solutions and terminology for a quality translation. If the translator is not an expert in the field, he/she will have to learn the new terminology while working. This means that translation will take longer, have higher chances of inaccuracies, and may result in higher costs. Therefore, the main advantages of hiring an agency specialized in this type of service are as follows:&lt;br /&gt;
&lt;br /&gt;
Literary translation&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Literary translation is the translation of creative and dramatic prose and poetry into other languages. This includes the translation of literature from ancient languages and the translation of modern fiction so that it can reach a wider audience. &lt;br /&gt;
Literary translation is of huge importance. It helps to shape our understanding of the world around us in many ways.                                                     Reading Homer and Sophocles as part of a classical education in school helps to build an understanding of history, politics, philosophy and so much more. Meanwhile, reading contemporary translations provides fascinating insights into life in other cultures and other countries.                                                       In a fast-paced world so rife with misunderstanding and confusion, such efforts to share knowledge and experiences across cultural boundaries should be applauded.&lt;br /&gt;
The translation of literature differs greatly from other forms of translation. The sheer size of the texts involved in literary translation sets it apart.                Tackling a translation that runs to hundreds of thousands of words is not a task for the faint-hearted. Nor is recreating poetry in a new language, without losing the beauty and essence of the original work.&lt;br /&gt;
One of the key challenges of literary translation is the need to balance staying faithful to the original work with the need to create something unique and distinctive that will evoke the same feelings and responses as the original. This can be particularly challenging when it comes to translating poetry.&lt;br /&gt;
Poems are written with incredible attention to detail. Not only are the words and phrases important, but the number of syllables and the entire rhythm of the completed work. It’s a challenging task to complete just in one language, let alone when trying to recreate a poet’s work during a translation. Daniel Hahn, director of the British Centre for Literary Translation, sums up the issue beautifully. &lt;br /&gt;
As literary translators will attest, a single word can be extremely troublesome. The author of a work of fiction has chosen that word for a good reason, so the translator must ensure that it is faithfully delivered in the target language. However, what if no direct translation is available? Or what if several options exist, each with a slightly different nuance? Urdu language translator Fahmida Riaz outlines her approach to such thorny issues.&lt;br /&gt;
For instance, “Every piece you translate comes from the pen of an individual, so you have to give it an individual treatment. I try to retain the ambience of the original culture, rather than the language, as it is reflected in the text.” &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Pragmatic translation&lt;br /&gt;
&lt;br /&gt;
Pragmatic translation is the basic assumption that provided a source language text contains no misstatements of fact, is competently written and has to be fully translated rather than summarized or functionally reorientated; one's purpose in translating it is to be referentially and pragmatically accurate. In this paper, I shall not deal with referential accuracy but concentrate instead on the pragmatic aspects of translation. As the term pragmatic translation may be used in a variety of ways, I should like to state my own definition of pragmatic, which derives from Charles Morris and ultimately from Charles S. Peirce. I am using pragmatic as one of the two factors in translation: pragmatic denotes the reader's or readership's reception of the translation, as opposed to referential, which denotes the relationship between the translation and the extra-linguistic reality it describes. &lt;br /&gt;
Translation is a properly way to a properly communication and pragmatics is how to use language in communication properly. By translation, many things from different languages and cultures can understand to each other. In other words, translation can be stated as a facilitator to make a communication runs well.&lt;br /&gt;
&lt;br /&gt;
===An Overview on Translation Studies  ===&lt;br /&gt;
&lt;br /&gt;
===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
&lt;br /&gt;
=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature  --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:45, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the researcher wants to highlight the different concepts about the fundamental question that &amp;quot;what is idiomatic expression&amp;quot;  and the views of various critics, theorists and linguistic experts, and prominent scholars of translation studies.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:38, 13 December 2021 (UTC) Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
&lt;br /&gt;
Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda 2006: 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984: 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992: 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to Newmark, “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”(Newmark 1981: 11).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:38, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to Corelli, English has a sizeable idiomatic base. About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.(Corelli 2006: 53)&lt;br /&gt;
&lt;br /&gt;
The main issue that idiomatic and fixed expressions pose for translators, according to Baker is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.(Baker 1992: 65)&lt;br /&gt;
&lt;br /&gt;
Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:44, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Literature Review ===&lt;br /&gt;
In this chapter, the author/researcher defines the strategy and its different definitions from the perspective of different subjects and fields. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented. Krings defines it as the content of the project, while Seguinet divided the term into three steps. However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. &lt;br /&gt;
&lt;br /&gt;
The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward.&lt;br /&gt;
Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint.&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to (Seguinot 1989, 27) (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.&lt;br /&gt;
&lt;br /&gt;
Furthermore, (Loescher 1991, 8) defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot; As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998, 4) claim moreover, (Bell 1998, 188) distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.&lt;br /&gt;
&lt;br /&gt;
According to (Venuti 1998, 240), &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot; He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to (Jaaskelainen 2005, 15), product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.&lt;br /&gt;
&lt;br /&gt;
Furthermore, (Jaaskelainen 2005, 16) distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making. (Newmark 1988, 221) distinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016, 13).&lt;br /&gt;
&lt;br /&gt;
The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010, 15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017, 54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
&lt;br /&gt;
Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985, 9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female.&lt;br /&gt;
Several research articles are found on translated work (license and khol do) of Urdu famous short stories writer Sadat Hassan Manto's from a different perspective like psychoanalysis, postcolonial, feminist approaches but to explore the problem of translations strategies face by translator Aatish Taseer during the process of translation has not been mention till date. To summarize this, the research includes a critical, in-depth, comprehensive analysis of issues that previously did not address.&lt;br /&gt;
&lt;br /&gt;
=== Theoritical Framework ===&lt;br /&gt;
&lt;br /&gt;
Different strategies have been used, like using an idiom of similar meaning and similar form, the idiom of similar meaning and different form, translation by Paraphrasing, translation by omission. The approach of employing idioms of similar meaning and form, according to Mona Baker, entails using an idiom in the target language that can express about the same meaning as the source language idiom, as well as having lexical similarity. On the other hand, this type of matching happens periodically as well as regularly.&lt;br /&gt;
&lt;br /&gt;
Similarly, employing idioms with similar meanings but different forms means that it is possible to locate an idiom or fixed expression in the target text language that has a similar meaning to the source idiom or expression but is made up of distinct lexical elements. Consider the case of English and French, both of which use the idiom mentioned above. In English, one good deed is rewarded with another, whereas in French, handsome deeds are rewarded with handsome deeds.&lt;br /&gt;
&lt;br /&gt;
Furthermore, we did not come across any idioms in the category mentioned above during translating idioms. To deal with this issue, the translators used the most popular approach, known as a translation by paraphrase, which is short, straightforward, and time-saving. When a match cannot be identified in the target language or when it appears improper to employ idiomatic language in target material due to aesthetic differences between the source and target languages, this is the most typical approach for translating an idiom from source to target language. However, one thing to keep in mind is that a perfect translation is not required is necessary or possible.&lt;br /&gt;
&lt;br /&gt;
Last but not least, to overcome the problem of idiom translation, the translator employs the strategy of translation by omission. This can be defined as an idiom being omitted entirely in the target text with a single word. This is done because the idiom has no close match in the target language; its meaning cannot be easily paraphrased or due to stylistic reasons. &lt;br /&gt;
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&lt;br /&gt;
Data analysis Techniques:&lt;br /&gt;
Textual analysis is the method of data analysis in qualitative research that brings forth the hidden and potent message, structure, and function of research in giving text, Alan Mckee (defines textual analysis as whenever we perform textual analysis on the text, we make an educated guess at some time of the most likely interpretations that might be made of that text (Alan Mckee 2001, 3)&lt;br /&gt;
Analysis of the translation of short stories in light of Mona baker's theory &amp;quot;khol do and license&amp;quot; are short stories written by Sadat Hassan Manto and translated by many translators from Urdu into English. During translation, the translator adopted many strategies for translating idiomatic expression, sometimes by Paraphrasing, sometimes by omission, sometimes using similar idioms of form and meaning while sometimes using different words and the same form, the whole.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:51, 12 December 2021 (UTC)&lt;br /&gt;
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===Discussion and Analysis===&lt;br /&gt;
&lt;br /&gt;
The chapter analyzes and discusses all the data collected by the author/researcher from different sources. All the examples of idioms are first identified, then translated into the target text, and back-translated for the sole purpose of exploring the strategies being used by the translator. A separate section is given to every strategy with its related example. Moreover, the idiomatic expression, the target work for finding, is highlighted through the bold letter.&lt;br /&gt;
&lt;br /&gt;
4.1	Translation by Paraphrasing:&lt;br /&gt;
&lt;br /&gt;
Based on our findings, the most often used strategy was &amp;quot;translation by paraphrasing.&amp;quot; An inspection also reveals that Aatish Taseer preferred this strategy. Here are some examples applied by the translators, and in the following section, the logic behind their preference towards this strategy is elaborate. The following are examples from two short stories of Sadat Husain Manto's &amp;quot;khol do&amp;quot; and &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 1: &lt;br /&gt;
&lt;br /&gt;
ST: Sirajuddin ne subah das baji anki kholi to logo ka ail mutalatam samandar deka.&lt;br /&gt;
&lt;br /&gt;
TT: Ten a.m., Siraj Uddin opens his eyes on the cold floor of the camp, seeing the swelling sea of men.&lt;br /&gt;
&lt;br /&gt;
BT: sub ke das baji jab Sirajuddin ne apni anki koli to logo ka aik ublaha howa samandar ka nizara dekni laga.&lt;br /&gt;
&lt;br /&gt;
So, the above idioms are literal idioms being translated with the help of Paraphrasing because there is no perfect equivalent of mutalatam words in English languages. A similar look at another idiom from short stories &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&lt;br /&gt;
ST: Khuda tomahra bala kari.&lt;br /&gt;
&lt;br /&gt;
TT: Your God will reward&lt;br /&gt;
&lt;br /&gt;
BT: Is ka badla khoda tomahi di.&lt;br /&gt;
&lt;br /&gt;
Here, the word reward is being used for Bala Kari, an example of transitional by Paraphrasing.&lt;br /&gt;
Let  take another example from &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
&lt;br /&gt;
ST: unkho nai Jan khateli pa rak kar sakena ko donda.&lt;br /&gt;
&lt;br /&gt;
TT: even putting their lives online, they search sakina &lt;br /&gt;
&lt;br /&gt;
BT: apni zindagio ko khatri me dal kar unkho nai sakina ko dond nekala.&lt;br /&gt;
&lt;br /&gt;
The above idioms are examples of pure idiom translated from Urdu into English with the help of paraphrases strategies. However, under the same strategies, the idioms of another short story of Manto,s &amp;quot;license,&amp;quot; are translated by Aatish Taseer. Some of the examples are given below.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
ST: Abu kochwan bara cheel jabela ta. It is the binomial type of idioms taken from the first sentence of the short story &amp;quot;license&amp;quot; by Sadat &lt;br /&gt;
Hasan Manto &lt;br /&gt;
&lt;br /&gt;
TT: Abu kochwan is stylish man.&lt;br /&gt;
&lt;br /&gt;
BT: Abu kochwan aik wazahdar admi ta.&lt;br /&gt;
&lt;br /&gt;
From the above idiom, it is clear that there is no perfect equivalence of cheela chabela idiom in English; that is, the translator goes &lt;br /&gt;
through paraphrasing strategies. Look at another example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
ST: Lein har waqat bank bani rekhi ka usi be had showk ta&lt;br /&gt;
&lt;br /&gt;
TT: He had a weakness for style and fashion.&lt;br /&gt;
&lt;br /&gt;
BT: Dan saj ke rekhna uski kamzori me sai ik ta.&lt;br /&gt;
&lt;br /&gt;
So all of the above examples, which are analyzed one by one, are examples of idioms being translated through paraphrasing strategies. (De Beaugrande and Dressler 1981, 50) define paraphrases as &amp;quot;approximate conceptual equivalence among outwardly different material.&amp;quot; Similarly, in this regard, Hirst defines paraphrases as &amp;quot;talk(ing) about the same situation in a different way.&amp;quot; Munday declared that &amp;quot;equivalence is particularly useful in translating idioms and proverbs” For instance, if the English idiom like a bear with a sore head is rendered into Persian as (mesle borje zahremar), meaning like a tower of snake venom, the strategy of equivalence has been applied. &lt;br /&gt;
&lt;br /&gt;
According to Leonardi, &amp;quot;Equivalence can be said to be the central issue in translation.&amp;quot; In this regard, house believes that &amp;quot;a translation text should match not only its source text in function but also employ equivalent situational-dimensional means to achieve that function&amp;quot; (Baker 2002, 49).  who shares this approach, states that equivalence is used &amp;quot;for the sake of convenience—because most translators are used to it rather than because it has any theoretical status&amp;quot; (Kenny 1998, 77). &lt;br /&gt;
&lt;br /&gt;
Despite different attitudes to the concept of equivalence, most specialists pay much attention to its meaning in the theory of translation. The translation is a form of communication, and that is why it is vital to establish equivalence between the source text and the target text. Although Vinay and Darbelnet believe that equivalence is used differently than in modern translation theory, it is evident that equivalence is one of the basic concepts of translation that cannot be neglected. Consequently, based on the Above mentioned studies using Paraphrasing in translation stands as the core concept in the process of translation, and still, most of the translators cling to it for producing a more comprehensible and explicable text. These language ideas and translation models are ideal constructs, presented abstractly in order to be differentiated precisely. They may exist in an uneasy combination in actual theories and practices, resulting in logical tensions or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation. Theories and actions must be contextualized in historical settings. They've been utilized as analytical tools to describe various topics in section introductions. Theoretical writings and current events these language notions and translation models are ideal constructs expressed in an abstract manner in order to be distinguished precisely in real-life hypotheses they may exist in an uncomfortable mix, resulting in logical conflicts or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
4.2	Using an idiom of Similar Meaning and Form &lt;br /&gt;
&lt;br /&gt;
As mentioned earlier, this strategy type is being used by Aatish Taseer during their translated work of Manto's short stories &amp;quot;khol do&amp;quot; and&amp;quot; license&amp;quot; on an occasional basis. Some examples are mention below.&lt;br /&gt;
&lt;br /&gt;
From khol do.&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
ST: Larki ka rang zard hogaya.&lt;br /&gt;
&lt;br /&gt;
TT: The girl's face became fail&lt;br /&gt;
&lt;br /&gt;
BT: larki ka rang zar hogya.&lt;br /&gt;
&lt;br /&gt;
Similarly, another example from the license is&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: Abu our us ke mat beer hogaie&lt;br /&gt;
&lt;br /&gt;
TT: They fall in love with each other.&lt;br /&gt;
&lt;br /&gt;
BT: WO ik dosri ke mokhbat me geriftar hogaie&lt;br /&gt;
&lt;br /&gt;
The above idioms are pure ones and are being translated with the help of similar meanings and similar forms.&lt;br /&gt;
&lt;br /&gt;
The procedures: transposition, modulation, equivalence, and adaptation, and when it comes to defining the term Equivalence, (Vinay and Darbelnet 2000, 90) propose that it consists in rendering &amp;quot;the same situation … by two texts using completely different stylistic and structural methods&amp;quot;, and when it comes to translating idiomatic expressions like &amp;quot;Il pleut à seaux&amp;quot; it can be translated as &amp;quot;It is raining cats and dogs&amp;quot; using the idiom of similar form and meaning in the target language.&lt;br /&gt;
&lt;br /&gt;
As (Baker 1992, 12) states, this strategy involves using an idiom in the TL which conveys roughly the same meaning as that of the source language idiom and, in addition, consists of identical lexical items. The salient point is that this kind of match can only occasionally be achieved, which cannot be picked up more often by translators. Accordingly, both translators mentioned in the current study had quite a slim chance of using this strategy type. &lt;br /&gt;
&lt;br /&gt;
4.3 Using an idiom of similar meaning but different form:&lt;br /&gt;
&lt;br /&gt;
During translating Manto short stories, &amp;quot;khol do&amp;quot; and &amp;quot;license,&amp;quot; some of the idioms are translated with the help of this strategy. Some of the examples are given below from two different short stories.&lt;br /&gt;
&lt;br /&gt;
Example number one is from the short story &amp;quot;khol do&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
ST: Aur bolwai gos ayai thee?&lt;br /&gt;
&lt;br /&gt;
TT: The roitors come abroad.&lt;br /&gt;
&lt;br /&gt;
BT: pasadi bahar agai hai.&lt;br /&gt;
&lt;br /&gt;
The above idiom is a pure type of idiom being translated with the help of above mention strategy. The word rioter is being used for bolwai, which is not a perfect word for bolwai. In Urdu bolwai, people believe in violence when minorities or the low population of any country want some rights. These people stop them by using violence, burn down their properties, rapes women, and do things like that. Another example from the license is below.&lt;br /&gt;
&lt;br /&gt;
Example 9:&lt;br /&gt;
&lt;br /&gt;
ST: Dosri kotwal abu ko dek kar jal ban ho jati.&lt;br /&gt;
&lt;br /&gt;
TT: The other coachman burn with envy.&lt;br /&gt;
&lt;br /&gt;
BT: Abu ke kamyabi dek kar aur kotwal abu sai khasad karni lagi’&lt;br /&gt;
&lt;br /&gt;
The above idioms are a pure idiom that reflects the effect of jealousy between competitors to achieve equivalency. Aatish Taseer uses envy word for jal ban instead of other which have similar meaning but different form. Look at the other example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: Dino lat vo lagal se kam karni laga.&lt;br /&gt;
&lt;br /&gt;
TT: Dino came with an excuse.&lt;br /&gt;
&lt;br /&gt;
BT: Dino abb bahi tarashni laga.&lt;br /&gt;
	&lt;br /&gt;
The above idioms are types of binomial idioms translated with the help of idioms with similar meanings and different forms. (Newmark 1988, 81) mentions the difference between translation methods and translation procedures. He writes that &amp;quot;[w]hile translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language&amp;quot; (Newmark 1988, 81). Idiomatic translation in his definition reproduces the 'message' of the original. However, it distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original, leading to using an idiom of similar meaning but a different form. Besides, it is often possible to find an idiom or fixed expression in the target language with a meaning similar to that of the source idiom or expression but which consists of different lexical items (Baker 1992, 12). Therefore, translators discover idiomatic expressions in the target language with different forms than in the source language. In the current study, the translators approached this strategy merely for 9% of the total times, which means the frequency of Iranian and English idioms with the same meaning and different forms is not considered high. &lt;br /&gt;
&lt;br /&gt;
4.4 Translation by omission:&lt;br /&gt;
&lt;br /&gt;
A translator is less using these strategies, and we did not find any clue on this type of strategy in an area under consideration.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:48, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== Findings===&lt;br /&gt;
&lt;br /&gt;
(Mandelbit 1995) believed that idioms with different cognitive mapping in the target language would be more challenging to translate. After conducting study and data analysis of collected data, the result revealed that the translator frequently used three out of four strategies of the Mona Baker model during the translation process, which is a translation by Paraphrasing, translation by similar meaning and similar form, translation by similar meaning and different form. In contrast, translation by omission does not found in his work.&lt;br /&gt;
After detail and careful analysis of data, more than half of idioms like &amp;quot;swelling sea of man,” my lord break his arrogance, “weakness for style and fashion.&amp;quot; As I mentioned earlier, many more are translated under the umbrella of Paraphrasing, which is considered the most common method used for translating idioms.&lt;br /&gt;
&lt;br /&gt;
Similarly, we also reflect strategies like similar meaning and different form and similar meaning and similar form. The idiom &amp;quot;rioter came abroad,” burn with envy,” The girl's face became pale, &amp;quot; They fall in love with each other&amp;quot; are translated with the help of two mention strategies, respectively.&lt;br /&gt;
&lt;br /&gt;
Although translation by omission is a strategy used on rare occasions because of its meaning, its meaning cannot be easily paraphrased or stylistic reason. Here, the researcher also did not find any idiom translated with the help of the omission strategy.&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
Go through detailed discussion and analysis of data collected from my source. We finally concluded that the idioms present in two short stories, &amp;quot;khol do&amp;quot; and &amp;quot;License,&amp;quot; are translated under the frame of Mona Baker's idiomatic model. Translation by Paraphrasing is mainly used while idioms of similar meaning and form and idioms of similar meaning and different forms are used occasionally. The researcher discusses all the strategies with related examples in the order of maximum used to minimum used. The strategy by omission did not find it works. All the data are collected from different sources and analyzed with the help of different researcher tools, and the result is written in light of the finding. Different from previous studies, the writer presents the strategies to translate idioms by each type of idiomatic expression found in the story. From the result, it is considered the translation of idiomatic expressions in the story is quite accurate. As the number of accurate data is more the data which is not related to the translation. We take conclusion from the translation through idiomatic expression and paraphrasing is the best way to translate a novel or a story however it is very difficult job to do because it needs more accurate and precise knowledge about the source language and an inspiring method to express ideas in the target language. However, translation is thing through which we can connect the world with each other and also we can study and observe diverse cultures.            &lt;br /&gt;
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=== References ===&lt;br /&gt;
Abu-Saydeh, A. F. (2004). Translation of English idioms into Arabic. Babel, 114-131.&lt;br /&gt;
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Ahsan, S. (2020). A comparative study of two translations of manto's short story &amp;quot;Toba Tek&amp;quot;. International Journal of English Language Studies, 12-27.&lt;br /&gt;
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Alexander, R. J. (1987). Mimeograph. In R. J. Alexander (Ed.) Collocation and Culture. Trier: University of Trier, West Germany.&lt;br /&gt;
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Al-Qinai, J. (2000). Translation quality assessment. strategies, parameters and procedures. Translator's Journal, 497-519.&lt;br /&gt;
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Bayashi, J. (2020). Japanese-English translation: An advanced guide. Oxfordshire: Routledge.&lt;br /&gt;
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Das, V. &amp;amp;. (1995). Critical events: An anthropological perspective on contemporary India. New Delhi: Oxford Printing Press.&lt;br /&gt;
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Mufti, A. (2007). The Language of English India. In I. &amp;amp;. End (Ed.) Enlightenment in the Colony. Princeton University Press.&lt;br /&gt;
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Waka Xia, L. (2019). A discourse analysis of news translation in China. Syydney: Routledge.&lt;br /&gt;
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= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
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===Ambiguity===&lt;br /&gt;
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===Lexical and Structural Mismatches===&lt;br /&gt;
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===Multiword units: Idioms and Collocations===&lt;br /&gt;
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===Summary===&lt;br /&gt;
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===Further Reading===&lt;br /&gt;
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=刘胜楠 A Case Study of ''Ne Zha'' on Subtitle Translation Strategies from the Perspective of Skopos Theory= &lt;br /&gt;
[[Trans_Type_EN_15]]&lt;/div&gt;</summary>
		<author><name>Atta Ur Rahman</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=132401</id>
		<title>Translation types, strategies, styles, methods</title>
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		<updated>2021-12-13T15:38:56Z</updated>

		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* Introduction */&lt;/p&gt;
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&lt;div&gt;'''Translation types, strategies, styles, methods'''&lt;br /&gt;
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[[Translation_types,_strategies,_styles,_methods|Overview Page of Translation types, strategies, styles, methods]]&lt;br /&gt;
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30 Chapters（0/30)&lt;br /&gt;
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[[Trans_Type_EN_1]] [[Trans_Type_EN_2]] [[Trans_Type_EN_3]] [[Trans_Type_EN_4]] [[Trans_Type_EN_5]] [[Trans_Type_EN_6]] [[Trans_Type_EN_7]] [[Trans_Type_EN_8]] [[Trans_Type_EN_9]] [[Trans_Type_EN_10]] [[Trans_Type_EN_11]] [[Trans_Type_EN_12]] [[Trans_Type_EN_13]] [[Trans_Type_EN_14]] [[Trans_Type_EN_15]] [[Trans_Type_EN_16]] [[Trans_Type_EN_17]] [[Trans_Type_EN_18]] [[Trans_Type_EN_19]] [[Trans_Type_EN_20]] [[Trans_Type_EN_21]] [[Trans_Type_EN_22]] [[Trans_Type_EN_23]] [[Trans_Type_EN_24]] [[Trans_Type_EN_25]] [[Trans_Type_EN_26]] [[Trans_Type_EN_27]] [[Trans_Type_EN_28]] [[Trans_Type_EN_29]] [[Trans_Type_EN_30]] ...&lt;br /&gt;
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[[Book_projects|Back to translation project overview]]&lt;br /&gt;
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[[DCG-To-Do|To the To Do List]]&lt;br /&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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'''浅析美版《甄嬛传》的字幕翻译策略'''&lt;br /&gt;
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[[Trans_Type_EN_1]]&lt;br /&gt;
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阳佳颖 Yang Jiaying, Hunan Normal University, China&lt;br /&gt;
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=Chapter 2: The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
'''纽马克翻译理论指导下旅游文本中翻译策略与翻译方法的使用——以''Everglades National Park, Florida (Excerpt)''为例'''&lt;br /&gt;
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[[Trans_Type_EN_2]]&lt;br /&gt;
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刘晓 Liu Xiao, Hunan Normal University, China&lt;br /&gt;
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=Chapter 3: Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
交际翻译理论指导下小说题材所适用的翻译方法和翻译策略—以韩国小说集《恩珠的电影》（节选）为例&lt;br /&gt;
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[[Trans_Type_EN_3]]&lt;br /&gt;
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刘越Liu Yue ，Hunan Normal University，China&lt;br /&gt;
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=Chapter 4: On Translation Strategies and Translation Methods in Chinese Translation of English Prose -- A Case Study of Chinese Translation of English Prose &amp;quot;Pleasures of Ignorance&amp;quot;=&lt;br /&gt;
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'''浅析英语散文汉译中的翻译策略和翻译方法——以英语散文《无知的乐趣》汉译本为例'''&lt;br /&gt;
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[[Trans_Type_EN_4]]&lt;br /&gt;
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毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
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=Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
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[[Trans_Type_EN_5]]&lt;br /&gt;
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毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
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=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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[[Trans_Type_EN_6]]&lt;br /&gt;
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彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
&lt;br /&gt;
从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。	&lt;br /&gt;
&lt;br /&gt;
Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
&lt;br /&gt;
Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
翻译风格，巴黎的忧郁，郭宏安，亚丁&lt;br /&gt;
&lt;br /&gt;
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==Introduction==&lt;br /&gt;
&lt;br /&gt;
The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
	&lt;br /&gt;
Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations. Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
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==Liu Miqing’s theory of translation style==&lt;br /&gt;
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Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
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Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.&lt;br /&gt;
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In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
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==Form Markers==&lt;br /&gt;
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According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
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===Register Markers===&lt;br /&gt;
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“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
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The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
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Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
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Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
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Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
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This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
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===Lexical Markers===&lt;br /&gt;
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Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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'''Eg. (b)'''&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence, translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
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==Non-formal Markers==&lt;br /&gt;
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The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
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Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
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According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
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Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
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The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
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The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
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Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
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Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.&lt;br /&gt;
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==References==&lt;br /&gt;
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[1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[3] 刘宓庆 Liu Mingqing. 新编当代翻译理论[M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp;amp; Publishing Corporation, 2005.&lt;br /&gt;
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[4] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.&lt;br /&gt;
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[5] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.&lt;br /&gt;
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=Chapter 7: A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
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[[Trans_Type_EN_7]]&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
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=Chapter 8:Translation methods and strategies applicable to the style of biographical literature -- Taking ''Incidents in Life of Slave Girl'' (excerpt) as an example=&lt;br /&gt;
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传记文学的文体所适用的翻译技巧与策略——以英文传记《一名女奴的人生际遇》(节选)为例&lt;br /&gt;
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[[Trans_Type_EN_8]]&lt;br /&gt;
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颜子涵 Yan Zihan, Hunan Normal University, China&lt;br /&gt;
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=Chapter 9: On the Translation Strategies of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hung-ming and Xu Yuanchong=&lt;br /&gt;
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'''视域融合视角下看《论语》英译的翻译策略—以辜鸿铭和许渊冲的英译本为例'''&lt;br /&gt;
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[[Trans_Type_EN_9]]&lt;br /&gt;
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邝艳丽 Kuang Yanli, Hunan Normal University, China&lt;br /&gt;
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=杨柳青 Bian Zhilin's Literary Translation Theories and Practice——Take His Translation of Romantic Poems as Examples=&lt;br /&gt;
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Yang Liuqing杨柳青,Hunan Normal University,China.&lt;br /&gt;
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[[Trans_Type_EN_10]]&lt;br /&gt;
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=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
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===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
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===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
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===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012:37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær, 2015:10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005, 9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004, 1). Translation is essential for cultures and languages to exchange information. Newmark (1988) defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects. Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
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(Nida 1964) indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style. Larson (1998) has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context. &lt;br /&gt;
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Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”.(Snell-Hornby 1988, 33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957, 167. By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
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The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003, 16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
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This study is aimed to probe Newmark's (1988) translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988, 81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.&lt;br /&gt;
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===Translation and Culture===&lt;br /&gt;
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2. Translation and Culture &lt;br /&gt;
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Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
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The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988, 7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988, 5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988, 7).  &lt;br /&gt;
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In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford (1965) defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language” (Catford 1965, 20). According to Venuti’s translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader” (Venuti 1995, 18). Schjoldager stated that “a translation is a text that expresses what another text has expressed in another language” (Schjoldager 2008, 19). Culture is a complex whole which includes knowledge, belief, art, law, morals, customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan (2014), claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014, 2). Hermanns (1999) contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures. Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014, 2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark (2001), illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001, 328). &lt;br /&gt;
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Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
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2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
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Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora, fauna, food, clothes, housing, work, leisure, politics, law, and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988, 327) Christine Nord names them “culturemes” (Nord 1997, 9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012, 1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Aixela, 1997; Davies, 2003), others choose cultural words (Newmark, 2003) or culture-bound phenomena/concepts (Baker, 1992, Newmark, 2003, Robinson, 2003). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker, 1992, 21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988, 94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988, 95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988, 95).&lt;br /&gt;
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2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
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The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85, P. 22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003, 16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.&lt;br /&gt;
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===Types of Translation ===&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
Newmark (1988) determines 8 types of translation which are: &lt;br /&gt;
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3.1 Word-for-Word Translation &lt;br /&gt;
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This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
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3.2 Literal translation &lt;br /&gt;
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In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
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3.4 Semantic Translation &lt;br /&gt;
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Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
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3.5 Adaptation &lt;br /&gt;
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This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015, 15). &lt;br /&gt;
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3.6 Free Translation &lt;br /&gt;
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The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
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3.7 Idiomatic Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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3.8 Communicative Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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===Translation Strategies  ===&lt;br /&gt;
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4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
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4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela (1996), translators need to choose several strategies based on the source language culture and target culture.  He distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, he tries to command by the level of their intercultural intervention. He divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies). &lt;br /&gt;
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4.1.1. Conservation: &lt;br /&gt;
In conservation, the less compelling process includes repetition, orthographic adaptation, linguistic translation, extratextual gloss and intratextual gloss. &lt;br /&gt;
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4.1.1.1 Repetition: In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus, the translator keeps as much as possible the original reference (Aixela, 1996, p. 61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
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4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
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4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
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4.1.1.4 Extra-textual Gloss: Here, the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes, endings, words, ideas, translators in dictionaries, italics and so on. &lt;br /&gt;
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4.1.1.5 Intra-textual Gloss: It's like the past but the translator feels that he/she can include the globe as an indirect part of the text, not to distract the reader. &lt;br /&gt;
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4.2.1 Substitution &lt;br /&gt;
In substitution, According (Aixela, 1996) “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here”. &lt;br /&gt;
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4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
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4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
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4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela, 1997, p.63). &lt;br /&gt;
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4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Shokri, Ketabi, 2015, p.8). &lt;br /&gt;
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4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela, 1996, p. 64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
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4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela, 1997). &lt;br /&gt;
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4.3 Mona Baker’s Translation Strategies &lt;br /&gt;
Baker’s strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation. (Baker, 1992). He suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies, which are the following: &lt;br /&gt;
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4.3.1 Translation by a more general word: According to Baker, this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
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4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
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4.3.3 Translation by cultural substitution: This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
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4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
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4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
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4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
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4.3.7 Translation by omission: Losing phrases or words that are not vital to text development. &lt;br /&gt;
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4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view, however, Baker's (1992) translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
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===Cultural Categories  ===&lt;br /&gt;
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5. Cultural categories &lt;br /&gt;
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5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
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5.1.2 Material culture &lt;br /&gt;
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Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.” &lt;br /&gt;
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5.1.3 Social culture &lt;br /&gt;
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The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
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5.1.4 Organisation &lt;br /&gt;
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Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
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5.2 Newmark Classification CSIs &lt;br /&gt;
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Newmark (1988) established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items. (Newmark 1988, 97) &lt;br /&gt;
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5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
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Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
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2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
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3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
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4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
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5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
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6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
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7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
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8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
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9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
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10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
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11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
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12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
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13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
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14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
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15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
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16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
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17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
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18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
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19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
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20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
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21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
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22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
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23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
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24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
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25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
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26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
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27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
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28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
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29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
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30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
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31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
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32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
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33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
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34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
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35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
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36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
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37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
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38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
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39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
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40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
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41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
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42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
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43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
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44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
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45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
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46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
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47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
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48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
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49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
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50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
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51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
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52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
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53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
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54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
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55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
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56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
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57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
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58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
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59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
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60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
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61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
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62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
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63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
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64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
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65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
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66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
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67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
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68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
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69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
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70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996, 31), “translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by (Newmark 1988, 81), “translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.” &lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation, then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions. &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity, as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts, the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term, and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part, but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark (1988) has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9. &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark’s strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark (1988) were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However, the translator must be competent in using the translation procedures to provide an accurate translation. &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abdi, H. (2019). Translating culture-specific items (CSIs) as a conundrum for Iranian MA translation students: Considering the level of study. Journal of new advances in English Language Teaching and Applied Linguistics, 1(1), 88-109. &lt;br /&gt;
&lt;br /&gt;
Aguado-Gimenez, P., &amp;amp; Pérez-Paredes, P. F. (2005). Translation-strategies use: A classroombased examination of Baker’s taxonomy. Meta: journal des traducteurs/Meta: &lt;br /&gt;
Translators' Journal, 50(1), 294-311. &lt;br /&gt;
&lt;br /&gt;
Ahmadi, M. R.S and Nosrati, Fatemah. (2012). Domestication and Foreignization Strategies in Translation of Culture-Specific Items. Translations of English-Persian Children’s Literature. San Francisco: Grin Publishing. Google Books. &lt;br /&gt;
&lt;br /&gt;
Al Saleh, R. A. (2019). An Application of Newmark's Procedures to Muhammad Abul Quasem's Alleman, J. C. Bee. W. Ulitkin, I. Files, F., Zetzsche, J., Chatonnet-Marton, P. &amp;amp; y del Árbol, E. V. Translation Strategies. &lt;br /&gt;
&lt;br /&gt;
Al-Sofi, B. B. M. A., &amp;amp; Abouabdulqader, H. (2020). Bridging the gap between translation and culture: towards a cultural dimension of translation. International journal of linguistics, literature and culture, 6(1), 1-13. &lt;br /&gt;
&lt;br /&gt;
Baker, M., 1992. In Other Words: A Coursebook on Translation. London: Routledge, p.20–42. &lt;br /&gt;
&lt;br /&gt;
Blažytė, D., &amp;amp; Liubinienė, V. (2016). Culture-specific items (CSI) and their translation strategies in Martin Lindstrom’s&amp;quot; Brand sense&amp;quot;. Kalbų studijos, (29), 42-57. &lt;br /&gt;
&lt;br /&gt;
Bush, P. (1998) &amp;quot;Literary Translation.&amp;quot; In: M. Baker, ed. Routledge Encyclopedia of Translation Studies, London: Routledge, pp.127-130. &lt;br /&gt;
&lt;br /&gt;
Catford. J. C. (1965). A linguistic theory of translation. Oxford: Oxford University Press. &lt;br /&gt;
English Translation of Mohammad Al-Ghazali's Islamic Guidance.Literature and Culture, 6(1), 1-13. &lt;br /&gt;
&lt;br /&gt;
Gečaitė, L. (2020). Culture-Specific Items and Their Translation Strategies in Victoria Hislop's Novel The Sunrise.” (2020). &lt;br /&gt;
&lt;br /&gt;
Hassan, B. E. A. (2014). Between English and Arabic: A practical course in translation. &lt;br /&gt;
Cambridge Scholars Publishing. &lt;br /&gt;
&lt;br /&gt;
Hermans, T. (1999). Translation in systems. Manchester: St. Jerome Publication  House, J. (Ed.). (2014). Translation: a multidisciplinary approach. Springer. &lt;br /&gt;
Issa, A. L. S. M., &amp;amp; Hammood, L. H. R.- Quranic-Specific Phrases under the Study of Translation; Significance and Applications. &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. (33), p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. 33, p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Lambert, J. (1998) Literary Translation. In: M. Baker, ed. Routledge Encyclopedia of Translation Studies. London: Routledge, 130-134. &lt;br /&gt;
&lt;br /&gt;
Landers, Clifford E. (2001) Literary Translation: A practical guide. New Jersey University Press: Multilingual Maters. &lt;br /&gt;
&lt;br /&gt;
Lustig, Myron, W. and Koeser, Joline  (2003), Intercultural Competence: Interpersonal Communication Across Cultures, Boston: Allyn and Bacon. &lt;br /&gt;
&lt;br /&gt;
Malmkjær, K. (1993). Who Can Make Nice A Better Word Than Pretty? Collocation, Translation, and Psycholoinguistics. In: Baker, M., Francis, G. and Tognini-Bonelli, E. &lt;br /&gt;
eds. Text and Technology. Philadelphia/Amsterdam: John Benjamins Publishing Company. pp.213-32. &lt;br /&gt;
&lt;br /&gt;
Mosavat, S., &amp;amp; Rahimpour, S. (2016). The Most and Least Used Translation Strategies for &lt;br /&gt;
Conveying Culture-Specific-Items in Young Adult Literature from English into Persian. International Journal of Humanities and Cultural Studies (IJHCS) ISSN 23565926, 1853-1873. &lt;br /&gt;
&lt;br /&gt;
Munday, J. (1997). Systems in Translation: A computer-assisted systemic approach to the analysis of translation of García Márquez. Ph.D thesis, University of Bradford. &lt;br /&gt;
&lt;br /&gt;
Newmark, P. (2001). A Textbook of Translation. Shanghai: Shanghai Foreign Language &lt;br /&gt;
Education Press &lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. (1988). A Textbook of Translation. New Jersey: Prentice-Halls &lt;br /&gt;
&lt;br /&gt;
Nord, Christiane. (1997). Translating as a Purposeful Activity: Functionalist Approaches &lt;br /&gt;
Explained. Manchester: St. Jerome. Accessed 10 November. 2018. Google Books Schjoldager, A. (2008). Understanding translation. Academica: Århus. &lt;br /&gt;
&lt;br /&gt;
Silalahi, M., &amp;amp; Lubis, S. (2013). Translation Procedures of Cultural Terms Found In Sejarah Bilingual For Students of Senior High School. &lt;br /&gt;
Valipoor, K., &amp;amp; andAzizeh Chalak, H. H. T. (2019). Cultural-specific items in translation of the Holy Quran by Irving: 43-51. &lt;br /&gt;
&lt;br /&gt;
Venuti, L. (1995). The translator’s invisibility: A history of translation. London and New York: &lt;br /&gt;
Routledge &lt;br /&gt;
&lt;br /&gt;
Widiarto, O. V. V. (2016). The translation procedures of cultural expressions applied in a game of thrones translated into Perebutan Tahta novel by Barokah Ruziati (Doctoral dissertation, Dian Nuswantoro University).&lt;br /&gt;
&lt;br /&gt;
=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims to observe the development of translation studies through its different types, various strategies, styles and particular methods. In this paper, the readers are introduced to some famous translation scholars including their view of translation studies. At the further discussions, this study lets the readers acknowledge the main issues on translation studies, focusing on different styles of variations such as grammar, sentence structure, textual analysis, strategies and methods. This study may help those who are interested to conduct translation researches and help them by giving options of which theories is beneficial to their analysis. Moreover, it aims to explore the clear definition of translation as well as help the readers to understand the basic concept which are used in the field of translation. The present study, therefore, attempts to outline the scope of the discipline of translation studies and more importantly, it is an attempt to outline its activity that required a deep mastering of language, a good source of knowledge and target cultures.&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation, styles of variations, strategies&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
It is undoubtedly right that translation is important to share information. In line with these premise, the number of translation professionals is getting higher. In fact, the result of translation researches tends to help human daily life in term of evaluation, designing translator machines, and cultural studies.	 Therefore, translation means converting written information from one language into another. It is the new discipline appeared in the second half of the 20th century. The term “Translation Studies” was coined by James S. Holmes, an American-Dutch poet and translator of poetry, in his seminal paper “The Name and Nature of Translation Studies”.  Translation enables effective communication between people around the world. It is a courier for the transmission of knowledge, a protector of cultural heritage, and essential to the development of a global economy. Translation helps us to know about the developments in the field of creative arts, education, literature, business, science and politics. It has shifted from the traditional conception of the fixed, stable and unchangeable nature of the text and its meaning to a text with wide scope for variations. Translation also helps in nation building. In this globalised world, the demand for translation and language related services has increased many times. Translation is not only needed for the creation of national identity but has also become an essential tool for keeping pace with the processes of globalization and localization. The activity of translation has a long-standing tradition and has been widely practiced throughout history, but in our rapidly changing world its role has become of paramount importance. Nowadays, knowledge in which cultural exchanges have been widening, has been increasingly expanding and international communication has been intensifying, the phenomenon of translation has become fundamental. Be it for scientific, medical, technological, commercial, legal, cultural or literary purposes, today human communication depends heavily on translation and, consequently, interest in the field is also growing. Accordingly, the discussion, in the present study, proceeds primarily from the perspectives of “Translation Studies” and “Linguistics”. One major goal is to show the interrelationships between linguistics and translation, and how they benefit from each other. Nowadays, translation research has started to take another path, which is more automatic. The invention of the internet, together with the new technological developments in communication and digital materials, has increased cultural exchanges between nations. This leads translators to look for ways to cope with these changes and to look for more practical techniques that enable them to translate more and waste less. They also felt the need to enter the world of cinematographic translation, hence the birth of audiovisual translation. The latter technique, also called screen translation, is concerned with the translation of all kinds of TV programs, including films, series, and documentaries. This field is based on computers and translation software programs, and it is composed of two methods; dubbing and subtitling. In fact, audiovisual translation marks a changing era in the domain of translation.&lt;br /&gt;
In short, translation has very wide and rich history in the West. Since its birth, translation was the subject of a variety of research and conflicts between theorists. Each theorist approaches it according to his viewpoint and field of research, the fact that gives its history a changing quality.&lt;br /&gt;
&lt;br /&gt;
Discussion &lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation. For each type, a selection of examples will be considered for analysis based on translation theories and techniques. We will show that some chunks of text require literal translation, while other requires interpretive method. In addition, this paper will also examine various strategies and its styles of variations based on translational study. The following strategies will be presented in the paper as; &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	They involve text manipulation.&lt;br /&gt;
•	They must be applied to the process.&lt;br /&gt;
•	They are goal-oriented.&lt;br /&gt;
•	They are problem-centered.&lt;br /&gt;
•	They are applied consciously.&lt;br /&gt;
•	They are inter-subjective.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Most theorists agree that strategies are used by translators when they encounter a problem and literal translation is not useful. Different researchers have investigated and described various translation strategies from their different perspectives. It intends to show what translation strategies exist and when and why they are used by professional translators. Different scholars have various perspectives to the aspects of the act of translation, so, they define and describe different types of strategies. Bergen's (n. d.) classification of the strategies includes three categorizations which will be discussed mainly in this paper: &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	Comprehension strategies &lt;br /&gt;
•	Transfer strategies&lt;br /&gt;
•	Production strategies&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
An addition to this paper, styles of variations will also be introduced to the readers through different aspects and examples. The concept of style can be defined in terms of the distinctive way an individual or a group uses language, or better still the discourse used to perform distinct functions of language aimed at achieving specific purposes. However, this does not entail that style is simply a matter of form since it is the product of other components such as the genre of discourse, its semantics, syntax and phonology. Indeed, in order to analyze a given stylistic variation one needs an extensive checklist that includes lexical and grammatical categories, allusions, and figures of speech. Style can be understood to refer to the recurring typical features of the source text compared to the typical features of the translated text.  In a quantitative and qualitative analysis, this variation is shown to be influenced by several pragmatic and social factors, and to index the interpreters' stances towards source speakers and towards the immigrant court users who are the recipients of translations from English. It is argued that translation styles have profound consequences for limited English speakers, as the insistence on institutional norms in translating to them is viewed as a gate keeping behavior that may impede their full participation in the proceedings. &lt;br /&gt;
&lt;br /&gt;
What is translation? &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Translation went through various definitions going from a mere linguistics activity during the sixties, a cultural and communicative activity during the seventies reflects the social impacting activity in the latest founding of the literature. &lt;br /&gt;
“Translation is traditionally known as being the replacement of textual material in one language into equivalent textual material in another language”. &lt;br /&gt;
House (2015) mentions that translation is considered as the “replacement” of a text in the source language by a semantically and pragmatically equivalent text in the target language. It is strongly related to a source language and target language cultures. It requires a high level of mastery languages, an awareness of any contextual factors within which the discourse emerges. There is no need to mention how it affected civilizations through different areas of mankind history. For example, An Arab-Islamic civilizations. There have always been different directions on how one should or should not translate. In the Arab tradition, two main methods existed and were in complete divergence namely the literal and the free method. &lt;br /&gt;
On the other hand, in the Western tradition there are various methods currently exist namely, the linguistic, the hermeneutic, the interpretive, the functionalist, the interventionist, the poly-systemic and the text-typologist method.  More so, it may be important to point out that translation has been defined in many ways, and every definition reflects the theoretical approach underpinning it. &lt;br /&gt;
As Shuttlworth and Cowie (1997) observe throughout the history of research into translation, the phenomenon has been variously delimited by formal descriptions, echoing the frameworks of the scholars proposing them. For example, Bell (1991: XV) starts with an informal definition of translation, which runs as follows: the transformation of a text originally in one language into an equivalent text in a different language retaining, as far as is possible, the content of the message and the formal features and functional roles of the original text. &lt;br /&gt;
At the beginning of the ‘scientific’ (Newmark, 1988, p. 2) study of translation, Catford (1965, p. 20) described it in these terms, the replacement of textual material in one language (SL) by the equivalent textual material in another language. &lt;br /&gt;
Thirty years later, in Germany, the concept of translation as a form of ‘equivalence’ is maintained, as we can see from Koller’s definition (1995, p. 196): “The result of a text processing activity, by means of which a source language text is transposed into a target-language text. Between the resultant text in L2 (the target-language text) and the source text in L1 (the source language text) there exists a relationship, which can be designated as a translational, or equivalence relation”. Because complete equivalence (in the sense of synonymy or sameness) cannot take place in any of his categories, Jakobson (1959) declares that all poetic art is, therefore, technically untranslatable. That is, the translator has to take the question of interpretation into account in addition to the problem of selecting a TL phrase which will have a roughly similar meaning. Exact translation is impossible. In this regard, Bassnett (1996) claims that all texts, being part of a literary system descended from and related to other systems are “translations of translation of translations”: every text is unique and at the same time, it is the translation of another text. No text is entirely original because language itself, in its essence, is already a translation: firstly, of the non-verbal world and secondly, since every sign and every phrase is the translation of another sign and another phrase. However, this argument can be turned around without losing any of its validity: all texts are original because every translation is distinctive. Every translation, up to a certain point, is an invention and as such it constitutes a unique text.&lt;br /&gt;
In this analysis of the above definition, Manfredi (2008), points out that the above distinction can be divided into two main perspectives, those that consider translation either as a ‘process’ or a ‘product’. To this twofold categorization, Bell (1991, p. 13) adds a further variable, since he suggests making a distinction between translating (the process), a translation (the product) and translation (i.e., “the abstract concept which encompasses both the process of translating and the product of that process”. Moreover, thanks to advances in new technologies, today we can also incorporate into TS the contribution of corpus linguistics, which allows both theorists and translators analyses of large amounts of electronic texts (Manfredi, 2008). On the other hand, Halliday (1992, p. 15) takes translation to refer to the total process and relationship of equivalence between two languages; we then distinguish, within translation, between “translating” (written text) and “interpreting” (spoken text). Halliday, thus, proposes distinguishing the activity of “translation” (as a process) from the product(s) of “translating”, including both “translation” (concerning written text) and ‘interpreting’ (regarding spoken text.&lt;br /&gt;
“Translation is the production of a functional target text maintaining a relationship with a given source text that is specified according to the intended or demanding function of the target text.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Types of Translation&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation.&lt;br /&gt;
&lt;br /&gt;
Technical translation &lt;br /&gt;
&lt;br /&gt;
Technical translation is a type of specialized translation involving the translation of documents produced by technical writers, or more specifically, texts which relate to technological subject areas or texts which deal with the practical application of scientific and technological information. (Wikipedia) &lt;br /&gt;
Translators' main goal is to accurately translate the technical terminology to match the document and the message of the original content.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The benefits of technical translation&lt;br /&gt;
&lt;br /&gt;
A professional technical translation service is provided by translators with dual specialties, that is, professionals who are fluent in the language pair, but who are also experts in the field covered by the documents to be translated.&lt;br /&gt;
When you need to have your documents translated by a technical translator, translators who are not experts may not be able to provide the necessary solutions and terminology for a quality translation. If the translator is not an expert in the field, he/she will have to learn the new terminology while working. This means that translation will take longer, have higher chances of inaccuracies, and may result in higher costs. Therefore, the main advantages of hiring an agency specialized in this type of service are as follows:&lt;br /&gt;
&lt;br /&gt;
Literary translation&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Literary translation is the translation of creative and dramatic prose and poetry into other languages. This includes the translation of literature from ancient languages and the translation of modern fiction so that it can reach a wider audience. &lt;br /&gt;
Literary translation is of huge importance. It helps to shape our understanding of the world around us in many ways.                                                     Reading Homer and Sophocles as part of a classical education in school helps to build an understanding of history, politics, philosophy and so much more. Meanwhile, reading contemporary translations provides fascinating insights into life in other cultures and other countries.                                                       In a fast-paced world so rife with misunderstanding and confusion, such efforts to share knowledge and experiences across cultural boundaries should be applauded.&lt;br /&gt;
The translation of literature differs greatly from other forms of translation. The sheer size of the texts involved in literary translation sets it apart.                Tackling a translation that runs to hundreds of thousands of words is not a task for the faint-hearted. Nor is recreating poetry in a new language, without losing the beauty and essence of the original work.&lt;br /&gt;
One of the key challenges of literary translation is the need to balance staying faithful to the original work with the need to create something unique and distinctive that will evoke the same feelings and responses as the original. This can be particularly challenging when it comes to translating poetry.&lt;br /&gt;
Poems are written with incredible attention to detail. Not only are the words and phrases important, but the number of syllables and the entire rhythm of the completed work. It’s a challenging task to complete just in one language, let alone when trying to recreate a poet’s work during a translation. Daniel Hahn, director of the British Centre for Literary Translation, sums up the issue beautifully. &lt;br /&gt;
As literary translators will attest, a single word can be extremely troublesome. The author of a work of fiction has chosen that word for a good reason, so the translator must ensure that it is faithfully delivered in the target language. However, what if no direct translation is available? Or what if several options exist, each with a slightly different nuance? Urdu language translator Fahmida Riaz outlines her approach to such thorny issues.&lt;br /&gt;
For instance, “Every piece you translate comes from the pen of an individual, so you have to give it an individual treatment. I try to retain the ambience of the original culture, rather than the language, as it is reflected in the text.” &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Pragmatic translation&lt;br /&gt;
&lt;br /&gt;
Pragmatic translation is the basic assumption that provided a source language text contains no misstatements of fact, is competently written and has to be fully translated rather than summarized or functionally reorientated; one's purpose in translating it is to be referentially and pragmatically accurate. In this paper, I shall not deal with referential accuracy but concentrate instead on the pragmatic aspects of translation. As the term pragmatic translation may be used in a variety of ways, I should like to state my own definition of pragmatic, which derives from Charles Morris and ultimately from Charles S. Peirce. I am using pragmatic as one of the two factors in translation: pragmatic denotes the reader's or readership's reception of the translation, as opposed to referential, which denotes the relationship between the translation and the extra-linguistic reality it describes. &lt;br /&gt;
Translation is a properly way to a properly communication and pragmatics is how to use language in communication properly. By translation, many things from different languages and cultures can understand to each other. In other words, translation can be stated as a facilitator to make a communication runs well.&lt;br /&gt;
&lt;br /&gt;
===An Overview on Translation Studies  ===&lt;br /&gt;
&lt;br /&gt;
===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
&lt;br /&gt;
=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature  --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:45, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the researcher wants to highlight the different concepts about the fundamental question that &amp;quot;what is idiomatic expression&amp;quot;  and the views of various critics, theorists and linguistic experts, and prominent scholars of translation studies.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:38, 13 December 2021 (UTC) Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
&lt;br /&gt;
Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda 2006: 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984: 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992: 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to Newmark, “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”(Newmark 1981: 11).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:38, 13 December 2021 (UTC)&lt;br /&gt;
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The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to (Corelli 2006, 53), English has a sizeable idiomatic base.&lt;br /&gt;
About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.&lt;br /&gt;
The main issue that idiomatic and fixed expressions pose for translators, according to (Baker 1992, 65), is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.&lt;br /&gt;
&lt;br /&gt;
Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.&lt;br /&gt;
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===Literature Review ===&lt;br /&gt;
In this chapter, the author/researcher defines the strategy and its different definitions from the perspective of different subjects and fields. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented. Krings defines it as the content of the project, while Seguinet divided the term into three steps. However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. &lt;br /&gt;
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The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward.&lt;br /&gt;
Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint.&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to (Seguinot 1989, 27) (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.&lt;br /&gt;
&lt;br /&gt;
Furthermore, (Loescher 1991, 8) defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot; As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998, 4) claim moreover, (Bell 1998, 188) distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.&lt;br /&gt;
&lt;br /&gt;
According to (Venuti 1998, 240), &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot; He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to (Jaaskelainen 2005, 15), product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.&lt;br /&gt;
&lt;br /&gt;
Furthermore, (Jaaskelainen 2005, 16) distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making. (Newmark 1988, 221) distinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;&lt;br /&gt;
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Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016, 13).&lt;br /&gt;
&lt;br /&gt;
The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010, 15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017, 54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
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Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985, 9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female.&lt;br /&gt;
Several research articles are found on translated work (license and khol do) of Urdu famous short stories writer Sadat Hassan Manto's from a different perspective like psychoanalysis, postcolonial, feminist approaches but to explore the problem of translations strategies face by translator Aatish Taseer during the process of translation has not been mention till date. To summarize this, the research includes a critical, in-depth, comprehensive analysis of issues that previously did not address.&lt;br /&gt;
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=== Theoritical Framework ===&lt;br /&gt;
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Different strategies have been used, like using an idiom of similar meaning and similar form, the idiom of similar meaning and different form, translation by Paraphrasing, translation by omission. The approach of employing idioms of similar meaning and form, according to Mona Baker, entails using an idiom in the target language that can express about the same meaning as the source language idiom, as well as having lexical similarity. On the other hand, this type of matching happens periodically as well as regularly.&lt;br /&gt;
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Similarly, employing idioms with similar meanings but different forms means that it is possible to locate an idiom or fixed expression in the target text language that has a similar meaning to the source idiom or expression but is made up of distinct lexical elements. Consider the case of English and French, both of which use the idiom mentioned above. In English, one good deed is rewarded with another, whereas in French, handsome deeds are rewarded with handsome deeds.&lt;br /&gt;
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Furthermore, we did not come across any idioms in the category mentioned above during translating idioms. To deal with this issue, the translators used the most popular approach, known as a translation by paraphrase, which is short, straightforward, and time-saving. When a match cannot be identified in the target language or when it appears improper to employ idiomatic language in target material due to aesthetic differences between the source and target languages, this is the most typical approach for translating an idiom from source to target language. However, one thing to keep in mind is that a perfect translation is not required is necessary or possible.&lt;br /&gt;
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Last but not least, to overcome the problem of idiom translation, the translator employs the strategy of translation by omission. This can be defined as an idiom being omitted entirely in the target text with a single word. This is done because the idiom has no close match in the target language; its meaning cannot be easily paraphrased or due to stylistic reasons. &lt;br /&gt;
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Data analysis Techniques:&lt;br /&gt;
Textual analysis is the method of data analysis in qualitative research that brings forth the hidden and potent message, structure, and function of research in giving text, Alan Mckee (defines textual analysis as whenever we perform textual analysis on the text, we make an educated guess at some time of the most likely interpretations that might be made of that text (Alan Mckee 2001, 3)&lt;br /&gt;
Analysis of the translation of short stories in light of Mona baker's theory &amp;quot;khol do and license&amp;quot; are short stories written by Sadat Hassan Manto and translated by many translators from Urdu into English. During translation, the translator adopted many strategies for translating idiomatic expression, sometimes by Paraphrasing, sometimes by omission, sometimes using similar idioms of form and meaning while sometimes using different words and the same form, the whole.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:51, 12 December 2021 (UTC)&lt;br /&gt;
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===Discussion and Analysis===&lt;br /&gt;
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The chapter analyzes and discusses all the data collected by the author/researcher from different sources. All the examples of idioms are first identified, then translated into the target text, and back-translated for the sole purpose of exploring the strategies being used by the translator. A separate section is given to every strategy with its related example. Moreover, the idiomatic expression, the target work for finding, is highlighted through the bold letter.&lt;br /&gt;
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4.1	Translation by Paraphrasing:&lt;br /&gt;
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Based on our findings, the most often used strategy was &amp;quot;translation by paraphrasing.&amp;quot; An inspection also reveals that Aatish Taseer preferred this strategy. Here are some examples applied by the translators, and in the following section, the logic behind their preference towards this strategy is elaborate. The following are examples from two short stories of Sadat Husain Manto's &amp;quot;khol do&amp;quot; and &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 1: &lt;br /&gt;
&lt;br /&gt;
ST: Sirajuddin ne subah das baji anki kholi to logo ka ail mutalatam samandar deka.&lt;br /&gt;
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TT: Ten a.m., Siraj Uddin opens his eyes on the cold floor of the camp, seeing the swelling sea of men.&lt;br /&gt;
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BT: sub ke das baji jab Sirajuddin ne apni anki koli to logo ka aik ublaha howa samandar ka nizara dekni laga.&lt;br /&gt;
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So, the above idioms are literal idioms being translated with the help of Paraphrasing because there is no perfect equivalent of mutalatam words in English languages. A similar look at another idiom from short stories &amp;quot;khol do.&amp;quot;&lt;br /&gt;
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Example 2:&lt;br /&gt;
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ST: Khuda tomahra bala kari.&lt;br /&gt;
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TT: Your God will reward&lt;br /&gt;
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BT: Is ka badla khoda tomahi di.&lt;br /&gt;
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Here, the word reward is being used for Bala Kari, an example of transitional by Paraphrasing.&lt;br /&gt;
Let  take another example from &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
&lt;br /&gt;
ST: unkho nai Jan khateli pa rak kar sakena ko donda.&lt;br /&gt;
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TT: even putting their lives online, they search sakina &lt;br /&gt;
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BT: apni zindagio ko khatri me dal kar unkho nai sakina ko dond nekala.&lt;br /&gt;
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The above idioms are examples of pure idiom translated from Urdu into English with the help of paraphrases strategies. However, under the same strategies, the idioms of another short story of Manto,s &amp;quot;license,&amp;quot; are translated by Aatish Taseer. Some of the examples are given below.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
ST: Abu kochwan bara cheel jabela ta. It is the binomial type of idioms taken from the first sentence of the short story &amp;quot;license&amp;quot; by Sadat &lt;br /&gt;
Hasan Manto &lt;br /&gt;
&lt;br /&gt;
TT: Abu kochwan is stylish man.&lt;br /&gt;
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BT: Abu kochwan aik wazahdar admi ta.&lt;br /&gt;
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From the above idiom, it is clear that there is no perfect equivalence of cheela chabela idiom in English; that is, the translator goes &lt;br /&gt;
through paraphrasing strategies. Look at another example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
ST: Lein har waqat bank bani rekhi ka usi be had showk ta&lt;br /&gt;
&lt;br /&gt;
TT: He had a weakness for style and fashion.&lt;br /&gt;
&lt;br /&gt;
BT: Dan saj ke rekhna uski kamzori me sai ik ta.&lt;br /&gt;
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So all of the above examples, which are analyzed one by one, are examples of idioms being translated through paraphrasing strategies. (De Beaugrande and Dressler 1981, 50) define paraphrases as &amp;quot;approximate conceptual equivalence among outwardly different material.&amp;quot; Similarly, in this regard, Hirst defines paraphrases as &amp;quot;talk(ing) about the same situation in a different way.&amp;quot; Munday declared that &amp;quot;equivalence is particularly useful in translating idioms and proverbs” For instance, if the English idiom like a bear with a sore head is rendered into Persian as (mesle borje zahremar), meaning like a tower of snake venom, the strategy of equivalence has been applied. &lt;br /&gt;
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According to Leonardi, &amp;quot;Equivalence can be said to be the central issue in translation.&amp;quot; In this regard, house believes that &amp;quot;a translation text should match not only its source text in function but also employ equivalent situational-dimensional means to achieve that function&amp;quot; (Baker 2002, 49).  who shares this approach, states that equivalence is used &amp;quot;for the sake of convenience—because most translators are used to it rather than because it has any theoretical status&amp;quot; (Kenny 1998, 77). &lt;br /&gt;
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Despite different attitudes to the concept of equivalence, most specialists pay much attention to its meaning in the theory of translation. The translation is a form of communication, and that is why it is vital to establish equivalence between the source text and the target text. Although Vinay and Darbelnet believe that equivalence is used differently than in modern translation theory, it is evident that equivalence is one of the basic concepts of translation that cannot be neglected. Consequently, based on the Above mentioned studies using Paraphrasing in translation stands as the core concept in the process of translation, and still, most of the translators cling to it for producing a more comprehensible and explicable text. These language ideas and translation models are ideal constructs, presented abstractly in order to be differentiated precisely. They may exist in an uneasy combination in actual theories and practices, resulting in logical tensions or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation. Theories and actions must be contextualized in historical settings. They've been utilized as analytical tools to describe various topics in section introductions. Theoretical writings and current events these language notions and translation models are ideal constructs expressed in an abstract manner in order to be distinguished precisely in real-life hypotheses they may exist in an uncomfortable mix, resulting in logical conflicts or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation.&lt;br /&gt;
&lt;br /&gt;
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4.2	Using an idiom of Similar Meaning and Form &lt;br /&gt;
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As mentioned earlier, this strategy type is being used by Aatish Taseer during their translated work of Manto's short stories &amp;quot;khol do&amp;quot; and&amp;quot; license&amp;quot; on an occasional basis. Some examples are mention below.&lt;br /&gt;
&lt;br /&gt;
From khol do.&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
ST: Larki ka rang zard hogaya.&lt;br /&gt;
&lt;br /&gt;
TT: The girl's face became fail&lt;br /&gt;
&lt;br /&gt;
BT: larki ka rang zar hogya.&lt;br /&gt;
&lt;br /&gt;
Similarly, another example from the license is&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: Abu our us ke mat beer hogaie&lt;br /&gt;
&lt;br /&gt;
TT: They fall in love with each other.&lt;br /&gt;
&lt;br /&gt;
BT: WO ik dosri ke mokhbat me geriftar hogaie&lt;br /&gt;
&lt;br /&gt;
The above idioms are pure ones and are being translated with the help of similar meanings and similar forms.&lt;br /&gt;
&lt;br /&gt;
The procedures: transposition, modulation, equivalence, and adaptation, and when it comes to defining the term Equivalence, (Vinay and Darbelnet 2000, 90) propose that it consists in rendering &amp;quot;the same situation … by two texts using completely different stylistic and structural methods&amp;quot;, and when it comes to translating idiomatic expressions like &amp;quot;Il pleut à seaux&amp;quot; it can be translated as &amp;quot;It is raining cats and dogs&amp;quot; using the idiom of similar form and meaning in the target language.&lt;br /&gt;
&lt;br /&gt;
As (Baker 1992, 12) states, this strategy involves using an idiom in the TL which conveys roughly the same meaning as that of the source language idiom and, in addition, consists of identical lexical items. The salient point is that this kind of match can only occasionally be achieved, which cannot be picked up more often by translators. Accordingly, both translators mentioned in the current study had quite a slim chance of using this strategy type. &lt;br /&gt;
&lt;br /&gt;
4.3 Using an idiom of similar meaning but different form:&lt;br /&gt;
&lt;br /&gt;
During translating Manto short stories, &amp;quot;khol do&amp;quot; and &amp;quot;license,&amp;quot; some of the idioms are translated with the help of this strategy. Some of the examples are given below from two different short stories.&lt;br /&gt;
&lt;br /&gt;
Example number one is from the short story &amp;quot;khol do&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
ST: Aur bolwai gos ayai thee?&lt;br /&gt;
&lt;br /&gt;
TT: The roitors come abroad.&lt;br /&gt;
&lt;br /&gt;
BT: pasadi bahar agai hai.&lt;br /&gt;
&lt;br /&gt;
The above idiom is a pure type of idiom being translated with the help of above mention strategy. The word rioter is being used for bolwai, which is not a perfect word for bolwai. In Urdu bolwai, people believe in violence when minorities or the low population of any country want some rights. These people stop them by using violence, burn down their properties, rapes women, and do things like that. Another example from the license is below.&lt;br /&gt;
&lt;br /&gt;
Example 9:&lt;br /&gt;
&lt;br /&gt;
ST: Dosri kotwal abu ko dek kar jal ban ho jati.&lt;br /&gt;
&lt;br /&gt;
TT: The other coachman burn with envy.&lt;br /&gt;
&lt;br /&gt;
BT: Abu ke kamyabi dek kar aur kotwal abu sai khasad karni lagi’&lt;br /&gt;
&lt;br /&gt;
The above idioms are a pure idiom that reflects the effect of jealousy between competitors to achieve equivalency. Aatish Taseer uses envy word for jal ban instead of other which have similar meaning but different form. Look at the other example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: Dino lat vo lagal se kam karni laga.&lt;br /&gt;
&lt;br /&gt;
TT: Dino came with an excuse.&lt;br /&gt;
&lt;br /&gt;
BT: Dino abb bahi tarashni laga.&lt;br /&gt;
	&lt;br /&gt;
The above idioms are types of binomial idioms translated with the help of idioms with similar meanings and different forms. (Newmark 1988, 81) mentions the difference between translation methods and translation procedures. He writes that &amp;quot;[w]hile translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language&amp;quot; (Newmark 1988, 81). Idiomatic translation in his definition reproduces the 'message' of the original. However, it distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original, leading to using an idiom of similar meaning but a different form. Besides, it is often possible to find an idiom or fixed expression in the target language with a meaning similar to that of the source idiom or expression but which consists of different lexical items (Baker 1992, 12). Therefore, translators discover idiomatic expressions in the target language with different forms than in the source language. In the current study, the translators approached this strategy merely for 9% of the total times, which means the frequency of Iranian and English idioms with the same meaning and different forms is not considered high. &lt;br /&gt;
&lt;br /&gt;
4.4 Translation by omission:&lt;br /&gt;
&lt;br /&gt;
A translator is less using these strategies, and we did not find any clue on this type of strategy in an area under consideration.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:48, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== Findings===&lt;br /&gt;
&lt;br /&gt;
(Mandelbit 1995) believed that idioms with different cognitive mapping in the target language would be more challenging to translate. After conducting study and data analysis of collected data, the result revealed that the translator frequently used three out of four strategies of the Mona Baker model during the translation process, which is a translation by Paraphrasing, translation by similar meaning and similar form, translation by similar meaning and different form. In contrast, translation by omission does not found in his work.&lt;br /&gt;
After detail and careful analysis of data, more than half of idioms like &amp;quot;swelling sea of man,” my lord break his arrogance, “weakness for style and fashion.&amp;quot; As I mentioned earlier, many more are translated under the umbrella of Paraphrasing, which is considered the most common method used for translating idioms.&lt;br /&gt;
&lt;br /&gt;
Similarly, we also reflect strategies like similar meaning and different form and similar meaning and similar form. The idiom &amp;quot;rioter came abroad,” burn with envy,” The girl's face became pale, &amp;quot; They fall in love with each other&amp;quot; are translated with the help of two mention strategies, respectively.&lt;br /&gt;
&lt;br /&gt;
Although translation by omission is a strategy used on rare occasions because of its meaning, its meaning cannot be easily paraphrased or stylistic reason. Here, the researcher also did not find any idiom translated with the help of the omission strategy.&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
Go through detailed discussion and analysis of data collected from my source. We finally concluded that the idioms present in two short stories, &amp;quot;khol do&amp;quot; and &amp;quot;License,&amp;quot; are translated under the frame of Mona Baker's idiomatic model. Translation by Paraphrasing is mainly used while idioms of similar meaning and form and idioms of similar meaning and different forms are used occasionally. The researcher discusses all the strategies with related examples in the order of maximum used to minimum used. The strategy by omission did not find it works. All the data are collected from different sources and analyzed with the help of different researcher tools, and the result is written in light of the finding. Different from previous studies, the writer presents the strategies to translate idioms by each type of idiomatic expression found in the story. From the result, it is considered the translation of idiomatic expressions in the story is quite accurate. As the number of accurate data is more the data which is not related to the translation. We take conclusion from the translation through idiomatic expression and paraphrasing is the best way to translate a novel or a story however it is very difficult job to do because it needs more accurate and precise knowledge about the source language and an inspiring method to express ideas in the target language. However, translation is thing through which we can connect the world with each other and also we can study and observe diverse cultures.            &lt;br /&gt;
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=== References ===&lt;br /&gt;
Abu-Saydeh, A. F. (2004). Translation of English idioms into Arabic. Babel, 114-131.&lt;br /&gt;
&lt;br /&gt;
Ahsan, S. (2020). A comparative study of two translations of manto's short story &amp;quot;Toba Tek&amp;quot;. International Journal of English Language Studies, 12-27.&lt;br /&gt;
&lt;br /&gt;
Alexander, R. J. (1987). Mimeograph. In R. J. Alexander (Ed.) Collocation and Culture. Trier: University of Trier, West Germany.&lt;br /&gt;
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Al-Qinai, J. (2000). Translation quality assessment. strategies, parameters and procedures. Translator's Journal, 497-519.&lt;br /&gt;
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Bayashi, J. (2020). Japanese-English translation: An advanced guide. Oxfordshire: Routledge.&lt;br /&gt;
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Das, V. &amp;amp;. (1995). Critical events: An anthropological perspective on contemporary India. New Delhi: Oxford Printing Press.&lt;br /&gt;
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Mufti, A. (2007). The Language of English India. In I. &amp;amp;. End (Ed.) Enlightenment in the Colony. Princeton University Press.&lt;br /&gt;
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Waka Xia, L. (2019). A discourse analysis of news translation in China. Syydney: Routledge.&lt;br /&gt;
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= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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===Key words ===&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
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===Ambiguity===&lt;br /&gt;
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===Lexical and Structural Mismatches===&lt;br /&gt;
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===Multiword units: Idioms and Collocations===&lt;br /&gt;
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===Summary===&lt;br /&gt;
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===Further Reading===&lt;br /&gt;
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=刘胜楠 A Case Study of ''Ne Zha'' on Subtitle Translation Strategies from the Perspective of Skopos Theory= &lt;br /&gt;
[[Trans_Type_EN_15]]&lt;/div&gt;</summary>
		<author><name>Atta Ur Rahman</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=132381</id>
		<title>Translation types, strategies, styles, methods</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=132381"/>
		<updated>2021-12-13T15:24:51Z</updated>

		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* Introduction */&lt;/p&gt;
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&lt;div&gt;'''Translation types, strategies, styles, methods'''&lt;br /&gt;
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[[Translation_types,_strategies,_styles,_methods|Overview Page of Translation types, strategies, styles, methods]]&lt;br /&gt;
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30 Chapters（0/30)&lt;br /&gt;
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[[Trans_Type_EN_1]] [[Trans_Type_EN_2]] [[Trans_Type_EN_3]] [[Trans_Type_EN_4]] [[Trans_Type_EN_5]] [[Trans_Type_EN_6]] [[Trans_Type_EN_7]] [[Trans_Type_EN_8]] [[Trans_Type_EN_9]] [[Trans_Type_EN_10]] [[Trans_Type_EN_11]] [[Trans_Type_EN_12]] [[Trans_Type_EN_13]] [[Trans_Type_EN_14]] [[Trans_Type_EN_15]] [[Trans_Type_EN_16]] [[Trans_Type_EN_17]] [[Trans_Type_EN_18]] [[Trans_Type_EN_19]] [[Trans_Type_EN_20]] [[Trans_Type_EN_21]] [[Trans_Type_EN_22]] [[Trans_Type_EN_23]] [[Trans_Type_EN_24]] [[Trans_Type_EN_25]] [[Trans_Type_EN_26]] [[Trans_Type_EN_27]] [[Trans_Type_EN_28]] [[Trans_Type_EN_29]] [[Trans_Type_EN_30]] ...&lt;br /&gt;
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[[Book_projects|Back to translation project overview]]&lt;br /&gt;
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[[DCG-To-Do|To the To Do List]]&lt;br /&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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'''浅析美版《甄嬛传》的字幕翻译策略'''&lt;br /&gt;
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[[Trans_Type_EN_1]]&lt;br /&gt;
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阳佳颖 Yang Jiaying, Hunan Normal University, China&lt;br /&gt;
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=Chapter 2: The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
'''纽马克翻译理论指导下旅游文本中翻译策略与翻译方法的使用——以''Everglades National Park, Florida (Excerpt)''为例'''&lt;br /&gt;
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[[Trans_Type_EN_2]]&lt;br /&gt;
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刘晓 Liu Xiao, Hunan Normal University, China&lt;br /&gt;
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=Chapter 3: Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
交际翻译理论指导下小说题材所适用的翻译方法和翻译策略—以韩国小说集《恩珠的电影》（节选）为例&lt;br /&gt;
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[[Trans_Type_EN_3]]&lt;br /&gt;
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刘越Liu Yue ，Hunan Normal University，China&lt;br /&gt;
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=Chapter 4: On Translation Strategies and Translation Methods in Chinese Translation of English Prose -- A Case Study of Chinese Translation of English Prose &amp;quot;Pleasures of Ignorance&amp;quot;=&lt;br /&gt;
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'''浅析英语散文汉译中的翻译策略和翻译方法——以英语散文《无知的乐趣》汉译本为例'''&lt;br /&gt;
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[[Trans_Type_EN_4]]&lt;br /&gt;
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毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
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=Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
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[[Trans_Type_EN_5]]&lt;br /&gt;
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毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
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=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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[[Trans_Type_EN_6]]&lt;br /&gt;
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彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
&lt;br /&gt;
从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。	&lt;br /&gt;
&lt;br /&gt;
Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
&lt;br /&gt;
Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
翻译风格，巴黎的忧郁，郭宏安，亚丁&lt;br /&gt;
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==Introduction==&lt;br /&gt;
&lt;br /&gt;
The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
	&lt;br /&gt;
Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations. Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
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==Liu Miqing’s theory of translation style==&lt;br /&gt;
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Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
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Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.&lt;br /&gt;
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In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
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==Form Markers==&lt;br /&gt;
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According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
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===Register Markers===&lt;br /&gt;
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“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
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The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
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Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
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Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
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Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
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This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
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===Lexical Markers===&lt;br /&gt;
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Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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'''Eg. (b)'''&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence, translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
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==Non-formal Markers==&lt;br /&gt;
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The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
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Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
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According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
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Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
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The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
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The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
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Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
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Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.&lt;br /&gt;
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==References==&lt;br /&gt;
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[1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[3] 刘宓庆 Liu Mingqing. 新编当代翻译理论[M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp;amp; Publishing Corporation, 2005.&lt;br /&gt;
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[4] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.&lt;br /&gt;
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[5] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.&lt;br /&gt;
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=Chapter 7: A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
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[[Trans_Type_EN_7]]&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
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=Chapter 8:Translation methods and strategies applicable to the style of biographical literature -- Taking ''Incidents in Life of Slave Girl'' (excerpt) as an example=&lt;br /&gt;
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传记文学的文体所适用的翻译技巧与策略——以英文传记《一名女奴的人生际遇》(节选)为例&lt;br /&gt;
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[[Trans_Type_EN_8]]&lt;br /&gt;
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颜子涵 Yan Zihan, Hunan Normal University, China&lt;br /&gt;
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=Chapter 9: On the Translation Strategies of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hung-ming and Xu Yuanchong=&lt;br /&gt;
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'''视域融合视角下看《论语》英译的翻译策略—以辜鸿铭和许渊冲的英译本为例'''&lt;br /&gt;
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[[Trans_Type_EN_9]]&lt;br /&gt;
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邝艳丽 Kuang Yanli, Hunan Normal University, China&lt;br /&gt;
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=杨柳青 Bian Zhilin's Literary Translation Theories and Practice——Take His Translation of Romantic Poems as Examples=&lt;br /&gt;
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Yang Liuqing杨柳青,Hunan Normal University,China.&lt;br /&gt;
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[[Trans_Type_EN_10]]&lt;br /&gt;
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=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
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===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
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===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
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===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012:37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær, 2015:10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005, 9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004, 1). Translation is essential for cultures and languages to exchange information. Newmark (1988) defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects. Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
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(Nida 1964) indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style. Larson (1998) has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context. &lt;br /&gt;
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Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”.(Snell-Hornby 1988, 33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957, 167. By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
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The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003, 16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
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This study is aimed to probe Newmark's (1988) translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988, 81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.&lt;br /&gt;
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===Translation and Culture===&lt;br /&gt;
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2. Translation and Culture &lt;br /&gt;
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Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
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The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988, 7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988, 5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988, 7).  &lt;br /&gt;
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In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford (1965) defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language” (Catford 1965, 20). According to Venuti’s translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader” (Venuti 1995, 18). Schjoldager stated that “a translation is a text that expresses what another text has expressed in another language” (Schjoldager 2008, 19). Culture is a complex whole which includes knowledge, belief, art, law, morals, customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan (2014), claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014, 2). Hermanns (1999) contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures. Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014, 2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark (2001), illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001, 328). &lt;br /&gt;
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Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
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2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
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Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora, fauna, food, clothes, housing, work, leisure, politics, law, and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988, 327) Christine Nord names them “culturemes” (Nord 1997, 9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012, 1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Aixela, 1997; Davies, 2003), others choose cultural words (Newmark, 2003) or culture-bound phenomena/concepts (Baker, 1992, Newmark, 2003, Robinson, 2003). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker, 1992, 21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988, 94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988, 95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988, 95).&lt;br /&gt;
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2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
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The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85, P. 22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003, 16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.&lt;br /&gt;
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===Types of Translation ===&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
Newmark (1988) determines 8 types of translation which are: &lt;br /&gt;
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3.1 Word-for-Word Translation &lt;br /&gt;
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This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
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3.2 Literal translation &lt;br /&gt;
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In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
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3.4 Semantic Translation &lt;br /&gt;
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Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
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3.5 Adaptation &lt;br /&gt;
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This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015, 15). &lt;br /&gt;
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3.6 Free Translation &lt;br /&gt;
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The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
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3.7 Idiomatic Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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3.8 Communicative Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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===Translation Strategies  ===&lt;br /&gt;
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4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
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4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela (1996), translators need to choose several strategies based on the source language culture and target culture.  He distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, he tries to command by the level of their intercultural intervention. He divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies). &lt;br /&gt;
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4.1.1. Conservation: &lt;br /&gt;
In conservation, the less compelling process includes repetition, orthographic adaptation, linguistic translation, extratextual gloss and intratextual gloss. &lt;br /&gt;
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4.1.1.1 Repetition: In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus, the translator keeps as much as possible the original reference (Aixela, 1996, p. 61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
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4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
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4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
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4.1.1.4 Extra-textual Gloss: Here, the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes, endings, words, ideas, translators in dictionaries, italics and so on. &lt;br /&gt;
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4.1.1.5 Intra-textual Gloss: It's like the past but the translator feels that he/she can include the globe as an indirect part of the text, not to distract the reader. &lt;br /&gt;
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4.2.1 Substitution &lt;br /&gt;
In substitution, According (Aixela, 1996) “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here”. &lt;br /&gt;
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4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
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4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
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4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela, 1997, p.63). &lt;br /&gt;
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4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Shokri, Ketabi, 2015, p.8). &lt;br /&gt;
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4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela, 1996, p. 64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
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4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela, 1997). &lt;br /&gt;
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4.3 Mona Baker’s Translation Strategies &lt;br /&gt;
Baker’s strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation. (Baker, 1992). He suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies, which are the following: &lt;br /&gt;
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4.3.1 Translation by a more general word: According to Baker, this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
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4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
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4.3.3 Translation by cultural substitution: This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
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4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
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4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
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4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
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4.3.7 Translation by omission: Losing phrases or words that are not vital to text development. &lt;br /&gt;
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4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view, however, Baker's (1992) translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
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===Cultural Categories  ===&lt;br /&gt;
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5. Cultural categories &lt;br /&gt;
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5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
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5.1.2 Material culture &lt;br /&gt;
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Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.” &lt;br /&gt;
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5.1.3 Social culture &lt;br /&gt;
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The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
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5.1.4 Organisation &lt;br /&gt;
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Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
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5.2 Newmark Classification CSIs &lt;br /&gt;
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Newmark (1988) established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items. (Newmark 1988, 97) &lt;br /&gt;
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5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
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Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
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2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
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3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
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4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
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5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
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6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
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7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
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8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
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9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
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10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
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11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
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12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
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13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
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14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
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15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
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16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
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17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
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18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
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19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
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20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
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21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
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22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
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23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
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24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
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25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
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26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
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27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
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28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
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29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
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30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
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31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
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32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
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33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
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34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
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35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
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36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
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37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
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38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
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39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
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40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
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41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
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42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
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43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
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44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
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45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
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46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
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47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
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48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
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49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
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50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
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51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
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52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
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53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
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54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
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55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
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56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
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57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
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58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
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59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
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60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
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61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
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62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
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63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
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64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
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65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
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66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
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67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996, 31), “translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by (Newmark 1988, 81), “translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.” &lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation, then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions. &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity, as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts, the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term, and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part, but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark (1988) has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9. &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark’s strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark (1988) were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However, the translator must be competent in using the translation procedures to provide an accurate translation. &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abdi, H. (2019). Translating culture-specific items (CSIs) as a conundrum for Iranian MA translation students: Considering the level of study. Journal of new advances in English Language Teaching and Applied Linguistics, 1(1), 88-109. &lt;br /&gt;
&lt;br /&gt;
Aguado-Gimenez, P., &amp;amp; Pérez-Paredes, P. F. (2005). Translation-strategies use: A classroombased examination of Baker’s taxonomy. Meta: journal des traducteurs/Meta: &lt;br /&gt;
Translators' Journal, 50(1), 294-311. &lt;br /&gt;
&lt;br /&gt;
Ahmadi, M. R.S and Nosrati, Fatemah. (2012). Domestication and Foreignization Strategies in Translation of Culture-Specific Items. Translations of English-Persian Children’s Literature. San Francisco: Grin Publishing. Google Books. &lt;br /&gt;
&lt;br /&gt;
Al Saleh, R. A. (2019). An Application of Newmark's Procedures to Muhammad Abul Quasem's Alleman, J. C. Bee. W. Ulitkin, I. Files, F., Zetzsche, J., Chatonnet-Marton, P. &amp;amp; y del Árbol, E. V. Translation Strategies. &lt;br /&gt;
&lt;br /&gt;
Al-Sofi, B. B. M. A., &amp;amp; Abouabdulqader, H. (2020). Bridging the gap between translation and culture: towards a cultural dimension of translation. International journal of linguistics, literature and culture, 6(1), 1-13. &lt;br /&gt;
&lt;br /&gt;
Baker, M., 1992. In Other Words: A Coursebook on Translation. London: Routledge, p.20–42. &lt;br /&gt;
&lt;br /&gt;
Blažytė, D., &amp;amp; Liubinienė, V. (2016). Culture-specific items (CSI) and their translation strategies in Martin Lindstrom’s&amp;quot; Brand sense&amp;quot;. Kalbų studijos, (29), 42-57. &lt;br /&gt;
&lt;br /&gt;
Bush, P. (1998) &amp;quot;Literary Translation.&amp;quot; In: M. Baker, ed. Routledge Encyclopedia of Translation Studies, London: Routledge, pp.127-130. &lt;br /&gt;
&lt;br /&gt;
Catford. J. C. (1965). A linguistic theory of translation. Oxford: Oxford University Press. &lt;br /&gt;
English Translation of Mohammad Al-Ghazali's Islamic Guidance.Literature and Culture, 6(1), 1-13. &lt;br /&gt;
&lt;br /&gt;
Gečaitė, L. (2020). Culture-Specific Items and Their Translation Strategies in Victoria Hislop's Novel The Sunrise.” (2020). &lt;br /&gt;
&lt;br /&gt;
Hassan, B. E. A. (2014). Between English and Arabic: A practical course in translation. &lt;br /&gt;
Cambridge Scholars Publishing. &lt;br /&gt;
&lt;br /&gt;
Hermans, T. (1999). Translation in systems. Manchester: St. Jerome Publication  House, J. (Ed.). (2014). Translation: a multidisciplinary approach. Springer. &lt;br /&gt;
Issa, A. L. S. M., &amp;amp; Hammood, L. H. R.- Quranic-Specific Phrases under the Study of Translation; Significance and Applications. &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. (33), p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. 33, p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Lambert, J. (1998) Literary Translation. In: M. Baker, ed. Routledge Encyclopedia of Translation Studies. London: Routledge, 130-134. &lt;br /&gt;
&lt;br /&gt;
Landers, Clifford E. (2001) Literary Translation: A practical guide. New Jersey University Press: Multilingual Maters. &lt;br /&gt;
&lt;br /&gt;
Lustig, Myron, W. and Koeser, Joline  (2003), Intercultural Competence: Interpersonal Communication Across Cultures, Boston: Allyn and Bacon. &lt;br /&gt;
&lt;br /&gt;
Malmkjær, K. (1993). Who Can Make Nice A Better Word Than Pretty? Collocation, Translation, and Psycholoinguistics. In: Baker, M., Francis, G. and Tognini-Bonelli, E. &lt;br /&gt;
eds. Text and Technology. Philadelphia/Amsterdam: John Benjamins Publishing Company. pp.213-32. &lt;br /&gt;
&lt;br /&gt;
Mosavat, S., &amp;amp; Rahimpour, S. (2016). The Most and Least Used Translation Strategies for &lt;br /&gt;
Conveying Culture-Specific-Items in Young Adult Literature from English into Persian. International Journal of Humanities and Cultural Studies (IJHCS) ISSN 23565926, 1853-1873. &lt;br /&gt;
&lt;br /&gt;
Munday, J. (1997). Systems in Translation: A computer-assisted systemic approach to the analysis of translation of García Márquez. Ph.D thesis, University of Bradford. &lt;br /&gt;
&lt;br /&gt;
Newmark, P. (2001). A Textbook of Translation. Shanghai: Shanghai Foreign Language &lt;br /&gt;
Education Press &lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. (1988). A Textbook of Translation. New Jersey: Prentice-Halls &lt;br /&gt;
&lt;br /&gt;
Nord, Christiane. (1997). Translating as a Purposeful Activity: Functionalist Approaches &lt;br /&gt;
Explained. Manchester: St. Jerome. Accessed 10 November. 2018. Google Books Schjoldager, A. (2008). Understanding translation. Academica: Århus. &lt;br /&gt;
&lt;br /&gt;
Silalahi, M., &amp;amp; Lubis, S. (2013). Translation Procedures of Cultural Terms Found In Sejarah Bilingual For Students of Senior High School. &lt;br /&gt;
Valipoor, K., &amp;amp; andAzizeh Chalak, H. H. T. (2019). Cultural-specific items in translation of the Holy Quran by Irving: 43-51. &lt;br /&gt;
&lt;br /&gt;
Venuti, L. (1995). The translator’s invisibility: A history of translation. London and New York: &lt;br /&gt;
Routledge &lt;br /&gt;
&lt;br /&gt;
Widiarto, O. V. V. (2016). The translation procedures of cultural expressions applied in a game of thrones translated into Perebutan Tahta novel by Barokah Ruziati (Doctoral dissertation, Dian Nuswantoro University).&lt;br /&gt;
&lt;br /&gt;
=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims to observe the development of translation studies through its different types, various strategies, styles and particular methods. In this paper, the readers are introduced to some famous translation scholars including their view of translation studies. At the further discussions, this study lets the readers acknowledge the main issues on translation studies, focusing on different styles of variations such as grammar, sentence structure, textual analysis, strategies and methods. This study may help those who are interested to conduct translation researches and help them by giving options of which theories is beneficial to their analysis. Moreover, it aims to explore the clear definition of translation as well as help the readers to understand the basic concept which are used in the field of translation. The present study, therefore, attempts to outline the scope of the discipline of translation studies and more importantly, it is an attempt to outline its activity that required a deep mastering of language, a good source of knowledge and target cultures.&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation, styles of variations, strategies&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
It is undoubtedly right that translation is important to share information. In line with these premise, the number of translation professionals is getting higher. In fact, the result of translation researches tends to help human daily life in term of evaluation, designing translator machines, and cultural studies.	 Therefore, translation means converting written information from one language into another. It is the new discipline appeared in the second half of the 20th century. The term “Translation Studies” was coined by James S. Holmes, an American-Dutch poet and translator of poetry, in his seminal paper “The Name and Nature of Translation Studies”.  Translation enables effective communication between people around the world. It is a courier for the transmission of knowledge, a protector of cultural heritage, and essential to the development of a global economy. Translation helps us to know about the developments in the field of creative arts, education, literature, business, science and politics. It has shifted from the traditional conception of the fixed, stable and unchangeable nature of the text and its meaning to a text with wide scope for variations. Translation also helps in nation building. In this globalised world, the demand for translation and language related services has increased many times. Translation is not only needed for the creation of national identity but has also become an essential tool for keeping pace with the processes of globalization and localization. The activity of translation has a long-standing tradition and has been widely practiced throughout history, but in our rapidly changing world its role has become of paramount importance. Nowadays, knowledge in which cultural exchanges have been widening, has been increasingly expanding and international communication has been intensifying, the phenomenon of translation has become fundamental. Be it for scientific, medical, technological, commercial, legal, cultural or literary purposes, today human communication depends heavily on translation and, consequently, interest in the field is also growing. Accordingly, the discussion, in the present study, proceeds primarily from the perspectives of “Translation Studies” and “Linguistics”. One major goal is to show the interrelationships between linguistics and translation, and how they benefit from each other. Nowadays, translation research has started to take another path, which is more automatic. The invention of the internet, together with the new technological developments in communication and digital materials, has increased cultural exchanges between nations. This leads translators to look for ways to cope with these changes and to look for more practical techniques that enable them to translate more and waste less. They also felt the need to enter the world of cinematographic translation, hence the birth of audiovisual translation. The latter technique, also called screen translation, is concerned with the translation of all kinds of TV programs, including films, series, and documentaries. This field is based on computers and translation software programs, and it is composed of two methods; dubbing and subtitling. In fact, audiovisual translation marks a changing era in the domain of translation.&lt;br /&gt;
In short, translation has very wide and rich history in the West. Since its birth, translation was the subject of a variety of research and conflicts between theorists. Each theorist approaches it according to his viewpoint and field of research, the fact that gives its history a changing quality.&lt;br /&gt;
&lt;br /&gt;
Discussion &lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation. For each type, a selection of examples will be considered for analysis based on translation theories and techniques. We will show that some chunks of text require literal translation, while other requires interpretive method. In addition, this paper will also examine various strategies and its styles of variations based on translational study. The following strategies will be presented in the paper as; &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	They involve text manipulation.&lt;br /&gt;
•	They must be applied to the process.&lt;br /&gt;
•	They are goal-oriented.&lt;br /&gt;
•	They are problem-centered.&lt;br /&gt;
•	They are applied consciously.&lt;br /&gt;
•	They are inter-subjective.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Most theorists agree that strategies are used by translators when they encounter a problem and literal translation is not useful. Different researchers have investigated and described various translation strategies from their different perspectives. It intends to show what translation strategies exist and when and why they are used by professional translators. Different scholars have various perspectives to the aspects of the act of translation, so, they define and describe different types of strategies. Bergen's (n. d.) classification of the strategies includes three categorizations which will be discussed mainly in this paper: &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	Comprehension strategies &lt;br /&gt;
•	Transfer strategies&lt;br /&gt;
•	Production strategies&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
An addition to this paper, styles of variations will also be introduced to the readers through different aspects and examples. The concept of style can be defined in terms of the distinctive way an individual or a group uses language, or better still the discourse used to perform distinct functions of language aimed at achieving specific purposes. However, this does not entail that style is simply a matter of form since it is the product of other components such as the genre of discourse, its semantics, syntax and phonology. Indeed, in order to analyze a given stylistic variation one needs an extensive checklist that includes lexical and grammatical categories, allusions, and figures of speech. Style can be understood to refer to the recurring typical features of the source text compared to the typical features of the translated text.  In a quantitative and qualitative analysis, this variation is shown to be influenced by several pragmatic and social factors, and to index the interpreters' stances towards source speakers and towards the immigrant court users who are the recipients of translations from English. It is argued that translation styles have profound consequences for limited English speakers, as the insistence on institutional norms in translating to them is viewed as a gate keeping behavior that may impede their full participation in the proceedings. &lt;br /&gt;
&lt;br /&gt;
What is translation? &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Translation went through various definitions going from a mere linguistics activity during the sixties, a cultural and communicative activity during the seventies reflects the social impacting activity in the latest founding of the literature. &lt;br /&gt;
“Translation is traditionally known as being the replacement of textual material in one language into equivalent textual material in another language”. &lt;br /&gt;
House (2015) mentions that translation is considered as the “replacement” of a text in the source language by a semantically and pragmatically equivalent text in the target language. It is strongly related to a source language and target language cultures. It requires a high level of mastery languages, an awareness of any contextual factors within which the discourse emerges. There is no need to mention how it affected civilizations through different areas of mankind history. For example, An Arab-Islamic civilizations. There have always been different directions on how one should or should not translate. In the Arab tradition, two main methods existed and were in complete divergence namely the literal and the free method. &lt;br /&gt;
On the other hand, in the Western tradition there are various methods currently exist namely, the linguistic, the hermeneutic, the interpretive, the functionalist, the interventionist, the poly-systemic and the text-typologist method.  More so, it may be important to point out that translation has been defined in many ways, and every definition reflects the theoretical approach underpinning it. &lt;br /&gt;
As Shuttlworth and Cowie (1997) observe throughout the history of research into translation, the phenomenon has been variously delimited by formal descriptions, echoing the frameworks of the scholars proposing them. For example, Bell (1991: XV) starts with an informal definition of translation, which runs as follows: the transformation of a text originally in one language into an equivalent text in a different language retaining, as far as is possible, the content of the message and the formal features and functional roles of the original text. &lt;br /&gt;
At the beginning of the ‘scientific’ (Newmark, 1988, p. 2) study of translation, Catford (1965, p. 20) described it in these terms, the replacement of textual material in one language (SL) by the equivalent textual material in another language. &lt;br /&gt;
Thirty years later, in Germany, the concept of translation as a form of ‘equivalence’ is maintained, as we can see from Koller’s definition (1995, p. 196): “The result of a text processing activity, by means of which a source language text is transposed into a target-language text. Between the resultant text in L2 (the target-language text) and the source text in L1 (the source language text) there exists a relationship, which can be designated as a translational, or equivalence relation”. Because complete equivalence (in the sense of synonymy or sameness) cannot take place in any of his categories, Jakobson (1959) declares that all poetic art is, therefore, technically untranslatable. That is, the translator has to take the question of interpretation into account in addition to the problem of selecting a TL phrase which will have a roughly similar meaning. Exact translation is impossible. In this regard, Bassnett (1996) claims that all texts, being part of a literary system descended from and related to other systems are “translations of translation of translations”: every text is unique and at the same time, it is the translation of another text. No text is entirely original because language itself, in its essence, is already a translation: firstly, of the non-verbal world and secondly, since every sign and every phrase is the translation of another sign and another phrase. However, this argument can be turned around without losing any of its validity: all texts are original because every translation is distinctive. Every translation, up to a certain point, is an invention and as such it constitutes a unique text.&lt;br /&gt;
In this analysis of the above definition, Manfredi (2008), points out that the above distinction can be divided into two main perspectives, those that consider translation either as a ‘process’ or a ‘product’. To this twofold categorization, Bell (1991, p. 13) adds a further variable, since he suggests making a distinction between translating (the process), a translation (the product) and translation (i.e., “the abstract concept which encompasses both the process of translating and the product of that process”. Moreover, thanks to advances in new technologies, today we can also incorporate into TS the contribution of corpus linguistics, which allows both theorists and translators analyses of large amounts of electronic texts (Manfredi, 2008). On the other hand, Halliday (1992, p. 15) takes translation to refer to the total process and relationship of equivalence between two languages; we then distinguish, within translation, between “translating” (written text) and “interpreting” (spoken text). Halliday, thus, proposes distinguishing the activity of “translation” (as a process) from the product(s) of “translating”, including both “translation” (concerning written text) and ‘interpreting’ (regarding spoken text.&lt;br /&gt;
“Translation is the production of a functional target text maintaining a relationship with a given source text that is specified according to the intended or demanding function of the target text.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Types of Translation&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation.&lt;br /&gt;
&lt;br /&gt;
Technical translation &lt;br /&gt;
&lt;br /&gt;
Technical translation is a type of specialized translation involving the translation of documents produced by technical writers, or more specifically, texts which relate to technological subject areas or texts which deal with the practical application of scientific and technological information. (Wikipedia) &lt;br /&gt;
Translators' main goal is to accurately translate the technical terminology to match the document and the message of the original content.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The benefits of technical translation&lt;br /&gt;
&lt;br /&gt;
A professional technical translation service is provided by translators with dual specialties, that is, professionals who are fluent in the language pair, but who are also experts in the field covered by the documents to be translated.&lt;br /&gt;
When you need to have your documents translated by a technical translator, translators who are not experts may not be able to provide the necessary solutions and terminology for a quality translation. If the translator is not an expert in the field, he/she will have to learn the new terminology while working. This means that translation will take longer, have higher chances of inaccuracies, and may result in higher costs. Therefore, the main advantages of hiring an agency specialized in this type of service are as follows:&lt;br /&gt;
&lt;br /&gt;
Literary translation&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Literary translation is the translation of creative and dramatic prose and poetry into other languages. This includes the translation of literature from ancient languages and the translation of modern fiction so that it can reach a wider audience. &lt;br /&gt;
Literary translation is of huge importance. It helps to shape our understanding of the world around us in many ways.                                                     Reading Homer and Sophocles as part of a classical education in school helps to build an understanding of history, politics, philosophy and so much more. Meanwhile, reading contemporary translations provides fascinating insights into life in other cultures and other countries.                                                       In a fast-paced world so rife with misunderstanding and confusion, such efforts to share knowledge and experiences across cultural boundaries should be applauded.&lt;br /&gt;
The translation of literature differs greatly from other forms of translation. The sheer size of the texts involved in literary translation sets it apart.                Tackling a translation that runs to hundreds of thousands of words is not a task for the faint-hearted. Nor is recreating poetry in a new language, without losing the beauty and essence of the original work.&lt;br /&gt;
One of the key challenges of literary translation is the need to balance staying faithful to the original work with the need to create something unique and distinctive that will evoke the same feelings and responses as the original. This can be particularly challenging when it comes to translating poetry.&lt;br /&gt;
Poems are written with incredible attention to detail. Not only are the words and phrases important, but the number of syllables and the entire rhythm of the completed work. It’s a challenging task to complete just in one language, let alone when trying to recreate a poet’s work during a translation. Daniel Hahn, director of the British Centre for Literary Translation, sums up the issue beautifully. &lt;br /&gt;
As literary translators will attest, a single word can be extremely troublesome. The author of a work of fiction has chosen that word for a good reason, so the translator must ensure that it is faithfully delivered in the target language. However, what if no direct translation is available? Or what if several options exist, each with a slightly different nuance? Urdu language translator Fahmida Riaz outlines her approach to such thorny issues.&lt;br /&gt;
For instance, “Every piece you translate comes from the pen of an individual, so you have to give it an individual treatment. I try to retain the ambience of the original culture, rather than the language, as it is reflected in the text.” &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Pragmatic translation&lt;br /&gt;
&lt;br /&gt;
Pragmatic translation is the basic assumption that provided a source language text contains no misstatements of fact, is competently written and has to be fully translated rather than summarized or functionally reorientated; one's purpose in translating it is to be referentially and pragmatically accurate. In this paper, I shall not deal with referential accuracy but concentrate instead on the pragmatic aspects of translation. As the term pragmatic translation may be used in a variety of ways, I should like to state my own definition of pragmatic, which derives from Charles Morris and ultimately from Charles S. Peirce. I am using pragmatic as one of the two factors in translation: pragmatic denotes the reader's or readership's reception of the translation, as opposed to referential, which denotes the relationship between the translation and the extra-linguistic reality it describes. &lt;br /&gt;
Translation is a properly way to a properly communication and pragmatics is how to use language in communication properly. By translation, many things from different languages and cultures can understand to each other. In other words, translation can be stated as a facilitator to make a communication runs well.&lt;br /&gt;
&lt;br /&gt;
===An Overview on Translation Studies  ===&lt;br /&gt;
&lt;br /&gt;
===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
&lt;br /&gt;
=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature  --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:45, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the researcher wants to highlight the different concepts about the fundamental question &amp;quot;what is idiomatic expression&amp;quot; of different critics, theorists and linguistic experts, and prominent scholars of translation studies. Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
&lt;br /&gt;
Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda Corelli 2006, 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984, 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992, 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to (Newmark 1981, 11), “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”&lt;br /&gt;
.	The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to (Corelli 2006, 53), English has a sizeable idiomatic base.&lt;br /&gt;
About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.&lt;br /&gt;
The main issue that idiomatic and fixed expressions pose for translators, according to (Baker 1992, 65), is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.&lt;br /&gt;
&lt;br /&gt;
Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.&lt;br /&gt;
&lt;br /&gt;
===Literature Review ===&lt;br /&gt;
In this chapter, the author/researcher defines the strategy and its different definitions from the perspective of different subjects and fields. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented. Krings defines it as the content of the project, while Seguinet divided the term into three steps. However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. &lt;br /&gt;
&lt;br /&gt;
The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward.&lt;br /&gt;
Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint.&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to (Seguinot 1989, 27) (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.&lt;br /&gt;
&lt;br /&gt;
Furthermore, (Loescher 1991, 8) defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot; As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998, 4) claim moreover, (Bell 1998, 188) distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.&lt;br /&gt;
&lt;br /&gt;
According to (Venuti 1998, 240), &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot; He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to (Jaaskelainen 2005, 15), product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.&lt;br /&gt;
&lt;br /&gt;
Furthermore, (Jaaskelainen 2005, 16) distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making. (Newmark 1988, 221) distinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;&lt;br /&gt;
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Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016, 13).&lt;br /&gt;
&lt;br /&gt;
The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010, 15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017, 54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
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Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985, 9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female.&lt;br /&gt;
Several research articles are found on translated work (license and khol do) of Urdu famous short stories writer Sadat Hassan Manto's from a different perspective like psychoanalysis, postcolonial, feminist approaches but to explore the problem of translations strategies face by translator Aatish Taseer during the process of translation has not been mention till date. To summarize this, the research includes a critical, in-depth, comprehensive analysis of issues that previously did not address.&lt;br /&gt;
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=== Theoritical Framework ===&lt;br /&gt;
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Different strategies have been used, like using an idiom of similar meaning and similar form, the idiom of similar meaning and different form, translation by Paraphrasing, translation by omission. The approach of employing idioms of similar meaning and form, according to Mona Baker, entails using an idiom in the target language that can express about the same meaning as the source language idiom, as well as having lexical similarity. On the other hand, this type of matching happens periodically as well as regularly.&lt;br /&gt;
&lt;br /&gt;
Similarly, employing idioms with similar meanings but different forms means that it is possible to locate an idiom or fixed expression in the target text language that has a similar meaning to the source idiom or expression but is made up of distinct lexical elements. Consider the case of English and French, both of which use the idiom mentioned above. In English, one good deed is rewarded with another, whereas in French, handsome deeds are rewarded with handsome deeds.&lt;br /&gt;
&lt;br /&gt;
Furthermore, we did not come across any idioms in the category mentioned above during translating idioms. To deal with this issue, the translators used the most popular approach, known as a translation by paraphrase, which is short, straightforward, and time-saving. When a match cannot be identified in the target language or when it appears improper to employ idiomatic language in target material due to aesthetic differences between the source and target languages, this is the most typical approach for translating an idiom from source to target language. However, one thing to keep in mind is that a perfect translation is not required is necessary or possible.&lt;br /&gt;
&lt;br /&gt;
Last but not least, to overcome the problem of idiom translation, the translator employs the strategy of translation by omission. This can be defined as an idiom being omitted entirely in the target text with a single word. This is done because the idiom has no close match in the target language; its meaning cannot be easily paraphrased or due to stylistic reasons. &lt;br /&gt;
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Data analysis Techniques:&lt;br /&gt;
Textual analysis is the method of data analysis in qualitative research that brings forth the hidden and potent message, structure, and function of research in giving text, Alan Mckee (defines textual analysis as whenever we perform textual analysis on the text, we make an educated guess at some time of the most likely interpretations that might be made of that text (Alan Mckee 2001, 3)&lt;br /&gt;
Analysis of the translation of short stories in light of Mona baker's theory &amp;quot;khol do and license&amp;quot; are short stories written by Sadat Hassan Manto and translated by many translators from Urdu into English. During translation, the translator adopted many strategies for translating idiomatic expression, sometimes by Paraphrasing, sometimes by omission, sometimes using similar idioms of form and meaning while sometimes using different words and the same form, the whole.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:51, 12 December 2021 (UTC)&lt;br /&gt;
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===Discussion and Analysis===&lt;br /&gt;
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The chapter analyzes and discusses all the data collected by the author/researcher from different sources. All the examples of idioms are first identified, then translated into the target text, and back-translated for the sole purpose of exploring the strategies being used by the translator. A separate section is given to every strategy with its related example. Moreover, the idiomatic expression, the target work for finding, is highlighted through the bold letter.&lt;br /&gt;
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4.1	Translation by Paraphrasing:&lt;br /&gt;
&lt;br /&gt;
Based on our findings, the most often used strategy was &amp;quot;translation by paraphrasing.&amp;quot; An inspection also reveals that Aatish Taseer preferred this strategy. Here are some examples applied by the translators, and in the following section, the logic behind their preference towards this strategy is elaborate. The following are examples from two short stories of Sadat Husain Manto's &amp;quot;khol do&amp;quot; and &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 1: &lt;br /&gt;
&lt;br /&gt;
ST: Sirajuddin ne subah das baji anki kholi to logo ka ail mutalatam samandar deka.&lt;br /&gt;
&lt;br /&gt;
TT: Ten a.m., Siraj Uddin opens his eyes on the cold floor of the camp, seeing the swelling sea of men.&lt;br /&gt;
&lt;br /&gt;
BT: sub ke das baji jab Sirajuddin ne apni anki koli to logo ka aik ublaha howa samandar ka nizara dekni laga.&lt;br /&gt;
&lt;br /&gt;
So, the above idioms are literal idioms being translated with the help of Paraphrasing because there is no perfect equivalent of mutalatam words in English languages. A similar look at another idiom from short stories &amp;quot;khol do.&amp;quot;&lt;br /&gt;
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Example 2:&lt;br /&gt;
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ST: Khuda tomahra bala kari.&lt;br /&gt;
&lt;br /&gt;
TT: Your God will reward&lt;br /&gt;
&lt;br /&gt;
BT: Is ka badla khoda tomahi di.&lt;br /&gt;
&lt;br /&gt;
Here, the word reward is being used for Bala Kari, an example of transitional by Paraphrasing.&lt;br /&gt;
Let  take another example from &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
&lt;br /&gt;
ST: unkho nai Jan khateli pa rak kar sakena ko donda.&lt;br /&gt;
&lt;br /&gt;
TT: even putting their lives online, they search sakina &lt;br /&gt;
&lt;br /&gt;
BT: apni zindagio ko khatri me dal kar unkho nai sakina ko dond nekala.&lt;br /&gt;
&lt;br /&gt;
The above idioms are examples of pure idiom translated from Urdu into English with the help of paraphrases strategies. However, under the same strategies, the idioms of another short story of Manto,s &amp;quot;license,&amp;quot; are translated by Aatish Taseer. Some of the examples are given below.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
ST: Abu kochwan bara cheel jabela ta. It is the binomial type of idioms taken from the first sentence of the short story &amp;quot;license&amp;quot; by Sadat &lt;br /&gt;
Hasan Manto &lt;br /&gt;
&lt;br /&gt;
TT: Abu kochwan is stylish man.&lt;br /&gt;
&lt;br /&gt;
BT: Abu kochwan aik wazahdar admi ta.&lt;br /&gt;
&lt;br /&gt;
From the above idiom, it is clear that there is no perfect equivalence of cheela chabela idiom in English; that is, the translator goes &lt;br /&gt;
through paraphrasing strategies. Look at another example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
ST: Lein har waqat bank bani rekhi ka usi be had showk ta&lt;br /&gt;
&lt;br /&gt;
TT: He had a weakness for style and fashion.&lt;br /&gt;
&lt;br /&gt;
BT: Dan saj ke rekhna uski kamzori me sai ik ta.&lt;br /&gt;
&lt;br /&gt;
So all of the above examples, which are analyzed one by one, are examples of idioms being translated through paraphrasing strategies. (De Beaugrande and Dressler 1981, 50) define paraphrases as &amp;quot;approximate conceptual equivalence among outwardly different material.&amp;quot; Similarly, in this regard, Hirst defines paraphrases as &amp;quot;talk(ing) about the same situation in a different way.&amp;quot; Munday declared that &amp;quot;equivalence is particularly useful in translating idioms and proverbs” For instance, if the English idiom like a bear with a sore head is rendered into Persian as (mesle borje zahremar), meaning like a tower of snake venom, the strategy of equivalence has been applied. &lt;br /&gt;
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According to Leonardi, &amp;quot;Equivalence can be said to be the central issue in translation.&amp;quot; In this regard, house believes that &amp;quot;a translation text should match not only its source text in function but also employ equivalent situational-dimensional means to achieve that function&amp;quot; (Baker 2002, 49).  who shares this approach, states that equivalence is used &amp;quot;for the sake of convenience—because most translators are used to it rather than because it has any theoretical status&amp;quot; (Kenny 1998, 77). &lt;br /&gt;
&lt;br /&gt;
Despite different attitudes to the concept of equivalence, most specialists pay much attention to its meaning in the theory of translation. The translation is a form of communication, and that is why it is vital to establish equivalence between the source text and the target text. Although Vinay and Darbelnet believe that equivalence is used differently than in modern translation theory, it is evident that equivalence is one of the basic concepts of translation that cannot be neglected. Consequently, based on the Above mentioned studies using Paraphrasing in translation stands as the core concept in the process of translation, and still, most of the translators cling to it for producing a more comprehensible and explicable text. These language ideas and translation models are ideal constructs, presented abstractly in order to be differentiated precisely. They may exist in an uneasy combination in actual theories and practices, resulting in logical tensions or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation. Theories and actions must be contextualized in historical settings. They've been utilized as analytical tools to describe various topics in section introductions. Theoretical writings and current events these language notions and translation models are ideal constructs expressed in an abstract manner in order to be distinguished precisely in real-life hypotheses they may exist in an uncomfortable mix, resulting in logical conflicts or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
4.2	Using an idiom of Similar Meaning and Form &lt;br /&gt;
&lt;br /&gt;
As mentioned earlier, this strategy type is being used by Aatish Taseer during their translated work of Manto's short stories &amp;quot;khol do&amp;quot; and&amp;quot; license&amp;quot; on an occasional basis. Some examples are mention below.&lt;br /&gt;
&lt;br /&gt;
From khol do.&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
ST: Larki ka rang zard hogaya.&lt;br /&gt;
&lt;br /&gt;
TT: The girl's face became fail&lt;br /&gt;
&lt;br /&gt;
BT: larki ka rang zar hogya.&lt;br /&gt;
&lt;br /&gt;
Similarly, another example from the license is&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: Abu our us ke mat beer hogaie&lt;br /&gt;
&lt;br /&gt;
TT: They fall in love with each other.&lt;br /&gt;
&lt;br /&gt;
BT: WO ik dosri ke mokhbat me geriftar hogaie&lt;br /&gt;
&lt;br /&gt;
The above idioms are pure ones and are being translated with the help of similar meanings and similar forms.&lt;br /&gt;
&lt;br /&gt;
The procedures: transposition, modulation, equivalence, and adaptation, and when it comes to defining the term Equivalence, (Vinay and Darbelnet 2000, 90) propose that it consists in rendering &amp;quot;the same situation … by two texts using completely different stylistic and structural methods&amp;quot;, and when it comes to translating idiomatic expressions like &amp;quot;Il pleut à seaux&amp;quot; it can be translated as &amp;quot;It is raining cats and dogs&amp;quot; using the idiom of similar form and meaning in the target language.&lt;br /&gt;
&lt;br /&gt;
As (Baker 1992, 12) states, this strategy involves using an idiom in the TL which conveys roughly the same meaning as that of the source language idiom and, in addition, consists of identical lexical items. The salient point is that this kind of match can only occasionally be achieved, which cannot be picked up more often by translators. Accordingly, both translators mentioned in the current study had quite a slim chance of using this strategy type. &lt;br /&gt;
&lt;br /&gt;
4.3 Using an idiom of similar meaning but different form:&lt;br /&gt;
&lt;br /&gt;
During translating Manto short stories, &amp;quot;khol do&amp;quot; and &amp;quot;license,&amp;quot; some of the idioms are translated with the help of this strategy. Some of the examples are given below from two different short stories.&lt;br /&gt;
&lt;br /&gt;
Example number one is from the short story &amp;quot;khol do&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
ST: Aur bolwai gos ayai thee?&lt;br /&gt;
&lt;br /&gt;
TT: The roitors come abroad.&lt;br /&gt;
&lt;br /&gt;
BT: pasadi bahar agai hai.&lt;br /&gt;
&lt;br /&gt;
The above idiom is a pure type of idiom being translated with the help of above mention strategy. The word rioter is being used for bolwai, which is not a perfect word for bolwai. In Urdu bolwai, people believe in violence when minorities or the low population of any country want some rights. These people stop them by using violence, burn down their properties, rapes women, and do things like that. Another example from the license is below.&lt;br /&gt;
&lt;br /&gt;
Example 9:&lt;br /&gt;
&lt;br /&gt;
ST: Dosri kotwal abu ko dek kar jal ban ho jati.&lt;br /&gt;
&lt;br /&gt;
TT: The other coachman burn with envy.&lt;br /&gt;
&lt;br /&gt;
BT: Abu ke kamyabi dek kar aur kotwal abu sai khasad karni lagi’&lt;br /&gt;
&lt;br /&gt;
The above idioms are a pure idiom that reflects the effect of jealousy between competitors to achieve equivalency. Aatish Taseer uses envy word for jal ban instead of other which have similar meaning but different form. Look at the other example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: Dino lat vo lagal se kam karni laga.&lt;br /&gt;
&lt;br /&gt;
TT: Dino came with an excuse.&lt;br /&gt;
&lt;br /&gt;
BT: Dino abb bahi tarashni laga.&lt;br /&gt;
	&lt;br /&gt;
The above idioms are types of binomial idioms translated with the help of idioms with similar meanings and different forms. (Newmark 1988, 81) mentions the difference between translation methods and translation procedures. He writes that &amp;quot;[w]hile translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language&amp;quot; (Newmark 1988, 81). Idiomatic translation in his definition reproduces the 'message' of the original. However, it distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original, leading to using an idiom of similar meaning but a different form. Besides, it is often possible to find an idiom or fixed expression in the target language with a meaning similar to that of the source idiom or expression but which consists of different lexical items (Baker 1992, 12). Therefore, translators discover idiomatic expressions in the target language with different forms than in the source language. In the current study, the translators approached this strategy merely for 9% of the total times, which means the frequency of Iranian and English idioms with the same meaning and different forms is not considered high. &lt;br /&gt;
&lt;br /&gt;
4.4 Translation by omission:&lt;br /&gt;
&lt;br /&gt;
A translator is less using these strategies, and we did not find any clue on this type of strategy in an area under consideration.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:48, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== Findings===&lt;br /&gt;
&lt;br /&gt;
(Mandelbit 1995) believed that idioms with different cognitive mapping in the target language would be more challenging to translate. After conducting study and data analysis of collected data, the result revealed that the translator frequently used three out of four strategies of the Mona Baker model during the translation process, which is a translation by Paraphrasing, translation by similar meaning and similar form, translation by similar meaning and different form. In contrast, translation by omission does not found in his work.&lt;br /&gt;
After detail and careful analysis of data, more than half of idioms like &amp;quot;swelling sea of man,” my lord break his arrogance, “weakness for style and fashion.&amp;quot; As I mentioned earlier, many more are translated under the umbrella of Paraphrasing, which is considered the most common method used for translating idioms.&lt;br /&gt;
&lt;br /&gt;
Similarly, we also reflect strategies like similar meaning and different form and similar meaning and similar form. The idiom &amp;quot;rioter came abroad,” burn with envy,” The girl's face became pale, &amp;quot; They fall in love with each other&amp;quot; are translated with the help of two mention strategies, respectively.&lt;br /&gt;
&lt;br /&gt;
Although translation by omission is a strategy used on rare occasions because of its meaning, its meaning cannot be easily paraphrased or stylistic reason. Here, the researcher also did not find any idiom translated with the help of the omission strategy.&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
Go through detailed discussion and analysis of data collected from my source. We finally concluded that the idioms present in two short stories, &amp;quot;khol do&amp;quot; and &amp;quot;License,&amp;quot; are translated under the frame of Mona Baker's idiomatic model. Translation by Paraphrasing is mainly used while idioms of similar meaning and form and idioms of similar meaning and different forms are used occasionally. The researcher discusses all the strategies with related examples in the order of maximum used to minimum used. The strategy by omission did not find it works. All the data are collected from different sources and analyzed with the help of different researcher tools, and the result is written in light of the finding. Different from previous studies, the writer presents the strategies to translate idioms by each type of idiomatic expression found in the story. From the result, it is considered the translation of idiomatic expressions in the story is quite accurate. As the number of accurate data is more the data which is not related to the translation. We take conclusion from the translation through idiomatic expression and paraphrasing is the best way to translate a novel or a story however it is very difficult job to do because it needs more accurate and precise knowledge about the source language and an inspiring method to express ideas in the target language. However, translation is thing through which we can connect the world with each other and also we can study and observe diverse cultures.            &lt;br /&gt;
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=== References ===&lt;br /&gt;
Abu-Saydeh, A. F. (2004). Translation of English idioms into Arabic. Babel, 114-131.&lt;br /&gt;
&lt;br /&gt;
Ahsan, S. (2020). A comparative study of two translations of manto's short story &amp;quot;Toba Tek&amp;quot;. International Journal of English Language Studies, 12-27.&lt;br /&gt;
&lt;br /&gt;
Alexander, R. J. (1987). Mimeograph. In R. J. Alexander (Ed.) Collocation and Culture. Trier: University of Trier, West Germany.&lt;br /&gt;
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Al-Qinai, J. (2000). Translation quality assessment. strategies, parameters and procedures. Translator's Journal, 497-519.&lt;br /&gt;
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Bayashi, J. (2020). Japanese-English translation: An advanced guide. Oxfordshire: Routledge.&lt;br /&gt;
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Das, V. &amp;amp;. (1995). Critical events: An anthropological perspective on contemporary India. New Delhi: Oxford Printing Press.&lt;br /&gt;
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Mufti, A. (2007). The Language of English India. In I. &amp;amp;. End (Ed.) Enlightenment in the Colony. Princeton University Press.&lt;br /&gt;
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Waka Xia, L. (2019). A discourse analysis of news translation in China. Syydney: Routledge.&lt;br /&gt;
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= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
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===Ambiguity===&lt;br /&gt;
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===Lexical and Structural Mismatches===&lt;br /&gt;
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===Multiword units: Idioms and Collocations===&lt;br /&gt;
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===Summary===&lt;br /&gt;
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===Further Reading===&lt;br /&gt;
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=刘胜楠 A Case Study of ''Ne Zha'' on Subtitle Translation Strategies from the Perspective of Skopos Theory= &lt;br /&gt;
[[Trans_Type_EN_15]]&lt;/div&gt;</summary>
		<author><name>Atta Ur Rahman</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=132355</id>
		<title>Translation types, strategies, styles, methods</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=132355"/>
		<updated>2021-12-13T15:16:43Z</updated>

		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* Cultural Categories */&lt;/p&gt;
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&lt;div&gt;'''Translation types, strategies, styles, methods'''&lt;br /&gt;
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[[Translation_types,_strategies,_styles,_methods|Overview Page of Translation types, strategies, styles, methods]]&lt;br /&gt;
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30 Chapters（0/30)&lt;br /&gt;
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[[Trans_Type_EN_1]] [[Trans_Type_EN_2]] [[Trans_Type_EN_3]] [[Trans_Type_EN_4]] [[Trans_Type_EN_5]] [[Trans_Type_EN_6]] [[Trans_Type_EN_7]] [[Trans_Type_EN_8]] [[Trans_Type_EN_9]] [[Trans_Type_EN_10]] [[Trans_Type_EN_11]] [[Trans_Type_EN_12]] [[Trans_Type_EN_13]] [[Trans_Type_EN_14]] [[Trans_Type_EN_15]] [[Trans_Type_EN_16]] [[Trans_Type_EN_17]] [[Trans_Type_EN_18]] [[Trans_Type_EN_19]] [[Trans_Type_EN_20]] [[Trans_Type_EN_21]] [[Trans_Type_EN_22]] [[Trans_Type_EN_23]] [[Trans_Type_EN_24]] [[Trans_Type_EN_25]] [[Trans_Type_EN_26]] [[Trans_Type_EN_27]] [[Trans_Type_EN_28]] [[Trans_Type_EN_29]] [[Trans_Type_EN_30]] ...&lt;br /&gt;
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[[Book_projects|Back to translation project overview]]&lt;br /&gt;
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[[DCG-To-Do|To the To Do List]]&lt;br /&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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'''浅析美版《甄嬛传》的字幕翻译策略'''&lt;br /&gt;
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[[Trans_Type_EN_1]]&lt;br /&gt;
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阳佳颖 Yang Jiaying, Hunan Normal University, China&lt;br /&gt;
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=Chapter 2: The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
'''纽马克翻译理论指导下旅游文本中翻译策略与翻译方法的使用——以''Everglades National Park, Florida (Excerpt)''为例'''&lt;br /&gt;
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[[Trans_Type_EN_2]]&lt;br /&gt;
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刘晓 Liu Xiao, Hunan Normal University, China&lt;br /&gt;
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=Chapter 3: Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
交际翻译理论指导下小说题材所适用的翻译方法和翻译策略—以韩国小说集《恩珠的电影》（节选）为例&lt;br /&gt;
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[[Trans_Type_EN_3]]&lt;br /&gt;
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刘越Liu Yue ，Hunan Normal University，China&lt;br /&gt;
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=Chapter 4: On Translation Strategies and Translation Methods in Chinese Translation of English Prose -- A Case Study of Chinese Translation of English Prose &amp;quot;Pleasures of Ignorance&amp;quot;=&lt;br /&gt;
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'''浅析英语散文汉译中的翻译策略和翻译方法——以英语散文《无知的乐趣》汉译本为例'''&lt;br /&gt;
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[[Trans_Type_EN_4]]&lt;br /&gt;
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毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
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=Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
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[[Trans_Type_EN_5]]&lt;br /&gt;
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毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
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=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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[[Trans_Type_EN_6]]&lt;br /&gt;
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彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
&lt;br /&gt;
从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。	&lt;br /&gt;
&lt;br /&gt;
Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
&lt;br /&gt;
Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
翻译风格，巴黎的忧郁，郭宏安，亚丁&lt;br /&gt;
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&lt;br /&gt;
==Introduction==&lt;br /&gt;
&lt;br /&gt;
The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
	&lt;br /&gt;
Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations. Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
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==Liu Miqing’s theory of translation style==&lt;br /&gt;
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Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
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Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.&lt;br /&gt;
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In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
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==Form Markers==&lt;br /&gt;
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According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
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===Register Markers===&lt;br /&gt;
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“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
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The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
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Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
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Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
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Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
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This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
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===Lexical Markers===&lt;br /&gt;
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Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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'''Eg. (b)'''&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence, translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
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==Non-formal Markers==&lt;br /&gt;
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The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
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Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
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According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
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Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
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The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
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The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
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Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
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Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.&lt;br /&gt;
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==References==&lt;br /&gt;
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[1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[3] 刘宓庆 Liu Mingqing. 新编当代翻译理论[M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp;amp; Publishing Corporation, 2005.&lt;br /&gt;
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[4] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.&lt;br /&gt;
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[5] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.&lt;br /&gt;
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=Chapter 7: A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
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=颜子涵 Translation methods and strategies applicable to the style of biographical literature -- Taking Incidents in Life of Slave Girl (excerpt) as an example=&lt;br /&gt;
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[[Trans_Type_EN_8]]&lt;br /&gt;
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=Chapter 9: On the Translation Strategies of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hung-ming and Xu Yuanchong=&lt;br /&gt;
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'''视域融合视角下看《论语》英译的翻译策略—以辜鸿铭和许渊冲的英译本为例'''&lt;br /&gt;
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[[Trans_Type_EN_9]]&lt;br /&gt;
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邝艳丽 Kuang Yanli, Hunan Normal University, China&lt;br /&gt;
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=杨柳青 Bian Zhilin's Literary Translation Theories and Practice——Take His Translation of Romantic Poems as Examples=&lt;br /&gt;
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Yang Liuqing杨柳青,Hunan Normal University,China.&lt;br /&gt;
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[[Trans_Type_EN_10]]&lt;br /&gt;
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=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
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===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
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===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
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===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012, 37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær, 2015, 10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005, 9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004, 1. Translation is essential for cultures and languages to exchange information. Newmark (1988) defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects. Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
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Nida (1964) indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style. Larson (1998) has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context. &lt;br /&gt;
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Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”.(Snell-Hornby 1988, 33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957, 167. By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
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The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003, 16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
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This study is aimed to probe Newmark's (1988) translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988, 81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.&lt;br /&gt;
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===Translation and Culture===&lt;br /&gt;
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2. Translation and Culture &lt;br /&gt;
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Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
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The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988, 7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988, 5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988, 7).  &lt;br /&gt;
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In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford (1965) defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language” (Catford 1965, 20). According to Venuti’s translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader” (Venuti 1995, 18). Schjoldager stated that “a translation is a text that expresses what another text has expressed in another language” (Schjoldager 2008, 19). Culture is a complex whole which includes knowledge, belief, art, law, morals, customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan (2014), claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014, 2). Hermanns (1999) contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures. Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014, 2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark (2001), illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001, 328). &lt;br /&gt;
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Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
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2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
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Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora, fauna, food, clothes, housing, work, leisure, politics, law, and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988, 327) Christine Nord names them “culturemes” (Nord 1997, 9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012, 1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Aixela, 1997; Davies, 2003), others choose cultural words (Newmark, 2003) or culture-bound phenomena/concepts (Baker, 1992, Newmark, 2003, Robinson, 2003). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker, 1992, 21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988, 94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988, 95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988, 95).&lt;br /&gt;
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2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
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The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85, P. 22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003, 16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.&lt;br /&gt;
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===Types of Translation ===&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
Newmark (1988) determines 8 types of translation which are: &lt;br /&gt;
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3.1 Word-for-Word Translation &lt;br /&gt;
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This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
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3.2 Literal translation &lt;br /&gt;
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In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
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3.4 Semantic Translation &lt;br /&gt;
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Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
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3.5 Adaptation &lt;br /&gt;
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This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015, 15). &lt;br /&gt;
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3.6 Free Translation &lt;br /&gt;
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The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
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3.7 Idiomatic Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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3.8 Communicative Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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===Translation Strategies  ===&lt;br /&gt;
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4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
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4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela (1996), translators need to choose several strategies based on the source language culture and target culture.  He distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, he tries to command by the level of their intercultural intervention. He divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies). &lt;br /&gt;
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4.1.1. Conservation: &lt;br /&gt;
In conservation, the less compelling process includes repetition, orthographic adaptation, linguistic translation, extratextual gloss and intratextual gloss. &lt;br /&gt;
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4.1.1.1 Repetition: In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus, the translator keeps as much as possible the original reference (Aixela, 1996, p. 61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
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4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
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4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
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4.1.1.4 Extra-textual Gloss: Here, the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes, endings, words, ideas, translators in dictionaries, italics and so on. &lt;br /&gt;
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4.1.1.5 Intra-textual Gloss: It's like the past but the translator feels that he/she can include the globe as an indirect part of the text, not to distract the reader. &lt;br /&gt;
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4.2.1 Substitution &lt;br /&gt;
In substitution, According (Aixela, 1996) “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here”. &lt;br /&gt;
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4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
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4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
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4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela, 1997, p.63). &lt;br /&gt;
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4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Shokri, Ketabi, 2015, p.8). &lt;br /&gt;
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4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela, 1996, p. 64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
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4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela, 1997). &lt;br /&gt;
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4.3 Mona Baker’s Translation Strategies &lt;br /&gt;
Baker’s strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation. (Baker, 1992). He suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies, which are the following: &lt;br /&gt;
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4.3.1 Translation by a more general word: According to Baker, this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
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4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
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4.3.3 Translation by cultural substitution: This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
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4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
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4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
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4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
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4.3.7 Translation by omission: Losing phrases or words that are not vital to text development. &lt;br /&gt;
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4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view, however, Baker's (1992) translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
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===Cultural Categories  ===&lt;br /&gt;
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5. Cultural categories &lt;br /&gt;
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5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
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5.1.2 Material culture &lt;br /&gt;
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Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.” &lt;br /&gt;
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5.1.3 Social culture &lt;br /&gt;
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The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
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5.1.4 Organisation &lt;br /&gt;
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Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
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5.2 Newmark Classification CSIs &lt;br /&gt;
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Newmark (1988) established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items. (Newmark 1988, 97) &lt;br /&gt;
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5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
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Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
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2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
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3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
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4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
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5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
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6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
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7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
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8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
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9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
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10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
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11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
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12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
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13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
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14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
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15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
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16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
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17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
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18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
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19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
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20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
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21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
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22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
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23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
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24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
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25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
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26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
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27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
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28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
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29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
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30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
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31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
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32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
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33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
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34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
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35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
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36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
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37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
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38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
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39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
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40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
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41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
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42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
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43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
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44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
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45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
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46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
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47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
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48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
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49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
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50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
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51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
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52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
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53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
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54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
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55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
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56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
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57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
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58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
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59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
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60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
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61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
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62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
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63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
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64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
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65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
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66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
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67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996, 31), “translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by (Newmark 1988, 81), “translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.” &lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation, then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions. &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity, as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts, the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term, and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part, but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark (1988) has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9. &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark’s strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark (1988) were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However, the translator must be competent in using the translation procedures to provide an accurate translation. &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abdi, H. (2019). Translating culture-specific items (CSIs) as a conundrum for Iranian MA translation students: Considering the level of study. Journal of new advances in English Language Teaching and Applied Linguistics, 1(1), 88-109. &lt;br /&gt;
&lt;br /&gt;
Aguado-Gimenez, P., &amp;amp; Pérez-Paredes, P. F. (2005). Translation-strategies use: A classroombased examination of Baker’s taxonomy. Meta: journal des traducteurs/Meta: &lt;br /&gt;
Translators' Journal, 50(1), 294-311. &lt;br /&gt;
&lt;br /&gt;
Ahmadi, M. R.S and Nosrati, Fatemah. (2012). Domestication and Foreignization Strategies in Translation of Culture-Specific Items. Translations of English-Persian Children’s Literature. San Francisco: Grin Publishing. Google Books. &lt;br /&gt;
&lt;br /&gt;
Al Saleh, R. A. (2019). An Application of Newmark's Procedures to Muhammad Abul Quasem's Alleman, J. C. Bee. W. Ulitkin, I. Files, F., Zetzsche, J., Chatonnet-Marton, P. &amp;amp; y del Árbol, E. V. Translation Strategies. &lt;br /&gt;
&lt;br /&gt;
Al-Sofi, B. B. M. A., &amp;amp; Abouabdulqader, H. (2020). Bridging the gap between translation and culture: towards a cultural dimension of translation. International journal of linguistics, literature and culture, 6(1), 1-13. &lt;br /&gt;
&lt;br /&gt;
Baker, M., 1992. In Other Words: A Coursebook on Translation. London: Routledge, p.20–42. &lt;br /&gt;
&lt;br /&gt;
Blažytė, D., &amp;amp; Liubinienė, V. (2016). Culture-specific items (CSI) and their translation strategies in Martin Lindstrom’s&amp;quot; Brand sense&amp;quot;. Kalbų studijos, (29), 42-57. &lt;br /&gt;
&lt;br /&gt;
Bush, P. (1998) &amp;quot;Literary Translation.&amp;quot; In: M. Baker, ed. Routledge Encyclopedia of Translation Studies, London: Routledge, pp.127-130. &lt;br /&gt;
&lt;br /&gt;
Catford. J. C. (1965). A linguistic theory of translation. Oxford: Oxford University Press. &lt;br /&gt;
English Translation of Mohammad Al-Ghazali's Islamic Guidance.Literature and Culture, 6(1), 1-13. &lt;br /&gt;
&lt;br /&gt;
Gečaitė, L. (2020). Culture-Specific Items and Their Translation Strategies in Victoria Hislop's Novel The Sunrise.” (2020). &lt;br /&gt;
&lt;br /&gt;
Hassan, B. E. A. (2014). Between English and Arabic: A practical course in translation. &lt;br /&gt;
Cambridge Scholars Publishing. &lt;br /&gt;
&lt;br /&gt;
Hermans, T. (1999). Translation in systems. Manchester: St. Jerome Publication  House, J. (Ed.). (2014). Translation: a multidisciplinary approach. Springer. &lt;br /&gt;
Issa, A. L. S. M., &amp;amp; Hammood, L. H. R.- Quranic-Specific Phrases under the Study of Translation; Significance and Applications. &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. (33), p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. 33, p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Lambert, J. (1998) Literary Translation. In: M. Baker, ed. Routledge Encyclopedia of Translation Studies. London: Routledge, 130-134. &lt;br /&gt;
&lt;br /&gt;
Landers, Clifford E. (2001) Literary Translation: A practical guide. New Jersey University Press: Multilingual Maters. &lt;br /&gt;
&lt;br /&gt;
Lustig, Myron, W. and Koeser, Joline  (2003), Intercultural Competence: Interpersonal Communication Across Cultures, Boston: Allyn and Bacon. &lt;br /&gt;
&lt;br /&gt;
Malmkjær, K. (1993). Who Can Make Nice A Better Word Than Pretty? Collocation, Translation, and Psycholoinguistics. In: Baker, M., Francis, G. and Tognini-Bonelli, E. &lt;br /&gt;
eds. Text and Technology. Philadelphia/Amsterdam: John Benjamins Publishing Company. pp.213-32. &lt;br /&gt;
&lt;br /&gt;
Mosavat, S., &amp;amp; Rahimpour, S. (2016). The Most and Least Used Translation Strategies for &lt;br /&gt;
Conveying Culture-Specific-Items in Young Adult Literature from English into Persian. International Journal of Humanities and Cultural Studies (IJHCS) ISSN 23565926, 1853-1873. &lt;br /&gt;
&lt;br /&gt;
Munday, J. (1997). Systems in Translation: A computer-assisted systemic approach to the analysis of translation of García Márquez. Ph.D thesis, University of Bradford. &lt;br /&gt;
&lt;br /&gt;
Newmark, P. (2001). A Textbook of Translation. Shanghai: Shanghai Foreign Language &lt;br /&gt;
Education Press &lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. (1988). A Textbook of Translation. New Jersey: Prentice-Halls &lt;br /&gt;
&lt;br /&gt;
Nord, Christiane. (1997). Translating as a Purposeful Activity: Functionalist Approaches &lt;br /&gt;
Explained. Manchester: St. Jerome. Accessed 10 November. 2018. Google Books Schjoldager, A. (2008). Understanding translation. Academica: Århus. &lt;br /&gt;
&lt;br /&gt;
Silalahi, M., &amp;amp; Lubis, S. (2013). Translation Procedures of Cultural Terms Found In Sejarah Bilingual For Students of Senior High School. &lt;br /&gt;
Valipoor, K., &amp;amp; andAzizeh Chalak, H. H. T. (2019). Cultural-specific items in translation of the Holy Quran by Irving: 43-51. &lt;br /&gt;
&lt;br /&gt;
Venuti, L. (1995). The translator’s invisibility: A history of translation. London and New York: &lt;br /&gt;
Routledge &lt;br /&gt;
&lt;br /&gt;
Widiarto, O. V. V. (2016). The translation procedures of cultural expressions applied in a game of thrones translated into Perebutan Tahta novel by Barokah Ruziati (Doctoral dissertation, Dian Nuswantoro University).&lt;br /&gt;
&lt;br /&gt;
=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims to observe the development of translation studies through its different types, various strategies, styles and particular methods. In this paper, the readers are introduced to some famous translation scholars including their view of translation studies. At the further discussions, this study lets the readers acknowledge the main issues on translation studies, focusing on different styles of variations such as grammar, sentence structure, textual analysis, strategies and methods. This study may help those who are interested to conduct translation researches and help them by giving options of which theories is beneficial to their analysis. Moreover, it aims to explore the clear definition of translation as well as help the readers to understand the basic concept which are used in the field of translation. The present study, therefore, attempts to outline the scope of the discipline of translation studies and more importantly, it is an attempt to outline its activity that required a deep mastering of language, a good source of knowledge and target cultures.&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation, styles of variations, strategies&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
It is undoubtedly right that translation is important to share information. In line with these premise, the number of translation professionals is getting higher. In fact, the result of translation researches tends to help human daily life in term of evaluation, designing translator machines, and cultural studies.	 Therefore, translation means converting written information from one language into another. It is the new discipline appeared in the second half of the 20th century. The term “Translation Studies” was coined by James S. Holmes, an American-Dutch poet and translator of poetry, in his seminal paper “The Name and Nature of Translation Studies”.  Translation enables effective communication between people around the world. It is a courier for the transmission of knowledge, a protector of cultural heritage, and essential to the development of a global economy. Translation helps us to know about the developments in the field of creative arts, education, literature, business, science and politics. It has shifted from the traditional conception of the fixed, stable and unchangeable nature of the text and its meaning to a text with wide scope for variations. Translation also helps in nation building. In this globalised world, the demand for translation and language related services has increased many times. Translation is not only needed for the creation of national identity but has also become an essential tool for keeping pace with the processes of globalization and localization. The activity of translation has a long-standing tradition and has been widely practiced throughout history, but in our rapidly changing world its role has become of paramount importance. Nowadays, knowledge in which cultural exchanges have been widening, has been increasingly expanding and international communication has been intensifying, the phenomenon of translation has become fundamental. Be it for scientific, medical, technological, commercial, legal, cultural or literary purposes, today human communication depends heavily on translation and, consequently, interest in the field is also growing. Accordingly, the discussion, in the present study, proceeds primarily from the perspectives of “Translation Studies” and “Linguistics”. One major goal is to show the interrelationships between linguistics and translation, and how they benefit from each other. Nowadays, translation research has started to take another path, which is more automatic. The invention of the internet, together with the new technological developments in communication and digital materials, has increased cultural exchanges between nations. This leads translators to look for ways to cope with these changes and to look for more practical techniques that enable them to translate more and waste less. They also felt the need to enter the world of cinematographic translation, hence the birth of audiovisual translation. The latter technique, also called screen translation, is concerned with the translation of all kinds of TV programs, including films, series, and documentaries. This field is based on computers and translation software programs, and it is composed of two methods; dubbing and subtitling. In fact, audiovisual translation marks a changing era in the domain of translation.&lt;br /&gt;
In short, translation has very wide and rich history in the West. Since its birth, translation was the subject of a variety of research and conflicts between theorists. Each theorist approaches it according to his viewpoint and field of research, the fact that gives its history a changing quality.&lt;br /&gt;
&lt;br /&gt;
Discussion &lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation. For each type, a selection of examples will be considered for analysis based on translation theories and techniques. We will show that some chunks of text require literal translation, while other requires interpretive method. In addition, this paper will also examine various strategies and its styles of variations based on translational study. The following strategies will be presented in the paper as; &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	They involve text manipulation.&lt;br /&gt;
•	They must be applied to the process.&lt;br /&gt;
•	They are goal-oriented.&lt;br /&gt;
•	They are problem-centered.&lt;br /&gt;
•	They are applied consciously.&lt;br /&gt;
•	They are inter-subjective.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Most theorists agree that strategies are used by translators when they encounter a problem and literal translation is not useful. Different researchers have investigated and described various translation strategies from their different perspectives. It intends to show what translation strategies exist and when and why they are used by professional translators. Different scholars have various perspectives to the aspects of the act of translation, so, they define and describe different types of strategies. Bergen's (n. d.) classification of the strategies includes three categorizations which will be discussed mainly in this paper: &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	Comprehension strategies &lt;br /&gt;
•	Transfer strategies&lt;br /&gt;
•	Production strategies&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
An addition to this paper, styles of variations will also be introduced to the readers through different aspects and examples. The concept of style can be defined in terms of the distinctive way an individual or a group uses language, or better still the discourse used to perform distinct functions of language aimed at achieving specific purposes. However, this does not entail that style is simply a matter of form since it is the product of other components such as the genre of discourse, its semantics, syntax and phonology. Indeed, in order to analyze a given stylistic variation one needs an extensive checklist that includes lexical and grammatical categories, allusions, and figures of speech. Style can be understood to refer to the recurring typical features of the source text compared to the typical features of the translated text.  In a quantitative and qualitative analysis, this variation is shown to be influenced by several pragmatic and social factors, and to index the interpreters' stances towards source speakers and towards the immigrant court users who are the recipients of translations from English. It is argued that translation styles have profound consequences for limited English speakers, as the insistence on institutional norms in translating to them is viewed as a gate keeping behavior that may impede their full participation in the proceedings. &lt;br /&gt;
&lt;br /&gt;
What is translation? &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Translation went through various definitions going from a mere linguistics activity during the sixties, a cultural and communicative activity during the seventies reflects the social impacting activity in the latest founding of the literature. &lt;br /&gt;
“Translation is traditionally known as being the replacement of textual material in one language into equivalent textual material in another language”. &lt;br /&gt;
House (2015) mentions that translation is considered as the “replacement” of a text in the source language by a semantically and pragmatically equivalent text in the target language. It is strongly related to a source language and target language cultures. It requires a high level of mastery languages, an awareness of any contextual factors within which the discourse emerges. There is no need to mention how it affected civilizations through different areas of mankind history. For example, An Arab-Islamic civilizations. There have always been different directions on how one should or should not translate. In the Arab tradition, two main methods existed and were in complete divergence namely the literal and the free method. &lt;br /&gt;
On the other hand, in the Western tradition there are various methods currently exist namely, the linguistic, the hermeneutic, the interpretive, the functionalist, the interventionist, the poly-systemic and the text-typologist method.  More so, it may be important to point out that translation has been defined in many ways, and every definition reflects the theoretical approach underpinning it. &lt;br /&gt;
As Shuttlworth and Cowie (1997) observe throughout the history of research into translation, the phenomenon has been variously delimited by formal descriptions, echoing the frameworks of the scholars proposing them. For example, Bell (1991: XV) starts with an informal definition of translation, which runs as follows: the transformation of a text originally in one language into an equivalent text in a different language retaining, as far as is possible, the content of the message and the formal features and functional roles of the original text. &lt;br /&gt;
At the beginning of the ‘scientific’ (Newmark, 1988, p. 2) study of translation, Catford (1965, p. 20) described it in these terms, the replacement of textual material in one language (SL) by the equivalent textual material in another language. &lt;br /&gt;
Thirty years later, in Germany, the concept of translation as a form of ‘equivalence’ is maintained, as we can see from Koller’s definition (1995, p. 196): “The result of a text processing activity, by means of which a source language text is transposed into a target-language text. Between the resultant text in L2 (the target-language text) and the source text in L1 (the source language text) there exists a relationship, which can be designated as a translational, or equivalence relation”. Because complete equivalence (in the sense of synonymy or sameness) cannot take place in any of his categories, Jakobson (1959) declares that all poetic art is, therefore, technically untranslatable. That is, the translator has to take the question of interpretation into account in addition to the problem of selecting a TL phrase which will have a roughly similar meaning. Exact translation is impossible. In this regard, Bassnett (1996) claims that all texts, being part of a literary system descended from and related to other systems are “translations of translation of translations”: every text is unique and at the same time, it is the translation of another text. No text is entirely original because language itself, in its essence, is already a translation: firstly, of the non-verbal world and secondly, since every sign and every phrase is the translation of another sign and another phrase. However, this argument can be turned around without losing any of its validity: all texts are original because every translation is distinctive. Every translation, up to a certain point, is an invention and as such it constitutes a unique text.&lt;br /&gt;
In this analysis of the above definition, Manfredi (2008), points out that the above distinction can be divided into two main perspectives, those that consider translation either as a ‘process’ or a ‘product’. To this twofold categorization, Bell (1991, p. 13) adds a further variable, since he suggests making a distinction between translating (the process), a translation (the product) and translation (i.e., “the abstract concept which encompasses both the process of translating and the product of that process”. Moreover, thanks to advances in new technologies, today we can also incorporate into TS the contribution of corpus linguistics, which allows both theorists and translators analyses of large amounts of electronic texts (Manfredi, 2008). On the other hand, Halliday (1992, p. 15) takes translation to refer to the total process and relationship of equivalence between two languages; we then distinguish, within translation, between “translating” (written text) and “interpreting” (spoken text). Halliday, thus, proposes distinguishing the activity of “translation” (as a process) from the product(s) of “translating”, including both “translation” (concerning written text) and ‘interpreting’ (regarding spoken text.&lt;br /&gt;
“Translation is the production of a functional target text maintaining a relationship with a given source text that is specified according to the intended or demanding function of the target text.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Types of Translation&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation.&lt;br /&gt;
&lt;br /&gt;
Technical translation &lt;br /&gt;
&lt;br /&gt;
Technical translation is a type of specialized translation involving the translation of documents produced by technical writers, or more specifically, texts which relate to technological subject areas or texts which deal with the practical application of scientific and technological information. (Wikipedia) &lt;br /&gt;
Translators' main goal is to accurately translate the technical terminology to match the document and the message of the original content.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The benefits of technical translation&lt;br /&gt;
&lt;br /&gt;
A professional technical translation service is provided by translators with dual specialties, that is, professionals who are fluent in the language pair, but who are also experts in the field covered by the documents to be translated.&lt;br /&gt;
When you need to have your documents translated by a technical translator, translators who are not experts may not be able to provide the necessary solutions and terminology for a quality translation. If the translator is not an expert in the field, he/she will have to learn the new terminology while working. This means that translation will take longer, have higher chances of inaccuracies, and may result in higher costs. Therefore, the main advantages of hiring an agency specialized in this type of service are as follows:&lt;br /&gt;
&lt;br /&gt;
Literary translation&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Literary translation is the translation of creative and dramatic prose and poetry into other languages. This includes the translation of literature from ancient languages and the translation of modern fiction so that it can reach a wider audience. &lt;br /&gt;
Literary translation is of huge importance. It helps to shape our understanding of the world around us in many ways.                                                     Reading Homer and Sophocles as part of a classical education in school helps to build an understanding of history, politics, philosophy and so much more. Meanwhile, reading contemporary translations provides fascinating insights into life in other cultures and other countries.                                                       In a fast-paced world so rife with misunderstanding and confusion, such efforts to share knowledge and experiences across cultural boundaries should be applauded.&lt;br /&gt;
The translation of literature differs greatly from other forms of translation. The sheer size of the texts involved in literary translation sets it apart.                Tackling a translation that runs to hundreds of thousands of words is not a task for the faint-hearted. Nor is recreating poetry in a new language, without losing the beauty and essence of the original work.&lt;br /&gt;
One of the key challenges of literary translation is the need to balance staying faithful to the original work with the need to create something unique and distinctive that will evoke the same feelings and responses as the original. This can be particularly challenging when it comes to translating poetry.&lt;br /&gt;
Poems are written with incredible attention to detail. Not only are the words and phrases important, but the number of syllables and the entire rhythm of the completed work. It’s a challenging task to complete just in one language, let alone when trying to recreate a poet’s work during a translation. Daniel Hahn, director of the British Centre for Literary Translation, sums up the issue beautifully. &lt;br /&gt;
As literary translators will attest, a single word can be extremely troublesome. The author of a work of fiction has chosen that word for a good reason, so the translator must ensure that it is faithfully delivered in the target language. However, what if no direct translation is available? Or what if several options exist, each with a slightly different nuance? Urdu language translator Fahmida Riaz outlines her approach to such thorny issues.&lt;br /&gt;
For instance, “Every piece you translate comes from the pen of an individual, so you have to give it an individual treatment. I try to retain the ambience of the original culture, rather than the language, as it is reflected in the text.” &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Pragmatic translation&lt;br /&gt;
&lt;br /&gt;
Pragmatic translation is the basic assumption that provided a source language text contains no misstatements of fact, is competently written and has to be fully translated rather than summarized or functionally reorientated; one's purpose in translating it is to be referentially and pragmatically accurate. In this paper, I shall not deal with referential accuracy but concentrate instead on the pragmatic aspects of translation. As the term pragmatic translation may be used in a variety of ways, I should like to state my own definition of pragmatic, which derives from Charles Morris and ultimately from Charles S. Peirce. I am using pragmatic as one of the two factors in translation: pragmatic denotes the reader's or readership's reception of the translation, as opposed to referential, which denotes the relationship between the translation and the extra-linguistic reality it describes. &lt;br /&gt;
Translation is a properly way to a properly communication and pragmatics is how to use language in communication properly. By translation, many things from different languages and cultures can understand to each other. In other words, translation can be stated as a facilitator to make a communication runs well.&lt;br /&gt;
&lt;br /&gt;
===An Overview on Translation Studies  ===&lt;br /&gt;
&lt;br /&gt;
===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
&lt;br /&gt;
=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature  --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:45, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the researcher wants to highlight the different concepts about the fundamental question &amp;quot;what is idiomatic expression&amp;quot; of different critics, theorists and linguistic experts, and prominent scholars of translation studies. Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
&lt;br /&gt;
Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda Corelli 2006, 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984, 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992, 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to (Newmark 1981, 11), “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”&lt;br /&gt;
.	The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to (Corelli 2006, 53), English has a sizeable idiomatic base.&lt;br /&gt;
About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.&lt;br /&gt;
The main issue that idiomatic and fixed expressions pose for translators, according to (Baker 1992, 65), is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.&lt;br /&gt;
&lt;br /&gt;
Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.&lt;br /&gt;
&lt;br /&gt;
===Literature Review ===&lt;br /&gt;
In this chapter, the author/researcher defines the strategy and its different definitions from the perspective of different subjects and fields. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented. Krings defines it as the content of the project, while Seguinet divided the term into three steps. However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. &lt;br /&gt;
&lt;br /&gt;
The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward.&lt;br /&gt;
Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint.&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to (Seguinot 1989, 27) (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.&lt;br /&gt;
&lt;br /&gt;
Furthermore, (Loescher 1991, 8) defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot; As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998, 4) claim moreover, (Bell 1998, 188) distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.&lt;br /&gt;
&lt;br /&gt;
According to (Venuti 1998, 240), &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot; He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to (Jaaskelainen 2005, 15), product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.&lt;br /&gt;
&lt;br /&gt;
Furthermore, (Jaaskelainen 2005, 16) distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making. (Newmark 1988, 221) distinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;&lt;br /&gt;
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Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016, 13).&lt;br /&gt;
&lt;br /&gt;
The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010, 15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017, 54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
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Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985, 9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female.&lt;br /&gt;
Several research articles are found on translated work (license and khol do) of Urdu famous short stories writer Sadat Hassan Manto's from a different perspective like psychoanalysis, postcolonial, feminist approaches but to explore the problem of translations strategies face by translator Aatish Taseer during the process of translation has not been mention till date. To summarize this, the research includes a critical, in-depth, comprehensive analysis of issues that previously did not address.&lt;br /&gt;
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=== Theoritical Framework ===&lt;br /&gt;
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Different strategies have been used, like using an idiom of similar meaning and similar form, the idiom of similar meaning and different form, translation by Paraphrasing, translation by omission. The approach of employing idioms of similar meaning and form, according to Mona Baker, entails using an idiom in the target language that can express about the same meaning as the source language idiom, as well as having lexical similarity. On the other hand, this type of matching happens periodically as well as regularly.&lt;br /&gt;
&lt;br /&gt;
Similarly, employing idioms with similar meanings but different forms means that it is possible to locate an idiom or fixed expression in the target text language that has a similar meaning to the source idiom or expression but is made up of distinct lexical elements. Consider the case of English and French, both of which use the idiom mentioned above. In English, one good deed is rewarded with another, whereas in French, handsome deeds are rewarded with handsome deeds.&lt;br /&gt;
&lt;br /&gt;
Furthermore, we did not come across any idioms in the category mentioned above during translating idioms. To deal with this issue, the translators used the most popular approach, known as a translation by paraphrase, which is short, straightforward, and time-saving. When a match cannot be identified in the target language or when it appears improper to employ idiomatic language in target material due to aesthetic differences between the source and target languages, this is the most typical approach for translating an idiom from source to target language. However, one thing to keep in mind is that a perfect translation is not required is necessary or possible.&lt;br /&gt;
&lt;br /&gt;
Last but not least, to overcome the problem of idiom translation, the translator employs the strategy of translation by omission. This can be defined as an idiom being omitted entirely in the target text with a single word. This is done because the idiom has no close match in the target language; its meaning cannot be easily paraphrased or due to stylistic reasons. &lt;br /&gt;
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Data analysis Techniques:&lt;br /&gt;
Textual analysis is the method of data analysis in qualitative research that brings forth the hidden and potent message, structure, and function of research in giving text, Alan Mckee (defines textual analysis as whenever we perform textual analysis on the text, we make an educated guess at some time of the most likely interpretations that might be made of that text (Alan Mckee 2001, 3)&lt;br /&gt;
Analysis of the translation of short stories in light of Mona baker's theory &amp;quot;khol do and license&amp;quot; are short stories written by Sadat Hassan Manto and translated by many translators from Urdu into English. During translation, the translator adopted many strategies for translating idiomatic expression, sometimes by Paraphrasing, sometimes by omission, sometimes using similar idioms of form and meaning while sometimes using different words and the same form, the whole.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:51, 12 December 2021 (UTC)&lt;br /&gt;
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===Discussion and Analysis===&lt;br /&gt;
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The chapter analyzes and discusses all the data collected by the author/researcher from different sources. All the examples of idioms are first identified, then translated into the target text, and back-translated for the sole purpose of exploring the strategies being used by the translator. A separate section is given to every strategy with its related example. Moreover, the idiomatic expression, the target work for finding, is highlighted through the bold letter.&lt;br /&gt;
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4.1	Translation by Paraphrasing:&lt;br /&gt;
&lt;br /&gt;
Based on our findings, the most often used strategy was &amp;quot;translation by paraphrasing.&amp;quot; An inspection also reveals that Aatish Taseer preferred this strategy. Here are some examples applied by the translators, and in the following section, the logic behind their preference towards this strategy is elaborate. The following are examples from two short stories of Sadat Husain Manto's &amp;quot;khol do&amp;quot; and &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 1: &lt;br /&gt;
&lt;br /&gt;
ST: Sirajuddin ne subah das baji anki kholi to logo ka ail mutalatam samandar deka.&lt;br /&gt;
&lt;br /&gt;
TT: Ten a.m., Siraj Uddin opens his eyes on the cold floor of the camp, seeing the swelling sea of men.&lt;br /&gt;
&lt;br /&gt;
BT: sub ke das baji jab Sirajuddin ne apni anki koli to logo ka aik ublaha howa samandar ka nizara dekni laga.&lt;br /&gt;
&lt;br /&gt;
So, the above idioms are literal idioms being translated with the help of Paraphrasing because there is no perfect equivalent of mutalatam words in English languages. A similar look at another idiom from short stories &amp;quot;khol do.&amp;quot;&lt;br /&gt;
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Example 2:&lt;br /&gt;
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ST: Khuda tomahra bala kari.&lt;br /&gt;
&lt;br /&gt;
TT: Your God will reward&lt;br /&gt;
&lt;br /&gt;
BT: Is ka badla khoda tomahi di.&lt;br /&gt;
&lt;br /&gt;
Here, the word reward is being used for Bala Kari, an example of transitional by Paraphrasing.&lt;br /&gt;
Let  take another example from &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
&lt;br /&gt;
ST: unkho nai Jan khateli pa rak kar sakena ko donda.&lt;br /&gt;
&lt;br /&gt;
TT: even putting their lives online, they search sakina &lt;br /&gt;
&lt;br /&gt;
BT: apni zindagio ko khatri me dal kar unkho nai sakina ko dond nekala.&lt;br /&gt;
&lt;br /&gt;
The above idioms are examples of pure idiom translated from Urdu into English with the help of paraphrases strategies. However, under the same strategies, the idioms of another short story of Manto,s &amp;quot;license,&amp;quot; are translated by Aatish Taseer. Some of the examples are given below.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
ST: Abu kochwan bara cheel jabela ta. It is the binomial type of idioms taken from the first sentence of the short story &amp;quot;license&amp;quot; by Sadat &lt;br /&gt;
Hasan Manto &lt;br /&gt;
&lt;br /&gt;
TT: Abu kochwan is stylish man.&lt;br /&gt;
&lt;br /&gt;
BT: Abu kochwan aik wazahdar admi ta.&lt;br /&gt;
&lt;br /&gt;
From the above idiom, it is clear that there is no perfect equivalence of cheela chabela idiom in English; that is, the translator goes &lt;br /&gt;
through paraphrasing strategies. Look at another example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
ST: Lein har waqat bank bani rekhi ka usi be had showk ta&lt;br /&gt;
&lt;br /&gt;
TT: He had a weakness for style and fashion.&lt;br /&gt;
&lt;br /&gt;
BT: Dan saj ke rekhna uski kamzori me sai ik ta.&lt;br /&gt;
&lt;br /&gt;
So all of the above examples, which are analyzed one by one, are examples of idioms being translated through paraphrasing strategies. (De Beaugrande and Dressler 1981, 50) define paraphrases as &amp;quot;approximate conceptual equivalence among outwardly different material.&amp;quot; Similarly, in this regard, Hirst defines paraphrases as &amp;quot;talk(ing) about the same situation in a different way.&amp;quot; Munday declared that &amp;quot;equivalence is particularly useful in translating idioms and proverbs” For instance, if the English idiom like a bear with a sore head is rendered into Persian as (mesle borje zahremar), meaning like a tower of snake venom, the strategy of equivalence has been applied. &lt;br /&gt;
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According to Leonardi, &amp;quot;Equivalence can be said to be the central issue in translation.&amp;quot; In this regard, house believes that &amp;quot;a translation text should match not only its source text in function but also employ equivalent situational-dimensional means to achieve that function&amp;quot; (Baker 2002, 49).  who shares this approach, states that equivalence is used &amp;quot;for the sake of convenience—because most translators are used to it rather than because it has any theoretical status&amp;quot; (Kenny 1998, 77). &lt;br /&gt;
&lt;br /&gt;
Despite different attitudes to the concept of equivalence, most specialists pay much attention to its meaning in the theory of translation. The translation is a form of communication, and that is why it is vital to establish equivalence between the source text and the target text. Although Vinay and Darbelnet believe that equivalence is used differently than in modern translation theory, it is evident that equivalence is one of the basic concepts of translation that cannot be neglected. Consequently, based on the Above mentioned studies using Paraphrasing in translation stands as the core concept in the process of translation, and still, most of the translators cling to it for producing a more comprehensible and explicable text. These language ideas and translation models are ideal constructs, presented abstractly in order to be differentiated precisely. They may exist in an uneasy combination in actual theories and practices, resulting in logical tensions or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation. Theories and actions must be contextualized in historical settings. They've been utilized as analytical tools to describe various topics in section introductions. Theoretical writings and current events these language notions and translation models are ideal constructs expressed in an abstract manner in order to be distinguished precisely in real-life hypotheses they may exist in an uncomfortable mix, resulting in logical conflicts or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
4.2	Using an idiom of Similar Meaning and Form &lt;br /&gt;
&lt;br /&gt;
As mentioned earlier, this strategy type is being used by Aatish Taseer during their translated work of Manto's short stories &amp;quot;khol do&amp;quot; and&amp;quot; license&amp;quot; on an occasional basis. Some examples are mention below.&lt;br /&gt;
&lt;br /&gt;
From khol do.&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
ST: Larki ka rang zard hogaya.&lt;br /&gt;
&lt;br /&gt;
TT: The girl's face became fail&lt;br /&gt;
&lt;br /&gt;
BT: larki ka rang zar hogya.&lt;br /&gt;
&lt;br /&gt;
Similarly, another example from the license is&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: Abu our us ke mat beer hogaie&lt;br /&gt;
&lt;br /&gt;
TT: They fall in love with each other.&lt;br /&gt;
&lt;br /&gt;
BT: WO ik dosri ke mokhbat me geriftar hogaie&lt;br /&gt;
&lt;br /&gt;
The above idioms are pure ones and are being translated with the help of similar meanings and similar forms.&lt;br /&gt;
&lt;br /&gt;
The procedures: transposition, modulation, equivalence, and adaptation, and when it comes to defining the term Equivalence, (Vinay and Darbelnet 2000, 90) propose that it consists in rendering &amp;quot;the same situation … by two texts using completely different stylistic and structural methods&amp;quot;, and when it comes to translating idiomatic expressions like &amp;quot;Il pleut à seaux&amp;quot; it can be translated as &amp;quot;It is raining cats and dogs&amp;quot; using the idiom of similar form and meaning in the target language.&lt;br /&gt;
&lt;br /&gt;
As (Baker 1992, 12) states, this strategy involves using an idiom in the TL which conveys roughly the same meaning as that of the source language idiom and, in addition, consists of identical lexical items. The salient point is that this kind of match can only occasionally be achieved, which cannot be picked up more often by translators. Accordingly, both translators mentioned in the current study had quite a slim chance of using this strategy type. &lt;br /&gt;
&lt;br /&gt;
4.3 Using an idiom of similar meaning but different form:&lt;br /&gt;
&lt;br /&gt;
During translating Manto short stories, &amp;quot;khol do&amp;quot; and &amp;quot;license,&amp;quot; some of the idioms are translated with the help of this strategy. Some of the examples are given below from two different short stories.&lt;br /&gt;
&lt;br /&gt;
Example number one is from the short story &amp;quot;khol do&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
ST: Aur bolwai gos ayai thee?&lt;br /&gt;
&lt;br /&gt;
TT: The roitors come abroad.&lt;br /&gt;
&lt;br /&gt;
BT: pasadi bahar agai hai.&lt;br /&gt;
&lt;br /&gt;
The above idiom is a pure type of idiom being translated with the help of above mention strategy. The word rioter is being used for bolwai, which is not a perfect word for bolwai. In Urdu bolwai, people believe in violence when minorities or the low population of any country want some rights. These people stop them by using violence, burn down their properties, rapes women, and do things like that. Another example from the license is below.&lt;br /&gt;
&lt;br /&gt;
Example 9:&lt;br /&gt;
&lt;br /&gt;
ST: Dosri kotwal abu ko dek kar jal ban ho jati.&lt;br /&gt;
&lt;br /&gt;
TT: The other coachman burn with envy.&lt;br /&gt;
&lt;br /&gt;
BT: Abu ke kamyabi dek kar aur kotwal abu sai khasad karni lagi’&lt;br /&gt;
&lt;br /&gt;
The above idioms are a pure idiom that reflects the effect of jealousy between competitors to achieve equivalency. Aatish Taseer uses envy word for jal ban instead of other which have similar meaning but different form. Look at the other example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: Dino lat vo lagal se kam karni laga.&lt;br /&gt;
&lt;br /&gt;
TT: Dino came with an excuse.&lt;br /&gt;
&lt;br /&gt;
BT: Dino abb bahi tarashni laga.&lt;br /&gt;
	&lt;br /&gt;
The above idioms are types of binomial idioms translated with the help of idioms with similar meanings and different forms. (Newmark 1988, 81) mentions the difference between translation methods and translation procedures. He writes that &amp;quot;[w]hile translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language&amp;quot; (Newmark 1988, 81). Idiomatic translation in his definition reproduces the 'message' of the original. However, it distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original, leading to using an idiom of similar meaning but a different form. Besides, it is often possible to find an idiom or fixed expression in the target language with a meaning similar to that of the source idiom or expression but which consists of different lexical items (Baker 1992, 12). Therefore, translators discover idiomatic expressions in the target language with different forms than in the source language. In the current study, the translators approached this strategy merely for 9% of the total times, which means the frequency of Iranian and English idioms with the same meaning and different forms is not considered high. &lt;br /&gt;
&lt;br /&gt;
4.4 Translation by omission:&lt;br /&gt;
&lt;br /&gt;
A translator is less using these strategies, and we did not find any clue on this type of strategy in an area under consideration.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:48, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== Findings===&lt;br /&gt;
&lt;br /&gt;
(Mandelbit 1995) believed that idioms with different cognitive mapping in the target language would be more challenging to translate. After conducting study and data analysis of collected data, the result revealed that the translator frequently used three out of four strategies of the Mona Baker model during the translation process, which is a translation by Paraphrasing, translation by similar meaning and similar form, translation by similar meaning and different form. In contrast, translation by omission does not found in his work.&lt;br /&gt;
After detail and careful analysis of data, more than half of idioms like &amp;quot;swelling sea of man,” my lord break his arrogance, “weakness for style and fashion.&amp;quot; As I mentioned earlier, many more are translated under the umbrella of Paraphrasing, which is considered the most common method used for translating idioms.&lt;br /&gt;
&lt;br /&gt;
Similarly, we also reflect strategies like similar meaning and different form and similar meaning and similar form. The idiom &amp;quot;rioter came abroad,” burn with envy,” The girl's face became pale, &amp;quot; They fall in love with each other&amp;quot; are translated with the help of two mention strategies, respectively.&lt;br /&gt;
&lt;br /&gt;
Although translation by omission is a strategy used on rare occasions because of its meaning, its meaning cannot be easily paraphrased or stylistic reason. Here, the researcher also did not find any idiom translated with the help of the omission strategy.&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
Go through detailed discussion and analysis of data collected from my source. We finally concluded that the idioms present in two short stories, &amp;quot;khol do&amp;quot; and &amp;quot;License,&amp;quot; are translated under the frame of Mona Baker's idiomatic model. Translation by Paraphrasing is mainly used while idioms of similar meaning and form and idioms of similar meaning and different forms are used occasionally. The researcher discusses all the strategies with related examples in the order of maximum used to minimum used. The strategy by omission did not find it works. All the data are collected from different sources and analyzed with the help of different researcher tools, and the result is written in light of the finding. Different from previous studies, the writer presents the strategies to translate idioms by each type of idiomatic expression found in the story. From the result, it is considered the translation of idiomatic expressions in the story is quite accurate. As the number of accurate data is more the data which is not related to the translation. We take conclusion from the translation through idiomatic expression and paraphrasing is the best way to translate a novel or a story however it is very difficult job to do because it needs more accurate and precise knowledge about the source language and an inspiring method to express ideas in the target language. However, translation is thing through which we can connect the world with each other and also we can study and observe diverse cultures.            &lt;br /&gt;
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=== References ===&lt;br /&gt;
Abu-Saydeh, A. F. (2004). Translation of English idioms into Arabic. Babel, 114-131.&lt;br /&gt;
&lt;br /&gt;
Ahsan, S. (2020). A comparative study of two translations of manto's short story &amp;quot;Toba Tek&amp;quot;. International Journal of English Language Studies, 12-27.&lt;br /&gt;
&lt;br /&gt;
Alexander, R. J. (1987). Mimeograph. In R. J. Alexander (Ed.) Collocation and Culture. Trier: University of Trier, West Germany.&lt;br /&gt;
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Al-Qinai, J. (2000). Translation quality assessment. strategies, parameters and procedures. Translator's Journal, 497-519.&lt;br /&gt;
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Bayashi, J. (2020). Japanese-English translation: An advanced guide. Oxfordshire: Routledge.&lt;br /&gt;
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Das, V. &amp;amp;. (1995). Critical events: An anthropological perspective on contemporary India. New Delhi: Oxford Printing Press.&lt;br /&gt;
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Mufti, A. (2007). The Language of English India. In I. &amp;amp;. End (Ed.) Enlightenment in the Colony. Princeton University Press.&lt;br /&gt;
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Waka Xia, L. (2019). A discourse analysis of news translation in China. Syydney: Routledge.&lt;br /&gt;
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= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
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===Ambiguity===&lt;br /&gt;
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===Lexical and Structural Mismatches===&lt;br /&gt;
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===Multiword units: Idioms and Collocations===&lt;br /&gt;
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===Summary===&lt;br /&gt;
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===Further Reading===&lt;br /&gt;
&lt;br /&gt;
=刘胜楠 A Case Study of ''Ne Zha'' on Subtitle Translation Strategies from the Perspective of Skopos Theory= &lt;br /&gt;
[[Trans_Type_EN_15]]&lt;/div&gt;</summary>
		<author><name>Atta Ur Rahman</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=132341</id>
		<title>Translation types, strategies, styles, methods</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=132341"/>
		<updated>2021-12-13T15:12:50Z</updated>

		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* Cultural Categories */&lt;/p&gt;
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&lt;div&gt;'''Translation types, strategies, styles, methods'''&lt;br /&gt;
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[[Translation_types,_strategies,_styles,_methods|Overview Page of Translation types, strategies, styles, methods]]&lt;br /&gt;
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30 Chapters（0/30)&lt;br /&gt;
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[[Trans_Type_EN_1]] [[Trans_Type_EN_2]] [[Trans_Type_EN_3]] [[Trans_Type_EN_4]] [[Trans_Type_EN_5]] [[Trans_Type_EN_6]] [[Trans_Type_EN_7]] [[Trans_Type_EN_8]] [[Trans_Type_EN_9]] [[Trans_Type_EN_10]] [[Trans_Type_EN_11]] [[Trans_Type_EN_12]] [[Trans_Type_EN_13]] [[Trans_Type_EN_14]] [[Trans_Type_EN_15]] [[Trans_Type_EN_16]] [[Trans_Type_EN_17]] [[Trans_Type_EN_18]] [[Trans_Type_EN_19]] [[Trans_Type_EN_20]] [[Trans_Type_EN_21]] [[Trans_Type_EN_22]] [[Trans_Type_EN_23]] [[Trans_Type_EN_24]] [[Trans_Type_EN_25]] [[Trans_Type_EN_26]] [[Trans_Type_EN_27]] [[Trans_Type_EN_28]] [[Trans_Type_EN_29]] [[Trans_Type_EN_30]] ...&lt;br /&gt;
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[[Book_projects|Back to translation project overview]]&lt;br /&gt;
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[[DCG-To-Do|To the To Do List]]&lt;br /&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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'''浅析美版《甄嬛传》的字幕翻译策略'''&lt;br /&gt;
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[[Trans_Type_EN_1]]&lt;br /&gt;
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阳佳颖 Yang Jiaying, Hunan Normal University, China&lt;br /&gt;
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=Chapter 2: The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
'''纽马克翻译理论指导下旅游文本中翻译策略与翻译方法的使用——以''Everglades National Park, Florida (Excerpt)''为例'''&lt;br /&gt;
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[[Trans_Type_EN_2]]&lt;br /&gt;
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刘晓 Liu Xiao, Hunan Normal University, China&lt;br /&gt;
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=Chapter 3: Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
交际翻译理论指导下小说题材所适用的翻译方法和翻译策略—以韩国小说集《恩珠的电影》（节选）为例&lt;br /&gt;
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[[Trans_Type_EN_3]]&lt;br /&gt;
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刘越Liu Yue ，Hunan Normal University，China&lt;br /&gt;
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=Chapter 4: On Translation Strategies and Translation Methods in Chinese Translation of English Prose -- A Case Study of Chinese Translation of English Prose &amp;quot;Pleasures of Ignorance&amp;quot;=&lt;br /&gt;
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'''浅析英语散文汉译中的翻译策略和翻译方法——以英语散文《无知的乐趣》汉译本为例'''&lt;br /&gt;
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[[Trans_Type_EN_4]]&lt;br /&gt;
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毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
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=Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
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[[Trans_Type_EN_5]]&lt;br /&gt;
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毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
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=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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[[Trans_Type_EN_6]]&lt;br /&gt;
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彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
&lt;br /&gt;
从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。	&lt;br /&gt;
&lt;br /&gt;
Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
&lt;br /&gt;
Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
翻译风格，巴黎的忧郁，郭宏安，亚丁&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
&lt;br /&gt;
The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
	&lt;br /&gt;
Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations. Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
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==Liu Miqing’s theory of translation style==&lt;br /&gt;
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Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
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Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.&lt;br /&gt;
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In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
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==Form Markers==&lt;br /&gt;
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According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
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===Register Markers===&lt;br /&gt;
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“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
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The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
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Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
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Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
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Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
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This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
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===Lexical Markers===&lt;br /&gt;
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Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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'''Eg. (b)'''&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence, translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
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==Non-formal Markers==&lt;br /&gt;
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The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
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Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
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According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
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Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
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The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
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The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
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Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
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Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.&lt;br /&gt;
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==References==&lt;br /&gt;
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[1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[3] 刘宓庆 Liu Mingqing. 新编当代翻译理论[M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp;amp; Publishing Corporation, 2005.&lt;br /&gt;
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[4] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.&lt;br /&gt;
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[5] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.&lt;br /&gt;
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=Chapter 7: A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
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=颜子涵 Translation methods and strategies applicable to the style of biographical literature -- Taking Incidents in Life of Slave Girl (excerpt) as an example=&lt;br /&gt;
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[[Trans_Type_EN_8]]&lt;br /&gt;
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=Chapter 9: On the Translation Strategies of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hung-ming and Xu Yuanchong=&lt;br /&gt;
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'''视域融合视角下看《论语》英译的翻译策略—以辜鸿铭和许渊冲的英译本为例'''&lt;br /&gt;
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[[Trans_Type_EN_9]]&lt;br /&gt;
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邝艳丽 Kuang Yanli, Hunan Normal University, China&lt;br /&gt;
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=杨柳青 Bian Zhilin's Literary Translation Theories and Practice——Take His Translation of Romantic Poems as Examples=&lt;br /&gt;
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Yang Liuqing杨柳青,Hunan Normal University,China.&lt;br /&gt;
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[[Trans_Type_EN_10]]&lt;br /&gt;
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=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
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===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
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===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
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===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012, 37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær, 2015, 10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005, 9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004, 1. Translation is essential for cultures and languages to exchange information. Newmark (1988) defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects. Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
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Nida (1964) indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style. Larson (1998) has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context. &lt;br /&gt;
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Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”.(Snell-Hornby 1988, 33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957, 167. By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
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The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003, 16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
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This study is aimed to probe Newmark's (1988) translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988, 81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.&lt;br /&gt;
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===Translation and Culture===&lt;br /&gt;
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2. Translation and Culture &lt;br /&gt;
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Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
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The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988, 7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988, 5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988, 7).  &lt;br /&gt;
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In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford (1965) defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language” (Catford 1965, 20). According to Venuti’s translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader” (Venuti 1995, 18). Schjoldager stated that “a translation is a text that expresses what another text has expressed in another language” (Schjoldager 2008, 19). Culture is a complex whole which includes knowledge, belief, art, law, morals, customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan (2014), claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014, 2). Hermanns (1999) contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures. Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014, 2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark (2001), illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001, 328). &lt;br /&gt;
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Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
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2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
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Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora, fauna, food, clothes, housing, work, leisure, politics, law, and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988, 327) Christine Nord names them “culturemes” (Nord 1997, 9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012, 1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Aixela, 1997; Davies, 2003), others choose cultural words (Newmark, 2003) or culture-bound phenomena/concepts (Baker, 1992, Newmark, 2003, Robinson, 2003). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker, 1992, 21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988, 94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988, 95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988, 95).&lt;br /&gt;
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2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
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The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85, P. 22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003, 16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.&lt;br /&gt;
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===Types of Translation ===&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
Newmark (1988) determines 8 types of translation which are: &lt;br /&gt;
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3.1 Word-for-Word Translation &lt;br /&gt;
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This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
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3.2 Literal translation &lt;br /&gt;
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In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
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3.4 Semantic Translation &lt;br /&gt;
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Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
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3.5 Adaptation &lt;br /&gt;
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This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015, 15). &lt;br /&gt;
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3.6 Free Translation &lt;br /&gt;
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The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
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3.7 Idiomatic Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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3.8 Communicative Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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===Translation Strategies  ===&lt;br /&gt;
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4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
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4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela (1996), translators need to choose several strategies based on the source language culture and target culture.  He distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, he tries to command by the level of their intercultural intervention. He divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies). &lt;br /&gt;
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4.1.1. Conservation: &lt;br /&gt;
In conservation, the less compelling process includes repetition, orthographic adaptation, linguistic translation, extratextual gloss and intratextual gloss. &lt;br /&gt;
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4.1.1.1 Repetition: In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus, the translator keeps as much as possible the original reference (Aixela, 1996, p. 61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
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4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
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4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
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4.1.1.4 Extra-textual Gloss: Here, the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes, endings, words, ideas, translators in dictionaries, italics and so on. &lt;br /&gt;
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4.1.1.5 Intra-textual Gloss: It's like the past but the translator feels that he/she can include the globe as an indirect part of the text, not to distract the reader. &lt;br /&gt;
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4.2.1 Substitution &lt;br /&gt;
In substitution, According (Aixela, 1996) “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here”. &lt;br /&gt;
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4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
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4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
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4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela, 1997, p.63). &lt;br /&gt;
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4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Shokri, Ketabi, 2015, p.8). &lt;br /&gt;
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4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela, 1996, p. 64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
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4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela, 1997). &lt;br /&gt;
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4.3 Mona Baker’s Translation Strategies &lt;br /&gt;
Baker’s strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation. (Baker, 1992). He suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies, which are the following: &lt;br /&gt;
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4.3.1 Translation by a more general word: According to Baker, this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
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4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
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4.3.3 Translation by cultural substitution: This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
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4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
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4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
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4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
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4.3.7 Translation by omission: Losing phrases or words that are not vital to text development. &lt;br /&gt;
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4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view, however, Baker's (1992) translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
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===Cultural Categories  ===&lt;br /&gt;
5. Cultural categories &lt;br /&gt;
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5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
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5.1.2 Material culture &lt;br /&gt;
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Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.” &lt;br /&gt;
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5.1.3 Social culture &lt;br /&gt;
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The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
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5.1.4 Organisation &lt;br /&gt;
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Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
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5.2 Newmark Classification CSIs &lt;br /&gt;
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Newmark (1988) established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items.&lt;br /&gt;
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5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
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Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
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2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
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3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
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4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
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5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
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6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
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7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
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8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
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9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
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10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
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11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
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12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
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13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
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14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
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15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
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16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
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17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
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18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
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19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
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20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
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21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
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22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
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23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
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24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
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25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
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26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
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27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
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28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
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29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
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30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
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31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
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32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
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33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
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34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
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35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
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36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
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37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
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38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
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39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
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40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
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41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
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42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
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43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
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44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
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45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
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46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
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47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
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48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
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49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
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50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
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51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
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52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
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53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
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54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
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55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
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56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
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57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
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58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
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59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
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60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
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61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
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62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
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63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
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64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
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65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
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66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
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67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
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68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996, 31), “translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by (Newmark 1988, 81), “translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.” &lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation, then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions. &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity, as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts, the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term, and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part, but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark (1988) has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9. &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark’s strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark (1988) were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However, the translator must be competent in using the translation procedures to provide an accurate translation. &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abdi, H. (2019). Translating culture-specific items (CSIs) as a conundrum for Iranian MA translation students: Considering the level of study. Journal of new advances in English Language Teaching and Applied Linguistics, 1(1), 88-109. &lt;br /&gt;
&lt;br /&gt;
Aguado-Gimenez, P., &amp;amp; Pérez-Paredes, P. F. (2005). Translation-strategies use: A classroombased examination of Baker’s taxonomy. Meta: journal des traducteurs/Meta: &lt;br /&gt;
Translators' Journal, 50(1), 294-311. &lt;br /&gt;
&lt;br /&gt;
Ahmadi, M. R.S and Nosrati, Fatemah. (2012). Domestication and Foreignization Strategies in Translation of Culture-Specific Items. Translations of English-Persian Children’s Literature. San Francisco: Grin Publishing. Google Books. &lt;br /&gt;
&lt;br /&gt;
Al Saleh, R. A. (2019). An Application of Newmark's Procedures to Muhammad Abul Quasem's Alleman, J. C. Bee. W. Ulitkin, I. Files, F., Zetzsche, J., Chatonnet-Marton, P. &amp;amp; y del Árbol, E. V. Translation Strategies. &lt;br /&gt;
&lt;br /&gt;
Al-Sofi, B. B. M. A., &amp;amp; Abouabdulqader, H. (2020). Bridging the gap between translation and culture: towards a cultural dimension of translation. International journal of linguistics, literature and culture, 6(1), 1-13. &lt;br /&gt;
&lt;br /&gt;
Baker, M., 1992. In Other Words: A Coursebook on Translation. London: Routledge, p.20–42. &lt;br /&gt;
&lt;br /&gt;
Blažytė, D., &amp;amp; Liubinienė, V. (2016). Culture-specific items (CSI) and their translation strategies in Martin Lindstrom’s&amp;quot; Brand sense&amp;quot;. Kalbų studijos, (29), 42-57. &lt;br /&gt;
&lt;br /&gt;
Bush, P. (1998) &amp;quot;Literary Translation.&amp;quot; In: M. Baker, ed. Routledge Encyclopedia of Translation Studies, London: Routledge, pp.127-130. &lt;br /&gt;
&lt;br /&gt;
Catford. J. C. (1965). A linguistic theory of translation. Oxford: Oxford University Press. &lt;br /&gt;
English Translation of Mohammad Al-Ghazali's Islamic Guidance.Literature and Culture, 6(1), 1-13. &lt;br /&gt;
&lt;br /&gt;
Gečaitė, L. (2020). Culture-Specific Items and Their Translation Strategies in Victoria Hislop's Novel The Sunrise.” (2020). &lt;br /&gt;
&lt;br /&gt;
Hassan, B. E. A. (2014). Between English and Arabic: A practical course in translation. &lt;br /&gt;
Cambridge Scholars Publishing. &lt;br /&gt;
&lt;br /&gt;
Hermans, T. (1999). Translation in systems. Manchester: St. Jerome Publication  House, J. (Ed.). (2014). Translation: a multidisciplinary approach. Springer. &lt;br /&gt;
Issa, A. L. S. M., &amp;amp; Hammood, L. H. R.- Quranic-Specific Phrases under the Study of Translation; Significance and Applications. &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. (33), p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. 33, p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Lambert, J. (1998) Literary Translation. In: M. Baker, ed. Routledge Encyclopedia of Translation Studies. London: Routledge, 130-134. &lt;br /&gt;
&lt;br /&gt;
Landers, Clifford E. (2001) Literary Translation: A practical guide. New Jersey University Press: Multilingual Maters. &lt;br /&gt;
&lt;br /&gt;
Lustig, Myron, W. and Koeser, Joline  (2003), Intercultural Competence: Interpersonal Communication Across Cultures, Boston: Allyn and Bacon. &lt;br /&gt;
&lt;br /&gt;
Malmkjær, K. (1993). Who Can Make Nice A Better Word Than Pretty? Collocation, Translation, and Psycholoinguistics. In: Baker, M., Francis, G. and Tognini-Bonelli, E. &lt;br /&gt;
eds. Text and Technology. Philadelphia/Amsterdam: John Benjamins Publishing Company. pp.213-32. &lt;br /&gt;
&lt;br /&gt;
Mosavat, S., &amp;amp; Rahimpour, S. (2016). The Most and Least Used Translation Strategies for &lt;br /&gt;
Conveying Culture-Specific-Items in Young Adult Literature from English into Persian. International Journal of Humanities and Cultural Studies (IJHCS) ISSN 23565926, 1853-1873. &lt;br /&gt;
&lt;br /&gt;
Munday, J. (1997). Systems in Translation: A computer-assisted systemic approach to the analysis of translation of García Márquez. Ph.D thesis, University of Bradford. &lt;br /&gt;
&lt;br /&gt;
Newmark, P. (2001). A Textbook of Translation. Shanghai: Shanghai Foreign Language &lt;br /&gt;
Education Press &lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. (1988). A Textbook of Translation. New Jersey: Prentice-Halls &lt;br /&gt;
&lt;br /&gt;
Nord, Christiane. (1997). Translating as a Purposeful Activity: Functionalist Approaches &lt;br /&gt;
Explained. Manchester: St. Jerome. Accessed 10 November. 2018. Google Books Schjoldager, A. (2008). Understanding translation. Academica: Århus. &lt;br /&gt;
&lt;br /&gt;
Silalahi, M., &amp;amp; Lubis, S. (2013). Translation Procedures of Cultural Terms Found In Sejarah Bilingual For Students of Senior High School. &lt;br /&gt;
Valipoor, K., &amp;amp; andAzizeh Chalak, H. H. T. (2019). Cultural-specific items in translation of the Holy Quran by Irving: 43-51. &lt;br /&gt;
&lt;br /&gt;
Venuti, L. (1995). The translator’s invisibility: A history of translation. London and New York: &lt;br /&gt;
Routledge &lt;br /&gt;
&lt;br /&gt;
Widiarto, O. V. V. (2016). The translation procedures of cultural expressions applied in a game of thrones translated into Perebutan Tahta novel by Barokah Ruziati (Doctoral dissertation, Dian Nuswantoro University).&lt;br /&gt;
&lt;br /&gt;
=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims to observe the development of translation studies through its different types, various strategies, styles and particular methods. In this paper, the readers are introduced to some famous translation scholars including their view of translation studies. At the further discussions, this study lets the readers acknowledge the main issues on translation studies, focusing on different styles of variations such as grammar, sentence structure, textual analysis, strategies and methods. This study may help those who are interested to conduct translation researches and help them by giving options of which theories is beneficial to their analysis. Moreover, it aims to explore the clear definition of translation as well as help the readers to understand the basic concept which are used in the field of translation. The present study, therefore, attempts to outline the scope of the discipline of translation studies and more importantly, it is an attempt to outline its activity that required a deep mastering of language, a good source of knowledge and target cultures.&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation, styles of variations, strategies&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
It is undoubtedly right that translation is important to share information. In line with these premise, the number of translation professionals is getting higher. In fact, the result of translation researches tends to help human daily life in term of evaluation, designing translator machines, and cultural studies.	 Therefore, translation means converting written information from one language into another. It is the new discipline appeared in the second half of the 20th century. The term “Translation Studies” was coined by James S. Holmes, an American-Dutch poet and translator of poetry, in his seminal paper “The Name and Nature of Translation Studies”.  Translation enables effective communication between people around the world. It is a courier for the transmission of knowledge, a protector of cultural heritage, and essential to the development of a global economy. Translation helps us to know about the developments in the field of creative arts, education, literature, business, science and politics. It has shifted from the traditional conception of the fixed, stable and unchangeable nature of the text and its meaning to a text with wide scope for variations. Translation also helps in nation building. In this globalised world, the demand for translation and language related services has increased many times. Translation is not only needed for the creation of national identity but has also become an essential tool for keeping pace with the processes of globalization and localization. The activity of translation has a long-standing tradition and has been widely practiced throughout history, but in our rapidly changing world its role has become of paramount importance. Nowadays, knowledge in which cultural exchanges have been widening, has been increasingly expanding and international communication has been intensifying, the phenomenon of translation has become fundamental. Be it for scientific, medical, technological, commercial, legal, cultural or literary purposes, today human communication depends heavily on translation and, consequently, interest in the field is also growing. Accordingly, the discussion, in the present study, proceeds primarily from the perspectives of “Translation Studies” and “Linguistics”. One major goal is to show the interrelationships between linguistics and translation, and how they benefit from each other. Nowadays, translation research has started to take another path, which is more automatic. The invention of the internet, together with the new technological developments in communication and digital materials, has increased cultural exchanges between nations. This leads translators to look for ways to cope with these changes and to look for more practical techniques that enable them to translate more and waste less. They also felt the need to enter the world of cinematographic translation, hence the birth of audiovisual translation. The latter technique, also called screen translation, is concerned with the translation of all kinds of TV programs, including films, series, and documentaries. This field is based on computers and translation software programs, and it is composed of two methods; dubbing and subtitling. In fact, audiovisual translation marks a changing era in the domain of translation.&lt;br /&gt;
In short, translation has very wide and rich history in the West. Since its birth, translation was the subject of a variety of research and conflicts between theorists. Each theorist approaches it according to his viewpoint and field of research, the fact that gives its history a changing quality.&lt;br /&gt;
&lt;br /&gt;
Discussion &lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation. For each type, a selection of examples will be considered for analysis based on translation theories and techniques. We will show that some chunks of text require literal translation, while other requires interpretive method. In addition, this paper will also examine various strategies and its styles of variations based on translational study. The following strategies will be presented in the paper as; &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	They involve text manipulation.&lt;br /&gt;
•	They must be applied to the process.&lt;br /&gt;
•	They are goal-oriented.&lt;br /&gt;
•	They are problem-centered.&lt;br /&gt;
•	They are applied consciously.&lt;br /&gt;
•	They are inter-subjective.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Most theorists agree that strategies are used by translators when they encounter a problem and literal translation is not useful. Different researchers have investigated and described various translation strategies from their different perspectives. It intends to show what translation strategies exist and when and why they are used by professional translators. Different scholars have various perspectives to the aspects of the act of translation, so, they define and describe different types of strategies. Bergen's (n. d.) classification of the strategies includes three categorizations which will be discussed mainly in this paper: &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	Comprehension strategies &lt;br /&gt;
•	Transfer strategies&lt;br /&gt;
•	Production strategies&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
An addition to this paper, styles of variations will also be introduced to the readers through different aspects and examples. The concept of style can be defined in terms of the distinctive way an individual or a group uses language, or better still the discourse used to perform distinct functions of language aimed at achieving specific purposes. However, this does not entail that style is simply a matter of form since it is the product of other components such as the genre of discourse, its semantics, syntax and phonology. Indeed, in order to analyze a given stylistic variation one needs an extensive checklist that includes lexical and grammatical categories, allusions, and figures of speech. Style can be understood to refer to the recurring typical features of the source text compared to the typical features of the translated text.  In a quantitative and qualitative analysis, this variation is shown to be influenced by several pragmatic and social factors, and to index the interpreters' stances towards source speakers and towards the immigrant court users who are the recipients of translations from English. It is argued that translation styles have profound consequences for limited English speakers, as the insistence on institutional norms in translating to them is viewed as a gate keeping behavior that may impede their full participation in the proceedings. &lt;br /&gt;
&lt;br /&gt;
What is translation? &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Translation went through various definitions going from a mere linguistics activity during the sixties, a cultural and communicative activity during the seventies reflects the social impacting activity in the latest founding of the literature. &lt;br /&gt;
“Translation is traditionally known as being the replacement of textual material in one language into equivalent textual material in another language”. &lt;br /&gt;
House (2015) mentions that translation is considered as the “replacement” of a text in the source language by a semantically and pragmatically equivalent text in the target language. It is strongly related to a source language and target language cultures. It requires a high level of mastery languages, an awareness of any contextual factors within which the discourse emerges. There is no need to mention how it affected civilizations through different areas of mankind history. For example, An Arab-Islamic civilizations. There have always been different directions on how one should or should not translate. In the Arab tradition, two main methods existed and were in complete divergence namely the literal and the free method. &lt;br /&gt;
On the other hand, in the Western tradition there are various methods currently exist namely, the linguistic, the hermeneutic, the interpretive, the functionalist, the interventionist, the poly-systemic and the text-typologist method.  More so, it may be important to point out that translation has been defined in many ways, and every definition reflects the theoretical approach underpinning it. &lt;br /&gt;
As Shuttlworth and Cowie (1997) observe throughout the history of research into translation, the phenomenon has been variously delimited by formal descriptions, echoing the frameworks of the scholars proposing them. For example, Bell (1991: XV) starts with an informal definition of translation, which runs as follows: the transformation of a text originally in one language into an equivalent text in a different language retaining, as far as is possible, the content of the message and the formal features and functional roles of the original text. &lt;br /&gt;
At the beginning of the ‘scientific’ (Newmark, 1988, p. 2) study of translation, Catford (1965, p. 20) described it in these terms, the replacement of textual material in one language (SL) by the equivalent textual material in another language. &lt;br /&gt;
Thirty years later, in Germany, the concept of translation as a form of ‘equivalence’ is maintained, as we can see from Koller’s definition (1995, p. 196): “The result of a text processing activity, by means of which a source language text is transposed into a target-language text. Between the resultant text in L2 (the target-language text) and the source text in L1 (the source language text) there exists a relationship, which can be designated as a translational, or equivalence relation”. Because complete equivalence (in the sense of synonymy or sameness) cannot take place in any of his categories, Jakobson (1959) declares that all poetic art is, therefore, technically untranslatable. That is, the translator has to take the question of interpretation into account in addition to the problem of selecting a TL phrase which will have a roughly similar meaning. Exact translation is impossible. In this regard, Bassnett (1996) claims that all texts, being part of a literary system descended from and related to other systems are “translations of translation of translations”: every text is unique and at the same time, it is the translation of another text. No text is entirely original because language itself, in its essence, is already a translation: firstly, of the non-verbal world and secondly, since every sign and every phrase is the translation of another sign and another phrase. However, this argument can be turned around without losing any of its validity: all texts are original because every translation is distinctive. Every translation, up to a certain point, is an invention and as such it constitutes a unique text.&lt;br /&gt;
In this analysis of the above definition, Manfredi (2008), points out that the above distinction can be divided into two main perspectives, those that consider translation either as a ‘process’ or a ‘product’. To this twofold categorization, Bell (1991, p. 13) adds a further variable, since he suggests making a distinction between translating (the process), a translation (the product) and translation (i.e., “the abstract concept which encompasses both the process of translating and the product of that process”. Moreover, thanks to advances in new technologies, today we can also incorporate into TS the contribution of corpus linguistics, which allows both theorists and translators analyses of large amounts of electronic texts (Manfredi, 2008). On the other hand, Halliday (1992, p. 15) takes translation to refer to the total process and relationship of equivalence between two languages; we then distinguish, within translation, between “translating” (written text) and “interpreting” (spoken text). Halliday, thus, proposes distinguishing the activity of “translation” (as a process) from the product(s) of “translating”, including both “translation” (concerning written text) and ‘interpreting’ (regarding spoken text.&lt;br /&gt;
“Translation is the production of a functional target text maintaining a relationship with a given source text that is specified according to the intended or demanding function of the target text.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Types of Translation&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation.&lt;br /&gt;
&lt;br /&gt;
Technical translation &lt;br /&gt;
&lt;br /&gt;
Technical translation is a type of specialized translation involving the translation of documents produced by technical writers, or more specifically, texts which relate to technological subject areas or texts which deal with the practical application of scientific and technological information. (Wikipedia) &lt;br /&gt;
Translators' main goal is to accurately translate the technical terminology to match the document and the message of the original content.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The benefits of technical translation&lt;br /&gt;
&lt;br /&gt;
A professional technical translation service is provided by translators with dual specialties, that is, professionals who are fluent in the language pair, but who are also experts in the field covered by the documents to be translated.&lt;br /&gt;
When you need to have your documents translated by a technical translator, translators who are not experts may not be able to provide the necessary solutions and terminology for a quality translation. If the translator is not an expert in the field, he/she will have to learn the new terminology while working. This means that translation will take longer, have higher chances of inaccuracies, and may result in higher costs. Therefore, the main advantages of hiring an agency specialized in this type of service are as follows:&lt;br /&gt;
&lt;br /&gt;
Literary translation&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Literary translation is the translation of creative and dramatic prose and poetry into other languages. This includes the translation of literature from ancient languages and the translation of modern fiction so that it can reach a wider audience. &lt;br /&gt;
Literary translation is of huge importance. It helps to shape our understanding of the world around us in many ways.                                                     Reading Homer and Sophocles as part of a classical education in school helps to build an understanding of history, politics, philosophy and so much more. Meanwhile, reading contemporary translations provides fascinating insights into life in other cultures and other countries.                                                       In a fast-paced world so rife with misunderstanding and confusion, such efforts to share knowledge and experiences across cultural boundaries should be applauded.&lt;br /&gt;
The translation of literature differs greatly from other forms of translation. The sheer size of the texts involved in literary translation sets it apart.                Tackling a translation that runs to hundreds of thousands of words is not a task for the faint-hearted. Nor is recreating poetry in a new language, without losing the beauty and essence of the original work.&lt;br /&gt;
One of the key challenges of literary translation is the need to balance staying faithful to the original work with the need to create something unique and distinctive that will evoke the same feelings and responses as the original. This can be particularly challenging when it comes to translating poetry.&lt;br /&gt;
Poems are written with incredible attention to detail. Not only are the words and phrases important, but the number of syllables and the entire rhythm of the completed work. It’s a challenging task to complete just in one language, let alone when trying to recreate a poet’s work during a translation. Daniel Hahn, director of the British Centre for Literary Translation, sums up the issue beautifully. &lt;br /&gt;
As literary translators will attest, a single word can be extremely troublesome. The author of a work of fiction has chosen that word for a good reason, so the translator must ensure that it is faithfully delivered in the target language. However, what if no direct translation is available? Or what if several options exist, each with a slightly different nuance? Urdu language translator Fahmida Riaz outlines her approach to such thorny issues.&lt;br /&gt;
For instance, “Every piece you translate comes from the pen of an individual, so you have to give it an individual treatment. I try to retain the ambience of the original culture, rather than the language, as it is reflected in the text.” &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Pragmatic translation&lt;br /&gt;
&lt;br /&gt;
Pragmatic translation is the basic assumption that provided a source language text contains no misstatements of fact, is competently written and has to be fully translated rather than summarized or functionally reorientated; one's purpose in translating it is to be referentially and pragmatically accurate. In this paper, I shall not deal with referential accuracy but concentrate instead on the pragmatic aspects of translation. As the term pragmatic translation may be used in a variety of ways, I should like to state my own definition of pragmatic, which derives from Charles Morris and ultimately from Charles S. Peirce. I am using pragmatic as one of the two factors in translation: pragmatic denotes the reader's or readership's reception of the translation, as opposed to referential, which denotes the relationship between the translation and the extra-linguistic reality it describes. &lt;br /&gt;
Translation is a properly way to a properly communication and pragmatics is how to use language in communication properly. By translation, many things from different languages and cultures can understand to each other. In other words, translation can be stated as a facilitator to make a communication runs well.&lt;br /&gt;
&lt;br /&gt;
===An Overview on Translation Studies  ===&lt;br /&gt;
&lt;br /&gt;
===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
&lt;br /&gt;
=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature  --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:45, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the researcher wants to highlight the different concepts about the fundamental question &amp;quot;what is idiomatic expression&amp;quot; of different critics, theorists and linguistic experts, and prominent scholars of translation studies. Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
&lt;br /&gt;
Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda Corelli 2006, 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984, 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992, 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to (Newmark 1981, 11), “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”&lt;br /&gt;
.	The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to (Corelli 2006, 53), English has a sizeable idiomatic base.&lt;br /&gt;
About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.&lt;br /&gt;
The main issue that idiomatic and fixed expressions pose for translators, according to (Baker 1992, 65), is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.&lt;br /&gt;
&lt;br /&gt;
Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.&lt;br /&gt;
&lt;br /&gt;
===Literature Review ===&lt;br /&gt;
In this chapter, the author/researcher defines the strategy and its different definitions from the perspective of different subjects and fields. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented. Krings defines it as the content of the project, while Seguinet divided the term into three steps. However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. &lt;br /&gt;
&lt;br /&gt;
The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward.&lt;br /&gt;
Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint.&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to (Seguinot 1989, 27) (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.&lt;br /&gt;
&lt;br /&gt;
Furthermore, (Loescher 1991, 8) defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot; As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998, 4) claim moreover, (Bell 1998, 188) distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.&lt;br /&gt;
&lt;br /&gt;
According to (Venuti 1998, 240), &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot; He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to (Jaaskelainen 2005, 15), product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.&lt;br /&gt;
&lt;br /&gt;
Furthermore, (Jaaskelainen 2005, 16) distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making. (Newmark 1988, 221) distinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;&lt;br /&gt;
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Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016, 13).&lt;br /&gt;
&lt;br /&gt;
The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010, 15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017, 54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
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Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985, 9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female.&lt;br /&gt;
Several research articles are found on translated work (license and khol do) of Urdu famous short stories writer Sadat Hassan Manto's from a different perspective like psychoanalysis, postcolonial, feminist approaches but to explore the problem of translations strategies face by translator Aatish Taseer during the process of translation has not been mention till date. To summarize this, the research includes a critical, in-depth, comprehensive analysis of issues that previously did not address.&lt;br /&gt;
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=== Theoritical Framework ===&lt;br /&gt;
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Different strategies have been used, like using an idiom of similar meaning and similar form, the idiom of similar meaning and different form, translation by Paraphrasing, translation by omission. The approach of employing idioms of similar meaning and form, according to Mona Baker, entails using an idiom in the target language that can express about the same meaning as the source language idiom, as well as having lexical similarity. On the other hand, this type of matching happens periodically as well as regularly.&lt;br /&gt;
&lt;br /&gt;
Similarly, employing idioms with similar meanings but different forms means that it is possible to locate an idiom or fixed expression in the target text language that has a similar meaning to the source idiom or expression but is made up of distinct lexical elements. Consider the case of English and French, both of which use the idiom mentioned above. In English, one good deed is rewarded with another, whereas in French, handsome deeds are rewarded with handsome deeds.&lt;br /&gt;
&lt;br /&gt;
Furthermore, we did not come across any idioms in the category mentioned above during translating idioms. To deal with this issue, the translators used the most popular approach, known as a translation by paraphrase, which is short, straightforward, and time-saving. When a match cannot be identified in the target language or when it appears improper to employ idiomatic language in target material due to aesthetic differences between the source and target languages, this is the most typical approach for translating an idiom from source to target language. However, one thing to keep in mind is that a perfect translation is not required is necessary or possible.&lt;br /&gt;
&lt;br /&gt;
Last but not least, to overcome the problem of idiom translation, the translator employs the strategy of translation by omission. This can be defined as an idiom being omitted entirely in the target text with a single word. This is done because the idiom has no close match in the target language; its meaning cannot be easily paraphrased or due to stylistic reasons. &lt;br /&gt;
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Data analysis Techniques:&lt;br /&gt;
Textual analysis is the method of data analysis in qualitative research that brings forth the hidden and potent message, structure, and function of research in giving text, Alan Mckee (defines textual analysis as whenever we perform textual analysis on the text, we make an educated guess at some time of the most likely interpretations that might be made of that text (Alan Mckee 2001, 3)&lt;br /&gt;
Analysis of the translation of short stories in light of Mona baker's theory &amp;quot;khol do and license&amp;quot; are short stories written by Sadat Hassan Manto and translated by many translators from Urdu into English. During translation, the translator adopted many strategies for translating idiomatic expression, sometimes by Paraphrasing, sometimes by omission, sometimes using similar idioms of form and meaning while sometimes using different words and the same form, the whole.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:51, 12 December 2021 (UTC)&lt;br /&gt;
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===Discussion and Analysis===&lt;br /&gt;
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The chapter analyzes and discusses all the data collected by the author/researcher from different sources. All the examples of idioms are first identified, then translated into the target text, and back-translated for the sole purpose of exploring the strategies being used by the translator. A separate section is given to every strategy with its related example. Moreover, the idiomatic expression, the target work for finding, is highlighted through the bold letter.&lt;br /&gt;
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4.1	Translation by Paraphrasing:&lt;br /&gt;
&lt;br /&gt;
Based on our findings, the most often used strategy was &amp;quot;translation by paraphrasing.&amp;quot; An inspection also reveals that Aatish Taseer preferred this strategy. Here are some examples applied by the translators, and in the following section, the logic behind their preference towards this strategy is elaborate. The following are examples from two short stories of Sadat Husain Manto's &amp;quot;khol do&amp;quot; and &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 1: &lt;br /&gt;
&lt;br /&gt;
ST: Sirajuddin ne subah das baji anki kholi to logo ka ail mutalatam samandar deka.&lt;br /&gt;
&lt;br /&gt;
TT: Ten a.m., Siraj Uddin opens his eyes on the cold floor of the camp, seeing the swelling sea of men.&lt;br /&gt;
&lt;br /&gt;
BT: sub ke das baji jab Sirajuddin ne apni anki koli to logo ka aik ublaha howa samandar ka nizara dekni laga.&lt;br /&gt;
&lt;br /&gt;
So, the above idioms are literal idioms being translated with the help of Paraphrasing because there is no perfect equivalent of mutalatam words in English languages. A similar look at another idiom from short stories &amp;quot;khol do.&amp;quot;&lt;br /&gt;
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Example 2:&lt;br /&gt;
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ST: Khuda tomahra bala kari.&lt;br /&gt;
&lt;br /&gt;
TT: Your God will reward&lt;br /&gt;
&lt;br /&gt;
BT: Is ka badla khoda tomahi di.&lt;br /&gt;
&lt;br /&gt;
Here, the word reward is being used for Bala Kari, an example of transitional by Paraphrasing.&lt;br /&gt;
Let  take another example from &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
&lt;br /&gt;
ST: unkho nai Jan khateli pa rak kar sakena ko donda.&lt;br /&gt;
&lt;br /&gt;
TT: even putting their lives online, they search sakina &lt;br /&gt;
&lt;br /&gt;
BT: apni zindagio ko khatri me dal kar unkho nai sakina ko dond nekala.&lt;br /&gt;
&lt;br /&gt;
The above idioms are examples of pure idiom translated from Urdu into English with the help of paraphrases strategies. However, under the same strategies, the idioms of another short story of Manto,s &amp;quot;license,&amp;quot; are translated by Aatish Taseer. Some of the examples are given below.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
ST: Abu kochwan bara cheel jabela ta. It is the binomial type of idioms taken from the first sentence of the short story &amp;quot;license&amp;quot; by Sadat &lt;br /&gt;
Hasan Manto &lt;br /&gt;
&lt;br /&gt;
TT: Abu kochwan is stylish man.&lt;br /&gt;
&lt;br /&gt;
BT: Abu kochwan aik wazahdar admi ta.&lt;br /&gt;
&lt;br /&gt;
From the above idiom, it is clear that there is no perfect equivalence of cheela chabela idiom in English; that is, the translator goes &lt;br /&gt;
through paraphrasing strategies. Look at another example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
ST: Lein har waqat bank bani rekhi ka usi be had showk ta&lt;br /&gt;
&lt;br /&gt;
TT: He had a weakness for style and fashion.&lt;br /&gt;
&lt;br /&gt;
BT: Dan saj ke rekhna uski kamzori me sai ik ta.&lt;br /&gt;
&lt;br /&gt;
So all of the above examples, which are analyzed one by one, are examples of idioms being translated through paraphrasing strategies. (De Beaugrande and Dressler 1981, 50) define paraphrases as &amp;quot;approximate conceptual equivalence among outwardly different material.&amp;quot; Similarly, in this regard, Hirst defines paraphrases as &amp;quot;talk(ing) about the same situation in a different way.&amp;quot; Munday declared that &amp;quot;equivalence is particularly useful in translating idioms and proverbs” For instance, if the English idiom like a bear with a sore head is rendered into Persian as (mesle borje zahremar), meaning like a tower of snake venom, the strategy of equivalence has been applied. &lt;br /&gt;
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According to Leonardi, &amp;quot;Equivalence can be said to be the central issue in translation.&amp;quot; In this regard, house believes that &amp;quot;a translation text should match not only its source text in function but also employ equivalent situational-dimensional means to achieve that function&amp;quot; (Baker 2002, 49).  who shares this approach, states that equivalence is used &amp;quot;for the sake of convenience—because most translators are used to it rather than because it has any theoretical status&amp;quot; (Kenny 1998, 77). &lt;br /&gt;
&lt;br /&gt;
Despite different attitudes to the concept of equivalence, most specialists pay much attention to its meaning in the theory of translation. The translation is a form of communication, and that is why it is vital to establish equivalence between the source text and the target text. Although Vinay and Darbelnet believe that equivalence is used differently than in modern translation theory, it is evident that equivalence is one of the basic concepts of translation that cannot be neglected. Consequently, based on the Above mentioned studies using Paraphrasing in translation stands as the core concept in the process of translation, and still, most of the translators cling to it for producing a more comprehensible and explicable text. These language ideas and translation models are ideal constructs, presented abstractly in order to be differentiated precisely. They may exist in an uneasy combination in actual theories and practices, resulting in logical tensions or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation. Theories and actions must be contextualized in historical settings. They've been utilized as analytical tools to describe various topics in section introductions. Theoretical writings and current events these language notions and translation models are ideal constructs expressed in an abstract manner in order to be distinguished precisely in real-life hypotheses they may exist in an uncomfortable mix, resulting in logical conflicts or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
4.2	Using an idiom of Similar Meaning and Form &lt;br /&gt;
&lt;br /&gt;
As mentioned earlier, this strategy type is being used by Aatish Taseer during their translated work of Manto's short stories &amp;quot;khol do&amp;quot; and&amp;quot; license&amp;quot; on an occasional basis. Some examples are mention below.&lt;br /&gt;
&lt;br /&gt;
From khol do.&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
ST: Larki ka rang zard hogaya.&lt;br /&gt;
&lt;br /&gt;
TT: The girl's face became fail&lt;br /&gt;
&lt;br /&gt;
BT: larki ka rang zar hogya.&lt;br /&gt;
&lt;br /&gt;
Similarly, another example from the license is&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: Abu our us ke mat beer hogaie&lt;br /&gt;
&lt;br /&gt;
TT: They fall in love with each other.&lt;br /&gt;
&lt;br /&gt;
BT: WO ik dosri ke mokhbat me geriftar hogaie&lt;br /&gt;
&lt;br /&gt;
The above idioms are pure ones and are being translated with the help of similar meanings and similar forms.&lt;br /&gt;
&lt;br /&gt;
The procedures: transposition, modulation, equivalence, and adaptation, and when it comes to defining the term Equivalence, (Vinay and Darbelnet 2000, 90) propose that it consists in rendering &amp;quot;the same situation … by two texts using completely different stylistic and structural methods&amp;quot;, and when it comes to translating idiomatic expressions like &amp;quot;Il pleut à seaux&amp;quot; it can be translated as &amp;quot;It is raining cats and dogs&amp;quot; using the idiom of similar form and meaning in the target language.&lt;br /&gt;
&lt;br /&gt;
As (Baker 1992, 12) states, this strategy involves using an idiom in the TL which conveys roughly the same meaning as that of the source language idiom and, in addition, consists of identical lexical items. The salient point is that this kind of match can only occasionally be achieved, which cannot be picked up more often by translators. Accordingly, both translators mentioned in the current study had quite a slim chance of using this strategy type. &lt;br /&gt;
&lt;br /&gt;
4.3 Using an idiom of similar meaning but different form:&lt;br /&gt;
&lt;br /&gt;
During translating Manto short stories, &amp;quot;khol do&amp;quot; and &amp;quot;license,&amp;quot; some of the idioms are translated with the help of this strategy. Some of the examples are given below from two different short stories.&lt;br /&gt;
&lt;br /&gt;
Example number one is from the short story &amp;quot;khol do&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
ST: Aur bolwai gos ayai thee?&lt;br /&gt;
&lt;br /&gt;
TT: The roitors come abroad.&lt;br /&gt;
&lt;br /&gt;
BT: pasadi bahar agai hai.&lt;br /&gt;
&lt;br /&gt;
The above idiom is a pure type of idiom being translated with the help of above mention strategy. The word rioter is being used for bolwai, which is not a perfect word for bolwai. In Urdu bolwai, people believe in violence when minorities or the low population of any country want some rights. These people stop them by using violence, burn down their properties, rapes women, and do things like that. Another example from the license is below.&lt;br /&gt;
&lt;br /&gt;
Example 9:&lt;br /&gt;
&lt;br /&gt;
ST: Dosri kotwal abu ko dek kar jal ban ho jati.&lt;br /&gt;
&lt;br /&gt;
TT: The other coachman burn with envy.&lt;br /&gt;
&lt;br /&gt;
BT: Abu ke kamyabi dek kar aur kotwal abu sai khasad karni lagi’&lt;br /&gt;
&lt;br /&gt;
The above idioms are a pure idiom that reflects the effect of jealousy between competitors to achieve equivalency. Aatish Taseer uses envy word for jal ban instead of other which have similar meaning but different form. Look at the other example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: Dino lat vo lagal se kam karni laga.&lt;br /&gt;
&lt;br /&gt;
TT: Dino came with an excuse.&lt;br /&gt;
&lt;br /&gt;
BT: Dino abb bahi tarashni laga.&lt;br /&gt;
	&lt;br /&gt;
The above idioms are types of binomial idioms translated with the help of idioms with similar meanings and different forms. (Newmark 1988, 81) mentions the difference between translation methods and translation procedures. He writes that &amp;quot;[w]hile translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language&amp;quot; (Newmark 1988, 81). Idiomatic translation in his definition reproduces the 'message' of the original. However, it distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original, leading to using an idiom of similar meaning but a different form. Besides, it is often possible to find an idiom or fixed expression in the target language with a meaning similar to that of the source idiom or expression but which consists of different lexical items (Baker 1992, 12). Therefore, translators discover idiomatic expressions in the target language with different forms than in the source language. In the current study, the translators approached this strategy merely for 9% of the total times, which means the frequency of Iranian and English idioms with the same meaning and different forms is not considered high. &lt;br /&gt;
&lt;br /&gt;
4.4 Translation by omission:&lt;br /&gt;
&lt;br /&gt;
A translator is less using these strategies, and we did not find any clue on this type of strategy in an area under consideration.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:48, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== Findings===&lt;br /&gt;
&lt;br /&gt;
(Mandelbit 1995) believed that idioms with different cognitive mapping in the target language would be more challenging to translate. After conducting study and data analysis of collected data, the result revealed that the translator frequently used three out of four strategies of the Mona Baker model during the translation process, which is a translation by Paraphrasing, translation by similar meaning and similar form, translation by similar meaning and different form. In contrast, translation by omission does not found in his work.&lt;br /&gt;
After detail and careful analysis of data, more than half of idioms like &amp;quot;swelling sea of man,” my lord break his arrogance, “weakness for style and fashion.&amp;quot; As I mentioned earlier, many more are translated under the umbrella of Paraphrasing, which is considered the most common method used for translating idioms.&lt;br /&gt;
&lt;br /&gt;
Similarly, we also reflect strategies like similar meaning and different form and similar meaning and similar form. The idiom &amp;quot;rioter came abroad,” burn with envy,” The girl's face became pale, &amp;quot; They fall in love with each other&amp;quot; are translated with the help of two mention strategies, respectively.&lt;br /&gt;
&lt;br /&gt;
Although translation by omission is a strategy used on rare occasions because of its meaning, its meaning cannot be easily paraphrased or stylistic reason. Here, the researcher also did not find any idiom translated with the help of the omission strategy.&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
Go through detailed discussion and analysis of data collected from my source. We finally concluded that the idioms present in two short stories, &amp;quot;khol do&amp;quot; and &amp;quot;License,&amp;quot; are translated under the frame of Mona Baker's idiomatic model. Translation by Paraphrasing is mainly used while idioms of similar meaning and form and idioms of similar meaning and different forms are used occasionally. The researcher discusses all the strategies with related examples in the order of maximum used to minimum used. The strategy by omission did not find it works. All the data are collected from different sources and analyzed with the help of different researcher tools, and the result is written in light of the finding. Different from previous studies, the writer presents the strategies to translate idioms by each type of idiomatic expression found in the story. From the result, it is considered the translation of idiomatic expressions in the story is quite accurate. As the number of accurate data is more the data which is not related to the translation. We take conclusion from the translation through idiomatic expression and paraphrasing is the best way to translate a novel or a story however it is very difficult job to do because it needs more accurate and precise knowledge about the source language and an inspiring method to express ideas in the target language. However, translation is thing through which we can connect the world with each other and also we can study and observe diverse cultures.            &lt;br /&gt;
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&lt;br /&gt;
=== References ===&lt;br /&gt;
Abu-Saydeh, A. F. (2004). Translation of English idioms into Arabic. Babel, 114-131.&lt;br /&gt;
&lt;br /&gt;
Ahsan, S. (2020). A comparative study of two translations of manto's short story &amp;quot;Toba Tek&amp;quot;. International Journal of English Language Studies, 12-27.&lt;br /&gt;
&lt;br /&gt;
Alexander, R. J. (1987). Mimeograph. In R. J. Alexander (Ed.) Collocation and Culture. Trier: University of Trier, West Germany.&lt;br /&gt;
&lt;br /&gt;
Al-Qinai, J. (2000). Translation quality assessment. strategies, parameters and procedures. Translator's Journal, 497-519.&lt;br /&gt;
&lt;br /&gt;
Bayashi, J. (2020). Japanese-English translation: An advanced guide. Oxfordshire: Routledge.&lt;br /&gt;
&lt;br /&gt;
Das, V. &amp;amp;. (1995). Critical events: An anthropological perspective on contemporary India. New Delhi: Oxford Printing Press.&lt;br /&gt;
&lt;br /&gt;
Mufti, A. (2007). The Language of English India. In I. &amp;amp;. End (Ed.) Enlightenment in the Colony. Princeton University Press.&lt;br /&gt;
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Waka Xia, L. (2019). A discourse analysis of news translation in China. Syydney: Routledge.&lt;br /&gt;
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= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
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===Ambiguity===&lt;br /&gt;
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===Lexical and Structural Mismatches===&lt;br /&gt;
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===Multiword units: Idioms and Collocations===&lt;br /&gt;
&lt;br /&gt;
===Summary===&lt;br /&gt;
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===Further Reading===&lt;br /&gt;
&lt;br /&gt;
=刘胜楠 A Case Study of ''Ne Zha'' on Subtitle Translation Strategies from the Perspective of Skopos Theory= &lt;br /&gt;
[[Trans_Type_EN_15]]&lt;/div&gt;</summary>
		<author><name>Atta Ur Rahman</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=131241</id>
		<title>Translation types, strategies, styles, methods</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=131241"/>
		<updated>2021-12-12T09:51:12Z</updated>

		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* Theoritical Framework */&lt;/p&gt;
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&lt;div&gt;'''Translation types, strategies, styles, methods'''&lt;br /&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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==Abstract==&lt;br /&gt;
''Legend of Zhen Huan'', as an excellent Chinese TV series, has successfully entered the American market. However, the American version of Legend of Zhen Huan still has some shortcomings in translation. By comparing and analyzing the subtitle texts of the ''Legend of Zhen Huan'' in China and the United States, this paper aims to discuss the problems existing in the overseas translation of the ''legend of Zhen Huan'' and the translation strategies and methods adopted in the subtitle translation of the American version, so as to provide some enlightenment for Chinese costume dramas to reach the world in the future.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
Translation strategy and translation methods; ''Legend of Zhen Huan''; Subtitle translation&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
The TV series ''Legend of Zhen Huan'' is Imperial-harem competing play produced by the Beijing Television Arts Center in 2011. This play is adapted from a novel of the same name written by Liu Lianzi, which mainly tells the story of the young girl Zhen Huan growing up from an unsophisticated young girl to an empress dowager who is good at politics. Since its debut in China in 2012, ''the Legend of Zhen Huan'' has been a hit among Chinese audiences, with its ratings rising and even forming “Zhen Huan craze” for a time. The reason why the play has received so much praise, on the one hand, is that the film and television script is well-produced; on the other hand, it is because the plots and dialogues of the characters in the play cover a wealth of historical and cultural knowledge, embodying the profundity of Chinese culture.&lt;br /&gt;
Due to its great success in the domestic market, the series finally attracted the attention of foreign producers: the American team adapted the original ''Legend of Zhen Huan'', cutting the 76-episode original drama into six episodes,which was officially launched on Netflix’s paid website in the United States on March 15, 2015. It is the first Chinese TV series to be broadcast on mainstream TV stations in the United States. &lt;br /&gt;
However, the American version of the ''Legend of Zhen Huan'' failed to be sought after by audiences in the US, with most viewers abandoning the show after only one or two episodes.The English lines of the ''Legend of Zhen Huan''’s have ever been criticized by some Chinese audiences. After a deep study of the reason, in addition to the lack of content caused by a large amount of deletion and cutting, another important reason is the insufficiency of subtitle translation. This paper attempts to explore the translation strategies of the subtitle of ''Legend of Zhen Huan'', hoping to provide some inspiration for the subtitle translation of domestic film and television works of the same type.&lt;br /&gt;
&lt;br /&gt;
==Literature Review==&lt;br /&gt;
&lt;br /&gt;
===Previous studies in Subtitle Tranlation abroad===&lt;br /&gt;
In the early 1970s, Doller Up (1974) published a paper entitled “On Subtitle in TV Programs” on Babel, an authoritative journal of the International Association of Translators, which was the first time that scholars paid special attention to subtitle translation. In addition, he creatively pointed out the great value of TV subtitles to foreign language teaching, and then made contributions to the cause of education.&lt;br /&gt;
&lt;br /&gt;
In 1976, Istvan Fodor published a book called Film Dubbing: Aspects of Phonology, Semiotic Aesthetics, and Psychology, which centered on film dubbing from an acoustic perspective. Fodor argues that because each country’s language and culture are unique and irreplaceable, it is almost impossible to achieve perfect “synchronization” in all aspects of the translation of film(Fodor 1976:82).&lt;br /&gt;
&lt;br /&gt;
In 1982, Christopher Titford first proposed the concept of “restricted translation” in his article “Subtitling: Restricted Translation”. He believes that the limitations of film and television as a medium themselves are the main cause of problems encountered by translators in practice (Titford 1982:113).&lt;br /&gt;
&lt;br /&gt;
In 1992, Ivarsson, a Swedish subtitling translation scholar, published his book Subtitling for Media: A Handout of Art, which can be said to be the first comprehensive study of subtitling translation works in Europe. In this book, Ivarsson introduces the development of subtitle translation technology in detail. The most representative subtitle translation scholars are Gambill and Gottlieb, who are two translation theorists. Yves Gambill, a Finnish translator, is a very important expert in the field of film and television translation. Gambill has a wide range of research fields, he has compiled a large number of academic monographs, such as language transfer and Audiovisual Communication: bibliography, which discusses the classification of translation patterns, translation strategies, translation audience and so on (Gambill 1997).&lt;br /&gt;
&lt;br /&gt;
===Previous studies on Subtitle translation at home===&lt;br /&gt;
The research on subtitle translation in China mainly focuses on the English translation of Chinese films, and a large number of such papers and articles have been published, which are also the most representative research results of subtitle translation in China. In addition, with more and more domestic films moving toward the international stage, some attention has been paid to the study of Chinese subtitles.&lt;br /&gt;
&lt;br /&gt;
The study on Chinese and English subtitle translation can be divided into several fields, including film and television language characteristics, subtitle translation methods, subtitle translation history and so on.&lt;br /&gt;
&lt;br /&gt;
Subtitle translation methods can be broadly divided into two categories. One category refers to some practical translation methods and skills summed up by translators based on their years of translation experience, such as the seven kinds of experiences of film and television translation proposed by Qian Shaochang (2000), which stresses the importance of “translation” in the output of films and TV plays. The other is related to domestic MA papers. They usually start with some translation theories, such as German functional translation theory, Eugene Nida’s functional equivalence theory, relevance theory, and Susan Basnett’s cultural translation theory, and finally conclude translation methods such as domestication, foreignization, literal translation, free translation, omission and so on.&lt;br /&gt;
&lt;br /&gt;
In recent years, with the increasing popularity of American TV series in China, the phenomenon of online subtitle translation has begun to attract attention from all sides. As time went by, subtitle translation goes beyond the simple purpose of satisfying the entertainment needs of movie fans, and begin to be applied to teaching practice and students’ self-learning process. This phenomenon is bound to attract academic attention. For example, Wang Hui (2005) discussed this issue in his article “The Impact of Subtitling on Vocabulary Acquisition”. This paper draws some conclusions which are beneficial to foreign language teaching.&lt;br /&gt;
&lt;br /&gt;
However, there are still many deficiencies in the study on subtitle translation. The only literature we can refer to is few books on the translation of film and television subtitle. In other words, subtitle translation is not discussed in detail.&lt;br /&gt;
&lt;br /&gt;
==Subtitle translation features==&lt;br /&gt;
&lt;br /&gt;
===Subtitle translation needs to be brief and comprehensive===&lt;br /&gt;
Subtitle translation should not be lengthy for two reasons: First, because the screen keeps switching, each screen stay can not be very long, the scene with the character’s dialogue switches over more quickly, in a matter of seconds, which is fleeting. Second, whether it is the large screen in the cinema or the small screen in the home, due to space constraints, if the subtitle translation is not simple enough, it will lead to an increase in the number of words in the target language, not to mention the English words that take up more space than Chinese phrases. English words take up more space than Chinese phrases.&lt;br /&gt;
&lt;br /&gt;
Take the Chinese phrase “Computer”for example, the English equivalent word is computer. The Chinese verb “来”corresponds to the English word “Come”. In general, English words have more characters than their Chinese counterparts, except in rare cases. Since the length of the word can not be artificially controlled, subtitle translation will put a higher demand on the number of words. In a typical presentation, Chinese and English subtitles are displayed simultaneously at the bottom of the screen, up to two lines of Chinese and two lines of English.&lt;br /&gt;
&lt;br /&gt;
If there are too many words, the limited space can not accommodate in a few seconds, the audience will have a dazzling feeling as well. Therefore, one of the distinctive features of subtitle translation is its concise use of words.&lt;br /&gt;
&lt;br /&gt;
===Subtitling translation requires natural equivalence===&lt;br /&gt;
The subtitling of the target language should be as natural as the subtitling of the source language. The subtitle translation discussed in this paper is mainly about the dialogue of the characters in the play. On the one hand, the style of dialogue is colloquial, in this sense,It is important   for the translator to pay attention to whether the subtitle translation that the target language audience can hear and see is in line with their daily speaking style.If the original spoken language is translated formally and rigidly, the audience of the target language will feel less natural and fluent, and their movie-watching experience can not be comparable with that of the source language audience. On the other hand, the spoken language features of the characters can clearly shape the characters in the play. If the translator does not grasp the spoken features of the characters, the target audience can not understand the character’s connotation as well as the source audience.&lt;br /&gt;
&lt;br /&gt;
Therefore,if a character needs to say something filthy, or even taboo, to make the character stand out, the subtitle translator must also translate the same filthy and taboo.These taboos should inevitably appear in the subtitle translation, and we should not mince words about them. The same is true of English to Chinese subtitle translation and Chinese to English translation. Because these taboo words are the extension of the role connotation, improper handling will affect the target audience's understanding of the connotation of the role.&lt;br /&gt;
&lt;br /&gt;
===Subtitle translation needs to be easy to understand===&lt;br /&gt;
The film and Television Play is the Popular Entertainment Program, so subtitle translation should be clear at a glance. There are thousands of people watching TV dramas, and their knowledge and cultural level vary widely, and their appreciation level is naturally mixed.Film and TV series have such a wide audience, which requires subtitle translation to take care of the needs of the majority of the audience whether from the perspective of box office and Audience Rating, or from the perspective of cultural communication.&lt;br /&gt;
&lt;br /&gt;
==Theory of Domestication and Foreignization==&lt;br /&gt;
In the process of translation, the translator should determine the general direction of translation, cultivate a good sense of culture, and fully understand that translation is an important feature of information exchange across different languages and cultures. But how to achieve that? There are two opposite strategies in translation: foreignization and domestication. The terms of domestication and foreignization were put forward by Laurence Venutti in his book Translators’ invisibility in 1995:&lt;br /&gt;
&lt;br /&gt;
===Domestication===&lt;br /&gt;
The domestication strategy is to localize the source language, take the target language or target readers as the destination, and convey the content of the original text in the way that the target language readers are accustomed to.Domestication requires the translator to be closer to the target language reader, and the translator must speak like the native author.This translation strategy will often make the translation transparent, smooth, relaxed and natural, close to the reader to the greatest extent, so as to dilute the strangeness brought by the original text.In film and television subtitle translation, domestication is often used in order to make the audience understand the film smoothly.&lt;br /&gt;
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===Foreignization===&lt;br /&gt;
The foreignization strategy is completely opposite to the domestication strategy, which is oriented by the source language culture and that &amp;quot;the translator should not disturb the author as much as possible to make the reader close to the author&amp;quot;.Foreignization advocates believe that the main purpose of translation is cultural communication, so the translation should try its best to preserve the language and cultural information contained in the source language.Only in this way can the exchange and fusion of source and target cultures be achieved through translation. In addition, they believe that the translator should believe the reader’s imagination and intelligence to the utmost, and believe that when reading the translated version, the reader should not only understand the simple words, but also understand the foreign culture through the words, and they have the capacity to understand the culture. &lt;br /&gt;
&lt;br /&gt;
Of course, as two translation strategies, domestication and foreignization are the unity of opposites and they complement each other. Absolute domestication and absolute foreignization do not exist.&lt;br /&gt;
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==Case Study==&lt;br /&gt;
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===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
The essence of “foreignization”is “the tendency toward the original author”, that is, the translator tries to be close to the original author in his translation (Xiong Bing, 2014). In the words of the Friedrich Schleiermacher, this means that the translator“Tries not to disturb the original author, but to take the reader to the original author”(Robinson, 2006:229) . Specifically in Translation, the translator tries to retain the original language, literariness, cultural characteristics and exotic customs (Xiong Bing, 2014) . Therefore, the nature of foreignization strategy is mainly in favor of the original author, and its defects are mainly reflected in the readability of the translation. In other words, the translation may be blunt and not well received and understood by the audience. Therefore, the translation effect is not ideal for the target audience.&lt;br /&gt;
&lt;br /&gt;
====Literal Translation====&lt;br /&gt;
Literal translation means keeping both the content and the form of the original text in the translation when the language conditions permit, especially the metaphor, image, national and local color of the original text.The vast majority of subtitle translation of the Us version of ''Legend of Zhen Huan'' adopts literal translation. Look at the following example:&lt;br /&gt;
&lt;br /&gt;
Example 1&lt;br /&gt;
&lt;br /&gt;
Chinese version：嬛嬛一袅楚宫腰。&lt;br /&gt;
&lt;br /&gt;
American version：the slim waist of the concubines of the Chu palace.&lt;br /&gt;
&lt;br /&gt;
For the word “Huan”in the name of Zhen Huan, the American version uses the Foreignization method, which is translated literally as the slim waist of the concubines of the Chu palace.Western audiences may be confused by the subtitles,Western audiences may be confused by the subtitles, because Zhen Huan is clearly a woman from the Qing Dynasty, how come another Chu Palace? In terms of accuracy and the conveying of cultural context, this translation is well-done, but it creates a barrier for the audience to understand. Therefore, the translation can throw out on its real meaning, such as translated into As my name, Huan, means graceful women with slim waist, &amp;quot;Chu palace&amp;quot; here means can be omitted.&lt;br /&gt;
&lt;br /&gt;
Example 2&lt;br /&gt;
&lt;br /&gt;
Chinese version：一片冰心在玉壶&lt;br /&gt;
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American version：A jade vessel is the symbol of a pure heart.&lt;br /&gt;
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“Jade Vessel”in Chinese has a unique associative meaning, while the meaning of these words in English is vacant. Western audiences just think that Dr. Wen is evaluating his character, but they can’t hear his pure love for Zhen Huan, so on the basis of foreignization, it’s better to add some domestication translation to make it easier for the audience to understand.&lt;br /&gt;
&lt;br /&gt;
The American versions of examples 1 and 2 are very literal and concise translations, because the original subtitles have no hidden meaning.However, due to the wrong choice of translation methods, a small number of translated subtitles are just like translation cavities.If the cultural significance of the original text is lost, the translation may be regarded as a failure.In a sense, actors’ performances and lines are the &amp;quot;booster&amp;quot; of the plot development of the TV series.However, if the audience can not understand the original meaning, the story will be much less attractive in the eyes of the audience.For example:&lt;br /&gt;
&lt;br /&gt;
Example 3&lt;br /&gt;
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Chinese version：“赏你一丈红”&lt;br /&gt;
&lt;br /&gt;
American version：Then I will award Attendant Xia the Scarlet Red.&lt;br /&gt;
&lt;br /&gt;
In the original subtitle of example 3, “一丈红” (yi zhang hong,  literally “two-meter-long red”) is used to punish a palace maid or a  concubine who had done something wrong in China’s ancient imperial palace. The specific content of the penalty goes as follows: a two-meter-long and two-inch-thick board was used by the performer to give the guilty palace maid or concubine a good beating on their waist or the place below it until their bones were broken and the blood gushed out.   Looking from the distance, you will see that the blood covered a long distance. Thus, it is called “一丈红”. &lt;br /&gt;
&lt;br /&gt;
In the American version of Legend of Zhen Huan, it is translated into “the Scarlet Red”. the word Scarlet itself means “Lewd and sinful,”as in the Scarlet letter. It is very appropriate to translate &amp;quot;red&amp;quot; with scarlet. However, this partial literal translation runs counter to the American audience’s way of thinking, which they think it as nothing more than a horror show. In this way, the specific penalty content will be lost, and the target audience can't feel that the harem struggle is everywhere in the court, and can't get the equal effect for them.&lt;br /&gt;
&lt;br /&gt;
In this way, the specific content of the penalty will be lost, the target audience can not feel the Harem struggle existed everywhere in the imperial court and the equivalent effects cannot be obtained for them.&lt;br /&gt;
&lt;br /&gt;
====Zero Translation====&lt;br /&gt;
The so-called &amp;quot;zero translation&amp;quot; means that some elements of the source language are directly introduced into the target language without the ready-made words in the target language (Xiong Bing, 2014). This translation method is mainly used to translate the names of people and officials in the English version of the ''Legend of Zhen Huan''. That’s because in ancient China, there was a very strict patriarchal system with the ideas of three cardinal guides and the five constant virtues.&lt;br /&gt;
&lt;br /&gt;
In the eyes of the Chinese people, the distinction between the titles of concubines and concubines is clear at a glance, but it is difficult for foreigners to see these things, because medieval European monarchs were nominally allowed only one wife, there is no such complicated hierarchy of appellation among women. Therefore, such titles as &amp;quot;贵妃&amp;quot;, &amp;quot;妃&amp;quot;, &amp;quot;嫔&amp;quot;, &amp;quot;贵人&amp;quot;, &amp;quot;常在&amp;quot; and &amp;quot;答应&amp;quot; are presented in a dynamic equivalent way (words with similar functions in the source language), for example:&lt;br /&gt;
&lt;br /&gt;
Example 4&lt;br /&gt;
&lt;br /&gt;
熹贵妃——Noble Consort Xi    华妃——Consort Hua&lt;br /&gt;
&lt;br /&gt;
莞嫔 ——Concubine Huan       沈贵人——Lady Shen&lt;br /&gt;
&lt;br /&gt;
夏常在——Attendant Xia       小主——Young Mistress&lt;br /&gt;
&lt;br /&gt;
敦亲王：Prince Dun            舒太妃：Consort Dowager Shu&lt;br /&gt;
&lt;br /&gt;
Example 4 only shows a few official titles of the characters in the ''Legend of Zhen Huan''. However, the translation subtitles in this example reveal a subtitle rule that the American version of the ''Legend of Zhen Huan'' Uses Zero Translation for personal names and free translation for official titles. And we can clearly see the efforts of translators to represent this hierarchical culture in ancient China. However, this method of translation can not meet the needs of the current audience, because the ancient Chinese culture is broad and profound, and the official titles of emperors and concubines in the play conform to the traditional Chinese culture&lt;br /&gt;
&lt;br /&gt;
However, the cultural ideologies of the American people and the Chinese people are very different. Traditional translation can not convey the characteristics of the characters and the intensification of their contradictions. The American people have not experienced the five thousand years of slavery and feudalism in China, nor do English dictionaries or translation related books have Chinese cultural vocabulary. In addition, the current subtitle translation does not advocate the use of a large number of notes, which will have a negative impact on the effect of watching the drama.&lt;br /&gt;
&lt;br /&gt;
Therefore, notes are usually used only for the first appearance of a character, in order to provide the necessary introduction in enough subtitling space.When they appear a second time, the introduction will be omitted.As for the conflicts between the characters and the progress of the plot, it is difficult for the target audience unfamiliar with Chinese History to adapt to the culture and conflict in the play. Therefore, it is hard to arouse their interest in watching this drama.&lt;br /&gt;
&lt;br /&gt;
===Translation Methods under Domesticating Strategy===&lt;br /&gt;
Opposite to the foreignizing strategy, domestication is characterized by the “tendency toward the target recipients” (Xiong Bing, 2014). In other words, the translator tries to be as close to the target recipients in the translation as possible. In Schleiermacher’s words, it means that translators “try not to disturb the reader, but to bring the original author to the reader” (Robinson, 2006: 229). Specifically speaking, in the translation, the translator uses the language, literary devices, cultural elements that the target language readers love to replace the language, literary devices and cultural elements of the original language as much as possible, and abides by the language, literary devices and cultural norms of the original language (Xiong Bing, 2014). &lt;br /&gt;
&lt;br /&gt;
The domesticating strategy is a translation strategy just opposite to the foreignizing strategy. Its advantage is that the translation can be fluent, easy to understand, and easily accepted by the target recipients; or it tries to meet the specific needs of the target audience. However, the domesticating strategy also has some shortcomings. The first weakness of it is the loss of the language, literariness, culture and other important elements of the source text, so that the target audience cannot appreciate the exotic authentic language and cultural practices. This cannot help the cultural exchange and dissemination between different ethnic groups. The second weakness is that the domesticating strategy of the translated text may lead to semantic loss and semantic ambiguity in translated texts.&lt;br /&gt;
&lt;br /&gt;
====Omission====&lt;br /&gt;
Omission is a very important method in domestication strategy.The Syntactic structure of English emphasizes &amp;quot;hypotaxis&amp;quot;, and there are appropriate connecting elements between each component of a sentence to express their mutual relations, which emphasizes the consistency and coordination of grammatical relations.The structure of Chinese sentences is &amp;quot;parataxis&amp;quot;, and the relationship between each component of the sentence depends more on the intention, and less on the linking component. The structure form is relatively relaxed, and the words and sentences are relatively simple.Therefore, Omission is one of the most common methods in Chinese text translation.Word reduction means that in translation, the translator must grasp the differences between Chinese and English, omit the unnecessary linking elements in Chinese, make the translation smooth, avoid stiff and cumbersome, and eliminate unnecessary words and words as far as possible.There are many examples of reducing words in the translation of Legend of Zhen Huan.&lt;br /&gt;
&lt;br /&gt;
Example 1&lt;br /&gt;
&lt;br /&gt;
Chinese version:“先敬罗衣后敬人。” &lt;br /&gt;
&lt;br /&gt;
American version: “The clothing completes the person.”&lt;br /&gt;
&lt;br /&gt;
This Chinese idiom means that people will first look at the clothes they are wearing and judge their social status according to the clothes. There is a derogatory element in it.However, in the translation of this sentence, the translator adopted the word reduction method and did not translate every word.The word &amp;quot;complete&amp;quot; expresses the idea that &amp;quot;clothes make the man&amp;quot;, but fails to express the meaning intended in the original text.Therefore, the author thinks that can continue to use the Omission here, will change its translated into “According to clothing to estimate people’s status.”&lt;br /&gt;
&lt;br /&gt;
Example 2&lt;br /&gt;
&lt;br /&gt;
Chinese version: “花开堪折直须折，莫待无花空折枝。” &lt;br /&gt;
&lt;br /&gt;
American version: One must pick a flower at the prime of its bloom, Do not wait until the blossom fade and falls.&lt;br /&gt;
&lt;br /&gt;
There are three Chinese characters for &amp;quot;折&amp;quot; in this sentence, but the translator did not show any of them in the Process of English translation.Shall we say that he did not translate the Chinese meaning?Of course not. The translator must have noticed these three &amp;quot;fold&amp;quot; characters in the process of translation. If one of them is translated out, the sentence will appear too long-winded and not in line with the characteristics of subtitle translation.Therefore, the translator starts from the meaning of the original text to persuade people to cherish, and cleverly leaves out the word &amp;quot;折&amp;quot;, which not only avoids repetition, but also conveys the meaning of the original text.This reflects the three principles of Skopos theory: &amp;quot;Based on the source language, pay attention to the culture in the target language, the intention of translation activities and the acceptance state of the American audience&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
====Addition====&lt;br /&gt;
Addition is also an important translation method in domestication strategy.Augmentation refers to the use of structural and semantic augmentation to compensate for linguistic and cultural deficiencies in the target text.Structural supplement refers to the addition of omitted words or replaced words to make the content of translation more complete.Semantic supplement refers to the translator's addition of nouns, verbs, summative words, explanatory words and conjunctions to compensate for the lack of language and culture in the target text so that readers can understand the original text.&lt;br /&gt;
&lt;br /&gt;
Example 1&lt;br /&gt;
&lt;br /&gt;
Chinese version:“他不忍叫你明珠暗投。”  &lt;br /&gt;
&lt;br /&gt;
American version:&amp;quot;You will not be granted an ordinary life when you can live an extraordinary one.&lt;br /&gt;
&lt;br /&gt;
In this example, the translator adopted Addition method to make a explanatory translation for &amp;quot;明珠暗投&amp;quot; , the translation of &amp;quot;be granted an ordinary life when you can live an extraordinary one.&amp;quot;As we know, Chinese idioms are one of the wonders of The Han culture, and they often show rich implicit meanings in condensed four-character sentences.In the translation of this sentence, it is easy for us to understand the meaning of &amp;quot; 明珠暗投&amp;quot;&amp;quot;, but how to make the American audience understand, the translator needs to make an explanation, so that the American audience can understand the implicit meaning of the original text, so as to reduce the cultural burden.&lt;br /&gt;
&lt;br /&gt;
Example 2&lt;br /&gt;
&lt;br /&gt;
Chinese version：“臣妾一与社稷无功，二与龙脉无助。” &lt;br /&gt;
&lt;br /&gt;
American version:“Firstly, I have made no contribution to the nation. Secondly, I have begotten no heirs.&lt;br /&gt;
&lt;br /&gt;
In example 2, the translator interprets &amp;quot;社稷&amp;quot; as &amp;quot;nation&amp;quot; for readers to understand.&amp;quot;社稷&amp;quot; has always been a synonym for &amp;quot;nation&amp;quot; in Chinese, just as &amp;quot;White House&amp;quot; is a synonym for &amp;quot;America&amp;quot;. In addition, there is no English equivalent for &amp;quot;nation&amp;quot;, so it is appropriate for the translator to use &amp;quot;nation&amp;quot;.Heirs to dragon vein, a Feng shui concept meaning undulating mountains, succeed.Later, the royal family regarded it as the lifeblood of the country, so they would call the royal blood &amp;quot;dragon vein&amp;quot;.Heirs to dragon Vein, which in this case means heirs to the emperor's children, succeed in translating it into Heirs to the emperor.It's less common and more advanced than the word &amp;quot;children&amp;quot;, which is often thrown around.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
The subtitle translation strategy of Legend of Zhen Huan generally focuses on domestication, and tends to transform implicit meaning into explicit meaning.When the meaning of the source language is complex and difficult to be understood by the target language audience, the translation strategy of domestication is usually adopted, and the expressions used in the target language are adopted.If there is an equivalent or similar expression between the target language and the source language, alienation should be considered, and a concise explanation should be added if conditions permit, so that the cultural essence of the source language can be preserved and the audience can experience the charm and national characteristics of traditional Chinese culture.&lt;br /&gt;
&lt;br /&gt;
As a translation strategy, absolute domestication and absolute foreignization do not exist in translation practice.The task of the translator is to make the best use of the two strategies in practice according to the specific language characteristics, the purpose, the language characteristics of the source language and the target language, and the national culture, so as to bridge the cultural differences between the two countries.&lt;br /&gt;
&lt;br /&gt;
==Reference==&lt;br /&gt;
[１]Dollerup, Cay. On Subtitles in Television Programs[J]. Babel, 1974, (20): 197-202. &lt;br /&gt;
&lt;br /&gt;
[２]Ivstor, Fordor. Film Dubbing: Phonetic Semiotic, Esthetic and Psychological Aspects[C]. John Benjamins, 1976. &lt;br /&gt;
&lt;br /&gt;
[３]Schleiermacher, F. On the Different Methods of Translation[A]. In Robinson, D.(ed.). Western Translation Theory: From Herodotus to Nietzsche[C]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
&lt;br /&gt;
[４]Titford, Christopher.Subtitling: Constrained Translation[J]. Lebende Sprachen, 1982, 27(3):113-116.  &lt;br /&gt;
&lt;br /&gt;
[５]钱绍昌. 影视翻译──翻译园地中愈来愈重要的领域[J]. 中国翻译, 2000(1):61-65.&lt;br /&gt;
&lt;br /&gt;
[６]汪徽.字幕对伴随性词汇习得的影响[J].外语电化教学,2005(2):47-52. &lt;br /&gt;
&lt;br /&gt;
[７]熊兵. 翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J]. 中国翻译, 2014(3):82-88.&lt;br /&gt;
&lt;br /&gt;
=2 刘晓 The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
[[Trans_Type_EN_2]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
With the rapid growth of economy, people's pursuit of life quality is gradually increasing. Travelling abroad has become a hot topic nowadays. The rapid development of overseas travel has increased the market demand for tourism translation, and more stringent requirements for tourism translators. How to deal with the translation problems caused by the cultural differences between Chinese and English during the translation process is of great importance to improve the quality of tourism translation. The communicative translation strategy in Newmark's translation theory focuses on the effect that the translation brings to the target language readers, which is of certain guiding significance to the E-C translation of tourism texts. Therefore, this paper takes ''Everglades National Park, Florida (Excerpt)'' as an example to analyze the specific translation strategies and methods in the application of Newmark's translation theory in tourism texts, so as to provide reference for other translators.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Translation strategy and translation methods; Peter Newmark; Tourism texts&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
This paper is based on the English-Chinese translation of ''Everglades National Park, Florida (Excerpt)''. By analyzing the application of Peter Newmark's communicative transaltion in the translation, the author proposes some translation methods, which can be provided for future references.  This chapter mainly introduces the background information and significance of the report, and the domestic research status.&lt;br /&gt;
&lt;br /&gt;
====Research background====&lt;br /&gt;
&lt;br /&gt;
With the development of the world, various kinds of tourism appear in people’s life, and has unprecedentedly, extremely widely spread a variety of culture and lifestyle. Tourism has become a rising sunrise industry in modern society (Jin Huikang, 2007). To a foreign country to enjoy the beautiful scenery can make people know the colorful world and further know what they want. And this activity also has made tourism translation a reality and a thriving discipline.&lt;br /&gt;
&lt;br /&gt;
However, due to the different geographical environments, cultural differences and historical backgrounds in different countries, many translators often ignore the disadvantages brought by differences in language and cultural habits in the process of translation, so that the original meaning of the original text will be lost in the process of transmission, which may cause confusion for tourists and cannot achieve the purpose of offering them accurate information and stimulating their interest.&lt;br /&gt;
&lt;br /&gt;
Therefore, in order to make it more convenient for domestic citizens to travel abroad, translators should choose appropriate translation strategies and methods according to the cultural differences between China and foreign countries in the process of tourism English translation, so that tourists can form an objective and correct understanding of scenic spots. The semantic translation and communicative translation strategies in Peter Newmark’s Theories respectively focus on whether the meaning of the original text is exactly reproduced and the effect and influence that the translation brings to the target language readers, which are of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
&lt;br /&gt;
====Research significance====&lt;br /&gt;
&lt;br /&gt;
In theory, based on Peter Newmark’s translation theories, this paper chooses the semantic translation strategy and puts forward appropriate translation methods for the English-Chinese translation of tourist text -- the ''Everglades National Park, Florida (Excerpt)'', which is of certain guiding significance for English - Chinese translation of tourist texts.&lt;br /&gt;
Based on the practice of the ''Everglades National Park, Florida (Excerpt)'' English - Chinese translation and the analysis of Newmark’s communicative translation strategy’s application, this paper sums up some translation methods, such as voice change, objective and personal subject changing, adding conjunctions, etc. And these methods can be provided for future references in the translation study and practice of others, which has a certain practical significance.&lt;br /&gt;
&lt;br /&gt;
'''correction：'''&lt;br /&gt;
&lt;br /&gt;
In terms of theory, based on Peter Newmark's translation theory, this paper selects a semantic translation strategy and proposes a corresponding translation method for the English-Chinese translation of the tourism text, Florida Everglades National Park (excerpt), which has certain guiding significance for the English-Chinese translation of the tourism text. Based on the practice of English-Chinese translation of Florida's Everglades National Park (excerpt) and the analysis of the application of Newmark's communicative translation strategies, this paper summarises some translation methods, such as phonetic conversion, objective and personal subject conversion, and the addition of conjunctions. And these methods can provide references for the future translation research and practice of others, and have certain practical significance.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 08:02, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
====Literature review====&lt;br /&gt;
&lt;br /&gt;
Through the analysis of Newmark’s communicative translation in recent years, it can be found that there are many references for the guidance of communicative translation on tourism translation texts. He Xueyun (2005) proposes that the public notices and signs should belong to the vocative functional text and focus on the reader-centered communicative translation, which can give foreigners a better environment for travel, study and work in China. For such a style, the communicative translation theory should be chosen, the target readers put in the first place and always in mind, and their culture and receptivity taken into account. Jin Huikang (2006) believes that tour guide words must have a specific expected function, which are a kind of texts that integrate informative, expressive and vocative functions. Therefore, tourism translation should aim at effective attraction for overseas tourists, and the translator should grasp the group characteristics of overseas tourists and audiences when carrying out tourism propaganda or translating tourism materials. Ma Chen (2010) points out that the tourism text is a kind of article mainly based on vocative function, and the core of which is to accurately convey information for readers. Liu Anhong (2013) proposes tourism text as a kind of publicity material, aiming to stimulate tourists’ interest in visiting. According to the division of Newmark, the tourism text should belong to the text with the vocative function as its main function and the informative function as its secondary function. Therefore, the translation of tourism text should effectively achieve the effects similar to the original text.&lt;br /&gt;
&lt;br /&gt;
From the combing of previous literatures, it can be found that there are many studies on the translation of tourism texts guided by Newmark’s communicative translation strategy. However, at present, there are few studies on the translation of tourism texts from English to Chinese, and more studies focus on the Chinese- English translation. For this reason, this paper is based on the translation practice of ''Everglades National Park, Florida (Excerpt)'' to provide some reference for future English – Chinese translation of tourism.&lt;br /&gt;
&lt;br /&gt;
===Tourism Texts===&lt;br /&gt;
&lt;br /&gt;
====General Introduction====&lt;br /&gt;
&lt;br /&gt;
Tourism text is an important carrier for readers to obtain scenic spot information, and Tourism text is to stimulate readers' desire to travel by introducing tourist attractions and resources, and its ultimate purpose is to meet readers' expectations and arouse readers' enthusiasm by delivering tourism information. In other words, the dominant function of tourism text is vocative function. At the same time, tourism texts also provide readers with information they like, from which people can acquire relevant knowledge such as culture and customs, natural geography, etc. Therefore, informative function is also its important feature. It can be seen that the two most important functions of tourism texts are respectively informative and vocative one, whose premise is to provide information and purpose is to attract tourists. &lt;br /&gt;
&lt;br /&gt;
In addition, we should realize that translation of tourism texts is a professional translation of tourist attractions and resources for target readers, and its essence is a communicative behavior. If the translator fails to properly deal with the differences between cultures, it will often fail to achieve the expected results. Therefore, during the translation process, more attention should be paid to the accuracy and effectiveness of the information, so as to make the translation conform to the target readers’ reading habits and aesthetic expectation (Li Daosheng, 2000). This requires the translator to put the reader's acceptance first in the process of translation. That is, tourism text translation should not only realize the conversion from one language to another, but also take language barriers and cultural differences into account. Therefore, in order to achieve the goal of successful communication, translators should flexibly apply various translation strategies and adopt appropriate translation methods according to the text types of tourism texts.&lt;br /&gt;
&lt;br /&gt;
====Introduction to the ''Everglades National Park, Florida (Excerpt)''====&lt;br /&gt;
&lt;br /&gt;
Established in 1974, Everglades National Park covers 2,354 square miles, or 6,097 square kilometers (1.4 million acres). Located at the tip of southern Florida, it is the largest subtropical wildlife sanctuary in the continental United States. Everglades National Park protects an unparalleled landscape which provides important habitat for numerous rare and endangered species such as the manatee, American crocodile, and the elusive Florida panther.&lt;br /&gt;
&lt;br /&gt;
''Everglades National Park, Florida (Excerpt)'' is excerpted from a notice from U.S. National Park Service about the phased reopening of the park, including alerts of the reopening, activities, safety and accessibility. It can also be regarded as a travel guide, which describes the journey towards people and offers help to the tourists who want to go there, and which often includes the description of the best travel time, transportation, accommodation, scenic spots and matters needing attention. As a practical text, its main purpose is to introduce and promote tourist scenic spots, that is the Everglades National Park in Florida. Its vocative and informative function are very prominent, and it has the characteristics of reader-orientation, the effectiveness of information transmission and timeliness.&lt;br /&gt;
&lt;br /&gt;
===Newmark's Translation Theory===&lt;br /&gt;
&lt;br /&gt;
====General introduction of Peter Newmark's translation theories====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark, a well-known translation theorist, is one of the main figures in the founding of translation studies in the English-speaking world in 20th century. Newmark devoted himself to studying the past and present of Western translation, and put forward his own views on this basis. Newmark’s translation theories mainly include three parts, that is, the classification of text types, translation approaches, and the lately correlative theory of translation.&lt;br /&gt;
&lt;br /&gt;
According to Karl Buhler’s knowledge of language features and Jacobson’s classification of them, Newmark proposed six functions of language informative function, expressive function, vocative function, phatic function, aesthetic function, and lastly metalingual function. (Hou Yingying, 2020) Then Newmark divided text types into three: expressive-functional texts, informative-functional texts, vocative-functional texts.&lt;br /&gt;
&lt;br /&gt;
After putting forward these three text types, Peter Newmark suggested eight translation approaches or strategies. Firstly, from the perspective of focusing on the source language, he suggested word-for-word translation, literal translation, faithful translation and semantic translation; Secondly, from the perspective of focusing on the target language, he suggested adaptation, free translation, idiomatic translation and communicative translation (Newmark, 2001:45).&lt;br /&gt;
&lt;br /&gt;
In 2007, Newmark came up with a new theory, that is, correlative theory of translation, which means that “The more serious and important the language of the original or source text, the more closely it should be translated.” (Newmark, 2007)&lt;br /&gt;
&lt;br /&gt;
In conclusion, Peter Newmark has proposed many significant theories and made extensive discussion on those concepts, which will have a great influence on the translation practice.&lt;br /&gt;
&lt;br /&gt;
====Semantic translation and communicative translation====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark divided text genres into “expressive text”, “informative text” and “vocative text” in his classic work ''Approaches to Translation''. Imaginative literary works, such as poems, songs, novels and dramas, authoritative statements, autobiographies, essays and personal correspondence, etc. are expressive texts. All the formatted texts with science and technology, industry and commerce, and economy as themes belong to informative texts. And vocative text refers to all texts that can infect readers and make them “get information”.&lt;br /&gt;
&lt;br /&gt;
With reference to these three kinds of texts, Newmark further creatively proposed the concepts of semantic translation and communicative translation: “communicative translation” means that the effect of the target text on the reader of the target language is as much as the effect of the original text on the reader of the source language; “semantic translation” refers to the reproduction of the context of the source text as accurately as possible under the premise of the semantic and syntactic structure of the target language. He believed that only communicative translation and semantic translation can achieve the two major goals of translation: being accurate, and being economic (effective).&lt;br /&gt;
&lt;br /&gt;
In ''About Translation'', Newmark made a detailed comparison of the characteristics of semantic translation and communicative translation from different aspects, and pointed out that the fundamental difference between them lies in that when the information and the effect are in conflict, communicative translation lays more emphasis on effect than content, while semantic translation lays more emphasis on content than effect. Communicative translation can give the translator full freedom, the translator can reorganize the syntax, eliminate the original obscure places in the source language, and make the language conform to the standard of the target language. However, semantic translation emphasizes the content of the information itself, tries to make the form of the target text similar to the form of the original text, and retains the language characteristics and expressive style of the original author. Therefore, compared with semantic translation, communicative translation is more subjective and can better reflect the translator’s creativity and it attaches great importance to the communicative effect of translation, the key to which is to convey information, make readers of the target language think, act and feel, and play an inductive role in making the translation natural and smooth, and more readable. &lt;br /&gt;
&lt;br /&gt;
Newmark pointed out that the translation of expressive texts should employ semantic translation, while informative and vocative texts communicative translation which is reader-centered. The most direct purpose of tourism texts translation is to convey information to readers on the premise of attracting readers’ attention and leaving readers with deep memories, so that readers can take actions -- to visit tourist attractions and pay attention to matters that should be paid attention to. Thus, it can be seen that the tourism text belongs to the vocative text and the communicative translation should be applied. &lt;br /&gt;
&lt;br /&gt;
To sum up, Newmark’s communicative translation focus on the effect that the translation brings to the target language readers, which is of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
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===Case Study===&lt;br /&gt;
&lt;br /&gt;
The purpose of communicative translation is to try to make the translation have the same effect on the target reader as the original does on the source reader. That is to say, the key point of communicative translation is to be loyal to the target language and the target text reader, that is, the source language is required to obey the target language and culture, leaving no doubt or obscurity to the reader, and eliminating difficulties and obstacles in reading or communication for the reader as far as possible.&lt;br /&gt;
&lt;br /&gt;
Because the translator wants to achieve a certain communicative purpose, emphasizes the effect and has a specific target audience, the translation has inevitably broken the restrictions of the original text, pursuing smoothness, clarity, directness and conformity with conventions. In this part, the author analyzes the specific application of communicative translation in the translation practice of the ''Everglades National Park, Florida (Excerpt)'' from three aspects: lexical, syntactic and textual analysis.&lt;br /&gt;
&lt;br /&gt;
====At Lexical Level====&lt;br /&gt;
&lt;br /&gt;
Generally speaking, there is partial equivalence between English and Chinese, that is, similar expressions in Chinese can replace the meaning of English words or phrases (Liu Junping, 2009). In the following, two translation methods used in lexical translation will be introduced: conversion of part of speech and the translation of public signs.&lt;br /&gt;
&lt;br /&gt;
1)Conversion of part of speech&lt;br /&gt;
&lt;br /&gt;
Example 1:&lt;br /&gt;
&lt;br /&gt;
ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors.''&lt;br /&gt;
&lt;br /&gt;
TT: 个人、团体或家庭都能在这找到适合的户外活动。&lt;br /&gt;
&lt;br /&gt;
Analysis: As we all know, English belongs to the Indo-European language family, while Chinese the Sino-Tibetan language family. Many differences exist between English and Chinese in terms of vocabulary and grammatical structure. Therefore, in the process of translating English into Chinese, due to the different ways of expression between English and Chinese some sentences can be translated word by word, while most sentences cannot. In order to make the Chinese translation smooth and natural, some words in the original text need to be converted into different parts of speech in the target text without sticking to the surface structure of the original text. In other words, some words in the original text can be converted into other parts of speech in Chinese on the premise of being faithful to the original meaning and retaining the original effect. &lt;br /&gt;
&lt;br /&gt;
The original sentence uses a nominal phrase “no shortage of” to express the meaning that no matter how many people come together for outdoor activities, there are always options. The translator translates it into a verbal phrase, that is, everyone can find a suitable outdoor activity here, so that the meaning gets across and the whole sentence flows naturally.&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&lt;br /&gt;
ST: ''Accessibility: No immediate trails.''&lt;br /&gt;
&lt;br /&gt;
TT: 如何前往：没有路径可直接到达。&lt;br /&gt;
&lt;br /&gt;
Analysis: As English tends to use more nouns with static narratives, while Chinese tends to use more verbs with dynamic ones. The static tendency of English mainly comes from nominalization, a common phenomenon in English. Nominalization mainly refers to the use of nouns (phrases) to express the information originally expressed by verbs (phrases), such as the use of abstract nouns to express actions, behaviors, changes, states, etc (Lian Shuneng, 1993). For example, “accessibility” in Example 2 is an abstract noun, which is used to show the way to one place. Chinese, on the other hand, tends to use verbs. So, in order to better convey the effect and let the reader read without any doubt or discomfort, the translator converted the noun into a verb phrase, that is “如何前往”. Likewise, in the noun phrase “no immediate trails”, the author wants to say that there is no direct way (to arrive at the destination). When translating, if it is directly translated into a noun phrase “没有直达路”, the reader may feel difficult to read. So, if it is translated into “there is no direct path can reach that place”, the sentence will be more smoothly and convey the original information and the effect is also retained.&lt;br /&gt;
&lt;br /&gt;
2)Public signs&lt;br /&gt;
&lt;br /&gt;
Example 3 &amp;amp; 4:&lt;br /&gt;
&lt;br /&gt;
ST: ''Things To Do'' &lt;br /&gt;
&lt;br /&gt;
TT: 活动介绍&lt;br /&gt;
&lt;br /&gt;
ST: ''What you can do''&lt;br /&gt;
&lt;br /&gt;
TT: 解决措施&lt;br /&gt;
&lt;br /&gt;
Analysis: As mentioned in the theoretical framework above, tourism text belongs to vocative text. As a kind of tourism text, public signs are a special style for specific people to achieve a certain communicative purpose. Its application scope is very wide, almost involved in every aspect of our daily life, such as street signs, billboards, road signs, shop signs, warnings, propaganda, travel briefs and so on. As a communicative tool, it conveys necessary and useful information to the public by means of a few words, simple and easy to understand icons or the combination of both (He Xueyun, 2006). Therefore, it can be seen that public signs feature lots of nouns, verbs, phrases and abbreviations and more often, fixed expression, which means in translation, only concise and idiomatic expression can fully convey the effect of the original text.&lt;br /&gt;
&lt;br /&gt;
Just as the example 3, once the original text is translated literally, that is “要做的事情”, it sounds rather awkward, which not only does not convey the meaning of the source text that was intended as an introduction to the activities that can be done, but also may lead the reader to believe that this section is about what is required. However, if it is translated into “活动介绍”, readers can clearly know the main content of this part and can find out the activities they are interested in. This expression is very concise and also in line with the Chinese language habits. The same is true of example 4.&lt;br /&gt;
&lt;br /&gt;
Example 5 &amp;amp; 6:&lt;br /&gt;
&lt;br /&gt;
ST: ''Alligators and crocodiles - Crocodilians are one of the reasons people visit the park, however, these are wild animals that can be dangerous to humans.''&lt;br /&gt;
&lt;br /&gt;
TT: 小心短吻鳄和鳄鱼——鳄鱼是人们参观公园的原因之一，然而，这些野生动物对人类会很危险。&lt;br /&gt;
&lt;br /&gt;
ST: ''Poisonous plants - The park’s ecosystems support a variety of plant life including some that cause reactions to human skin.''&lt;br /&gt;
&lt;br /&gt;
TT: 警惕有毒植物——公园的生态系统支持多种植物的生长，包括一些会对是人类皮肤过敏的植物。&lt;br /&gt;
&lt;br /&gt;
Analysis: Tourist texts belong to the vocative text, emphasizing the transfer of the effect of the information and the empathy of the reader. This requires the translator to pay attention to the internal logic of the text, modify the translated text to make it clear in the process of tourism translation without sticking to the original form and give full consideration to the core position of readers. &lt;br /&gt;
Examples 5 and 6 are in the same sentence structure -- firstly species are given, and then that the species could be in some danger is pointed out. If it is translated in accordance with the original text word by word, then the front part is just posing out that species. However, if such warning words as “小心” or “警惕” are added, it can let the reader know before he continues reading that this species may be dangerous when visiting, and then with reading below, the reader will know why it is dangerous. This will prepare the reader mentally, and the reading will be smoother.&lt;br /&gt;
&lt;br /&gt;
====At Syntactical Level====&lt;br /&gt;
&lt;br /&gt;
Two aspects are included in syntactic analysis, which are change of subjects and passive voice, and the punctuation.&lt;br /&gt;
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1)Change of subjects and passive voice&lt;br /&gt;
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Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: ''Wading birds, cormorants, Purple Gallinules, and nesting Anhingas may be found along the path anytime of the day during the winter (dry) season.''&lt;br /&gt;
&lt;br /&gt;
TT: 在冬季（旱季），任何时候您都可以在沿路发现涉水鸟类、鸬鹚、紫雀和筑巢的美洲蛇鸟。&lt;br /&gt;
&lt;br /&gt;
Analysis: English tends to use more impersonal subjects, which means it rarely uses the personal subject to describe but expresses how objective things act on people’s perception to things appear in an objective tone. So, the structure is often like this: inanimate subject + animate subject (Lian Shuneng, 2010). Chinese pays more attention to subjective thinking, and often describes objective things from the point of view of oneself, or tends to describe people and their behavior or state, so the personal subject is often used. When the personal subject is clear, Chinese often implies or omits it.&lt;br /&gt;
Passive voice is a common grammatical phenomenon in English. In some styles, the use of passive sentences has almost become a habit of expression. Passive sentences give rise to the tendency of using impersonal subjects, and vice versa. Chinese uses fewer passive forms. The main reason for this difference is that the use of passive forms in Chinese is limited, and the mark of the passive voice, such as “让”, “给”, “受”, mostly expresses displeasure.&lt;br /&gt;
&lt;br /&gt;
Therefore, in example 7, the translator transformed the passive voice into the active voice and the impersonal subjects “Wading birds, cormorants, Purple Gallinules, and nesting Anhingas” into the personal subjects “您”. What’s more, as this tourism text is written for readers, the use of the second person subject can shorten the distance. &lt;br /&gt;
&lt;br /&gt;
Example 8 &amp;amp; 9: &lt;br /&gt;
&lt;br /&gt;
ST: ''Wading birds, American Coots, Osprey, White-crowned Pigeons, warblers, Red-shouldered Hawks, Anhingas, rails, Painted Buntings and other transients are best viewed here in the morning.''&lt;br /&gt;
&lt;br /&gt;
TT: 早晨在这里观赏涉禽、美洲骨顶鸡、鱼鹰、白头鸽、莺、赤肩鹫、美洲蛇鸟、秧鸡、彩绘鹀和其他过路的鸟类的效果最好。&lt;br /&gt;
&lt;br /&gt;
ST: ''In the summer, fewer programs are offered.''&lt;br /&gt;
&lt;br /&gt;
TT: 夏季提供的项目较少。&lt;br /&gt;
&lt;br /&gt;
Analysis: Just as what has been said above, English has a tendency to use impersonal subjects and passive voice, while Chinese is exactly the opposite. And when the subject is clear, Chinese often implies or omits it, which is just like example 8 the personal subject “you” is omitted. &lt;br /&gt;
In example 9, the omitted subject is the national park, and the temporal adverbial phrase “in the summer” becomes the subject in form, which is a common expression in Chinese. That is because subjects in Chinese are not only in various forms, but also dispensable: it can denote giving, receiving, time, place.&lt;br /&gt;
 &lt;br /&gt;
2)Punctuation&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: ''Connecting trails through the Pinelands run 7 miles (11 km) west from the Long Pine Key campground to Pine Glades Lake along the main park road.''&lt;br /&gt;
&lt;br /&gt;
TT: 这些小道从长松岛营地向西延伸7英里（11公里），穿过一片松林地，连通公园主路边松林湖。&lt;br /&gt;
&lt;br /&gt;
Analysis: English sentences are complicated, and subordination is one of the most important characteristics of modern English, which features right-branching, sentences long and complex, made in “architecture style”. Conversely, Chinese sentences are relatively short, and commonly use scattered sentences, loose sentences, tight sentences or composite sentences with parallel structure. Chinese features left-branching, and sentences are made in “chronicle style”, using clauses to streamline the thoughts. &lt;br /&gt;
&lt;br /&gt;
So, when there are many prepositional phrases in the original English sentence, the translator can divide the long sentence into several short sentences and recognize those by adding comma, which can help readers to sort out the logic of the original text and get the main information. By using communicative translation, the translator divided the original sentence into three sentences. The logical sequence is that “The trails run seven miles (11 kilometers) west from the Long Pine Key campground. Passing through the Pinelands, they lead to Pine Glades Lake along the main park road.”, which shows the location of both the Long Pine Key campground, the Pinelands and Pine Glades Lake correctly, leaving no doubt to readers of the target language.&lt;br /&gt;
&lt;br /&gt;
Example 11:&lt;br /&gt;
&lt;br /&gt;
ST: ''In keeping with Monroe County’s closure order for beaches, North Nest Key and all waters within 100 yards from the shore will be closed for protection of park resources during the holiday weekend. The closure will begin on Friday, July 3 at 6 a.m.''&lt;br /&gt;
&lt;br /&gt;
TT: 根据门罗县对海滩的关闭安排，为保护公园资源，北巢岛和离海岸100码以内的所有水域将自7月3日星期五早上6点起暂停对外开放。&lt;br /&gt;
&lt;br /&gt;
Analysis: In the original text there are two sentences, which can be combined to make the meaning complete and language pithy in the target language. And it can be taken into consideration to reconstruct them by replacing full stop with comma. By considering communicative translation, the translator put two prepositional phrases in advance as adverbials, which are “in keeping with Monroe County’s closure order for beaches” and “for protection of park resources during the holiday weekend”, and then turned the second sentence into a temporal adverbial phrase and put it in the main clause as an adverbial. So, the whole structure is “In keeping with Monroe County’s closure order for beaches and for protection of park resources during the holiday weekend, North Nest Key and all waters within 100 yards from the shore will be closed from Friday, July 3 at 6 a.m.” By doing so, the information is concisely conveyed, and Chinese readers can well understand it.&lt;br /&gt;
&lt;br /&gt;
====At Textual Level====&lt;br /&gt;
&lt;br /&gt;
Discourse refers to the actual language unit used and is the whole language constituted by a series of consecutive paragraphs or sentences in the communication process. In general, a text consists of words, phrases, sentences and sentence cluster (Lan Lingyan, 2020), among which the components were cohesion in form and coherence in semantics.&lt;br /&gt;
&lt;br /&gt;
Example 12:&lt;br /&gt;
&lt;br /&gt;
ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors. The diverse habitats allow for enjoyable activities ranging from hiking, canoeing, kayaking, biking, fresh and saltwater fishing, and camping in the ultimate wilderness.''&lt;br /&gt;
&lt;br /&gt;
TT: 个人、团体或家庭都能在这找到适合的户外活动。无论是步行、乘坐独木舟、划皮划艇、骑自行车，还是在淡水或海水钓鱼、在终极荒野地露营，您都可以饱览多样的自然环境、尽享快乐。&lt;br /&gt;
&lt;br /&gt;
Analysis: Coherence in a piece of writing refers to the principle that all paragraphs, sentences or ideas are combined so well that they form a united whole. Coherent translation has smooth structural, grammatical, and logical movement from one sentence or idea to the next and the reader does not have to pause and guess at the meaning caused by gaps in development between ideas, sentences and paragraphs. &lt;br /&gt;
&lt;br /&gt;
In example 12, the last topic of the fist sentence in the original sentence is outdoor activities, while the subject of the second sentence is the diverse habitats. This is a shift in the topic, which may make the readers pause and guess at the logical relation between them. Therefore, in translation, guided by communicative translation, the translator needs to mind the text coherence and to make proper adjustments. Out of this, the translator put the activities in the second sentences as the subject of the second sentence in the target text, so that the first sentence can pass through smoothly to the next one, so does the understanding of readers.&lt;br /&gt;
&lt;br /&gt;
Example 13:&lt;br /&gt;
&lt;br /&gt;
ST: ''Everglades National Park is a popular spot for saltwater and freshwater sport fishing. Boats can be chartered at Flamingo. Be sure to check a visitor center for park fishing regulations and closed areas.''&lt;br /&gt;
&lt;br /&gt;
TT: 大沼泽地国家公园是一个很受欢迎的钓海水鱼和淡水鱼的地方。在弗拉明戈可以租船。在钓鱼之前，一定要阅读游客中心的公园捕鱼规定和封闭区域。&lt;br /&gt;
&lt;br /&gt;
Analysis: Cohesion can be thought of as all the grammatical and lexical links that link one part of a text to another. This includes the use of synonyms, lexical sets, pronouns, verb tenses, time references, grammatical reference, etc. For example, ‘it’, ‘neither’ and ‘this’ all refer to an idea previously mentioned.&lt;br /&gt;
&lt;br /&gt;
In example 13, this paragraph mainly talks about fishing in the Everglades National Park, with a topic sentence and two explanatory sentences: one introducing the place for chartering and the other cautions. There are no grammatical or lexical links within these three sentences, and the logic is connected by semantics. Considering well understanding of readers in the target language, the translator added one lexical link “before fishing” between the last two sentences, to make the reader understand that he or she should read the rules and precautions of fishing before going fishing. Also, with repeating the key word “fishing”, the central idea of this whole paragraph is prominent, and the sentences are logically and smoothly linked to express the intended meaning, thus making this paragraph a cohesive group.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
====Major findings====&lt;br /&gt;
For the text, the tourism text belongs to the vocative text, which focuses on conveying the information and effect, so the communicative translation theory should be adopted to this kind of translation. As for this original text, the first part that introduces the outdoor activities belongs to the tourism advertisements, which are descriptive with vivid words. Tourism advertising is infective, with short and concise words, full of creativity, lively and concise sentence structure, and strong attraction. While the announcement that informs of the operating status of the park is a quite different style. The wording is formal, standard, accurate and stylized. Secondly, the source text involves a wide range of knowledge and large vocabulary. For example, “hardwood hammock” for “硬木吊床” and “Geocaching” for “寻宝”. &lt;br /&gt;
&lt;br /&gt;
Based on the analysis of examples from lexical, syntactic and textual levels, some translation methods can be proposed. On one hand, when translating, some words in the target text can be converted into different parts of speech in the original text to make the language natural and idiomatic. On the other hand, when doing English – Chinese translation, in most cases, passive voice should be changed into active voice, personal subject is favored in Chinese, and subjects can also be omitted sometimes. Lastly, as English and Chinese have lots of differences in sentences, the translator should change the order of the sentences sometimes to make them smooth and fluent, and some words can be added to make the meaning coherent.&lt;br /&gt;
&lt;br /&gt;
====Limitations====&lt;br /&gt;
&lt;br /&gt;
Besides some major findings, there are also many limitations in this translation practice. Firstly, communicative translation focuses on the effect conveyed by the translation rather than the information, which can easily make the translator ignore some original. So, in the translation, other available translation theories should also be taken into account to achieve best translation. &lt;br /&gt;
&lt;br /&gt;
Then, when translating a text, whether it is a tourism text or a literary works, they cannot be translated immediately. Relevant information and background should be collected in advance, and otherwise some mistakes which should be avoided will be made. For example, “Snail Kite (蜗鸢)” might be translated as “蜗牛风筝” if the translator does not look it up in advance.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
[1] Newmark, Peter. About Translation[M]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
&lt;br /&gt;
[2] Newmark. Approaches to translation[M]. Shanghai Foreign Language Education Press, 2001. &lt;br /&gt;
&lt;br /&gt;
[3] Newmark, Peter. A New Theory of Translation[J]. Sborník Prací Filozofické Fakulty Brněnské Univerzity, 2007(13)&lt;br /&gt;
&lt;br /&gt;
[4] Newmark, Peter. A Textbook of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2001:39-42. &lt;br /&gt;
&lt;br /&gt;
[5] 贺学耘.汉英公示语翻译的现状及其交际翻译策略[J].外语与外语教学, 2006(03):57-59.&lt;br /&gt;
&lt;br /&gt;
[6] 侯莹莹.凯瑟琳娜·莱斯与彼得·纽马克文本类型翻译理论之比较研究[J].海外英语, 2020(22):49-50+60. &lt;br /&gt;
&lt;br /&gt;
[7] 金惠康.跨文化旅游翻译探讨[J].上海翻译, 2007(01):31-34.&lt;br /&gt;
&lt;br /&gt;
[8] 兰灵艳.交际翻译理论指导下《家庭生活》（节选）汉译实践报告[D].南昌大学, 2020.&lt;br /&gt;
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[9] 李道胜. 汉英语义对比分析[J]. 语言教育, 2000(4):4-5.&lt;br /&gt;
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[10] 连淑能.《英汉对比研究》[M]. 北京：高等教育出版社, 1993.&lt;br /&gt;
&lt;br /&gt;
[11] 刘安洪.跨文化交际视角下的旅游文本翻译策略研究[J].中华文化论坛, 2013(10):160-163. &lt;br /&gt;
&lt;br /&gt;
[12] 刘军平，西方翻译理论通史[M]. 武汉：武汉大学出版社, 2009.&lt;br /&gt;
&lt;br /&gt;
[13] 马忱.交际翻译策略对汉英旅游翻译的启示[J].郑州航空工业管理学院学报(社会科学版), 2010,29(06):119-121.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''correction：'''&lt;br /&gt;
&lt;br /&gt;
[1] Newmark, Peter. About Translation[M]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
&lt;br /&gt;
[2] Newmark. Approaches to translation[M]. Shanghai Foreign Language Education Press, 2001. &lt;br /&gt;
&lt;br /&gt;
[3] Newmark, Peter. A New Theory of Translation[J]. Sborník Prací Filozofické Fakulty Brněnské Univerzity, 2007(13)&lt;br /&gt;
&lt;br /&gt;
[4] Newmark, Peter. A Textbook of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2001:39-42. &lt;br /&gt;
&lt;br /&gt;
[5] He Xue Cao. The current situation of Chinese-English public language translation and its communicative translation strategy[J]. Foreign Language and Foreign Language Teaching, 2006(03):57-59.&lt;br /&gt;
&lt;br /&gt;
[6] Hou Yingying. A comparative study of Katherina Rice and Peter Newmark's translation theory of text types[J]. English Abroad, 2020(22):49-50+60.&lt;br /&gt;
&lt;br /&gt;
[7] Jin Huikang. Exploring cross-cultural tourism translation [J]. Shanghai Translation, 2007(01):31-34.&lt;br /&gt;
&lt;br /&gt;
[8] Lan Lingyan. A practical report on Chinese translation of Family Life (excerpt) under the guidance of communicative translation theory[D]. Nanchang University, 2020.&lt;br /&gt;
&lt;br /&gt;
[9] Li Daosheng. A comparative analysis of Chinese-English semantics [J]. Language Education, 2000(4):4-5.&lt;br /&gt;
&lt;br /&gt;
[10] Lian Shouneng. A Comparative Study of English and Chinese [M]. Beijing: Higher Education Press, 1993.&lt;br /&gt;
&lt;br /&gt;
[11] Liu Anhong. Research on translation strategies of tourism texts in the perspective of cross-cultural communication [J]. Chinese Culture Forum, 2013(10):160-163.&lt;br /&gt;
&lt;br /&gt;
[12] Liu Junping, General History of Western Translation Theory [M]. Wuhan: Wuhan University Press, 2009.&lt;br /&gt;
&lt;br /&gt;
[13] Ma Chen. Implications of communicative translation strategies for Chinese-English tourism translation [J]. Journal of Zhengzhou Institute of Aviation Industry Management (Social Science Edition),2010,29(06):119-121.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:34, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=3 刘越 Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
[[Trans_Type_EN_3]]&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
&lt;br /&gt;
There are many translation practices under the guidance of communicative translation theory, but there are not many translation practices in Korean novels. Through this translation practice, we hope to summarize the translation methods and strategies adopted in the translation of novel subject matter under the guidance of communicative translation theory in terms of vocabulary, sentence and rhetoric. In this paper, under the guidance of communicative translation theory of Korean novels &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; to analyze translation strategies and translation methods, let us hope that through the work of human changes in temperature to realize that the most warm affection and the most simple human feelings, seems to be the fact that more and more far from us, let us together to explore the history of the &amp;quot;family&amp;quot; gradually forgotten by us and meaning, Wake up our sense of affection, cause our emotional resonance.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] There are many translation practices guided by communicative translation theory, but not many in Korean novel translation. Therefore, it is of great significance to analyze the translation of Korean novels under the guidance of communicative translation theory. With the communicative translation theory as the theoretical foundation, this paper will take the Chinese translation of two novels &amp;quot;The Innocents&amp;quot; and &amp;quot;The Goat Family&amp;quot; excerpted from the Korean novel collection ''Eun-ju's Movie'' as examples, and analyze the translation methods and translation strategies in lexical, syntactic and rhetorical respects, so as to provide better understanding of Korean novels and more effective guidance for the Korean novel translation practice. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
==Keywords==&lt;br /&gt;
&lt;br /&gt;
Communicative translation theory; Korean novels; Translation methods and strategies&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
&lt;br /&gt;
[[Correction(addition of a transitional paragraph):]] This section will briefly introduce the emergence and development of communicative translation, and the applicability of communicative translation theory to the translation of popular novels. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
===Emergence and Development of Communicative Translation===&lt;br /&gt;
&lt;br /&gt;
According to the function of language, i.e. the purpose for which it is used, Newmark proposes the following three text types: expressive text, informative text, and vocative text.&lt;br /&gt;
&lt;br /&gt;
At the heart of the expressive function is the use of words by the speaker or author to express his or her thoughts and feelings. The author's unique form of language is as important as the content.Expressive function texts emphasise the authority of the original author, and translations should follow the principle of &amp;quot;original author first&amp;quot;, faithful to both the content of the ideas expressed by the original author and the language style of the original author, without regard to the reaction of the target reader. The core of the information function is the external context, i.e. all the information about a topic, or the unspeakable reality. At the heart of the information text is the &amp;quot;authenticity&amp;quot; of the content; the author's language is secondary. Translation should be based on the principle of &amp;quot;authenticity first&amp;quot;. The call to action is reader-centred and aims to &amp;quot;call the reader to action, to think, to feel&amp;quot;. The translation should follow the principle of 'reader first', putting the reader of the target language first. The translator can make full use of the advantages of the incoming language, without adhering to the expressions of the original, so that the translated language can achieve the same effect as the original.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] The first type is the expressive text. Its core is the expression of feelings and the conveyance of ideas. In this kind of text, the original author's unique language form and content are equally important. Consequently, with regard to the translation of expressive texts, the translator should follow the &amp;quot;author-first&amp;quot; principle, faithful to the original author's ideas and language form, without considering the target-language readers' reaction. The expressive texts include literary works, personal letters, autobiographies and prose. The second type is the informative text. The core of this kind of text is the external context, i.e. all the information about a topic, or the unspeakable reality. Concerning the informative text, the emphasis is placed on authenticity and the reality outside the language, so the translator should follow the &amp;quot;authenticity-first&amp;quot; principle in translation, with the original author's language in the secondary position. The informative texts include the non-literary works, textbooks, academic papers, newspapers and magazines, etc. The third type is the vocative text. This type has the readers-centered feature, calling on the readers to act, think and feel. Therefore, the translator should follow the &amp;quot;readers-first&amp;quot; principle, making full use of the advantages of the target language, and not confined to the original expressions, so that the translated text can produce the same effect as the source text. The vocative texts include product instructions, brochures, advertisements, etc. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
On this basis, two translation concepts, communicative translation and semantic translation, are proposed. Newmark believes that the theory of communicative translation focuses on the understanding and reaction of the recipient, the reader of the translation, and more on the effect rather than the content of the translated expression. The translator can give full play to the advantages of the translated language and introduce foreign elements into the culture of the translated language, with the advantages of naturalisation, Italian translation and idiomatic translation. Semantic translation attaches importance to the original text, focuses on its semantic content and strives to preserve the culture of the original text, and has the advantages of word-for-word, word-for-word and faithful translation. Communicative translation is suitable for informative and attractive texts such as autobiographies, personal emotional declarations, important political statements (or other statements), most non-literary texts, news, intellectual articles and books, textbooks, reports, scientific and technical literature, official correspondence, promotional material, advertisements, announcements, popular fiction. (Yang 1989:68-71)# His communicative and semantic translations have largely enriched the study of translation theory and influenced the field of translation.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] On this basis, the two translation concepts, communicative translation and semantic translation, are proposed. Newmark believes that the communicative translation theory emphasizes the recipients' or readers' understanding and reaction, and focuses more on the effect that the translation generates than its content. With communicative translation, the translator can give full play to the advantages of the target language, and introduce foreign elements into the target-language culture through domestication and idiomatic translation. At the same time, semantic translation attaches importance to the original text, keeps an eye on its semantic content and strives to preserve the source-language culture, featuring the advantages of literal translation and faithful translation. Communicative translation is suitably applied in informative and attractive texts such as autobiographies, personal emotional declarations, important statements, most non-literary texts, news, intellectual articles and books, textbooks, reports, scientific and technical literature, official correspondence, promotional materials, advertisements, announcements, as well as popular fiction. (Yang 1989: 68-71) Newmark's communicative and semantic translations have largely enriched the study of translation theory and influenced translation field. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
===Applicability of Communicative Translation Theory to the Translation of Popular Novels===&lt;br /&gt;
&lt;br /&gt;
First of all, the core content of communicative translation theory is that on the basis of being faithful to the content of the original text, it focuses on the readers' understanding ability and feelings, and pays more attention to the expression effect of the target text than the content. For the translator, the translator can give full play to the advantages of the target language and get rid of the constraints of the language structure of the original text. If the original text is illogical, ambiguous, and there are redundant words and ambiguities in the sentence, as well as dialects, coarse slang and other phenomena in the article, the translator has the right to reorganize the syntax and improve it by using collocation and common sentence patterns in accordance with the habits of the target language, so as to make the language more standardized. Translators also have the right to correct errors and omissions in the original text.( Shuang 1999(05):840）&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] First of all, communicative translation theory accentuates the core that the translation, based on its faithfulness to the content of the original text, lays stress on the readers' understanding ability and feelings, and pays more attention to the expressive effect of the target-language text than its content. The translator can take advantage of the target language and get rid of the constraints of the language structure of the original text. If the original text is illogical and ambiguous with redundant words and ambiguities in the sentences, as well as dialects, coarse slang and other peculiar language phenomena, the translator has the right to reorganize the syntactic structure,  and use collocations as well as common sentence patterns in accordance with the habits of the target language, so as to render the language more standardized and natural and to improve the quality of translation. And the translator is also entitled to correct the errors and omissions in the original text. (Shuang 1999 (05): 840) (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
Secondly, according to Newmark's text type, communicative translation theory is applicable to vocative texts, which focus on the inspiring effect and take the target readers as the center. The purpose of translation is to elicit the desired response, including popular books and best-selling novels. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. The novel is mainly composed of characters, plots and descriptions of the environment to reflect the social reality. Novel is a literary genre that conveys thoughts and feelings and arouses readers' resonance. It belongs to appeal text, so communicative translation theory is suitable for novel translation.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] Secondly, according to Newmark's classification of text types, communicative translation theory is applicable to vocative texts, which stress their inspirational effect and take the target-language readers as the center. The purpose of translation is to elicit the expected response, which also resides in the translation of popular books and best-selling novels. The common goal of communicative translation and the vocative text is to enable readers to think and resonate emotionally. Additionally, the novel, consisting mainly of characters, plots and environmental descriptions, often reflects the social reality. And it is a literary genre that conveys thoughts and feelings and arouses readers' empathy, hence the novel falls into vocative text, and communicative translation theory is available to novel translation. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
The most important thing in novel translation is to convey the content of the original text and the author's thoughts and feelings to the readers, and to arouse the readers' deep thinking and empathy. When translating a novel, the translator should describe the plot of the original text and try to get close to the literary image depicted by the original author and the literary artistic conception created in the novel.&lt;br /&gt;
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If only follow the content style and text structure of the original text, it will violate the original intention of translation, making the translation obscure and unclear. Under the guidance of communicative translation theory, the translator can give full play to the advantages of the target language, modify and polish the original text, adjust the logic of expression, eliminate the differences between the original text and the target text, and get a smooth translation. At the same time, the translator can also pay more attention to the target readers, fully consider the reading habits and thinking mode of the target readers, and use easy to understand language vocabulary to convey the information of the source text and the thoughts and feelings of the source text author to the readers, so that the target text readers and the source text readers get the same effect.&lt;br /&gt;
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[[Correction:]] Only limited to the content and textual structure of the original text, the translators will violate the initial intention of translation, making the translation obscure and unclear. Under the guidance of communicative translation theory, the translators can bring the advantages of the target language to full play, modify and polish the original text, adjust the logic of expression, eliminate the differences between the original text and the target text, so that the translation can be more smooth. Meanwhile, the translators can also pay more attention to the target-language readers, take their reading habits and thinking mode into full consideration, and employ easy-to-understand language to convey the information of the source text and the original author's thoughts and feelings, attempting to produce on its readers an effect as close as possible to that obtained on the readers of the original. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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==Case Study under the Guidance of Communicative Translation Theory==&lt;br /&gt;
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Guided by Peter Newmark's communicative translation theory, the author carries out translation practice on two short stories &amp;quot;The Innocent Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. Under the guidance of communicative translation theory, this section adopts the strategies of translation modification and meaning extension to solve the problems of ambiguous and implicit sentences in novels. At the sentence level, the strategy of paraphrase, syntactic and translation is adopted. In the aspect of rhetoric, this paper adopts the translation strategies of addition and repetition, and makes a case study to explore and summarize the translation methods and strategies applicable to novel subject matter under the guidance of communicative translation theory.&lt;br /&gt;
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[[Correction:]] Guided by Peter Newmark's communicative translation theory, the paper will carry out analysis of translation strategies in two short stories &amp;quot;The Innocent Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. &lt;br /&gt;
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===Translation Strategies and Methods under Communicative Translation Theory at Lexical Level===&lt;br /&gt;
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[[Correction(addition of a transitional paragraph):]] This section, under the guidance of communicative translation theory, will elucidate the application of translation strategies in Korean novel at the lexical level, such as conversion and extension. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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====Conversion====&lt;br /&gt;
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The translation method refers to the conversion of parts of speech in the original text, such as changing nouns into verbs, adjectives into verbs, etc., so as to make the translation conform to the expression habits of the target language. Different languages have different linguistic phenomena and cultural backgrounds. In order to make the translation more in line with the language expression habits of The Chinese people and convey the correct meaning of the original text to The Chinese readers, every word in the Korean sentence cannot be translated dead, and some parts of speech in The Korean language have to be changed in translation.(Chen 1994)# The following is a case study of translating a part of speech in the original text into another part of speech in Chinese.&lt;br /&gt;
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[[Correction:]] Conversion at the lexical level refers to the change of parts of speech in the original text, such as the conversion of nouns into verbs, adjectives into verbs, etc., so as to make the translation conform to the target-language expression habits. As a result of the fact that different languages have different linguistic phenomena and cultural backgrounds, in order to make the translation more in line with the expression habits of Chinese language and convey the correct meaning of the original text to the Chinese readers, the words word in the Korean sentences cannot be translated too rigidly, and sometimes the word class in the original text should be changed when translating. (Chen 1994) For example, (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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Eg.1 그럴 때의 아이는 이제 노인이 아니라 소년가장 같았다.&lt;br /&gt;
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First translation：那一刻我觉得孩子不像老人，而像少年家长。 &lt;br /&gt;
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Retranslation：那一刻我觉得他不像一个历经沧桑的老人，而像一个饱经世故的孩子。&lt;br /&gt;
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&amp;quot;소 년 가 장&amp;quot; is a noun, the author looked up Chinese dictionary, found &amp;quot;소 년 가 장&amp;quot; in Korean means &amp;quot;가 정 의 생 계 를 실 질 적 으 로 책 임 지 고, 어 렵 게 생 계 를 유 지 하 는 소 년&amp;quot;, at the beginning of translation, in accordance with the original literal translation is &amp;quot;young parents&amp;quot;, but is not in conformity with the Chinese expression habit, it is not easy to let Chinese readers understand, The author in the guidance of communicative translation theory, through the network search and found the dictionary lookup &amp;quot;소 년 가 장&amp;quot; and Chinese proverb &amp;quot;the poor children early master&amp;quot; has the same effect, but here can make statements impassability, in order not to cause the reader to understand the problems, the author give full play to the advantages of the Chinese, the author by using the method of adaptation, Phrases collocation and considering the Chinese habit, the term &amp;quot;소 년 가 장&amp;quot; divided &amp;quot;소 년&amp;quot; and &amp;quot;가 장&amp;quot; two nouns, and the term &amp;quot;가 장&amp;quot; translated into adjectives &amp;quot;world&amp;quot;, the &amp;quot;소 년&amp;quot; translated into &amp;quot;children&amp;quot;, both to convey the meaning of the original, and can make readers easily understand the content.&lt;br /&gt;
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Eg.2：거기에 아이가 자신을 만나려 하지 않기 때문에 돈을 주지 않는 것이라는 비난의 말이 반복해서 쓰여 있었기 때문이다. &lt;br /&gt;
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Translation ：文件上反复指责说孩子不想认他这个父亲，所以不给抚养费。&lt;br /&gt;
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In the original text 비 난&amp;quot; is a noun, the author according to the original text in translation translated into &amp;quot;document and is accused of child, father didn't want to see him the accused, so not to support&amp;quot;, at the same time with the two accused, groundwork or at the back of the verb &amp;quot;blame&amp;quot;, also make the repetitive, so the author under the guidance of communicative translation theory, When translated again, the noun &amp;quot;비 project-oriented&amp;quot; is translated into the verb &amp;quot;blame&amp;quot;, so that the translation is easy to understand.&lt;br /&gt;
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====Extension====&lt;br /&gt;
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Extension translation method is refers to according to the specific context of contact and words in the original context, starting from the basic meaning of Korean original words, through the letter of the word or phrase in the sentence, its excellent implied meaning appropriately, use some conforms to the Chinese expression habit of character words, the content of the original essence of accurate expression. &lt;br /&gt;
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[[Correction:]] Extension refers to the translation method by which the essence of the original text can be accurately expressed through the use of some expression methods in line with the expression habits of Chinese and the selection of exact and idiomatic Chinese words, according to the internal coherence of the context. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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Eg.3：①텔레비전을 쳐다보던 아이가 대뜸 내밷었다. ②동식이 집을 나서자마자 엄마는 휴이히히히, 하는 기괴한 한숨을 길게 내뱉었다.&lt;br /&gt;
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Translation：①正在看电视的儿子突然吐槽道：“妈，你快看，电视里那个人真像我爸”。 ②母亲就“唉！”长长地叹了一口气。&lt;br /&gt;
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The author by looking up the dictionary, in the original &amp;quot;내 밷 다&amp;quot; has two meanings: (1) 입 안 에 있 던 것 을 입 밖 으 로 뱉 어 내 보 내 다. (2) 마 음 에 내 키 지 아 니 하 거 나 못 마 땅 한 어 조 로 불 쑥 말 하 다. &lt;br /&gt;
Chinese meaning is &amp;quot;vomit, and said,&amp;quot; the author under the guidance of communicative translation theory, reader's expressions and words in Chinese habit as the center, contact the original context and context, considering the words collocation, adopt the method of the extension, the &amp;quot;내 밷 다&amp;quot; translated into &amp;quot;fun&amp;quot; and &amp;quot;sigh&amp;quot;, not only conforms to the present context, and in accordance with the Chinese language habits.&lt;br /&gt;
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Eg.4: ①그러니까 엄마는 내가 돈 얘기 할 것을 미리 알고서 지금 차단막을 치는 것이리라. ②형이 옆구리를 툭 치며. ③까지는 살큼 익혀서 찬지름 치고 조선간장으로 조물조물 무쳐노면 고기반찬보다 낫드라. &lt;br /&gt;
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Translation：①但母亲好像早已看透了我的心思，先堵住了我的口。 ②大哥用胳膊肘戳了我一下。 ③蒸个七八分熟的时候撒上香油好好拌一下就行了，这样比那些荤食都好吃。&lt;br /&gt;
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The verb &amp;quot;치&amp;quot; would give many different meanings with different words, such as ①&amp;quot;beating, beating, beating, playing&amp;quot;.② take, base, wrap, erect, ③ feed, feed, etc. On the basis of communicative translation theory, and fully understand the original meaning, context, and considering Chinese words collocation is used, depending on the context, the extension method was adopted, will &amp;quot;치 다&amp;quot; translated into &amp;quot;blocking&amp;quot;, &amp;quot;stamp&amp;quot;, &amp;quot;and&amp;quot; verb, such as to conform to the Chinese habits of expression.&lt;br /&gt;
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===Translation Strategies and Methods under Communicative Translation Theory at Syntactic Level===&lt;br /&gt;
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Communicative translation theory is pointed out that to the readers, the translator should give full play to the advantages of the target language, to make the translation conform to the target language expression of habit, not to leave any arcane to readers, while Korean and Chinese belong to different language families, there are differences in expression habit, this summary is mainly under the guidance of communicative translation theory, This paper analyzes the translation of sentences in The Pure Man and The Goat Family by means of paraphrase, syntactic and combined translation.&lt;br /&gt;
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[[Correction:]] Communicative translation theory points out that the translator should give full play to the advantages of the target language and enable the translation to conform to the expression habit of the target language, leaving no arcane to readers. Since Korean and Chinese belong to different language families, there are distinctions in their expression habits. This part, with communicative translation theory as the theoretical basis, will analyze the translation methods at syntactic level in two short stories &amp;quot;The Pure Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. The three methods that will be mainly discussed are interpretation method or paraphrase, demolition syntax or deconstruction, and cotranslation. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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====Interpretation Method====&lt;br /&gt;
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Hermeneutic method is also an interpretative translation method. Because Chinese and Korean have different expression habits, in the process of translation, we can use the paraphrase method to explain some ambiguous sentences, which can not only make the translation clear, but also accurately convey the original purpose.&lt;br /&gt;
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[[Correction:]] Interpretation method is also known as hermeneutic method or paraphrase. Considering the differences in expressions habits between Chinese and Korean, in the process of translation, paraphrase method can be used to diminish some ambiguities in sentences, which can not only clarify the sentences in the translation, but also accurately convey the original author's purpose. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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Eg.5：어느날, 아이가 눈에 보이는 사물들을 가리켜 얼마짜리냐고 물었을 때, 어떤 행위를 가리켜 얼마 받느냐고 물었을 때, 나는 어린것이 별걸다 궁금해한다고 면박을 줬다. 면박을 주는 것으로 마음에 이는 민망함을 무마시켰다. 아이의 입에서 처음 돈 얘기가 나왔을 때, 그때 나는 이미 알아챘어야 했는지도 모른다.&lt;br /&gt;
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First Translation: 当某一天，孩子们指着各种东西问花了多少钱，挣了多少钱时，我当面斥责说“小孩子家家的，真是什么都好奇”。我以这种当面驳斥的方式来掩饰心中的尴尬。当我第一次从孩子嘴里听到关于钱的话题时,我可能就已经觉察到了些什么。&lt;br /&gt;
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Retranslation: 当某一天，孩子们指着各种东西问价格时，我当面斥责说‘小孩子家的，问这个做什么’，以此来掩饰我内心的尴尬。当我第一次从孩子嘴里听到关于钱的话题时，我可能已经觉察到时代变了，我那‘不知钱为何物’的时代过去了。&lt;br /&gt;
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The author at the beginning of the translation of &amp;quot;그 때 나 는 이 미 알 아 챘 어 야 했 는 지 도 모 른 다&amp;quot;, literal translation is &amp;quot;I may already have noticed what&amp;quot;, but the specific perceive what is not clear, causing distress to Chinese readers, by contacting the above learned that the &amp;quot;I&amp;quot; as a child is the hairpin, objects such as pottery fragments, But now the child is the &amp;quot;money&amp;quot;, the author under the guidance of communicative translation theory, to the readers, adopting the tactics of interpretation method, interpreted &amp;quot;I perceived that the&amp;quot; content &amp;quot;I might have been aware of The Times have changed, I that 'I don't know the money was the era of the past&amp;quot;, thus the author want to convey the original concept of the era of the change of the clear expression come out.&lt;br /&gt;
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Eg.6：영호야, 명절 때만이라도 꼭 아빠한데 가봐, 가기 싫으면 연락이라도 드리고.아빠가 아무리 네 맘에 안 들더라도 너는 네 할 도리를 해야 떳떳한 사람이 되는 거야,알았지?&lt;br /&gt;
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First Translation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。只有做了自已应该做的才能做一个光明磊落的人，知道吗？&lt;br /&gt;
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Retranslation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。为人处事和忠孝贤良是亘古不变的，要想做一个光明磊落的人，就要做好自己的分内之事，知道吗？阿姨的话要记住哦。&lt;br /&gt;
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Early in the translation of &amp;quot;너 는 네 할 도 리 를 해 야 떳 떳 한 사 람 이 되 는 거 야&amp;quot;, the corresponding Chinese literal translation is &amp;quot;only do oneself should do can do a aboveboard person&amp;quot;, but &amp;quot;할 도 리&amp;quot; what, did not explain clearly in the original, need the reader to consider, in order not to leave readers obscure place, The author puts the advantage of Chinese into full play and interprets &amp;quot;up 도 wish to be good&amp;quot; into English by means of context and translation theory. At the same time, I also think that this is the advice of adults. It is necessary to tell him this truth in a soft and powerful tone. After this sentence, &amp;quot;Remember what aunt said&amp;quot; is added to make the original meaning clearly conveyed to readers, so that readers can better understand the original content.&lt;br /&gt;
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====Demolition Syntax====&lt;br /&gt;
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Deconstruction is the breaking down of a long sentence into several shorter sentences. As Korean and Chinese belong to different language families, there are many differences in syntax. The word order of Korean sentences is the structure of SOV, and narration is the main body and focus of the sentence, and there are a large number of long sentences, which rely on word endings to express various grammatical meanings. No amount of sentence elements will cause meaning confusion.&lt;br /&gt;
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However, the word order of Chinese sentences is the SVO structure, which depends on vocabulary, function words and word order to distinguish sentence components, so the sentence structure is simple, mainly short sentences. The translation of Korean long sentences into Chinese sentence groups can make the translation logical, smooth and accurate.&lt;br /&gt;
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Eg.7：동식의 이혼에 책임이 없다고 할 수는 없는 형제들이 돈을 모아 동식에게 새집을 지어줬는데 집안 새것이면 뭐 하냐고 동식이 폭력을 휘두를 조짐을 보이자 그 팔아 종류의 폭력을 아버지에게 당해본 엄마는 지레 겁을 먹고 소를 팔아 동식에게 새장가 갈 자금을 쥐여줄 수밖에 없었다.&lt;br /&gt;
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First Translation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子。挨过父亲打的母亲因为对东植这种动不动就挥拳头打人的行为心有余悸，并觉得只有新房子没用，就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
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Retranslation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子，母亲因为挨过父亲的打，所以对东植这种动不动就挥拳头打人的行为心有余悸，觉得只有新房子无济于事，改不了他的暴力行为，索性就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
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The original text Is a long sentence, &amp;quot;는 데&amp;quot; is a long attributive clause, behind the author under the guidance of communicative translation theory, using the translation, in the resolution of a sentence, adjust the structure of the sentence, but his father mother &amp;quot;dragged&amp;quot; compared to read man translationese is too heavy, have the taste of Korean Chinese, is not in conformity with the Chinese expression habit, the author on the basis of this, The translation has been revised and polished to make it smooth and smooth.&lt;br /&gt;
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====Cotranslation====&lt;br /&gt;
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Cotranslation refers to the combined translation of two or more sentences in the original text. Using the combined translation method to translate, will reduce the long winded translation, obtain a smooth and smooth translation.&lt;br /&gt;
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[[Correction:]] Cotranslation, also known as combination, refers to the translation method by which two or more sentences in the original text are combined into a single sentence in the target-language text. The use of combined translation can reduce long-windedness and redundancies in translation, obtaining a smooth, natural and lucid translation. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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Eg.8 ：나는 큰오빠와 작은오빠가 아버지가 남긴 논을 가져간 것을 알고 있었다. 큰언니, 작은언니가 결혼할 때 밭을 가져 갔다는 것도. 동식은 제 몫이 논도 밭도 아닌 집인 것에 불만을 품고 쓰러져가는 슬레이트집에 불을 질렀다.&lt;br /&gt;
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First Translation：我知道大哥和二哥结婚时分走了家里的水田，大姐和二姐结婚时分走了家里的旱地，东植因为分到的不是田和地，而是即将坍塌的的石板屋，一气之下就在屋里放了火。&lt;br /&gt;
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Retranslation：哥哥姐姐们结婚时把家里的水田和旱地都分走了。而东植分到的是即将坍塌的的石板屋，他对此很不满，一气之下就放火烧了房子。&lt;br /&gt;
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Are two sentences in the original, the author first translation, according to the original text translated into two other subject-predicate bin structure of the sentence, but &amp;quot;big sister&amp;quot; &amp;quot;big brother&amp;quot; &amp;quot;sister&amp;quot; &amp;quot;second brother&amp;quot; will be read repetitive, so the author under the guidance of communicative translation theory, adopt the method of r the appellation of original elements became the &amp;quot;brothers and sisters&amp;quot;, and the two sentence elements into a simple sentence, Reduce redundant redundant.&lt;br /&gt;
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===Translation Strategies and Methods under Communicative Translation Theory at Rhetorical Level===&lt;br /&gt;
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Communicative translation theory points out that should take the readers as heavy, compared to convey to the readers the article content, pay more attention to the expression effect, good expression effect can cause the resonance of the readers, caused the reader's thinking, and good expression effect depends on the use of rhetoric, this summary is mainly under the guidance of communicative translation theory, adopt different translation strategies, The rhetorical translation in The Innocent Man and The Goat Family is analyzed.&lt;br /&gt;
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[[Correction:]] In view of communicative translation theory, the translator should take the readers to heart, and pay more attention to the expression effect compared to the conveyance of the content. The excellent expression effect that can engender the readers’ resonance and lead them to think majorly resorts to the use of rhetoric. This section, guided by communicative translation theory, will enunciate the translation methods at the rhetoric level employed in the Chinese translation of the two Korean short stories. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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====Addition====&lt;br /&gt;
&lt;br /&gt;
Addition is a translation method that adds content to the target text in order to accurately express the meaning of the source text, meet the needs of the target text readers and make the target text conform to the expression habits of the target language. Since Chinese and Korean have different pragmatic ways and expressive habits, some words or sentences should be added in the translation to make the translation more consistent with the Chinese context, the reader's expressive habits and the exact meaning of the original text.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] Addition is a translation method by which some items should be added to the target-language text in order to accurately express the meaning of the source text, make the translation correspond with the expression habits of the target language and meet the the target-text readers' needs. Since Chinese and Korean have different pragmatic ways and expressive modes, some specific words or sentences should be added in the translation to render the translation more consistent with the Chinese context, the readers' reading habits and the concrete meaning of the original text. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
Eg.9：나는 아이 아빠의 돈을 ‘그깟 돈’이라고 표현했다.&lt;br /&gt;
&lt;br /&gt;
First Translation：我把孩子爸爸的钱称为“那么点儿钱”。&lt;br /&gt;
&lt;br /&gt;
Retranslation：我把孩子爸爸给的钱称为“塞牙缝的钱”。&lt;br /&gt;
&lt;br /&gt;
&amp;quot;그깟&amp;quot; is a contraction of &amp;quot;그까짓&amp;quot;. It means so little, so little. The amount of money given by the father of the child is very small. The author under the guidance of communicative translation theory, give full play to the advantages of target language, adopt the method of thickening of translation, the use of metaphor, the &amp;quot;그 깟 돈&amp;quot; translated into accord with the readers expression habit &amp;quot;for all of the money&amp;quot;, making it easy to understand, more intuitive said the little amount, so as to impress the reader.&lt;br /&gt;
&lt;br /&gt;
====Repetition====&lt;br /&gt;
&lt;br /&gt;
Repetition refers to the translation technique of appropriately repeating a part of words or sentences in translation. The repetition method can make the meaning of the translation more clear, further strengthen the appeal of the article, highlight the thoughts and feelings of the article, and achieve a good rhetorical effect.&lt;br /&gt;
&lt;br /&gt;
Eg.10：아비를 한번도 찾지 않다가 돈 달라고, 그것도 법정에서 애 얼굴을 봐야 하는 아비 된 자의 참담한 심정을 당신들이 아느냐고.&lt;br /&gt;
&lt;br /&gt;
First Translation：孩子一次也没来看过我这个父亲，却开口要钱？而且只有上了法院，我才好不容易看孩子一眼，你们理解我这个做父亲的心情和处境吗！&lt;br /&gt;
&lt;br /&gt;
Retranslation：孩子一次也没来看过我就跟我开口要钱，只有上了法院，我才好不容易看孩子一眼，我这个做父亲的苦楚，悲凉的的心情，你们理解吗！理解吗！&lt;br /&gt;
&lt;br /&gt;
The author by contacting the specific context, as a father, no contact for many years but children themselves to court, the state of mind should be both angry and sad, based on the theory of communicative translation, using the skill of verb repetition, to &amp;quot;알 다&amp;quot; repeated translation, to emphasize my angry tone, in order to make the article more vivid and accurate meaning.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
&lt;br /&gt;
This paper selected the south Korean writer Kong Shanyu stories &amp;quot;well bead film&amp;quot; in the two novel &amp;quot;pure people&amp;quot; and &amp;quot;the goat family&amp;quot; has carried on the translation practice, the two novels are using the simple nature of language and a small amount of dialect vocabulary, shape lifelike characters, are described by family members of the past, let the past and reality contrast, It reflects the social reality that with the development of society, people have become selfish and indifferent, and the most simple family and human feelings seem to be more and more far away from us, so as to explore the history and significance of the &amp;quot;family&amp;quot; and the simple social atmosphere, which are gradually forgotten by Koreans.&lt;br /&gt;
&lt;br /&gt;
The core of Peter Newmark's communicative translation theory is that on the basis of being faithful to the content of the original text, the translator can give full play to the advantages of the target language, get rid of the constraints of the language structure of the original text, and pay attention to the effect of the expression of the target text. According to Newmark's text type, communicative translation theory applies to appeal texts, which focus on the target reader and aim to elicit the desired response, including popular books, popular novels and so on. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. Under the guidance of Peter Newmark's communicative translation theory, the author analyzes and discusses the translation strategies in the Pure Man and The Goat Family, which are complicated sentences, ambiguous meanings and implicit expressions.&lt;br /&gt;
&lt;br /&gt;
From the lexical level analysis, the author mainly combined with the context, to Chinese readers as the center, to comply with the Chinese expression and language habits, consider the reader's understanding ability, on the basis of Chinese used to translation and translation methods of extension, so as to satisfy the to the original readers and the translation of the original dual need of the readers have the same effect, At the same time, it also ensures the accuracy and flexibility of the translation words, so as to conform to the translator's lexical habits. From the statement level analysis, &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; appeared in the text of the long sentence and attributive clause, at the same time, some relatively obscure sentences substance, so the author adopted the method of interpretation, syntax and translation of translation strategies, to explain the sentence, split, reorganization, thus reducing the sentence's mad outages and ideographic unclear, The translation is in line with the habits of Chinese readers and effectively conveys the essence of the original text. From the rhetoric analysis, communicative translation theory points out that compared with the content, should attach great importance to the expression of the translation effect, good expression effect depends on the use of rhetoric, so the author USES the translation strategy of work and repetition, has carried on the modification to the original and polishing, to strengthen the artistic effect and influence of the translation, make readers for the characters vivid impression, Arouse readers' reflection and emotional resonance.&lt;br /&gt;
&lt;br /&gt;
Therefore, the results of this study indicate that the communicative translation theory is of guiding significance to the Chinese translation of Korean novels and can provide a reference for similar translation practices. Communicative translation theory is pointed out that to the reader as the center, the translator can get rid of the original text, giving full play to the advantages of target language to adjust the structure and logic, to make the translation easy to understand, but there may be lack of scattering situation, so the translator should properly our subjective initiative, to insure the effect of readers in at the same time, also used to avoid the above situation. In addition, there are also shortcomings in the translation, but the author still hopes that this translation practice can provide reference for the future Korean-Chinese translation practice. At the same time, through this translation practice, the author has realized his own shortcomings. In the future, the author will continue to learn, accumulate practical experience, and strive to improve his literary accomplishment and language foundation, and improve his translation level.&lt;br /&gt;
&lt;br /&gt;
[[Correction of Conclusion:]] &lt;br /&gt;
&lt;br /&gt;
This paper selects the south Korean writer Kong Shanyu's two short stories &amp;quot;The Innocents&amp;quot; and &amp;quot;The Goat Family&amp;quot; excerpted from the novel collection ''Eun-ju's Movie'', and interprets translation strategies and methods at lexical, syntactic and rhetorical levels in their Chinese translations, under the guidance of Peter Newmark's communicative translation theory. The two stories both boast the simple and natural language as well as a small amount of Korean dialects, along with the lifelike characterization, describing family members of the past and making a contrast between the past and the present reality. The two short novels reflect the social reality that with the development of society, people have become selfish and indifferent, and the family warmth and human feelings seem to be more distant from the individuals, so as to explore the history and significance of the &amp;quot;family&amp;quot; as well as the simple and harmonious social atmosphere, which are gradually forgotten by Koreans.&lt;br /&gt;
&lt;br /&gt;
According to Peter Newmark's communicative translation theory, translation should be faithful to the source text, and the translator can give full play to the advantages of the target language, get rid of the constraints of the source-language structure, and focus on the expressive effect that the target-language text produces. What's more, in the light of the text types categorized by Newmark, communicative translation theory applies to appeal or vocative texts, which keep a close eye on the target-language readers and intend to elicit the desired response, and popular books and novels fall into this text type. Besides, the common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. In a word, the interpretation of translation strategies and methods in Chinese translation of Korean novels guided by communicative translation theory is feasible.&lt;br /&gt;
&lt;br /&gt;
From the analysis in the lexical aspect, this paper demonstrates that the translation techniques --- conversion and extension --- are used in Chinese translation of these two Korean short stories. Such Chinese translation, fully considering the context and taking Chinese readers as the center, complies with the Chinese expression and language habits. Given the readers' understanding capability, the translator employs conversion of word class and extension of lexical meaning, so as to satisfy the needs of both the original readers and the target-language readers. Meanwhile, the use of conversion and extension also ensures the accuracy and flexibility of the translated vocabulary. At the syntactic level, the original two stories embrace a lot of long sentences and attributive clauses, as well as some sentences with relatively obscure substances. Thus, the adoption of paraphrase, deconstruction and combination, which re-explain, split, reorganize the sentences, reduces ideographic unclarity as well as long-wined sentences and diversify the sentence patterns, rendering the translation close to the target-language readers. In the rhetorical respect, communicative translation theory attaches greater importance to the expressive effect of the translation compared with the delivery of the content, and the use of rhetoric can result in exceptional expression effect. Consequently, the application of addition and repetition modifies and polishes the original text, so that the artistic charm of the translation can be enhanced, the desirable impression can be deepened, and the readers' reflection and emotional resonance can be aroused.&lt;br /&gt;
&lt;br /&gt;
To sum up, it can be seen that Peter Newmark's communicative translation theory is of guiding significance to the Chinese translation of Korean novels and can provide a reference for future translation practices. With communicative translation theory, the translator who adheres to the &amp;quot;readers-first&amp;quot; principle can get rid of the limitation of the original text, give full play to the advantages of the target language, and adjust the sentence structure and textual logic, so as to further improve the quality of translation.&lt;br /&gt;
&lt;br /&gt;
However, owing to the confined conditions and limited academic capacity, there are also shortcomings in this paper: firstly, the paper takes only two pieces of Korean short stories as examples in case study, so it lacks strong persuasiveness and representativeness; secondly, since there are few researchers on Chinese translation of Korean novels at home and abroad, this paper resorts to insufficient literature guidance and reference. As a consequence, it is expected that researchers in this field can cooperate well to build up a system to minimize the possible errors and create more thorough and holistic works to elaborate on and improve Chinese translation of Korean novels. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
&lt;br /&gt;
'''English Literature:'''&lt;br /&gt;
&lt;br /&gt;
[1]. GAO Chang. The Application of Peter Newmark's Communicative Translation Theory to the Translation of Chinese Historical Allusions [J]. Overseas English, 2013(11).&lt;br /&gt;
&lt;br /&gt;
[2]. JIAN Fang. Newmark's Translation Theory and Film Names [J]. Overseas English, 2010(08).&lt;br /&gt;
&lt;br /&gt;
[3]. LI Xin, ZHANG Zhe. On Peter Newmark’s Semanic Translation &amp;amp; Communicative Translation[J]. Overseas English, 2015（03）.&lt;br /&gt;
&lt;br /&gt;
'''Korean literature:'''&lt;br /&gt;
&lt;br /&gt;
[4]. Gong Seon-ok. In the 1980s, my literature Gwangju, and my life's hardship [J]. History of Criticism, 1995 (08).&lt;br /&gt;
&lt;br /&gt;
[5]. Kang Young-mi. Preliminary review of the singing movement in the 1970s and 1980s [J]. Mental Culture Research 41(3), 2018.(09).&lt;br /&gt;
&lt;br /&gt;
[6]. Kim Young Hee. Modern and Alternative Experience and Women--Park Wan-seo, Kim In-sook, and Gong Sun-ok's novel [J]. Creation and Criticism 23(3), 1995(09).&lt;br /&gt;
&lt;br /&gt;
[7]. Osunbang. A study of the translation of novels in modern China and the two-way translation of Sino-Korean novels[J]. Seoul: Sungsil University Press, 2008.&lt;br /&gt;
&lt;br /&gt;
'''Chinese Literature:'''&lt;br /&gt;
&lt;br /&gt;
[8]. Chen Lin. A comparison of Eugene A. Naida and Peter Newmark's translation theories [J]. Journal of Xiangtan University (Social Science Edition), 1994,(08): 87-91.&lt;br /&gt;
&lt;br /&gt;
[9]. Si Jitao and Yan Honglan. The translation of split sentences and combined sentences in English-Chinese translation[J]. Journal of Guangxi Right River Nationalities Teachers College,2005(02):21&lt;br /&gt;
&lt;br /&gt;
[10]. Chen Lin. A comparison of Eugene A. Naida and Peter Newmark's translation theory [J]. Journal of Xiangtan University (Social Science Edition), 1994, (08).&lt;br /&gt;
&lt;br /&gt;
[11]. Yang Shi-Zhuo. A brief analysis of Newmark's theory of semantic and communicative translation[J]. Fujian Foreign Language, 1989:68-71.&lt;br /&gt;
&lt;br /&gt;
corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=毛雅文On Translation Strategies and Methods in Chinese Translation of English Prose --- Chinese Translation of Robert Lynd’s &amp;quot;Pleasures of Ignorance&amp;quot; as an example=&lt;br /&gt;
&lt;br /&gt;
'''浅析英语散文汉译中的翻译策略——以罗伯特·林德《无知的乐趣》汉译本为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_4]]&lt;br /&gt;
&lt;br /&gt;
毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
&lt;br /&gt;
Prose, together with poetry, novel and drama, is a kind of literary form. It is not limited to rhythm, plot and characters, flexible in form, real and natural. English prose has a long history and various types, so it becomes an important object in translation practice and research. In China, the most famous English prose writers are Francis Bacon and Charles Lamb, hence, their works can be regarded as the focus of studies on Chinese translation of English prose. In fact, Chinese translation of English prose draws less attention in translation circle of China, compared with that of English poetry and drama. With English prose as the starting point, this paper will introduce the characteristics of English prose and the domestic studies on its Chinese translation, and take the Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, the representative work of English modern prose writer Robert Lynd, as an example to analyze its translation strategies and methods.&lt;br /&gt;
&lt;br /&gt;
==摘要==&lt;br /&gt;
&lt;br /&gt;
散文是与诗歌、小说、戏剧并称的一种文体，不拘泥于韵律、情节、人物，形式灵活，真实自然。英语散文历史悠久，类型多样，是翻译实践与研究中的重要研究对象。在我国，最著名的英语散文家是弗朗西斯·培根和查尔斯·兰姆，他们的作品也因此成为英语散文汉译的重点。而事实上，我国翻译界更加重视的是诗歌与小说的汉译，英语散文汉译的研究相较之下比较滞后。本文将以英语散文为切入点，介绍英语散文的特点及其在我国的汉译研究，并以英国现代散文家罗伯特·林德的代表作《无知的乐趣》汉译本为例，主要分析其中的策略及方法。&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Pleasures of Ignorance&amp;quot;; Chinese translation of English prose; translation strategies; translation methods; translation techniques&lt;br /&gt;
&lt;br /&gt;
==关键词==&lt;br /&gt;
&lt;br /&gt;
《无知的乐趣》；英语散文汉译；翻译策略；翻译方法；翻译技巧&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
&lt;br /&gt;
This chapter will point to the research background and its significance, and briefly set forth the structure of this paper and the methods used.&lt;br /&gt;
&lt;br /&gt;
===Research Background and Significance===&lt;br /&gt;
&lt;br /&gt;
In recent years, with the deepening of the reform and opening-up, the channels of international cultural exchange have become increasingly unblocked, and China's translation industry has also flourished. The studies on translation theory, drawing lesson from western translation studies, have yielded fruitful results, and more noteworthily, remarkable achievements have been made in studies on literary translation for all to see. (Hou Qiang 2014: 1)&lt;br /&gt;
&lt;br /&gt;
Prose is a basic literary form in written or spoken language that typically exhibits a natural flow of speech and grammatical structure. A large number of works in philosophy, history, economics, journalism, etc, are examples of works written in prose. It can be seen that prose, which is widely used for creation, occupies an important position in literature. However, there are few researchers majoring in prose translation, still fewer ones who specialize in Chinese translation of English prose. In view of the above, this paper, based on previous studies, will study the Chinese translation of English prose, and take the Chinese translation by Liu Bingshan of ''The Pleasures of Ignorance'' created by the English prose writer Robert Lynd, exploring its characteristics in translation strategies and methods, so as to provide better understanding and some reference for the appreciation and translation of English prose. (He Xiuqin 2018: 6) (Song Jie 2018: 1)&lt;br /&gt;
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===Methodology and Structure===&lt;br /&gt;
&lt;br /&gt;
This paper will employ the methods of literature research and case analysis. The paper consists of three parts. The first section is literature review, explicating the distinctive properties and linguistic features of English prose, and the prose translation with its principles, as well as introducing the previous studies on Chinese translation of English prose at home. The second part, the core of this paper, will take Liu Bingshan's Chinese translation version of Robert Lynd's prose work &amp;quot;Pleasures of Ignorance&amp;quot; as an example, carry out the interpretation of this translation in terms of its types, styles as well as strategies and methods employed. Lastly, the conclusion will point to the findings in this study and the weaknesses in the paper.&lt;br /&gt;
&lt;br /&gt;
==Literature Review==&lt;br /&gt;
&lt;br /&gt;
This part will draw into the domestic previous studies on Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
With regard to Chinese translation of English prose, at present, there are few domestic scholars dedicated to its systematic research. According to the different perspectives, the relevant researches at home can be roughly divided into three categories.&lt;br /&gt;
&lt;br /&gt;
First, concerning research on the theory of Chinese translation of English prose into Chinese, there are relatively small number of studies in this direction. One of the most fruitful works is ''The Study and Translation of British and American Prose'' co-authored by Zhao Xiuming and Zhao Zhangjin (2010), which makes a detailed investigation of the literary characteristics, historical evolution and style evolution of British and American prose. The work also discusses the basic principles of English prose translation in terms of pre-translation text analysis, historical and cultural context, artistic principles, and styles, etc., which can offer a reference for the further study of the theories and practices of English prose translation. (Hou Qiang 2014: 4)&lt;br /&gt;
&lt;br /&gt;
Second, regarding research on the famous translators of English and American prose with their translation styles and skills, Xia Ying explored the style of Professor Cao's translation of Francis Bacon with the essay titled &amp;quot;Research on Professor Cao Minglunss Chinese translation of bacon prose&amp;quot;. (Xia Ying, 2012:165-166) Some others probed into Liu Bingshanss and Li Shicong's thoughts on prose translation which have guiding significance for prose translation practice. (Hou Qiang 2014: 4)&lt;br /&gt;
&lt;br /&gt;
Third, as regards research on the practice of Chinese translation English prose based on translation theory, Huang Jianling (2021) analyzed the Chinese translation of Bacon's essays from the perspective of translation aesthetics. Hu Hongyun (2013) translates and elaborates on the British prose Farewell in vocabulary, semantics, style and cultural transmission, on the basis of Eugene Nida's Functional Equivalence theory. (Hou Qiang 2014: 5)&lt;br /&gt;
&lt;br /&gt;
These researches and investigations have laid a solid foundation for future studies and the analysis in this paper.&lt;br /&gt;
&lt;br /&gt;
==Overview of English Prose==&lt;br /&gt;
&lt;br /&gt;
Prose can be defined in broad sense and in narrow sense. In broad sense, prose refers to all the written and oral works in a loose form free from parallelism; and in narrow sense, it specifically means the writings with certain literary qualities, such as essays, and a literary genre juxtaposed with poetry, novel, drama and movie-television literature.&lt;br /&gt;
&lt;br /&gt;
This section will clarify the distinctive characteristics and linguistic features of English prose, as well as its translation principles.&lt;br /&gt;
&lt;br /&gt;
===Distinctive Features of English Prose===&lt;br /&gt;
&lt;br /&gt;
As an independent literary genre, English prose has its own distinctive characteristics.&lt;br /&gt;
&lt;br /&gt;
The first characteristic is its expression of sincere feeling. Prose mostly depicts the real people, things and scenery, and is generated based on record and recollection of life. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. So in this sense, prose can be considered as an earnest conversation between the author and the readers. (Zhang Baohong 2011: 28)&lt;br /&gt;
&lt;br /&gt;
Secondly, English prose is characterized by the wide material selection. In English prose, one detail, episode and facet of life can be used to display the author's specific emotions and circumstances, and all materials related to the theme can also be employed. It places no emphasis on rhythm and rhyme, like poetry, as well as to plot and characters, like drama. (Zhang Baohong 2011: 29)&lt;br /&gt;
&lt;br /&gt;
Besides, English prose features the free and loose structure. The structure of prose writings is free and flexible. Prose is elastic and natural and boasts descriptive, argumentative and lyrical qualities, thereof constituting its most distinctive advantage. There are no strict restrictions and fixed patterns in the prose structure, but its flexibility and randomness is not tantamount to disorder and scatter, and its choice of theme and expression of feelings should be closely centered on one main line. (Zhang Baohong 2011: 29)&lt;br /&gt;
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===Linguistic Features of English Prose===&lt;br /&gt;
&lt;br /&gt;
Compared with other literary forms, prose has no more skills to resort to. Therefore, as regards the form of artistic expression, English prose mainly has recourse to its own language features.&lt;br /&gt;
&lt;br /&gt;
First and foremost, succinctness and fluency characterize English prose language. The concise prose language not only fully delivers the content that the author intends to convey, but effectively shows the author's emotions and attitude towards persons and things. This is not the result of the author's deliberate elaboration, but the natural overflow of his or her plain and pure emotion. The fluency of prose language refers to both the informal use of words and phrases, and the author's sound expression of feelings. (Zhang Baohong 2011: 29)&lt;br /&gt;
&lt;br /&gt;
Meanwhile, colloquial style and literary grace are characteristic of prose language. As prose mainly focuses on description of the author's personal stories and sentiments, thus, he speaks or writes with his own posture, style and tone, as if he is confiding to the readers, so as to highlight the agreeable conversation style and unique colloquial style. Colloquial prose language is natural due to its simplicity, friendly owing to its ease of communication, and true thanks to its individuality. (Zhang Baohong 2011: 30)&lt;br /&gt;
&lt;br /&gt;
Furthermore, another linguistic feature of English prose is the smooth rhythm and reading. The rhythmic beauty of prose language is reflected in phonetic respect and in sentence patterns. The prose reading is catchy, with no obstacles and awkwardness, and its rhythm is in line with the natural law of oral breathing pauses as well as with the ups and downs of feelings. (Zhang Baohong 2011: 30)&lt;br /&gt;
&lt;br /&gt;
===Principles of English Prose Translation===&lt;br /&gt;
&lt;br /&gt;
The beauty of prose lies in its language and artistic conception, the two permeating each other and jointly creating the artistic charm of prose. In prose translation practice, the following principles can be observed to reproduce the artistic appeal.&lt;br /&gt;
&lt;br /&gt;
Keep an eye on sound and rhythm. Despite that the sound and rhythm of prose are often internal, not as obvious, regular and musical as that of poetry, they are not disordered with no aesthetic purpose. On the contrary, they effectively represent the variation of emotion in the prose, and are consistent with its unique aesthetic interest. This illustrates that in prose translation, on the one hand, the translators should recognize the great value and significance of prose sound and rhythm; on the other hand, with the intention of reproducing the linguistic subtleties of the original text, the translators can fully touch its aesthetic interest from the cadence between the lines, and perceive its inner rhythm from sentence length and speech speed. (Zhang Baohong 2011: 30)&lt;br /&gt;
&lt;br /&gt;
Pay attention to personalized mode of discourse. Different writers with various discourse modes bring about manifold writing styles. Not only is the personalized mode of discourse reflected in the author's choice of words and sentences as well as layout of the prose, but also in his thoughts and aesthetic interest. As a result, the translators can start with analyzing the original writer's one classic work and then his anthology and even look closely at the literary features of his age, in order to grasping the writer's personalized discourse mode, which is of particular importance to reproduce his artistic personality and the characteristics of his emotional expression in translation practice. (Zhang Baohong 2011: 31)&lt;br /&gt;
&lt;br /&gt;
Place a premium on the unity of scene and emotion. The unity of scene and interest in prose is embodied in diverse ways of language expression and structure, as well as the images or settings created by the author. In translation practice, based on the unity of scene and interest in the prose, it is beneficial to preserve and reproduce the overall aesthetic orientation of the original text through aesthetic reconstruction in word selection and layout, so that the translated text can obtain the aesthetic taste similar to the original prose.(Zhang Baohong 2011: 31)&lt;br /&gt;
&lt;br /&gt;
All in all, a general understanding of English prose can facilitate the study of its Chinese translation.&lt;br /&gt;
&lt;br /&gt;
==Case Study of Chinese Translation of &amp;quot;Pleasures of Ignorance&amp;quot;==&lt;br /&gt;
&lt;br /&gt;
The selected source text is &amp;quot;The Pleasures of Ignorance&amp;quot;, written by Robert Lynd. &lt;br /&gt;
&lt;br /&gt;
Robert Lynd (1879-1949), born in Belfast, Northern Ireland, was a modern critic and prose writer. He, together with E. V. Lucas, was a pioneer in reviving the tradition of Charles Lamb's prose. And The Pleasures of Ignorance is one of his notable prose works.&lt;br /&gt;
&lt;br /&gt;
This prose points out that it is because ignorance that people are interested in the nature and the world and their pursue knowledge, and the process of seeking knowledge is full of pleasure, by which the author emphasizes the importance of learning more and gaining insight. The article reveals somewhat erudition and aesthetic sensibility, as well as love for nature and and passion for life. From his leisurely writing, the author's maturity of thought and capability in usage of words is unveiled. Though the tone of the original text makes the readers feel that the author is chatting with them, giving people familiarity and closeness, it is not particularly colloquial. On the contrary, there is a kind of exactness and elegance of the learned between the lines, thus it can be seen that the case text is a typical scholar prose. (Zhu Mingju 2007: 326)&lt;br /&gt;
&lt;br /&gt;
The translator Professor Liu Bingshan firmly grasps these features of the original text and conveys the original style by carefully choosing words and sentences, with the principles of faithfulness, smoothness and expressiveness. His Chinese translation of &amp;quot;The Pleasures of Ignorance&amp;quot; will be analyzed in terms of translation strategies and methods. (Zhu Mingju 2007: 326)&lt;br /&gt;
&lt;br /&gt;
There is the natural connection between translation strategies and translation methods, but the two concepts are often confused. It is generally believed that translation strategies (such as foreignization and domestication) are at the cultural level, while the translation methods (such as literal translation and free translation) are at the textual level. Translation methods are the approaches, steps and techniques used to achieve a specific translation purpose based on a certain translation strategy in translation activities, whereas translation strategies are a collection of principles and methods. Consequently, this paper will enunciate the translation text on the basis of translation methods under foreignization strategy and domestication strategy respectively. (Xiong Bing 2014: 84)&lt;br /&gt;
&lt;br /&gt;
===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
&lt;br /&gt;
Foreignization is a strategy in which a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. This strategy is &amp;quot;an ethnodeviant pressure on target-language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad&amp;quot; to have alien reading experience. The translation methods under foreignization employed in Professor Liu's target text include literal translation, zero-translation and transliteration. (Venuti, 2004: 20) (Lian Shuneng 2006: 13)&lt;br /&gt;
&lt;br /&gt;
====Literal Translation====&lt;br /&gt;
&lt;br /&gt;
Literal translation is in fact looser renditions that replace individual source language words with individual target language wors wherever possible, and cling as closely as possible to the source language word order in the target language. (Lian Shuneng 2006: 12)&lt;br /&gt;
&lt;br /&gt;
Specifically, in the case translation text, the translator faithfully retains some personal pronouns and demonstrative pronouns in the original text. For example, &lt;br /&gt;
&lt;br /&gt;
(1)It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance.&lt;br /&gt;
&lt;br /&gt;
同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
&lt;br /&gt;
(2)This ignorance, however, is not altogether miserable.&lt;br /&gt;
&lt;br /&gt;
不过，这种无知也并非全然不幸。&lt;br /&gt;
&lt;br /&gt;
(3)But your and my ignorance is not confined to cuckoos.&lt;br /&gt;
&lt;br /&gt;
但是，你我的无知并不仅限于杜鹃这一方面。&lt;br /&gt;
&lt;br /&gt;
(4)A contemporary English novelist was once asked by a foreigner what was the most important crop in England.&lt;br /&gt;
&lt;br /&gt;
一个外国人问一位当代英国小说家，英国最重要的农作物是什么。&lt;br /&gt;
&lt;br /&gt;
The translation of these sentences, though properly altering the word order and voice with the adherence to the target-language syntactic norms, does not adopt the usage of transferred meaning in dealing with lexical sense.&lt;br /&gt;
&lt;br /&gt;
The use of literal translation, especially the retaining of the personal pronouns, like &amp;quot;we&amp;quot; and &amp;quot;you and I&amp;quot;, conveys the style of the original text, showing friendliness and intimacy.&lt;br /&gt;
&lt;br /&gt;
====Zero-Translation====&lt;br /&gt;
&lt;br /&gt;
Zero translation refers to the translation in which the translators do not use the ready-made words in the target language to translate the source language words. This translation phenomenon occurs when adjustments must be made due to the differences in the syntactic structures of the two languages. For example, some articles and personal pronouns are not translated in E-C translation. (Fang Mengzhi 2011: 108)&lt;br /&gt;
&lt;br /&gt;
In Professor Liu's Translation, zero-translation is particularly displayed by omission, a translation technique. For instance,&lt;br /&gt;
&lt;br /&gt;
Omission of the expletives ''It'' and ''There'':&lt;br /&gt;
&lt;br /&gt;
(5)''It'' is impossible to take a walk in the country oneself without being amazed at the vast continent of one's own ignorance.&lt;br /&gt;
&lt;br /&gt;
任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
&lt;br /&gt;
(6)''There'' are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy.&lt;br /&gt;
&lt;br /&gt;
这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。&lt;br /&gt;
&lt;br /&gt;
Omission of English articles:&lt;br /&gt;
&lt;br /&gt;
(7)Thousands of men and women live and die without knowing the difference between ''a'' beech and ''an'' elm, between ''the'' song of ''a'' thrush and ''the'' song of ''a'' blackbird.&lt;br /&gt;
&lt;br /&gt;
成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
&lt;br /&gt;
Omission of pronouns:&lt;br /&gt;
&lt;br /&gt;
(8)... as she (the cuckoo) lays ''her'' egg on the ground and takes it in ''her'' bill to the nest in which it is destined to breed infanticide.&lt;br /&gt;
&lt;br /&gt;
把蛋下到地面上，然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。&lt;br /&gt;
&lt;br /&gt;
The application of zero-translation can render the translation text concise, neat and fluent, and make the rhythm of the prose more natural and flexible, conforming to the principle of prose translation.&lt;br /&gt;
&lt;br /&gt;
====Transliteration====&lt;br /&gt;
&lt;br /&gt;
Proper names such as the names of persons and places of foreign countries, are, as a rule, to be transliterated, i.e., to be translated by using Chinese characters to represent the sound in articulating these names. (Lian Shuneng 2006: 344)&lt;br /&gt;
&lt;br /&gt;
In transliteration, the translators should follow the original pronunciation of proper names, in Liu's translation, for example,&lt;br /&gt;
&lt;br /&gt;
(9)Hamlet 哈姆雷特 Pickwick 匹克威克 (both transliterated from English)&lt;br /&gt;
&lt;br /&gt;
Besides, in transliteration, the translators sometimes should also use the standard pronunciation of the Chinese characters. One of the difficulties in transliterating a foreign name in Chinese characters lies in the lack of many foreign sounds in Chinese, and the variation in the pronunciation of the Chinese characters causes confusion. The remedy is to fix certain Chinese characters for a certain syllable of foreign names. And many long-standing translated names, though not named after the original sounds, have been recognized by the world and are generally invariable. (Lian Shuneng 2006: 346)&lt;br /&gt;
&lt;br /&gt;
For example, in the translation in case study. For example, in the translation in case study,&lt;br /&gt;
&lt;br /&gt;
(10)Montaigne 蒙田 (not 蒙泰涅)&lt;br /&gt;
&lt;br /&gt;
Transliteration plays a crucial role in translation of proper nouns and technical terms, which ensures the correct conveyance of information.&lt;br /&gt;
&lt;br /&gt;
The translation methods under foreignization are able to make the translation process more visible, by means of showing how translators are deeply involved in the construction of culture and ideology. The use of these methods can retain the foreignness of the source text and produce on the target-language readers an effect as close as possible to that obtained on the readers of the original, through which the readers can further understand the foreign expressions and cultures, realizing the differences between the two countries.&lt;br /&gt;
&lt;br /&gt;
===Translation Methods under Domesticating Strategy===&lt;br /&gt;
&lt;br /&gt;
Domestication is a strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for target language readers. This strategy is &amp;quot;an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home&amp;quot;. In other words, as regards the use of domesticating strategy, the translators are required to make target-language readers feel familiar and close through conveying the content of the original text with the expressions to which TL readers are accustomed. And in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, free translation method and imitation method under domestication are used and displayed in several translation techniques. (Venuti 2004: 20) (Lian Shuneng 2006: 14)&lt;br /&gt;
&lt;br /&gt;
====Free Translation====&lt;br /&gt;
&lt;br /&gt;
Free translation, also known as sense-for-sense translation, emphasizes transfer of the meaning or &amp;quot;spirit&amp;quot; of a source text over accurate reproduction of the original wording. The purpose of this method is to accommodate the needs of the target-language readers by producing a text which conforms to the linguistic and textual norms of the target language and culture which does not therefore sound &amp;quot;foreign&amp;quot;. (Shuttleworth &amp;amp; Cowie, 2014: 59)(Lian Shuneng 2006: 12)&lt;br /&gt;
&lt;br /&gt;
Such a method, in this case study, is specifically embodied in the choice of words packed with Chinese characteristics, that is, diction, also a translation technique. For example,&lt;br /&gt;
&lt;br /&gt;
(11)Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is ''the exception''.&lt;br /&gt;
&lt;br /&gt;
在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是''凤毛麟角''。&lt;br /&gt;
&lt;br /&gt;
(12)It is not that we have not seen the birds. It is simply that we ''have not noticed'' them.&lt;br /&gt;
&lt;br /&gt;
所以如此，并不是因为这些鸟我们没有见过，而只是因为我们''习焉不察''。&lt;br /&gt;
&lt;br /&gt;
(13)When in the oak’s green arms the cuckoo ''sings'', &lt;br /&gt;
&lt;br /&gt;
And first delights men in the ''lovely springs''.&lt;br /&gt;
&lt;br /&gt;
杜鹃在橡树的绿色怀抱里''啭啼''，&lt;br /&gt;
&lt;br /&gt;
第一个为人们带来''欢欣、美好的春意''。&lt;br /&gt;
&lt;br /&gt;
In translating these sentences, the translator transfers some words into vocabulary or phrases with conspicuously Chinese features. For instance, the transfer of &amp;quot;the exception&amp;quot; and &amp;quot;have not noticed&amp;quot; to Chinese idioms &amp;quot;凤毛麟角&amp;quot; (that describes rare and precious items) and &amp;quot;习焉不察&amp;quot; (which means that one is too accustomed to something to call it in questions), respectively, exemplifies the typical Chinese four-character structure. Moreover, the verb &amp;quot;sings&amp;quot; is transferred to &amp;quot;啭啼&amp;quot; (that describes birds' melodious chirp), a Chinese term composed of two words with the same left side, which is one of common and special linguistic phenomena in Chinese language. Meanwhile, &amp;quot;the lovely springs&amp;quot; is transferred to &amp;quot;欢欣、美好的春意&amp;quot; (a joyful and wonderful feeling brought by the spring) through abstraction.&lt;br /&gt;
Thus, it can be seen that the application of free translation can reproduce the sense of the original text more smoothly and idiomatically. And the wide adoption of the four-character structures enhance the academic atmosphere of the translation version.&lt;br /&gt;
&lt;br /&gt;
====Imitation====&lt;br /&gt;
&lt;br /&gt;
With regard to the use of imitation, the translators do not stick to the meaning details of the original text, let alone its vocabulary and syntactic structure, but take the original text as a reference model, either by deleting and condensing to only translate its gist and key information, or by adding and expanding to deliver more information than that in the original text. For instance, (Xiong Bing 2014: 85)&lt;br /&gt;
&lt;br /&gt;
(14)Thousands of ''men and women'' ''live and die'' ''without knowing'' the difference between a beech and an elm, between the song of a thrush and the song of a blackbird.&lt;br /&gt;
 &lt;br /&gt;
成千上万的''男男女女''，''从生到死''，''一辈子''也''说不出''山毛榉和榆树有什么区别，''听不出''画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
&lt;br /&gt;
In the translation of this sentence, a variety of translation techniques are employed. &lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
The translator uses conversion to alter the syntactic structure of the original sentence. &lt;br /&gt;
&lt;br /&gt;
The predicate &amp;quot;live and die&amp;quot; is converted into the preposition phrase &amp;quot;从生到死&amp;quot; as the adverbial in Chinese.&lt;br /&gt;
&lt;br /&gt;
And the adverbial preposition phrase in the source text &amp;quot;without knowing&amp;quot; is converted into the predicate in Chinese translation.&lt;br /&gt;
&lt;br /&gt;
②　Division:&lt;br /&gt;
&lt;br /&gt;
In accordance with the need of Chinese expression, &amp;quot;without knowing&amp;quot; is divided into two verb phrases &amp;quot;说不出&amp;quot; and &amp;quot;听不出&amp;quot; in Chinese as the predicate.&lt;br /&gt;
&lt;br /&gt;
③　Addition:&lt;br /&gt;
&lt;br /&gt;
With the addition of the expression &amp;quot;一辈子&amp;quot;, the translator highlights the long time between life and death.&lt;br /&gt;
&lt;br /&gt;
④　Repetition:&lt;br /&gt;
&lt;br /&gt;
The plural form &amp;quot;men and women&amp;quot; is translated into the reiterative locution &amp;quot;男男女女&amp;quot; by repetition. &lt;br /&gt;
&lt;br /&gt;
The change of sentence structure via techniques such as conversion and division as well as of vocabulary via repetition and addition render the translation natural and smooth, showing the translator’s superb handling of the original text.&lt;br /&gt;
&lt;br /&gt;
(15)...we are all the ''more'' delighted ''at the spectacle of'' its ''runaway flight'' as it (the cuckoo) ''hurries'' from wood to wood conscious of its crimes ...&lt;br /&gt;
&lt;br /&gt;
一日''看见''它（杜鹃）因为自己犯了罪而''煌惶不安地''从这个林子飞''逃''向那个林子 ... 我们才会觉得''大大''开心。&lt;br /&gt;
&lt;br /&gt;
In this example, there are also various translation techniques used.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
Firstly, the preposition phrase &amp;quot;at the spectacle of&amp;quot; is converted into the verb &amp;quot;看见&amp;quot; in Chinese. &lt;br /&gt;
&lt;br /&gt;
Secondly, the noun phrase &amp;quot;runaway flight&amp;quot; is converted into Chinese verbs &amp;quot;飞&amp;quot; (fly) and &amp;quot;逃&amp;quot; (escape). &lt;br /&gt;
&lt;br /&gt;
Besides, the verb &amp;quot;hurries&amp;quot; (that means to move quickly in a particular direction) is converted into &amp;quot;惶惶不安地&amp;quot; (which means to feel panic, afraid and utterly uneasy), a Chinese adverb to modify the verbs &amp;quot;飞&amp;quot; and &amp;quot;逃&amp;quot;, which endows the subject cuckoo with somewhat human characteristic.&lt;br /&gt;
&lt;br /&gt;
②　Repetition:&lt;br /&gt;
&lt;br /&gt;
The adjective &amp;quot;more&amp;quot; is translated into the reiterative locution &amp;quot;大大&amp;quot;, a Chinese adverb equivalent to &amp;quot;very&amp;quot; or &amp;quot;extremely&amp;quot; in English to modify the adjective &amp;quot;delighted&amp;quot;. &lt;br /&gt;
&lt;br /&gt;
In this example, the adjustment of the sentence order and conversion of parts of speech make the translation more consistent with the word sequence in Chinese. Meanwhile, the choice of words such as the Chinese four-character structure &amp;quot;惶惶不安&amp;quot; conveys the romantic charm beyond the original text. And there are also indicators of use of repetition embodied in the typical Chinese reiterative locutions like &amp;quot;惶惶&amp;quot; and &amp;quot;大大&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
(16)I have myself a ''capricious'' and ''leaking'' memory.&lt;br /&gt;
&lt;br /&gt;
我自己的记忆力也是''漏洞百出''、''不听使唤''。&lt;br /&gt;
&lt;br /&gt;
Although this is a short sentence, it still contains the flexible use of translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
At first, the original object &amp;quot;memory&amp;quot; is converted to the subject in the Chinese translation.&lt;br /&gt;
And then, the subject &amp;quot;I&amp;quot; with its appositive &amp;quot;myself&amp;quot; is converted into the attribute &amp;quot;我自己的&amp;quot; to modify the subject in the translation &amp;quot;记忆&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
On account of the conversion of the subject and the verb, the original predicate &amp;quot;have&amp;quot; is inappropriate. The addition of &amp;quot;也是&amp;quot; that is equivalent to the verb &amp;quot;be&amp;quot; in English enforces the completeness of sentence structure. And this is a structural addition mainly due to the structural difference between Chinese and English.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The two vivid adjective &amp;quot;capricious&amp;quot; and &amp;quot;leaking&amp;quot; are translated as &amp;quot;不听使唤&amp;quot; and &amp;quot;漏洞百出&amp;quot; respectively which are typical Chinese four-character structures. The Chinese adjective &amp;quot;漏洞百出(的)&amp;quot; means that the loopholes appear one after another, which is often used to describe that one's writing or speech is untenable because of lack of sufficient reasons and grounds. And here, this word shows the author's weak memory with which he forgets things time and again. And the other adjective &amp;quot;不听使唤(的)&amp;quot; generally depicts that someone loses control and is not obedient to the rules or instructions. Here, the word properly demonstrates that the author cannot manipulate his memory well and also cannot preclude it from being weaker. The use of these two words conforms to the choice of affective and stylistic meanings.&lt;br /&gt;
&lt;br /&gt;
In this example, the conversion of the subject and object as well as the change of the predicate enable the translation to be more closely accord with the Chinese sentential structure. Moreover, the two figurative adjectives packed with personified traits not only fully  convey the author's intention, but also enhance literariness of the translation and even display a lively mood beyond the original text.&lt;br /&gt;
&lt;br /&gt;
(17)We know, again, that, the blossom precedes and ''not succeeds'' the fruit of the apple-tree, but ''this does not lessen our amazement at'' the beautiful holiday of a May orchard.&lt;br /&gt;
&lt;br /&gt;
另外，我们知道苹果树''先''开花，''后''结果，可是五月''一旦''到来，果园里一片欢闹的花海。''我们不是仍然惊为奇观吗？''&lt;br /&gt;
&lt;br /&gt;
This is a typical example of the imitation method embodied in the use of diverse translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
Regarding the conversion of word classes, the noun &amp;quot;blossom&amp;quot; is converted into the Chinese verb &amp;quot;开花&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Concerning the conversion of sentence members, the object in the clause &amp;quot;apple-tree&amp;quot; is converted into the subject &amp;quot;苹果树&amp;quot; in the Chinese translation. And the attribute &amp;quot;May&amp;quot; is converted into the adverbial in Chinese as &amp;quot;五月一旦到来&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Considering the conversion of sentence patterns, the negative sentence &amp;quot;this does not lessen our amazement at...&amp;quot; is converted into a interrogative sentence &amp;quot;我们不是仍然惊为奇观吗？&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Negation:&lt;br /&gt;
&lt;br /&gt;
The negative form &amp;quot;not succeeds&amp;quot; in English is translated into the affirmative form &amp;quot;后结果&amp;quot; in Chinese, intensifying a positive tone on which Chinese language often places emphasis.&lt;br /&gt;
&lt;br /&gt;
③　Division:&lt;br /&gt;
&lt;br /&gt;
The original complicated sentence in English is divided into several simplex clauses and phrases in Chinese, which underlines the &amp;quot;chronicle style&amp;quot; of Chinese language with frequent use of shorter or composite structures.&lt;br /&gt;
&lt;br /&gt;
④　Addition:&lt;br /&gt;
&lt;br /&gt;
Now that the original sentence is divided into smaller components, it is necessary to supply connectors for better cohesion. The addition of the logical connectors in Chinese such as &amp;quot;先&amp;quot;, &amp;quot;后&amp;quot;, &amp;quot;一旦&amp;quot; and &amp;quot;仍然&amp;quot; render the translation more smooth and expressive.&lt;br /&gt;
&lt;br /&gt;
In this instance, the translator flexibly takes advantage of the techniques such as conversion, negation and division, not only contributing to the diversity of sentence patterns but also adding sense of warmth and vividness of the translation. Additionally, the semantic addition of logical connectors render the translation more cohesive and coherent.&lt;br /&gt;
&lt;br /&gt;
(18)Once more I shall ''see'' the world as a garden through ''the eyes'' of a stranger, ''my breath taken away with surprise by the painted fields''.&lt;br /&gt;
&lt;br /&gt;
那时，我像一个陌生者进人大花园，''放眼四望''，''五色缤纷''的原野再一次使我''目不暇接''，''心迷神醉''。&lt;br /&gt;
&lt;br /&gt;
As regards this example, the translator enriches the meaning of the original text and creates a more balmy atmosphere by employing various translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Division:&lt;br /&gt;
&lt;br /&gt;
The long complex sentence, composed of two clauses, is divided into several separated clauses in arranged in a certain order, which renders the translation rhythmic and highlights the focus of expression.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
The addition of the Chinese set phrase &amp;quot;目不暇接&amp;quot; (which means that so many wonderful things and so swift change of scenery come into sight that the eyes are kept fully occupied) makes the context more coherent, as it echoes &amp;quot;see&amp;quot; and &amp;quot;the eyes&amp;quot; in the preceding and connects the &amp;quot;painted fields&amp;quot; in the following that greet the author's eyes and take his breath away.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The verb &amp;quot;see&amp;quot; is translated into &amp;quot;放眼四望&amp;quot; (to look around), the noun phrase &amp;quot;breath taken away with surprise&amp;quot; into &amp;quot;心醉神迷&amp;quot; (to be thrown into ecstasies), and the adjective &amp;quot;painted&amp;quot; into &amp;quot;五彩缤纷&amp;quot; (colorful). These recurring four-character structures in translation are loaded with positive meanings, and proper to depict the attractive scenery and to be used in scholar prose.&lt;br /&gt;
&lt;br /&gt;
④　Conversion:&lt;br /&gt;
&lt;br /&gt;
The original clause &amp;quot;my breath taken away with surprise by the painted fields&amp;quot; is in passive voice, and is converted into the active voice in Chinese translation &amp;quot;五色缤纷的原野再一次使我目不暇接，心迷神醉&amp;quot;. This kind of conversion is due to the fact that the Chinese passive form marked by &amp;quot;被&amp;quot; is traditionally felt to be an &amp;quot;inflictive voice&amp;quot;, mainly expressing things unpleasant or undesirable, contrasted with the cheerful aura overflowing the original text. &lt;br /&gt;
&lt;br /&gt;
The translator employs short clauses separated from the original complex sentence to bestow smoothness and naturalness on the translation and strengthen its artistic appeal. Furthermore, the translator selects the words that tally with the affective, contextual and stylistic meanings of the original. And the opportune addition of words and change of voice also polish the translation.    &lt;br /&gt;
&lt;br /&gt;
The reasonable use of the imitation translation method can make the translation more idiomatic and vivid, and even enable the translation overshadow the original text in terms of showcasing the artistic and aesthetic charm.&lt;br /&gt;
&lt;br /&gt;
In a word, translation methods under domesticating strategy will involve he careful selection of texts which lend themselves to being translated in this manner, the conscious adoption of a fluent, natural-sounding target language style, the adaptation of target text to conform to target discourse types, the interpolation of explanatory material, the removal of source language REALIA and the general harmonization of target text with target language preconceptions and preferences. These methods can render the translation highly literary, aesthetic and readable, and also can to some extent optimize the source text. The appropriate application of domesticating translation is able to even become a sublimation of the original.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
&lt;br /&gt;
This paper makes an analysis of translation strategies and translation methods in English prose, with translator Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot; created by Robert Lynd as an example. With translation strategies and methods as the starting point, this paper considers Chinese translation of English prose as the research subject. The paper first introduces English prose along with its distinctive properties, linguistics features and principles of its translation. And then this paper carries out the interpretation of translation strategies and methods in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot; in which the application of translation methods as well as techniques under foreignizing and domesticating strategies are elaborated, and the concrete effects they exert are also elucidated.&lt;br /&gt;
&lt;br /&gt;
===Major Findings===&lt;br /&gt;
&lt;br /&gt;
Based on the above study of translation strategies and methods employed in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, the features or common ground of Chinese translation of English prose in terms of translation strategies and methods can be generally summarized.&lt;br /&gt;
&lt;br /&gt;
In Chinese translation of English prose, foreignization strategy and domestication strategy are both used in the light of the style, linguistic features, and syntactic structures of the source text.&lt;br /&gt;
&lt;br /&gt;
But, on the whole, the domesticating translation strategy which includes translation methods such as free translation and imitation is applied more frequently compared with foreignization. This is because that prose translation actually falls into literary translation that is special on the grounds of the unique characteristics of the original literary works. In literary works, or specifically, in English prose, some words are not used with their literal meanings but their connotative or extension meanings, so literal translation under foreignization may not correctly convey the real significance of the original text. Meanwhile, in English prose, there are complex syntactic structures whose translation cannot be carried out with no proper conversion and alteration. Additionally, multiple rhetoric devices such as metaphor, metonymy and allusion are used in English literary works, and the literal translation of these figures of speech may elude the target-language readers because of the cultural differences and the obscurity of the translation. However, the appropriate adoption of translation methods under domestication strategy, to some extent, can give the target-language readers a sense of closeness and deliver the aesthetic charm with the premise that the real meaning of the original text can be ensured.&lt;br /&gt;
&lt;br /&gt;
In terms of translation methods under foreignizing strategy, literal translation is used when the lexical meaning of the source text is lucid and the syntactic structures in it are relatively simple and clear, so the translators need not find a new path in the mode of expression in order to be faithful to the source text. And the use of literal translation can convey the information more objectively and avoid the interference of translators' subjective factors. Meanwhile, in Chinese translation of English prose, the use of zero-translation is frequent but imperceptible, with the omission of some words peculiar to English, such as expletives it and there, English articles and pronouns, but sometimes the English pronouns can also be retained to show a sense of closeness and friendliness. Besides, transliteration is used for the translation of proper nouns and technical terms not only in English prose but also in almost all text types, with conforming to the principles of being named after the original sound and of the translated names accepted through common practice. In a word, translation methods under foreignization can ensure the objective conveyance of information of the original text and preserve its foreignness and unique cultural values that can enrich the target-language readers' knowledge and their languages.&lt;br /&gt;
&lt;br /&gt;
With regard to translation methods under domesticating strategy, in Chinese translation English prose, free translation and imitation method are oftentimes employed. English prose, as one of the English literary genres, boasts distinctive features of literature, such as aesthetic value, language with hidden meanings and the usual use of figures of speech as well as culturally loaded images, which may not be shown vividly and be easily understood by target-language readers via literal or word-for-word translation. Thus, translation methods under domestication, with careful choice of words, proper adjustment of syntactic structures and sentence sequence, and appropriate sublimation of the original text, can express the original author's feelings more lively, render the translation more fluent, idiomatic and expressive, and display the aesthetic charm of the source text.&lt;br /&gt;
&lt;br /&gt;
At the lexical level, in Chinese translation of English prose, the translation techniques --- diction, addition, conversion and repetition --- are usually used. The typical Chinese four-character structures appear time from time in Chinese translation, and the translators choose the words in line with the affectionate, contextual and stylistic meanings of the original prose, which intensify literariness and satisfy the characteristics of scholar prose. Moreover, the addition of Chinese conjunctive words and logical connectors by which sentences in translation are connected into a text can create better cohesion. Furthermore, the conversion of word classes in translation is based on the contrastive studies of English and Chinese, viz., English with its nominal style is static whereas Chinese with its verbal style is dynamic. Besides, it is one of the peculiarities of Chinese to reduplicate characters or words in word-formation and to repeat the similar or same word or expression in a discourse for expressiveness and parallelism, which can render translation more appealing to Chinese readers and produce rhetorical and grammatical effect.&lt;br /&gt;
&lt;br /&gt;
At the syntactic level, the translation techniques --- conversion and division--- are often employed in Chinese translation of English prose. To start with, conversion in the syntactic respect involves conversions of sentence members, sentence patterns and the voice. The conversion of word classes often results in the conversion of sentence members, and the alteration of sentences patterns like the inter-conversion between assertive or negative sentences and question sentences can variegate sentence types in translation. The conversion of passive voice in English prose into active voice in Chinese translation is due to the preference for active forms that can produce positive effect in Chinese language. What's more, part of sentences in English prose are longer and complicated because of subordination, a fundamental feature of English, and it may be hard to reproduce the original thought with following the original sentence structure in translation, hence the division of complex English sentences into word-groups, clauses or simplex sentences in Chinese can endow Chinese translation of English prose with more naturalness, fluency and sense of rhythm.&lt;br /&gt;
&lt;br /&gt;
The research on the features of translation strategies and methods in Chinese translation of English prose, theoretically can offer a deeper insight into English prose and its translation, and practically can help to some extent improve the quality of Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
===Limitations and Suggestions===&lt;br /&gt;
&lt;br /&gt;
There are drawbacks in this paper: firstly, the paper takes only one piece of English prose as an example in case study, so it lacks strong persuasiveness; secondly, since there are few researchers on prose translation at home and abroad, especially those specializing in Chinese translation of English prose, this paper resorts to insufficient literature guidance and reference; thirdly, owing to the confined conditions and narrow academic capacity, this paper is devoid of enough depth and breadth as well as favorable insight and acuity, thus the theoretical support and practical assistance it provides are bound to be limited. As a consequence, it is expected that researchers in this field can cooperate well to build up a system to minimize the possible errors and create more thorough and holistic works to enunciate and improve Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
&lt;br /&gt;
[1] Lawrence Venuti. Rethinking Translation: Discourse, Subjectivity, Ideology [C]. London and New York: Routledge, 1992: 5-20.&lt;br /&gt;
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[2] Lawrence Venuti. The Translator's Invisibility: A History of Translation [M]. Shanghai: Shanghai Foreign Language Education Press 上海: 上海教育出版社, 2004: 7-25.&lt;br /&gt;
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[3] Mark Shuttleworth. Moira Cowie. Dictionary of Translation Studies [M]. London and New York: Routledge, 2014: 43-44, 59, 144-145.&lt;br /&gt;
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[4] 方梦之. 中国译学大辞典 [M]. 上海: 上海教育出版社, 2011: 108.&lt;br /&gt;
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[8] 宋颉. 翻译美学视角下的民国散文英译风格研究 [D]. 上海: 上海外国语大学, 2018.&lt;br /&gt;
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[9] 熊兵. 翻译研究中的概念混淆 [J]. 中国翻译, 2014(3): 82-88.&lt;br /&gt;
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Xiong Bing. On the Conceptual Confusion in Translation Studies [J]. Chinese Translation, 2014(3): 82-88.&lt;br /&gt;
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Zhu Mingju.  Chinese Translation of Famous English Works [M]. Nanjing: Yilin Press, 2007: 319-328.&lt;br /&gt;
&lt;br /&gt;
==Appendix==&lt;br /&gt;
&lt;br /&gt;
(The original text:)&lt;br /&gt;
&lt;br /&gt;
The Pleasures of Ignorance&lt;br /&gt;
&lt;br /&gt;
By Robert Lynd&lt;br /&gt;
&lt;br /&gt;
It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance. It is impossible to take a walk in the country oneself without being amazed at the vast continent of one’s own ignorance. Thousands of men and women live and die without knowing the difference between a beech and an elm, between the song of a thrush and the song of a blackbird. Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is the exception. It is not that we have not seen the birds. It is simply that we have not noticed them. We have been surrounded by birds all our lives, yet so feeble is our observation that many of us could not tell whether or not the chaffinch sings, or the colour of the cuckoo. We argue like small boys as to whether the cuckoo always sings as he flies or sometimes in the branches of a tree-whether Chapman drew on his fancy or his knowledge of nature in the lines:&lt;br /&gt;
&lt;br /&gt;
When in the oak's green arms the cuckoo sings, &lt;br /&gt;
&lt;br /&gt;
And first delights men in the lovely springs.&lt;br /&gt;
&lt;br /&gt;
This ignorance, however, is not altogether miserable. Out of it we get the constant pleasure of discovery. Every fact of nature comes to us each spring, if only we are sufficiently ignorant, with the dew still on it. If we have lived half a lifetime without having ever seen a cuckoo, and know it only as a wandering voice, we are all the more delighted at the spectacle of its runaway flight as it hurries from wood to wood conscious of its crimes and at the way in which it halts hawk-like in the wind, its long tail quivering, before it dares descend on a hillside of fir-trees where avenging presences may lurk. It would be absurd to pretend that the naturalist does not also find pleasure in observing the life of the birds, but his is a steady pleasure, almost a sober and plodding occupation, compared to the morning enthusiasm of the man who sees a cuckoo for the first time, and, behold, the world is made new.&lt;br /&gt;
&lt;br /&gt;
And, as to that, the happiness even of the naturalist depends in some measure upon his ignorance,which still leaves him new worlds of this kind to conquer. He may have reached the very Z of knowledge in the books, but he still feels half ignorant until he has confirmed each bright particular with his eyes. He wishes with his own eyes to see the female cuckoo—rare spectacle!—as she lays her egg on the ground and takes it in her bill to the nest in which it is destined to breed infanticide. He would sit day after day with a field-glass against his eyes in order personally to endorse or refute the evidence suggesting that the cuckoo does lay on the ground and not in a nest.And, if he is so far fortunate as to discover this most secretive of birds in the very act of laying, there still remain for him other fields to conquer in a multitude of such disputed questions as whether the cuckoo’s egg is always of the same colour as the other eggs in the nest in which she abandons it. Assuredly the men of science have no reason as yet to weep over their lost ignorance. If they seem to know everything, it is only because you and I know almost nothing. There will always be a fortune of ignorance waiting for them under every fact they turn up. They will never know what song the Sirens sang to Ulysses any more than Sir Thomas Browne did.&lt;br /&gt;
&lt;br /&gt;
If I have called in the cuckoo to illustrate the ordinary man's ignorance, it is not because I can speak with authority on that bird. It is simply because, passing the spring in a parish that seemed to have been invaded by all the cuckoos of Africa, I realized how exceedingly little I, or anybody else I met, knew about them. But your and my ignorance is not confined to cuckoos. It dabbles in all created things, from the sun and moon down to the names of the flowers. I once heard a clever lady asking whether the new moon always appears on the same day of the week. She added that perhaps it is better not to know, because, if one does not know when or in what part of the sky to expect it,its appearance is always a pleasant surprise. I fancy, however, the new moon always comes as a surprise even to those who are familiar with her time-tables. And it is the same with the coming-in of spring and the waves of the flowers. We are not the less delighted to find an early primrose because we are sufficiently learned in the services of the year to look for it in March or April rather than in October. We know, again, that, the blossom precedes and not succeeds the fruit of the apple-tree, but this does not lessen our amazement at the beautiful holiday of a May orchard.&lt;br /&gt;
&lt;br /&gt;
At the same time there is, perhaps, a special pleasure in relearning the names of many of the flowers every spring. It is like rereading a book that one has almost forgotten. Montaigne tells us that he had so bad a memory that he could always read an old book as though he had never read it before. I have myself a capricious and leaking memory. I can read Hamlet itself and The Pickwick Papers as though they were the work of new authors and had come wet from the press, so much of them fades between one reading and another. There are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy. But this is only when life has an object beyond entertainment. In respect of mere luxury, it may be doubted whether there is not as much to be said for a bad memory as for a good one. With a bad memory one can go on reading Plutarch and The Arabian Nights all one's life. Little shreds and tags, it is probable, will stick even in the worst memory, just as a succession of sheep cannot leap through a gap in a hedge without leaving a few wisps of wool on the thorns. But the sheep themselves escape,and the great authors leap in the same way out of an idle memory and leave little enough behind.&lt;br /&gt;
&lt;br /&gt;
And, if we can forget books, it is as easy to forget the months and what they showed us, when once they are gone. Just for a moment I tell myself that I know May like the multiplication table and could pass an examination on its flowers, their appearance and their order. Today I can affirm confidently that the buttercup has five petals. (Or is it Six? I knew for certain last week.) But next year I shall probably have forgotten my arithmetic, and may have to learn once more not to confuse the buttercup with the celandine. Once more I shall see the world as a garden through the eyes of a stranger, my breath taken away with surprise by the painted fields. I shall find myself wondering whether it is science or ignorance which affirms that the swift (that black exaggeration of the swallow and yet a kinsman of the humming-bird) never settles even on a nest, but disappears at night into the heights of the air. I shall learn with fresh astonishment that it is the male, and not the female,cuckoo that sings. I may have to learn again not to call the champion a wild geranium, and to rediscover whether the ash comes early or late in the etiquette of the trees. A contemporary English novelist was once asked by a foreigner what was the most important crop in England. He answered without a moment's hesitation: &amp;quot;Rye&amp;quot;. Ignorance so complete as this seems to me to be touched with magnificence; but the ignorance even of illiterate persons is enormous. The average man who uses a telephone could not explain how a telephone works. He takes for granted the telephone, the railway train, the linotype, the aeroplane, as our grandfathers took for granted the miracles of the gospels. He neither questions nor understands them. It is as though each of us investigated and made his own only a tiny circle of facts. Knowledge outside the day's work is regarded by most men as a gewgaw. Still we are constantly in reaction against our ignorance. We rouse ourselves at intervals and speculate. We revel in speculations about anything at all—about life after death or about such questions as that which is said to have puzzled Aristotle, &amp;quot;why sneezing from noon to midnight was good, but from night to noon unlucky.&amp;quot; One of the greatest joys known to man is to take such a flight into ignorance in search of knowledge. The great pleasure of ignorance is, after all, the pleasure of asking questions. The man who has lost this pleasure or exchanged it for the pleasure of dogma, which is the pleasure of answering, is already beginning to stiffen. One envies so inquisitive a man as Jowett, who sat down to the study of physiology in his sixties. Most of us have lost the sense of our ignorance long before that age. We even become vain of our squirrel’s hoard of knowledge and regard increasing age itself as a school of omniscience. We forget that Socrates was famed for wisdom not because he was omniscient but because he realized at the age of seventy that he still knew nothing. (Zhu Mingju 2007: 319-322)&lt;br /&gt;
 &lt;br /&gt;
(Liu Bingshan's Chinese translation:)&lt;br /&gt;
&lt;br /&gt;
无知常乐&lt;br /&gt;
&lt;br /&gt;
刘炳善 译&lt;br /&gt;
&lt;br /&gt;
同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是凤毛麟角。所以如此，并不是因为这些鸟我们没有见过，而只是因为我们习焉不察。在我们一生中，鸟类始终就在我们周围，然而我们对于它们的观察总是那样马马虎虎，所以我们当中许多人都说不清花鸡到底会不会知，也不知道杜鹃究竟是什么颜色。对于有些问题、我们像小孩子一样争论不休、譬如说，杜鹃在飞着或栖身于树枝间的时候，是否一直不停地鸣，而查普曼下面两行诗的灵感究竟是来自他的想像还是来自他的自然知识∶&lt;br /&gt;
&lt;br /&gt;
杜鹃在橡树的绿色怀抱里啭啼，&lt;br /&gt;
&lt;br /&gt;
第一个为人们带来欢欣、美好的春意。&lt;br /&gt;
&lt;br /&gt;
不过，这种无知也并非全然不幸，因为正是由于它，我们才能不断尝到发现的乐趣。只要我们是的的确确地无知，那么每年大地春回，自然界的每一种事物都会带着它那清新的露珠重新出现在我们面前。如果我们活了半辈子，对于杜鹃除了听过它那飘忽不定的叫声，从来没有见过它是什么模样，那么，一日看见它因为自己犯了罪而煌惶不安地从这个林子飞逃向那个林子。或是看见它顶着风、像老鹰似的停留在半空中，它那长长的尾巴颤动着，不敢落下来，生怕有什么鸟儿藏在那山坡上的枞树林里等着要找它报仇。我们才会觉得大大开心。有人想着，博物学家整天观察鸟类，大概就不会觉得有什么趣儿了吧？其实大谬不然--他那持续不断的乐趣几平已经变成一种安详的职业习惯了，不像有人某天早晨突然第一次看见一只杜鹃，不胜雀跃之至，于是，看哪，天地也为之焕然一新了。&lt;br /&gt;
&lt;br /&gt;
说到这儿，甚至连博物学家的快乐在一定程度上也有赖于自己的无知；只有如此。才能给他留出一些新的领域有待他去征服。即使他已经攀登了书本知识的顶峰，他仍会感到自己不过是半通不通，每一个引人注目的细节还必须用自己的亲眼观察来加以一一证实。他盼着能亲眼看到雌杜鹃（这可是个稀罕物儿！）把蛋下到地面上。然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。因此，博物学家就要戴上望远镜，日复一日地坐在那里等待着亲眼证实或者否定那种认为杜鹃确实是在地面上而非在窠里下蛋的说法。而日，即使他很幸运，能够发现杜鹃下蛋实况，这个在鸟类来说算是极大的秘密，其他一大批有争议的问题还依然存在。就像新的领土有待他去开拓，例如，杜鹃的蛋跟它占用的窠里其他鸟的蛋是否总是一样颜色？自然，科学家没有理由为了自己失去无知而哭泣。如果他们看起来似乎是精通一切的话，那也不过因为你我差不多是一无所知罢了。实际上，当他们要把一件事实的盖子揭开的时候，某种命定的无知就在等待着他们。海妖们向尤利塞斯唱的究竟是什么歌儿？——他们永远不可能知道，正像托马斯·勃朗爵士也不知道一样。&lt;br /&gt;
&lt;br /&gt;
我请杜鹃来做例子以说明普通人的无知，并不是因为我有什么权威可以对这种鸟儿发发议论。不过，我曾在某个教区暂住，而那年春天从非洲飞来的杜鹃似乎全集合在那个地方，因此我也就有机会了解到我自己以及我所碰见的每一个人对于这种鸟儿的知识是如何地微不足道。但是，你我的无知并不仅限于杜鹃这一方面。它涉及到宇宙万物，从太阳、月亮一直到花卉的名字。有一天，我听见一位聪明伶俐的太太提出了这样一个问题∶新月是不是总在星期几露面？她接着又说：不知道倒好，正因为人不知道在什么时候、在天空的哪一带能看见它，新月一出现才给人带来一场惊喜。然而我想、哪怕入把月亮盈亏时间表记得再熟。看见新月出现还是不免又惊又喜，春回大地，花开花落，也莫不如此。尽管我们对一年四季草本节令了如指掌，知道樱草开花在三月四月而不在十月，不过看见一株早开花的樱草，我们还是照样地高兴。另外，我们知道苹果树先开花，后结果，可是五月一旦到来，果园里一片欢闹的花海。我们不是仍然惊为奇观吗？&lt;br /&gt;
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倘在每年春天，把许多花卉之名重温一遍，还另有一番风味。那就像把一本差不多忘得干干净净的书再重新念一遍。蒙田说过，他的记忆力很坏，所以他随时都能拿起一本旧书，像从未读过的新书一样地念。我自己的记忆力也是漏洞百出、不听使唤。我甚至能拿起《哈姆雷特》和《匹克威克外传》，当作是初登文坛的新作家刚刚印成白纸黑字的作品来念，因为自从上回念过以后，这两部书在我脑子里的印象已经模模糊糊了。这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。不过，在这种时候，人不仅想得到娱乐，还追求着什么目的。如果只讲享受的话，记忆力坏比记忆力好究竟差到哪里去，还真是大可怀疑哩。记忆力坏的人可以一辈子不断地念普卢塔克的《英雄传》和《天方夜谭》，而永远感到新鲜。很可能，最坏的记忆力也难免粘粘连连地留下一星半点的印象，恰如一只只绵羊从篱笆洞里接连通过，总不免在那刺条上留下一丝半缕的羊毛。然而，绵羊终归逃出去了，正像伟大的作家从我们不争气的记忆中消失。所留下的东西简直微不足道。&lt;br /&gt;
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既然读过的书我们可以忘得一干二净，那么一年十二个月以及每个月的风物，一旦时过境迁。我们同样可以轻而易举地把它们忘在脑后。在某个短暂时刻，我可以说自己对于五月就像对于乘法表那样熟悉，关于五月里的花木、开花时间乃至前后次序，我能通过考试。今天，我就敢肯定金凤花有五瓣。（难道是六瓣吗？上个礼拜我还记得清清楚楚来着。）可是，到了明年，我也许连算术也忘个干干净净;我得从头学起，以免把金凤花误认成白屈菜。那时，我像一个陌生者进人大花园，放眼四望，五色缤纷的原野再一次使我目不暇接，心迷神醉。那时，我也许要对这么一个问题拿不定注意，就是; 认为雨燕（那种简直像大号小燕子、又和蜂鸟沾点儿亲戚的黑鸟儿）从来不在窠里歇着，一到夜里就飞向高高的天空，到底是一种科学论断，还是一种无知妄说？当我知道了会唱歌的并不是雌杜鹃，而是雄杜鹃。我还要再次感到惊讶。我得重新学习，以免把剪秋罗当作野大竺葵；还要去重新发现白杨在树木生长的习惯法中究章算是早成材还是晚成材。某天。一个外国人问一位当代英国小说家，英国最重要的农作物是什么。他毫不犹豫地回答：“稞麦。”在我看来，这是一种堂而皇之派头的彻头彻尾的无知；不过，大大无知的也包括那些没有文化的人。普通人只会使用电话，却无法解释电话的工作原理。他把电话、火车、铸造排字机、飞机都看作当然之事，就像我们的祖父一代把福音书里的奇迹故事视为理所当然一样。对于这些事，他既不去怀疑，也不去了解。我们每个人似乎只对很小范围内的某几件事才真正下工夫去了解、弄清楚。大部分人把日常工作以外的一切知识统统当作花哨无用的玩意儿。然面，对于我们的无知，我们还是时时抗拒着，我们}有时振作起来，进行思索。我们随便找一个什么题目，对之思考，甚至入迷——关于死后的生命，或者关于某些据说亚里士多德也感到大惑不解的问题，例如“打喷嚏，从中午到子夜则吉，从夜晚至中午则凶，其故安在？”为求知识而陷入无知，这是人类所欣赏的最大乐事之一。归根结底，无知的极大乐趣即在于提出问题。一个人，如果失去了这种提问的乐趣，或者把它换成了教条的答案，并且以此为乐，那么，他的头脑已经开始僵化了。我们羡慕像裘伊特这样勤学好问之人，他到了六十多岁居然还能坐下来研究生理学。我们多数人不到他这么大的岁数就早已丧失了自己无知的感觉了。我们甚全像松鼠似的对自己小小的知识储存感到沾沾自喜，把与日俱增的年龄看作是培养无所不知的天然学堂。我们忘记了∶苏格拉底之所以以智慧名垂后世，并非因为他无所不知，而是因为他到了七十高龄还能明白自己仍然一无所知。 (Zhu Mingju 2007: 322-325)&lt;br /&gt;
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=毛优Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
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毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
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=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
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从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。	&lt;br /&gt;
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Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
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Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
翻译风格，巴黎的忧郁，郭宏安，亚丁&lt;br /&gt;
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==Introduction==&lt;br /&gt;
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The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
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Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations. Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
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==Liu Miqing’s theory of translation style==&lt;br /&gt;
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Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
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Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.&lt;br /&gt;
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In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
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==Form Markers==&lt;br /&gt;
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According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
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===Register Markers===&lt;br /&gt;
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“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
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The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
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Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
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Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
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Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
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This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
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===Lexical Markers===&lt;br /&gt;
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Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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'''Eg. (b)'''&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence, translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
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==Non-formal Markers==&lt;br /&gt;
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The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
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Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
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According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
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Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
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The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
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The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
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Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
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Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.&lt;br /&gt;
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==References==&lt;br /&gt;
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[1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[3] 刘宓庆 Liu Mingqing. 新编当代翻译理论[M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp;amp; Publishing Corporation, 2005.&lt;br /&gt;
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[4] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.&lt;br /&gt;
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[5] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.&lt;br /&gt;
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=秦建安 A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
[[Trans_Type_EN_7]]&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Lu Xun, chief commander of China's modern cultural revolution, is not only a great thinker and political commentator but the founder of modern Chinese literature. Kong I-Chi is one of the masterpieces of Lu Xun's novels. Although the total number of characters is less than 3,000 words, Lu Xun exposes the nature of feudal ethics and its negative influence through his character portrayal, which is loved by many readers home and aboard. The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but so as close as possible to the original text in terms of syntactic structure and wording. Therefore, his translations once became the authoritative version of Lu Xun's novels. From the perspective of Nida’s functional equivalence theory, this thesis conducts translation research on the English translation of the famous writer Yang Xianyi, analyzing whether the translation is functionally equivalent to the original text and construe the English translation of prose from the lexical, syntactic, and semantic level to try to explore the translation strategies, styles and methods of Kong I-Chi which aims to explain the functional equivalents in Lu Xun's short novel translation.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Functional Equivalence Theory; Lu Xun; Kong I-Chi;translation method&lt;br /&gt;
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===Introduction===&lt;br /&gt;
This chapter will be expanded with respect to the research background, its significance and the methodology. The literature review will also be included which describes the previous studies on the Functional Equivalence Theory and previous translation versions of ''Kong I-Chi''.&lt;br /&gt;
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'''Research Background and Significance'''&lt;br /&gt;
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As the most famous writer in modern China, Lu Xun has a decisive bearing on the modern history of Chinese literature. Lu Xun settled in a period of transformation in Chinese literature. His short stories are different from modern short stories in terms of text and expression. ''Kong I-Chi'' was written in 1918 when there was a turmoil in China. At that time, although the imperial examination system had been abolished, the education system had not changed, and many scholars had not shaken off the shackles of feudal tenets. &lt;br /&gt;
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''Kong I-Chi'' enjoys high reputation at home and abroad and has been translated into English, Japanese, French, Russian and other languages. Compared with other language versions, the English versions enjoy a wider spread and have deeper influence. In 1954, the couple Yang and Dai translated it into English and published Selected Stories of Lu Xun in which ''Kong I-Chi'' was included. Yang Xianyi and his wife Gladys Yang are great translator beyond all doubt. They are knowledgeable and familiar with Chinese and Western cultures also have devoted their life to translating excellent Chinese and Western literary works. Through their translation, we can better master the author's own novel intentions.&lt;br /&gt;
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'''Methodology'''&lt;br /&gt;
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In recent years, the translation of traditional Chinese literary works was attached great significance by both Chinese and foreign scholars. As an important part of ancient Chinese culture, though, it is a common genre in Chinese and foreign literature, the short novels cannot be neglected. For translators, how to deal with the modern and balance Chinese and Western cultural differences has become a salient problem. It is not only necessary to understand the characteristics of modern Chinese literature, but also to be very familiar with Chinese and Western cultures for the translator. Functional Equivalence Theory is put forward by American linguists Eugene Nida. According to him, two different languages represent two different cultures which will never be the same, but translation is a kind of communication between the two cultures and translators should try their best to achieve functional equivalence between the two languages rather than seek for rigid correspondence when making translation, which can accurately reproduce the source culture in the target language and eliminate cultural differences. It puts forward a new attitude to treat different languages and cultures, promoting language communication and mutual understandings among people. Thus, taking Nida’s theory as guidance, this research is meaningful not only for translation studies, but also for cultural exchanges.&lt;br /&gt;
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'''Literature Review'''&lt;br /&gt;
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As one of Nida’s major contribution to contemporary translation studies, Functional Equivalence Theory has brought about heated discussion among scholars at home and abroad since its birth. Many momentous works of Nida also have been translated and introduced into China, such as Nida on Translation edited and translated by Tan Zaixi (1999) and Language and Translation translated by Cai Yi (1985) which of them aroused great repercussions in Chinese translation field. As the prototypical member of Functional Equivalence Theory, receptor’s response theory draws scholars’ attention. Zhang Xiujuan (2015) points out that “receptor’s response theory breaks the tradition of Chinese translation that translators pay much attention to the text but may ignore the response of readers, and provides a new perspective for Chinese scholars to make studies on translation theories”.&lt;br /&gt;
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Kong I-Chi, as the most typical character in Lu Xun's novels in the teaching textbooks of Chinese junior high school students, has left an indelible impression in the hearts of Chinese people. The most recognized translators of ''Kong I-Chi'' include Yang and Dai, Lyle William and Edgar Snow. The translation of Lu Xun's novels during the period of Yang and Dai reach its heyday. For a long time, domestic and foreign publishing houses have published works translated by the couple. Since Edgar Snow lived in the same age as Lu Xun, his translation is closer to Lu Xun's life background. It wasn't until 1990 that the American scholar William Lyell's new American translation was published, and the new stage of the English translation of Lu Xun's novels began. The British English version translated by Yang and Dai is elegant and idiomatic, giving readers the good impression of pure British English.&lt;br /&gt;
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=== Theoretical Framework: Nida’s Functional Equivalence Theory ===&lt;br /&gt;
==== Introduction of Functional Equivalence Theory ==== &lt;br /&gt;
===== The Original of Functional Equivalence Theory  =====&lt;br /&gt;
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Nida's main academic activities unfold around the translation of the Bible. In the process of &amp;quot;Bible&amp;quot; translation, Nida started from reality and developed a set of his own translation theory, which eventually became one of the classics in translation studies. In 1964, Nida (1964) put forward “dynamic equivalence” in ''Toward a Science of Translating'', and gave it specific definition in ''The Theory and Practice of Translation'' (1969). In the mid-1980s, “dynamic equivalence” was replaced by “functional equivalence” to avoid misunderstandings on the term “dynamic”, which was the origin of Functional Equivalence Theory.&lt;br /&gt;
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=====The Development of Functional Equivalence Theory  =====&lt;br /&gt;
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The most important and the most intractable part in Functional Equivalence Theory is the disposal of message. The theory requires that the message in receptor’s language must be consistent with the source language. In such a translation, translators should strive to “reproduce as literally and meaningfully as possible the form and content of the original” (Nida 1964:159). Later he successfully applied the research results of modern linguistics to translation theory which also reciprocally pushed his theory forward. There are three stages in the development of Functional Equivalence Theory.&lt;br /&gt;
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The first stage is that starting from the essence of language; he used semantic theory to make an objective and accurate analysis of the referent and associative meaning of words. In Nida's point of view, various language structures have great similarities, and the deep structure is far more common than the surface structure. Therefore, the translation of the deep structure between languages can ensure the fidelity of the translation to the greatest extent. At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensue smoothness of the translation as much as possible. The faithful and fluent translation presupposes conditions for the equivalence of receptor’s response, which makes it possible to realize functional equivalence.&lt;br /&gt;
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The second stage is that the theory was prone to lay its foundation on information theory. Nida held the view that translation is the activity of converting information expressed in one language into information in another language, which is, converting information of one code into information of another code. The translation plays a communicative role in transmitting information. Only when the target reader obtains the same amount of information as the original reader can the relationship between the target language recipient and the target language information be basically the same as the relationship between the original language recipient and the original source information. Nida noticed that there is a receptive gap between the original reader and target reader especially when the original language and the target language belong to different language families and different cultures. Thus, in order to improve the amount of the receptor’s information as much as the original reader’s, Nida emphasizes the translator can moderately change the form of the original text to provide a better understanding for receptors.&lt;br /&gt;
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On third stage, Nida tended to embellish his theory from the perspective of social semiotics. Nida insisted that the translation means translation meaning, and semiotics is the most comprehensive system for analyzing meaning. In the book &amp;quot;''Language, Culture, and Translation''&amp;quot;, Nida pointed out that social semiotics studies all codes and codes of human society, and its focus is on the most comprehensive and complex symbol system used by mankind-Language. Therefore, in terms of decoding and encoding, no translation method is as comprehensive as the social semiotic translation method.&lt;br /&gt;
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Nida also recognized that there would never be complete equivalence and it was just a quaesitum. With further development of Functional Equivalence Theory, he thought that it has different degrees of adequacy and on that basis he put forward two levels of functional equivalence — the maximal level and the minimal level of equivalence. The former refers to “the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did” (Nida 1993:118), but this is just an ideal state which cannot be achieved especially when there are huge cultural and aesthetic differences between the two languages. While the latter means “the readers of a translated text should be able to comprehend it to point that they can conceive of how the original readers of the text must have understood and appreciated it” (Nida 1993: 118), and translation below this level can never be accepted. According to Nida, if a translation is between these two levels, it can be regarded as a good one.&lt;br /&gt;
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==== Basics of Functional Equivalence Theory  ==== &lt;br /&gt;
=====Receptor’s Response  =====&lt;br /&gt;
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In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s responce. When translators are working on translation, they are increasingly unable to ignore the reader's feedback on the translation. From the perspective of reception aesthetics, translation theorist Nida said that only when the reader accepts the translation can the translation be truly completed. Therefore, when translating, the translator cannot ignore the acceptability of the translation. The translator builds a bridge between the original author and the reader of the target language through translation, and it is the translation that can clearly reflect this bridge role.&lt;br /&gt;
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Receptor’s Response Theory draws attention to the reader and the reading process, rather than the author or the text. Pat Mora and James Welch define it as: &amp;quot;The theory emphasizes the importance of the reader's role in text understanding.&amp;quot; The same description also appears in many of Nida’s works in which the importance of “receptor’s response” is emphasized repeatedly. &lt;br /&gt;
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There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which was pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information need to be filled in by the reader himself. Such uncertainty occupies another very important position in this theory. This concept includes those vague factors, such as gaps and blanks. This kind of uncertainty encourages readers to add their own ideas when reading, so there is usually more than one understanding of a literal work. The third point is implicit reader also proposed by Isel, as opposed to the actual reader, which refers to the intended reader set by the writer himself who can concretize the text. Isel points out that the implicit reader is not the actual reader, but a reader that the author expects to design in the creative process, that is, the implicit recipient. It is a certain character that the artist conceives and pre-sets based on his experience or hobbies. The forth part is the identity theme. In other words, the work itself has no fixed objective meaning; only when the reader reshapes the work out of his own identity theme and the reader replicates his own fantasies during the reading process, the work can be given meaning. The last point is the interpretative group which was put forward by Stanley Fish. It refers to people who share the same interpretation strategy as we have. In a known context or reader group, the interpretation of the work meaning is the product from the group.&lt;br /&gt;
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===== Principles for Producing Functional Equivalence  =====&lt;br /&gt;
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To achieve the closest natural equivalence between the source language and target language, Nida put forward six principles as the guidance of different kinds and degrees of adjustments:&lt;br /&gt;
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1.	When the translation that strictly keeps the form of the source text makes receptors misunderstand the designative meaning, changes need to be made in the translated text, or a footnote should be added for further explanation if literal translation is still be selected.&lt;br /&gt;
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2.	When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aim to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.&lt;br /&gt;
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3.	When the translation that strictly keeps the form of the source text is so semantically and syntactically difficult that average readers may give up the attempt to understand it, changes should be made in the translated text and the nature of the changes needs to be indicated in the introduction or footnote.&lt;br /&gt;
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4.	When the translation that strictly keeps the form of the source text causes significant misconceptions on the associative meanings of the source text or huge loss in the appreciation for the stylistic values of the source text, changes should be made to reflect the associative meanings of the source text.&lt;br /&gt;
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5.	The way that a translation is to be used (such as a drama to be read or acted on the stage) is of great significance to the extent to which changes are to be made.&lt;br /&gt;
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6.	A source text that must be translated together with accompanying codes (such as songs and operas) generally requires numerous adjustments in all aspects, including phonology, lexicon, syntax, and discourse. (Nida 1993: 125-128).&lt;br /&gt;
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=== Introduction to Lu Xun and ''Kong I-Ch''i  === &lt;br /&gt;
==== Lu Xun and the values of ''Kong I-Chi'' ====&lt;br /&gt;
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To read and translate Kong I-Chi, you must first understand its author-Lu Xun.&lt;br /&gt;
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Lu Xun is a great writer. Mentioning classical literary works, no matter what innovative methods are adopted, whether realistic, romantic, or magical, the content should be close to life, reflect the reality of times and speak for the people. In terms of form, literary works should conform to the inherent rules of literary creation-forming a unique artistic style and achieving the perfect unity of truth, goodness, and beauty. Lu Xun's works fully meet the above requirements. &lt;br /&gt;
Lu Xun is also a famous thinker. Indeed, Lu Xun did not specifically study thinking or modes of thinking, nor did he have advanced theoretical monographs, but he, like thinkers in ancient and modern times, both at home and abroad, used suspicion and criticism as spiritual swords to explore truth and reveal. He held the view that it was his duty to awaken the sleeping souls of the Chinese people with literary works of various genres. The depth and breadth of his thinking is even higher than that of some contemporary thinkers. This is well reflected in his work Kong I-Chi.&lt;br /&gt;
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Lu Xun, who is a revolutionary, has a precious characteristic, that is, the purity of his revolutionary original intention. Lu Xun leaned towards socialism under the white horror of the low ebb of the Chinese revolution. What's more commendable is that as a sober realist, Lu Xun never conceives any romantic illusions about the revolution. No matter what difficulties the revolution encounters, Lu Xun always has an optimistic belief in the prospects of the revolution.&lt;br /&gt;
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From a general perspective, Lunatic's Diary is more macro and image specific than Kong I-Chi, while Kong I-Chi starts from the micro level, depicting the poor people at the bottom of society who was bullied and oppressed and lost their dignity as human beings. In addition, there are many opinions in the critics. For example, Mr. Lu Xun's Kong I-Chi was written to criticize the feudal imperial examination system, and some people think that it was sent out to criticize the “dark” old society. The famous critic Lin Zhihao believes that this novel is not only to assail at the corruption of the feudal imperial examination system, but also to reveal the persecution of people’s spiritual and ideology by the feudal education system in the dark old society. The social reality was that most scholars had been ruthlessly “eaten” up by the environment. When the shackles of thinking have been broken, we can dig into the deep meaning under the surface of Kong I-Chi, that is, the process of literati's loss of personality and the process of redemption under the background of the dark society of feudalism. Although the tragedy is redemptive, the process is also accompanied by a fall.&lt;br /&gt;
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==== Study on the Translation of ''Kong I-Chi''  ====&lt;br /&gt;
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''Kong I-Chi'' is a masterpiece of Lu Xun. The novel was created in the winter of 1918, published in the sixth volume of &amp;quot;''Italic text''New Youth&amp;quot; in April 1919. (刘家鸣1992: 15). ''Kong I-Chi'' is Lu Xun's most satisfying work (孙伏园等2000: 58), and it is also one of Lu Xun's novels that English translators are vying to translate resulting in an amount of English translation. &lt;br /&gt;
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So far, there are eight translations of ''Kong I-Chi'': 1)A British man E.H.F.Mills translated ''Con Y Ki'' from Jing Yinyu's French translation (Mills 1930: 42-50), included in ''The Tragedy of Ah Q and Other Contemporary Chinese Short Stories'' published by George Rutridge Bookstore in London in 1930; 2) The English translation of ''K’ung I-chi'' by the American Jin Shouzhuo (G.A.Kennedy 1932: 14-15), which was later included in ''Isaacs'' (Isaacs 1974: 25-32) edited by Yi Luosheng; 3) ''K’ung I-chi'' translated by Lin Jijin (Lin 1935:3-4); 4) Unsigned version of The Tragedy of ''K'ung I-Chi'' (Anonymous 1936: 2-3); 5) ''K’ung I-chi'' was co-translated by American journalists Edgar Snow and Yao Xinnong; 6) later comes to Yang Xianyi and Gladys's translation ''K'ung I-chi'' (hereinafter referred to as &amp;quot;Yang Translation&amp;quot;) (Yang &amp;amp; Gladys 1960: 40-46); 7)Then, famous American sinologist William Lyell translated ''Kong Yiji'' (Lyell 1990: 42-48); 8) other translation of ''Kong Yiji'' was produced by British sinologist Lan Shiling ( Lovell 2009: 32-36).&lt;br /&gt;
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This article focuses on Yang's translation, trying to explore Yang and Dai's translation strategies, styles and methods of ''Kong I-Chi'' from the lexical, syntactic and semantic levels, and aims to explain the functional equivalence in the English translation of Lu Xun's short stories.&lt;br /&gt;
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=== Analysis of the Translation of ''Kong I-Chi'' from the Perspective of Functional Equivalence  === &lt;br /&gt;
==== Lexical Analysis ====&lt;br /&gt;
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There are many cultural-loaded words in the original Kong I-Chi text, such as this. Culture-loaded words are deeply imprinted by the region and era of a certain language society which express things and concepts peculiar to a certain culture. Such words as “进学” and “秀才” not only carry rich cultural connotations, but also exist only in a certain culture which may be blank in another culture. It is this characteristic which is “I have and you do not have” that often becomes an obstacle to cross-cultural communication and translation. From the perspective of Functional Equivalence, this thesis will analyze how these words are handled in Yang's translation.&lt;br /&gt;
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In the sentence “幸亏荐头的情面大，辞退不得”, the word “荐头” was translated into “someone influential” by Yang and Dai. “荐头” is the person who introduces works to other people in ancient China. Such person is absolutely influential. But for reader, such influential people may be a nobleman or someone who is very authoritative in the area which may result in discrimination. The job introducers also can be regarded as common people instead of the influential. From the perspective of Functional Equivalence, Yang’s translation explicitly showed the deep meaning with loss of cultural characteristic.&lt;br /&gt;
The phrase “之乎者也” was translated into “archaisms” which stands for the use of an archaic expression. In Chinese, the original meaning of “之乎者也” is four auxiliary words commonly used in classical Chinese. Therefore, the word &amp;quot;之乎&amp;quot; also refers to the basic abilities that a scholar should possess. Later, it is used to ridicule the scholar who only knows how to analyze words while cannot solve practical problems. Functional equivalence theory requires efforts to create translations that not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. The word “archaisms” corresponds exactly to the description of Kong I-Chi in Lu Xun’s story who is a nerd.&lt;br /&gt;
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Other prototypical cultural-loaded word is “进学”. Yang translated it into “pass the official examination”. As a link in the imperial examination system in ancient China, “进学” means that the children of the Qing dynasties who can pass the examination will be admitted to the prefectural and county schools. Such system is unique to China. To achieve functional equivalence, that is, to allow non-native readers to understand this special cultural mark, the translator must explain this cultural phenomenon as much as possible or find a corresponding expression in the foreign language culture. The same in the word “秀才” on this sentence “你怎的连半个秀才也捞不到呢?” “秀才” also belong to the imperial system. “秀才” is a subject for selecting officials in ancient China, and it was once used as a special name for school students. Yang translated it into “passed the lowest official examination”. As the minimum requirement of the ancient imperial examination system, those who passed the selection examination were called  “秀才”. According to Nida’s theory, it perfectly expresses the ancient Chinese imperial examination system, and at the same time allows foreign language readers to understand Kong I-Chi’s knowledge background.&lt;br /&gt;
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==== Syntax Analysis ====&lt;br /&gt;
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In terms of syntax, the differences in sentence patterns between English and Chinese are the most salient. English emphasizes hypothesis while Chinese emphasizes parataxis, which leads to the conversion of sentence patterns in the process of translation. According to Nida's Functional Equivalence Theory, if the change in form is still insufficient to express the meaning and culture of the original text, the translation technique of &amp;quot;reconstruction&amp;quot; can be used to resolve cultural differences and make the source language and the target language equal in meaning. &amp;quot;Reconstruction&amp;quot; refers to the conversion of the deep structure of the source language into the surface structure of the target language (郭建中,2000 , P67), that is, the cultural connotation of the source language article is explained by the vocabulary of the target language.&lt;br /&gt;
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In ''Kong I-Chi'', when Kong I-Chi took our his money and ordered some food, other people started to sneer at his revenue sources and said “你一定又偷了人家东西了!” The exclamatory sentence in the original text showed others' affirmation of Kong I-Chi's theft. Yang translated it into “You must have been stealing again!” Here we can notice the tense of the two sentences. Lu Xun used the past tense in original text, which expresses that Kong I-Chi's stealing is an established fact. However, Yang used the present perfect continuous tense when translating. In English, the present perfect continuous tense manifests that something the subject has done in the past is still being done, and may continue in the future, expressing the continuation of an action. There is no need to add any other additional descriptions, just from this tense, readers can realize everyone's thoughts on Kong I-Chi's theft. Such reconstruction of tense verifies the application of Functional Equivalence Theory in turn.&lt;br /&gt;
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Afterwards, these people who deprecated him refuted Kong I-Chi's maintenance of himself, saying: “什么清白?” In Yang's translation, it is translated as “Pooh, good name indeed!” In the original text, it is originally an interrogative sentence, but Yang transformed it into an exclamation sentence, added English slang “pooh” in it and translated “清白” into good name. If the interrogative sentence in the original text is literally translated into &amp;quot;what’s the innocence&amp;quot;, the comic effect, that is, everyone's disdain for Kong I-Chi in the exclamatory sentence will not be achieved. The sentiment contained in the original text is successfully conveyed through the conversion of sentence patterns.&lt;br /&gt;
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When describing Kong I-Chi’s knowledge background, the original text mentioned: “幸而写得一笔好字，便替人家钞钞书”. In Yang’s translation, he didn’t directly translate it into a verb phrase instead of into a noun phrase which was “Happily, he was a good calligrapher.” Knowing the characteristics of English and Chinese languages, he metonymically recreated dynamic Chinese verb clauses into static noun clauses.&lt;br /&gt;
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==== Semantic Analysis ====&lt;br /&gt;
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How to eliminate cultural differences as much as possible so that the semantics of the original language can be perfectly embodied? From the perspective of Functional Equivalence Theory, the translator needs to transform the deep structure of the source language into the surface structure of the target language which requires translator to use the corresponding vocabulary in the target language to directly explain the connotation of the original text, so that the target readers can accept the translation more easily. For example, in the original text, the sentence “因为他姓孔，别人便从描红纸上的 ‘上大人孔乙己’这半懂不懂的话里，替他取下一个绰号，叫作孔乙己” includes an allusion: 上大人孔乙己 which refers to a character in the card game popular in ancient China. In such card game, the characters always are drawn in a red paper. For children in ancient China, the card game was easy to play and was a childhood memory.&lt;br /&gt;
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In Yang’s translation, he translated it into “As his surname was Kung, he was nicknamed ‘Kung I-chi’, the first three characters in a children's copybook.” Such translation omits a lot of information from the original text, such as “描红纸上” and “半懂不懂”. But Yang gave a substitute for the omission: he explained the game allusion about children which can be regarded as a strategy that helps foreign readers better understand how Kong I-Chi comes. &lt;br /&gt;
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Another illustration is the translation of this sentence: “孔乙己，你当真认识字么？” It seems fairly easy for common people to translate it with “Kong I-Chi, do you really know words?” , while Yang gave a different version: “Kung I-chi, do you really know how to read?” In our cognitive concepts, if a man knows how to read a word, then he must know this word. But if he knows the word, he may not only know how to read it, but even know how to write it. Such special mechanism is called conceptual metonymy. Yang metonymically narrowed the scope of the meaning of the word “认识”and accurately positioned the meaning of this understanding according to the context. The translator abandons the equivalence of form and achieves the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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This article selects Yang’s translation of &amp;quot;''Kong I-Chi''&amp;quot; as the study case, and analyzes the translation effect from three aspects: lexicon, syntax and semantics, combined with Nida’s Functional Equivalence Theory. It is believed that the translator flexibly uses a variety of translation methods to deal with the differences between English and Chinese languages, and the translation has realized functional equivalence as a whole.&lt;br /&gt;
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At the lexical level, the translator adopts the naturalization method when translating the proper nouns of &amp;quot; ''Kong I-Chi'' &amp;quot;, adding notes to individual words. The translation perfectly conveys the meaning of the original vocabulary. &lt;br /&gt;
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At the syntactic level, when there are differences in the expression of English and Chinese sentences, the translator will split the sentence, adjust the subject and object of the sentence, change the sentence structure and the sentence order to make the translation conform to the expression of the target language where the translation is smooth and natural. When translating the allusions of &amp;quot; ''Kong I-Chi'' &amp;quot;, the translator adopts literal translation and annotations. &lt;br /&gt;
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In terms of semantics, the translator uses the mechanism of conceptual metaphors to accurately show the original flavor.&lt;br /&gt;
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This article believes that the success of Yang’s English translation of &amp;quot;''Kong I-Chi''&amp;quot; lies in its fluent, natural language and exotic flavor. The author and translator of &amp;quot; ''Kong I-Chi'' &amp;quot; are both famous artists. The translation case from the English translation of &amp;quot;''Kong I-Chi''&amp;quot; reflects the practical application of the Functional Equivalence Theory in Lu Xun's novels. The writer also hopes that this thesis can provide ideas and inspirations for the English translation of other Lu Xun's novels.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Nida E.A. ''Language and Culture: Contexts in translating''. Shanghai: Shanghai Foreign Language Education Press.2001. &lt;br /&gt;
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[2]Nida, Eugene A.1964. Towardsa ''Science of Translating'', Leiden: E.J.Brill. &lt;br /&gt;
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[3]Nida, Eugene A.&amp;amp;Charles R.Taber, 1969, ''The Theory and Practice of Translation'', Leiden: E.J.Brill&lt;br /&gt;
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[4]鲁迅Lu Xun.鲁迅全集(第一卷)Selected Work of Lu Xun(volume Ⅰ）[M].北京Beijing:人民文学出版社People's Literature Publishing House ,1982.&lt;br /&gt;
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[5]谭载喜Tan Zaixi．新编奈达论翻译New Nida's Translation[M]．北京Beijing：中国对外翻译出版公司China Translation &amp;amp; Publishing Corporation，1999.&lt;br /&gt;
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[6]杨坚定Yang Jianding，孙鸿仁Sun Hongren．鲁迅小说英译版本综述A Summary of the English Versions of Lu Xun's Novels[J]．鲁迅研究月刊Lu Xun Research Monthly，2021(4)．&lt;br /&gt;
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[7]伊塞尔Iser.本文中的读者 Readers in this article[A]．二十世纪西方美学名著选（下）Selected Works of Western Aesthetics in the Twentieth Century (Part 2)[C]．上海Shanghai：复旦大学出版社Fudan University press,1998.&lt;br /&gt;
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[8]杨宪益.Yang Xianyi,戴乃迭 Dai Naidie译.鲁迅选集英文版(一) Selected Works of Lu Xun (1)[M].北京:外文出版社 Beijing: Foreign Languages Press,1980.&lt;br /&gt;
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[9]https://baike.baidu.com/item/%E5%8A%9F%E8%83%BD%E5%AF%B9%E7%AD%89%E7%90%86%E8%AE%BA/3373397?fr=aladdin&lt;br /&gt;
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[10]https://www.zhihu.com/question/29965932&lt;br /&gt;
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=颜子涵 Translation methods and strategies applicable to the style of biographical literature -- Taking Incidents in Life of Slave Girl (excerpt) as an example=&lt;br /&gt;
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[[Trans_Type_EN_8]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
The translated text of this article is a part of the English biography Incidents in Life of Slave Girl. The author of this work is Harriet Jacobs. This translation mainly takes the translation functional equivalence theory of American linguist Eugene A.Nida as the theoretical framework, adopts some translation skills in translation practice, and discusses the translation skills and Strategies of Chinese translation of such texts by analyzing the stylistic characteristics of biographical literature, especially African American autobiography. Through the Chinese translation of this autobiography, we can have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Autobiographical Literature; Black female slaves; Translation methods and Strategies&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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This paper is divided into four parts. The first part is an overview of the translation project, which mainly introduces the relevant situation of the translation project, the author and works of the translated text; The second part is the preliminary preparation of translation, including project text analysis and translation plan formulation; The third part, translation theory and case analysis, including functional equivalence theory, translation strategies and case analysis; The fourth part is the summary of the project, mainly on the problems encountered in translation, the experience and inspiration gained in the process of translation.&lt;br /&gt;
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This work belongs to the category of biographical literature. Biographical literature is a literary genre in which the author reproduces the characters' life stories and experiences, shows the characters' spiritual outlook and values, and depicts the characters' distinct love and hate and vivid personality through documentary writing and a variety of literary and artistic techniques. There are more than 50 characters involved in the biography. In the author's works, these characters are very vivid, such as the forbearance of a strong grandmother to the slave owner, the loyalty of a hard-working aunt to the slave owner, the oppression of female slaves by a crafty and sinister doctor, and the wit of Linda Brent, the heroine who pursues freedom and courage. In particular, the author's description of the heroine's seven years spent in a &amp;quot;cage&amp;quot; like cabin before she fled to the North more ruthlessly castigates the evil of slavery. The heroine's experience deeply moved her relatives and friends, including white slave owners. With the help of her relatives and friends, the heroine was able to escape to the north.&lt;br /&gt;
Taking the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework, this paper adopts the following translation skills in the process of translation: 1. The translation methods of foreignization and domestication are used to achieve partial functional equivalence between the source language and the target language, so as to reduce the lack of culture after translation. 2. According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to make the translation conform to the expression habits of the target language. 3. The methods of addition and subtraction are adopted to make the translation consistent with the original in grammar and language form, as well as in cultural background and word association. 4. The Conversion Transformation is adopted to make the translation more acceptable to the target language readers. By analyzing the stylistic characteristics of biographical literature, especially African American autobiography, the author discusses the translation skills and Strategies of Chinese translation of such texts.&lt;br /&gt;
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=== Text background===&lt;br /&gt;
From the beginning of the British northern colony to the early 20th century, blacks were brutally exploited and oppressed by the slavery system. In particular, female slaves not only had to bear heavy labor, but also suffered the destruction and abuse of supervisors. Since the publication of the first Autobiography of black slaves in 1760, some advanced elements in black slaves denounced and denounced the evils of slavery with their own experience, and made outstanding contributions to the abolition movement. The author of this work is Harriet Jacobs, whose pseudonym is Linda Brent. Born in a slave family, she fought tirelessly because she could not bear the persecution of slave owners on her and her children. After fleeing to the north, the author wrote a biography of his personal experience of being enslaved, exploited, persecuted, fleeing to the north and realizing freedom, which was published in 1861. Through the Chinese translation of this autobiography, more people have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves.&lt;br /&gt;
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===Research Purpose and Significance===&lt;br /&gt;
This autobiography of black women starts from the experience of childhood from the perspectives of black slaves and women. In the process of growing up, the author experienced different masters of good and evil. When she was a child, her hostess let the author learn to read and write. Later, she died of illness. Then the new owner, Dr. flint and his wife tortured and framed her. Later, for the freedom of her children, the author resolutely decided to flee to the north and enjoy the right to freedom with her children. In the process of pursuing freedom, he went through escape, pursuit, hiding until he went north by boat. The author selects simple but typical examples in daily life, through the description of characters' psychology and language, the contradictory struggle between the interests of opposite classes, the criminal complaint of slave trafficking, and the process of slaves fleeing to the north, reveals the slave owner's naked exploitation and fraud of slaves, and reveals the slave's sincerity, courage and longing for freedom. The simple language and narrative techniques of the work fully shape the tenacity, courage, intelligence and clear love and hate of the female slave Linda Brent, and show the readers the misfortune and suffering of many slaves.&lt;br /&gt;
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=== Translation theory and case analysis===&lt;br /&gt;
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3.1 functional equivalence theory&lt;br /&gt;
This translation practice report takes the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework. Eugene Nida is an American linguist and a famous translation theorist. From the perspective of etymology, according to the essence of translation, he put forward the famous dynamic equivalence translation theory, namely &amp;quot;functional equivalence&amp;quot;. In this theory, he pointed out that &amp;quot;translation is to reproduce the information of the source language from semantics to style in the most appropriate, natural and equivalent language&amp;quot;. He believes that translation is not only the equivalence of lexical meaning, but also the equivalence of semantic style and style. The information conveyed by translation includes both surface lexical information and deep cultural information. Equivalence in dynamic equivalence includes lexical equivalence, syntactic equivalence, textual equivalence and stylistic equivalence. Nida pointed out that the translation should be functionally equivalent to the original text. Judging whether the translation is equivalent to the original text should be based on the psychological response of the readers, that is, the translator should not only stay in the equivalence of structure and semantics, but strive to make the target readers produce the functions and effects that the original author wants to achieve through his works, so as to make the target readers after reading the translation, Get the same feelings as the original readers, and make translation really become a converter of thoughts, feelings and cultural information. Therefore, in literary translation, according to Nida's theory, the translator should take the four aspects of dynamic equivalence as the translation principle to accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
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The core of Nida's functional equivalence theory is &amp;quot;content is greater than form&amp;quot;, which emphasizes that when there is a conflict between content and form, content must precede form (Nida, 2004:203). Due to the differences between Chinese and Western ways of thinking and logical habits, in order to make the translation conform to the habits of readers in the target country and make it easier for readers in the target country to accept, the author has adopted different translation methods and strategies. According to the specific content of Nida theory, this paper intends to analyze its application in English-Chinese translation practice from four aspects. 1、 According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to achieve lexical semantic equivalence between the source language and the target language; second, addition and subtraction and part of speech conversion are used to make the translation conform to the expression habits of target slogans in grammar and language form and consistent with the original text in terms of cultural background and word association; third, forward and reverse translation is used to reproduce the original text Fourth, for the long and difficult sentences of the original text, the translation methods such as reorganization, sentence splitting and merging are adopted to make the language expression forms of the translation more rich and diverse, and more easily accepted by the target language readers.&lt;br /&gt;
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3.2 translation skills and case analysis&lt;br /&gt;
When translating vocabulary, the author mostly adopts the literal translation method to convey the information of the original text more accurately. If the meaning of the translation is not accurate enough or does not conform to the Chinese expression habits after the literal translation, the author adopts the free translation method, while for the long and difficult sentences with complex structure, the translational translation method and split method are adopted to make them conform to the Chinese expression habits and more acceptable to the readers.&lt;br /&gt;
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=== Translation skills, methods and case studies===&lt;br /&gt;
Case 1: literal translation and free translation to achieve semantic equivalence in vocabularyIn the process of translation, it is the basic quality of every translator to correctly express the source language in the target language. In order to achieve this goal, the translator must start with the smallest unit of the source language—vocabulary. In project translation, the author follows the functional translation theory and pursues semantic equivalence. First, we must ensure the equivalence of lexical meaning. The author mainly discusses the semantic equivalence of words from two aspects: literal translation and free translation.&lt;br /&gt;
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1. Literal translation  &lt;br /&gt;
Literal translation emphasizes the consistency between the original text and the translation in form and content, which helps to maintain the style of the original text. Literal translation is not a dead translation, a hard translation, or a literal translation. Literal translation emphasizes retaining its form and reaching its meaning.&lt;br /&gt;
The example 1:&lt;br /&gt;
“Nothing could please her better than to see me humbled and trampled upon” is literally translated as ”没有什么比看到我恭顺谦卑、任人践踏更让她快活啦。”&lt;br /&gt;
Analysis: in this sentence, humbled and trampled upon is used to express the due psychology and living state of slaves in the eyes of slave owners. Here, it can be translated into obedience, humility and trampling, which can reflect the coldness of slave owners and the misery of slaves.&lt;br /&gt;
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2. Free translation&lt;br /&gt;
Paraphrase emphasizes divine similarity. When the original text is quite different from the translation in terms of lexical meaning, syntactic structure and style, it can not be confined to the original text. Free translation should be adopted to explain the form of the original language in another language form, so as to correctly express the ideological thrust of the original text. Free translation should conform to the grammatical norms and expression habits of the target language, so as to make the translation more fluent and natural. Free translation is not arbitrary addition and deletion, nor random translation. Free translation emphasizes &amp;quot;preaching its spirit&amp;quot; rather than &amp;quot;retaining its shape&amp;quot;. The work belongs to biographical literature. There are great differences between the source language culture and the target language culture. The translator can not adhere to literal translation from beginning to end, but should carry out free translation according to needs, so as to achieve better translation effect.&lt;br /&gt;
The example 2:&lt;br /&gt;
I resolved to give him no cause to accuse me of being too much of a lady, so far as work was concerned.&lt;br /&gt;
literal translation: 就工作而言，我决心让他找不到口实指责我过分淑女。&lt;br /&gt;
free translation: 就工作而言，我决心让他找不到口实指责我养尊处优。&lt;br /&gt;
Analysis: a lady originally means 女士或优雅的女子. Too much of a lady is often understood as 十分优雅. Because the author could read and write and looked dignified, he had not done heavy work like other slaves before, &amp;quot;I&amp;quot; guessed that the young master was disgusted with it. Here, too much of a lady is translated by free translation, which reflects the inner contempt of the young master for &amp;quot;me&amp;quot;.&lt;br /&gt;
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Case 2: addition, subtraction and part of speech conversion make the translation achieve sentence meaning equivalence, which is in line with the expression habit of the target language.&lt;br /&gt;
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3. Additional translation&lt;br /&gt;
The example 4:&lt;br /&gt;
One day, she sat under the window where I was at work, crying that weary cry which makes a mother's heart bleed. &lt;br /&gt;
&lt;br /&gt;
一天，她就坐在我干活的那个房间的窗户外哭，哭得声嘶力竭让任何一个做母亲的心里流血。&lt;br /&gt;
Analysis: A mother literally means &amp;quot;一个母亲&amp;quot;, but the following clause is translated into &amp;quot;哭得声嘶力竭让一个母亲的心里流血&amp;quot;. The emotion of the translation is weak. In this article, &amp;quot;I&amp;quot; as a slave must work and can't take into account children and family affection, because in the slave owner's view, slaves are low animals and don't deserve feelings. Although I heard my daughter crying, I couldn't get over it. Any mother would be distressed to hear her daughter's cry. In order to make up for the lack of emotion in literal translation, the method of additional translation should be adopted here, which is translated as &amp;quot;任何一个母亲&amp;quot;&lt;br /&gt;
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4. Omission &lt;br /&gt;
The example 5:&lt;br /&gt;
The doctor stamped his foot at him in a rage, and exclaimed, &amp;quot;Get out of the way, you little damned rascal! If you don't, I'll cut off your head.&amp;quot;&lt;br /&gt;
translated text：医生愤怒地跺了他一脚，厉声说道：“滚开!他妈的小坏蛋，如果不听话，我把你的头砍下来!”&lt;br /&gt;
&lt;br /&gt;
Analysis: Dr. flint twice went to the north to pursue the fugitive slave &amp;quot;I&amp;quot; without success. He spent a lot of money and was full of anger. At this time, my son asked him if he had brought his mother back. Dr. flint stamped his feet angrily, scolded and threatened the child. Through the vivid description of Dr. Flint's body movements and language, his angry image jumped onto the paper,In order to achieve the same effect and achieve the equivalence of language style, the author uses even verbs according to the original &amp;quot;stamped his foot at him in a rage, and exclaimed&amp;quot; and translates it into &amp;quot;stamp his foot angrily and say&amp;quot; you little damned rascal!!! &amp;quot;It is also a typical strong adult's words towards weak children. In order to be concise and powerful, the author omits &amp;quot;you&amp;quot; and translates it into &amp;quot;他妈的小坏蛋&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
The example 6:&lt;br /&gt;
But when winter came, the cold penetrated through the thin shingle roof, and I was dreadfully chilled.&lt;br /&gt;
translated text：上次遭遇蛇咬，现在我对蛇更惧怕了，踏上这个藏身的地方，我不由心惊胆颤。&lt;br /&gt;
&lt;br /&gt;
Analysis: My fear of snakes is literally translated as &amp;quot;我对蛇的恐惧&amp;quot;, and the subject of the following clause is &amp;quot;我&amp;quot;. In order to give the target readers a unified reading perspective, my fear of snakes had been increased is translated as: 我对蛇更惧怕了. By transforming the noun of fear into a verb, the translation is more concise and more in line with Chinese expression habits than literal translation.&lt;br /&gt;
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Case 3: The stylistic style of the original text is reproduced by positive and negative translation.&lt;br /&gt;
5.The Positive and Negative Translation&lt;br /&gt;
The example 7:Nobody respects a mother who forsakes her children; and if you leave them, you will never have a happy moment.&lt;br /&gt;
translated text 1：没有人尊重抛弃孩子的母亲，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
translated text 2：抛弃孩子的母亲会遭人唾弃，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
&lt;br /&gt;
Analysis: This sentence contains a negative indefinite pronoun—nobody. In translation text 1, the first half of the original text (Nobody respects a mother who forsakes her children) is translated into &amp;quot;没有人尊重抛弃孩子的母亲&amp;quot;. Although the meaning is translated, the expression is not authentic. Translation text 2 uses the positive and negative translation method to change negative into positive, and “Nobody respects” into &amp;quot;being despised&amp;quot; can better express the speaker's (my grandmother's) eagerness to oppose &amp;quot;I&amp;quot; to escape.&lt;br /&gt;
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Case 4:The translation methods of reorganization, sentence splitting and merging are adopted to make the translation conform to the expression habits of the target language&lt;br /&gt;
There are great differences between English and Chinese syntactic structures. English is a linear language. Its syntax takes the subject predicate structure as the central axis, while other components form branch lines in the form of branches and connect with the main axis through connectives. The logical relationship between sentences tends to be explicit,; Chinese is more parataxis, and the combination between the components in a sentence or between sentences mostly depends on the connection of semantics and uses fewer connectives. Chinese sentences are arranged under the command of theme, that is, the structure of &amp;quot;topic description&amp;quot; has various forms and free combination. The logical relationship between sentences is more implicit (Yang Lin, 2007: Preface). There are few logical relational words between clauses and between sentences. Therefore, the author adopts the reorganization method, combining syntax and disassembling syntax to realize the semantic equivalence of sentences, and studies the influence of sentence structure on the translation. The significance is to better guide the translation practice.&lt;br /&gt;
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5.Recasting&lt;br /&gt;
The example 7: This was the good old lady who paid fifty dollars for my grandmother, for the purpose of making her free, when she stood on the auction block.&lt;br /&gt;
translated text：这个老太太是个好人，当年外祖母站在拍卖台上，为了让外祖母获得自由她花五十美元买下了我的外祖母。&lt;br /&gt;
&lt;br /&gt;
Analysis: The original text contains two compound structures, one is an attributive clause, the other is a time adverbial clause. Because Chinese sentences are constructed according to the law of logical order, the word order is arranged according to the actual sequence and event order, which is divided into sequence in time, and pay attention to the causality in logic. The author adjusts the time adverbial clause to the front, first explain the time, then explain the reason, and finally the result. This reorganized translation plays an important role in shaping the relationship between sentences, which is in line with the characteristics of Chinese sentence structure.&lt;br /&gt;
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6.Sentence-combining&lt;br /&gt;
The example 8: There was joy and there was sadness in the sound. It made my tears flow.&lt;br /&gt;
translated text：无论是哭声还是笑声都会让我泪流满面。&lt;br /&gt;
&lt;br /&gt;
Analysis: The original text is two sentences. Considering the close causal relationship between the two sentences, the author adopts the translation method of combined sentence to translate it into one sentence, so that the target language readers can read it more naturally.&lt;br /&gt;
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&lt;br /&gt;
7.Dismantle the syntactic&lt;br /&gt;
The example 9: My hope was that the doctor would get discouraged, and, for fear of losing my value, and also of subsequently finding my children among the missing, he would consent to sell us; and I knew somebody would buy us.&lt;br /&gt;
translated text：损失一个女奴，再赔上我的两个孩子，这正是弗林特医生所担心的。他会泄气并同意卖掉我们，我知道有人会买下我们，而这正是我所希望的！  &lt;br /&gt;
&lt;br /&gt;
Analysis: When dealing with long English sentences, the method of splitting is generally used to divide the original sentence into several parts and combine them according to their internal logical relationship. The adverbial clause after the subject of “My hope” consists of three parallel sentences, the second of which has a more complex cause adverbial. The author first takes apart the subject clause, first translates the clause, and then presents the subject at the end, which is in line with the characteristics of Chinese presentation before topic.&lt;br /&gt;
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Case 5: Stylistic equivalence&lt;br /&gt;
The basic task of translation is to faithfully present the original text, so it is necessary for the translator to pursue the style of the original text. To achieve stylistic equivalence, the translator needs to analyze and identify the stylistic markers in the original. The original text contains national language characteristics, historical allusions and religious beliefs, so it has cultural differences. In translation, it should reflect the style of the original text and optimize it accordingly, so as to realize the re creation of style and adapt to the communication of the target language.&lt;br /&gt;
The original text has strong religious and cultural content, simple and pious faith, and shows their enthusiasm and passion for them. In translation, we should not only show the feeling of religious belief and culture, but also optimize the sentence style and deal with alienation appropriately, so that readers can feel the piety and understand the author's writing intention.&lt;br /&gt;
The key to shaping the problem role lies in its adaptability to the style of the original language. Only by adopting appropriate translation methods, deeply understanding the cultural background of the original text and skillfully changing the style of the original text, can the style meaning of the original text be reproduced in the target language and better reflect its charm and artistic conception.&lt;br /&gt;
In a word, a biographical text should be well expressed first to make it conform to the expression habits of the target language. First, we should deeply understand the creative intention of the original author and think of what we think from the perspective of the original author, so as to realize the central idea of the original text. The premise of translation is that the translator should have profound language and cultural skills and deeply understand the particularity of different background cultures, Have a good command of the target language, and then use it flexibly.&lt;br /&gt;
&lt;br /&gt;
The example 10: She hasn't so much feeling for her children as a cow has for its calf. If she had, she would have come back long ago, to get them out of jail, and save all this expense and trouble. &lt;br /&gt;
translated text：她对孩子的感情还不如母牛呢，母牛还知道护犊子。如果她有感情，她很久以前就会回来把他们救出去了，也就没有这些代价和麻烦了。&lt;br /&gt;
&lt;br /&gt;
Analysis: This sentence is a complaint made by Dr. Flint's wife—my mistress, about my escape. Considering that cows in Chinese culture also have the image of caring for their cubs, The author translates call “feeling for her children as a cow has for its calf” as：“母牛还知道护犊子”, This not only achieves cultural equivalence, but also sounds colloquial. On the other hand, it is in line with the speaker's identity as a mean slave owner.[He was &amp;quot;a chip of the old block.&amp;quot; If he found any slave out after nine o'clock, he could whip him as much as he liked; and that was a privilege to be coveted.如果他发现任何人九点后（宵禁时刻）跑出去，他就会抓住并鞭打此人，直到他满意为止。这是别人垂涎三尺的特权。]&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
&lt;br /&gt;
Through the development of this project, the author believes that the translation of biographical works needs to have a full understanding of the differences between Chinese and English languages and cultures, thinking habits and expression methods. Only after having an accurate understanding and grasp of the language characteristics and contents of the original text, can words and sentences be carefully selected and constantly modified and polished in the process of translation, Make it an excellent translation. The author summarizes the following points in the whole translation process:&lt;br /&gt;
The translation method of biographical text. Biographical text has both information function and expression function (Zhang Meifang, 2006). Therefore, in translation, the translator should not only correctly express the information of the original text, but also reflect the literariness of biographical literature. In view of the differences in thinking and logic between Chinese and English, different translation methods should be adopted in the translation process. For example, literal translation can be used in terms of vocabulary, so as to simply, clearly and accurately convey the meaning of the original text. If literal translation is not possible, free translation, addition or subtraction, positive and negative translation, such transformation and other methods should be adopted to strive to achieve literal semantic equivalence. In terms of sentences, according to the respective characteristics of Chinese and English sentence structures, translation skills such as reorganization, disassembly and combination of syntax are adopted in order to meet the reading habits of target language readers. Experience the language style of biographical literature. In this project, the author's narrative language is simple and simple, and do a good job in the analysis of the characteristics of biographical literature materials. For a translator, the types of material translation can be diverse, literary or scientific, so the translator must do a good job in the analysis of text materials when he gets a relatively unfamiliar translated text, Only after analyzing the materials thoroughly and finding out the characteristics can the preparatory work be done adequately. This project adopts biographical text, which is characterized by many names and place names and strong local cultural characteristics. Therefore, in order to improve the accuracy of translation, the author has made a lot of preparations before translation, including finding the author's relevant background information, relevant historical facts, as well as the folk customs at that time. With reference to the new English Chinese dictionary, the names of people and places in the text are translated uniformly. Due to sufficient preparation, these problems encountered in translation have been solved.&lt;br /&gt;
The author has two experiences in maintaining problem awareness in the translation process. &lt;br /&gt;
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First, if you encounter an uncertain word and sentence in the translation process, you should consult the relevant reference books in time or use the Internet. &lt;br /&gt;
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Second, when dealing with cultural problems, I often ask my classmates or experts in this field for advice, so as to solve the problems in time.&lt;br /&gt;
At the same time, there are some problems in the process: My translation experience is still shallow and the cultural knowledge reserve is insufficient. There are some disadvantages in this project.Because my Chinese level needs to be further improved, the translated language is still immature and not concise enough. Second, the lack of relevant knowledge leads to the fact that the unique things of foreign culture can only be translated directly and hard in translation, resulting in the stiff and rigid translation. Such as a box, covered with sheepskin, is called the gumbo box. A dozen beat on this, while other strike triangles and jawbones, to which bands of dancers keep time.&lt;br /&gt;
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Third, in translation, we should not only maintain the meaning of the original text, but also reflect the style of the original text. We can't have both fish and bear's paw—鱼和熊掌不可兼得。Therefore, I believe that only through a lot of translation practice and summing up experience can we improve our translation level.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Beardslee, Karen E. Through Slave Culture's Lens Comes the Abundant Source: Harriet A. Jacobs's Incidents in the Life of a Slave Girl.&amp;quot; MELUS 24 (1999): 37-58.&lt;br /&gt;
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[2]Jacobs Incidents in the life of a Slave Girl: Written by herself.&amp;quot; Languages &amp;amp;Literature 15(2001):314-336.&lt;br /&gt;
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[3]Incidents in Life of a Slave Girl chapters 16 to 30&lt;br /&gt;
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[4]李小春. (2016). 浅析英语翻译技巧及方法的应用. 读天下(20), 1.&lt;br /&gt;
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[5]李亚云.《一名女奴的人生际遇》之黑人女性身份建构[J].文学教育(上),2015(07):30-31.p&lt;br /&gt;
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[6]李亚云. 《一名女奴的人生际遇》之黑人母性分析[D].中央民族大学,2016.&lt;br /&gt;
&lt;br /&gt;
[7]付娟. 英汉翻译中拆句法和合并法的有机结合探析[J]. 好家长, 2016(38):1.&lt;br /&gt;
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=邝艳丽 On the Translation Strategies of English Version of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hong-Ming and Xu Yuanchong=&lt;br /&gt;
[[Trans_Type_EN_9]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
''Lun Yu'', one of Chinese classics, records behavior and thoughts of Confucius and his disciples. ''Lun Yu'', intensively reflecting Chinese Confucianism, plays a significant role in Chinese culture. Dating from 1809, there are about sixty translations of ''Lun Yu'' during the two hundred years. This paper will study the two English versions of ''Lun Yu'' by Ku Hung-ming and Xu Yuanchong from the the theory of Horizon Fusion proposed by Hans-Georg Gadamer, mainly the core conceptual words in ''Lun Yu''. Besides, the paper will explore the translation strategies adopted by the two translators from different visions such as the horizons of the original text, the translator and the target culture. The better translation of core conceptual words will come to a conclusion through the contrastive analysis.&lt;br /&gt;
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===Keywords===&lt;br /&gt;
Fusion of horizons; Ku Hong-Ming; ''Lun Yu''; Xu Yuanchong&lt;br /&gt;
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===Introduction===&lt;br /&gt;
&lt;br /&gt;
''Lun Yu'', as a carrier of Confucianism, has profound influence on the culture all over the world. Confucianism has largely influenced the development of European philosophy, which provide new theoretical basis for European Enlightenment in the eighteenth century (Li Zongzheng 2016: 112-116). In Voltaire’s opinion, the discovery of Chinese culture is important to the process of European society, just as what what has been discovered by Vasco da Dagama and Magellan to the nature (Bao Xiankuo 2001: 62-67). With the continuing development of China in the recent years, China exerts more and more significant influence on the world. In the meanwhile, more and more people would like to learn Chinese language and cultures. When it comes to Chinese culture, all the people, Chinese and foreigners, nearly think of Confucianism, which is generally regarded as the important components of Chinese traditional culture, as well as the mainstream of the spirit of national modern culture. Moreover, Confucianism is intensively embodied in the ancient work called ''Lun Yu'', which records the behaviors and thoughts of Confucius and his disciples mainly in the form of dialogues. ''Lun Yu'' involves so many aspects such as politics, education and so on. The wide and profound influence of Confucianism on the world attributes the success to the development of translations of ''Lun Yu'' by Chinese or foreign translators.&lt;br /&gt;
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''Lun Yu'' is a classic work. The reason why classics remains classics is that it can be translated and re-translated. The language itself of ''Lun Yu'' is difficult to be understood, and what are reflected by ''Lun Yu'' such as history, thoughts, culture and culture is also hard to be understood. Therefore, translators in different times produce different translations of ''Lun Yu'' due to different constrictions of subjective or objective factors. Derrida, holding the point of hermeneutics, considers that the understanding of works is open and that the understanding of text by the readers is always unfinished and uncertain for reading is the process of creation. ''Lun Yu'', acclaimed as one of the leading classics in the course of Chinese literature’s development, is always given new life by the scholars. Therefore, every translation version of classics deserves to be studiedin the different times. Moreover, the employment of fusion of horizons may not only be a reference for English translation of ancient Chinese classics, but also be beneficial foe the spread of traditional culture. &lt;br /&gt;
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This paper chooses two English translation versions of ''Lun Yu'', one by Ku Hung-ming, the other one by Xu Yuanchong. The paper mainly makes a contrastive study of different translation strategies adopted by the two translators from the perspective of fusion of horizons. In order to make an in-depth study, the thesis will focus on the analysis of the translation of core conceptual words of ''Lun Yu'', and aim to present a more appropriate translation to both fully express the content of Chinese culture and make western readers easier to understand.&lt;br /&gt;
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===Overview on the Theory of Fusion of Horizons===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====Fusion of Hrizons====&lt;br /&gt;
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Hans-Georg Gadamer is the greatest thinker in 20th century when his academic work ''Truth and Method'' was published. The publishment brought about widespread attention in the world and helped him reach the immortal status in the field of philosophy. Actually, the theory used in this paper is originated from ''Truth and Method''. “Horizon” was first proposed by Edmund Husserl, a great German philosopher. For the concept of “Horizon”, Husserl believed that “everything worldly giving is given under the horizon. Finally, everything given by the world itself has the horizon of the world, and it is only for this reason that it is realized as the world.” (Wei Fangyuan 2013: 134-136)&lt;br /&gt;
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It can be seen that “Horizon” in Husserl’s eye is related to consciousness. Husserl’s “Horizon” includes two ones, internal horizon and external horizon. Internal horizon refers to what previous knowledge people have grasped or not. External horizon refers to grasp or experience of another open horizon when people have internal horizon. Martin Heidegger, from the respective of Ontology, believed that “Horizon” is something real which has been known by human and exists previously. This becomes precondition of our understanding. Inspired by Martin Heidegger and Edmund Husserl, Hans-Georg Gadamer affirmed the importance of “Horizon”. In his Hermeneutic, “Horizon” refers to the process of understanding from a specific standpoint. And “Fusion of Horizons” means that the process of understanding in nature is open without fixed pattern and answer. “Fusion of Horizon is not onlly diachronic, but also synchronic. History and present, object and subject, self and other, all form an infinite unified entirety. (Wei Fangyuan 2013: 134-136 ) &lt;br /&gt;
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Gadamer thinks that, both the translator and the object which is explained by the translator have their own horizons. The object-- history, classics, personal life, philosophy or work of art—has its own historical horizons. When we understand historical classical works, philosophy or certain culture with the horizons given by the history, the conflict of two different horizons and historical background will inevitably happen. Translation neither demands the translator to totally give up his own horizon in order to get into the text’s horizons, nor allows the interpreter simply includes the text into his own horizons. Translator, starting from his original horizons, ceaselessly test his own “prejudice” and open his own horizons, in the contact with the object which is interpreted by the interpreter, then two different horizons forming a new horizon. This process is called “fusion of horizons”. The reason why it is possible to interpret historical text is the fusion of horizons of the readers and writers of the original text.&lt;br /&gt;
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====Fusion of Horizons in translation study====&lt;br /&gt;
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In the view of Hans-Georg Gadamer, any understandings is carried out in the stream of history for any interpreter and reader lives in the history in his or her own way. Historicity is the basic fact of human existence. People’s historical particularity and limitations cannot be eliminated and avoided. Both subject and object exist in historicity. History determines that people cannot get rid of historicity. Such question faced by Hermeneutics is not what we carry out but what caused on us by something beyond our willing and behavior. In the research of translation Gadamer’s “Fusion of Horizons” can be borrowed and reformed into views or perspective available to the translation study. (Li Ge 2020:50-63)&lt;br /&gt;
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To achieve such a horizon, means that we learn to see something beyond its restricted horizon. However, the reason why we do this is for watching the things in a more correct angle and in a bigger unity, rather than for avoid seeing it.(Gadamer, H. G. 2004: 304) We need to study translation from a higher point and in a more overall angle. Only in this way can we “full see” the parts of the integrity, which is the enlightenment brought by “fusion of horizons”. The precondition of translation is that the translator and the original text have the common horizons. If the translator does not know medicine, he cannot interpret some books about medicine, and vice versa. The translator need to understand the original text’s meanings at first, which means that he will get into the horizon of the original text, and overcome the difference to form a new horizon. This is the first fusion of horizons. The second one is that the translator gets into the horizons of the target readers. Then the third fusion of horizons, the final interpretation of the translator, is the fusion of the two texts after the first two fusions. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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During the process of translation, the horizons are produced in the history rather than in isolation. In the fusion of horizons, the past and the present, the subject and the object, form a unity. Everything exists in the point of history, and all the interpretation cannot be finished for good. The original text itself is historical. The language, content, thoughts and etc. in it are marked by characteristics of the times. The translator is also historical. He will be influenced by his identity, status and tradition. There does not exist “perfectness” and “standard” in the translation. It will vary with different historical period. So the study of translation also goes on. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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===Overview on the Translations of ''Lun Yu''===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====The history of translations of ''Lun Yu====&lt;br /&gt;
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''Lun Yu'' is as important to Chinese is the Bible is to Westerners. So ''Lun Yu''’s translation is hot in western countries. ''Lun Yu'', whose translation can be traced back as early as the end of 16th century, has been translated by lots of missionary, sinologist, philosopher, litterateur and other scholars. There have been more than 40 translation versions of ''Lun Yu'' so far. Its English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. In 1861 James Legge’s The Confucian Analects became the mark of the English translation of ''Lun Yu''. A Companion for Chinese Translators makes comments on the translation version that James Legge can roughly understand the meaning of the original text and that his enormous notes can show his serious and careful attitude to the translation of our Chinese classics. (Wang Hui 2003: 39-43) &lt;br /&gt;
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In 1898, Ku Hong-ming’s translation of Lun Yu was published in Shanghai. The reason why he retranslated Lun Yu is that he was not content with James Legge’s. Ku Hong-ming use the strategy of foreignization, trying to translate Lun Yu in the same way an educated British express his thoughts. And Ku thought the Chinese proper nouns should be omitted and some European writers’ saying in order to remove the feeling of strangeness of British readers. In 1938, Arthur Waley’s version of Lun Yu was published. Waley wrote long-winded introduction for the translation, which was accompanied by detailed notes for readers and was followed by the footnotes for in-depth discussion on the text. Cui Yonglu thought that Waley’s translation, retaining the original text’s meaning and culture and paying attention to the detail, is beneficial to scholars. In 1998, Roger Ames’ translation of Lun Yu was published. His retranslation, which is based on a philosophical perspective, exerted great influence in the world of translation at home and abroad. In 2005, Xu Yuanchong’s Thus Spoke the Master was published. The book’s title borrowed the name of well-known philosophical translation called Thus Spoke Zarathustra, which shows Chinese translators’ creative spirits. In addition, there are still so many translators, such as Ezra Pound, James Ware, Din Cheuk Lau, Lin Yu tang and so on. (Wang Hui 2003: 39-43) &lt;br /&gt;
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====Different angles of the study on the translations of ''Lun Yu''====&lt;br /&gt;
In the nearly 30 years, the study of ''Lun Yu''’s translation has become hot in the translation studies. Scholars have made lot of studies of ''Lun Yu''’s translation from different angles and theories. From the linguistic point of view, scholars focus on the equivalence of lexicon, syntax, text and style. Professor Liu Chongde wrote “A research into Waley’s English version of The Analects—And some comments on its English versions by Legge and D. C. Lau”. Professor Liu summarized the language features and style of the two translations by Waley and Legge. Besides, he compared James Legge’s version and D. C. Lau’s, and made a conclusion that the former one preferred the written English, complicated sentences and archaic words which were quite similar to the style of the original, while the latter one preferred using spoken English and simple sentences.(Liu Chongde 2001:15-17) &lt;br /&gt;
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From the cultural point of view, Yao Shun in Southwest Jiaotong University did “On English translation of Confucius notions from the perspective of Skopos theory—A case study on Legge’s and Waley’s Translation of ''Lun Yu''”. Yao concluded that translation cannot be measured only by the equivalence with the source text, other elements such as translators’ purposes and expectation of target readers should be taken allowance for and that amongst these factors, the intention of the target text ranks the first.(Yao Shun 2014: 42-43)&lt;br /&gt;
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From the sociological point of view, Zhang Xin in Jiangnan University did “A study on Xu Yuanchong’s English Translation of ''Lun Yu'' from the Sociological Perspective of Bourdieu”.   Zhang draw some tentative conclusions. Firstly, the original text must be valuable and unique with an international reputation to facilitate its dissemination in the world. Secondly, translators should pay full attention to the readability and acceptability of target readers to meet their anticipation. Thirdly, the success of a work is the combination of various social factors.(Zhang Xi 2020:80-89)&lt;br /&gt;
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=== The Translation of ''Lun Yu'' from Fusion of Horizons===&lt;br /&gt;
''Lun Yu'' has always been translated or retranslated into many languages. Before interpretation, interpreters are supposed to try to totally understand ''Lun Yu'' in the first step. However, in the matter of fact, the language of a text is really hard for translators to totally understand. Different cultural background and different translators may produce different translation version.&lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》） [8]”. In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. &lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
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Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》）”.In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. (Yao Sshun 2014:42-43) &lt;br /&gt;
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====Horizon of the translator====&lt;br /&gt;
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Ku Hung-ming (1857-1928) is not only a famous literary figure in modern China, but also a great translator. He became an influential scholar at the turn of the 20th century because of his works that advocated Confucianism. Ku’s traslated works, including Lun Yu and Zhong Yong, played a significant role in spreading traditional Chinese culture to the western world. Ku, well-versed in both Chinese and Western cultures, has a good command of nine languages such as English, French, Germany and so on. He is the first one was proficient in Western science and language in the late Qing Dynasty. Special background of growth and education makes his thoughts combine advantages between Chinese and Western cultures. He tried to translate Lun Yu as a work written by a educated English man in order to promote Chinese traditional culture to spread in Western countries. At the meanwhile, he added his thinking and understanding of Confucianism in order to express the truth and spirit of Confucian classics and Chinese belief system. In order to make Western readers accept to the most extent the Confucian culture, Ku adopted some special methods, such as using extreme translation strategy of Domestication to translate Chinese special expression; borrowing the expression in Western literature to translate some words; applying the strategy of combination of omission and addition.(Niu Xiyu 2021: 89-90)&lt;br /&gt;
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When translating Lun Yu, Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. Western readers are not familiar with Confucian core words whose total equivalence can not be found in the Wesern culture. Ku did not translate the core words according to the literal meaning, but according to his deep understanding of Confucian classics he adopted flexible methods to translate the words in different situation. Besides, in order to make the translation of Lun Yu more readable to Western readers, Ku adopted the stratedy of domestication to interprete Confucian thoughts in Western way of mind. On the one hand, Ku used Western terms to translate those Confucian concept words which is difficult to Western readers. For example, he translates “天” as “God”. On the other hand, he quoted those well-known writers and thinkers who are familiar to Western readers, such as Johann Wolfgang von Goethe, Ralph Waldo Emersonand so on. Ku tries to make the content and form of the translation to accord with the way of thinking and cognitive structure of Western people. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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Xu Yuanchong, professor in Peking University, has been devoting himself in Literature translation study. He accomplished numerous classical translations and proposed many translation theories. He makes contribution to the development of Chinese traditional career.In 1921, Xu Yuanchong was born in Jiangxi Province in China. Since he was a child, Xu Yuanchong had been deeply influenced by his families. His mother was well educated and his uncle worked as a translator. All of these inspired his passion of enjoying literature and going after beauty, as we can see the three-beauty-concept-concept proposed in his later books. His uncle succeeded in translating the play called Wang Baochuan into English, which caused a sensation when it was performed in England. Later on the British dramatist George Bernard Shaw interviewed his uncle, which inspired the great interests of Xu Yuanchong in learning English well. In 1938, he was admitted to the Foreign Languages Department of National Southwest United University with the seventh place. In 1939, he translated the book “别丢掉” written by Lin Huiyin at the first time in order to express his love for a girl. Then he fell in love with translation ever after. Although suffering a lot, he still insisted to be himself. Xu made a great contribution to the development of Chinese translation. Xu introduces the three-beauty-concept to translation theory. The theory of three beauty advocates that a translation should be as beautiful as the original in sense, in sound and in font. These three aspects call also be respectively called Beauty of Sense, Beauty of Sound, and Beauty of Form. Beauty of Sense, emphasizing the deeper meaning, is of the first-rate importance. Beauty of Sound, emphasizing rhyme and rhythm, is of the second-importance. Beauty of Form, emphasizing length, is of the third-rate importance. All of these have great influence on his translation. (Li Mi 2004: 83-84)&lt;br /&gt;
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====Horizon of the target language culture====&lt;br /&gt;
The purpose of translation is to be read by the target readers. However, the target individual is different. They differ from historical background, education, knowledge, and so on. Some foreign readers read Lun Yu just for broaden his vision and know Chinese culture, some study the translation just for doing academic researches. The ages of target readers also influence the translation. Some young readers with less knowledge need translation which can be easily understood. For those aged readers the sophisticated translations are needed. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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===Contrastive Analysis===&lt;br /&gt;
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As Confucian classics recording the words and deeds between Confucius and his disciples, Lun Yu deeply influences generations of Chinese people. Lun Yu combines Chinese rich culture from thousands of years and gathers immortal spirit of Eastern philosophy. Therefore, a number of scholars at home or abroad want to translate Lun Yu. Especially, the various academic conference that has taken place in the recent years attract many scholars to absorb Confucian wisdom and explore Chinese wisdom from the old classics.&lt;br /&gt;
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====Description of key conceptual words====&lt;br /&gt;
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''Lun Yu''’s English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. Since that many other scholars have thrown themselves in the wave of translation of ''Lun Yu''. The scholars at home and abroad attempt to know more about the Chinese society, language, and Chinese culture through ''Lun Yu''. However, in order to really understand and interpret ''Lun Yu'', we must be clear about the meaning of the core conceptual words in ''Lun Yu''. Whether the translation of the core conceptual words is right or not has something to do with whether the readers abroad can understand the real meaning of the classics ''Lun Yu''. The translation of core conceptual words is so critical that has drawn many scholars’ attention. However, in the present situation of translation, one core conceptual word has so many Chinese translation, and some translation is not very accurate, which will cause trouble for foreigner readers to understand the original meaning and its cultural meaning. For those core words concerning Chinese culture, if wrongly translated, will not cause foreigners’ misunderstanding Chinese traditional culture, but also influence the improvement of national cultural soft power. Thus, the discussion of the translation of ''Lun Yu'', especially that of the core words, is very important to the circles of translation and culture. There are lots of core conceptual words in Lun Yu, but This thesis will mainly discuss the five core words: “''ren''”, “''li''”, and “''junzi''”. &lt;br /&gt;
“''Ren''” is the supreme state of moral ideal advocated by Confucius, and the spirit and centre of Confucian theory. Xu Shen in the Eastern Han Dynasty made an explanation of the word “''ren''” in “Shuo-wen chieh-tzu”. He thought “''ren''” is combined by “''ren''”(man) and “er”(number 2), and that “''ren''” does not express the quantitative relation but the interpersonal relationship, more accurately the interpersonal relationship close to friendship. (Xu Shen 2013: 1458) According to The Notes of ''Lun Yu'' by Yang Bojun, “''ren''” appears 109 times in ''Lun Yu'' . (Yang Bojun, 2009)&lt;br /&gt;
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“''Li''” is another important concept in ''Lun Yu'' after “''ren''”. According to The Notes of ''Lun Yu'' by Yang Bojun, “''li''” appears 74 times. Obviously, “''li''” is one of main ideas repeated by Confucius. Its connotation has become one of the objects the scholars of every dynasty attempt to study and understand since the ''Lun Yu'' came out. Both “''ren''” and “''li''” work as the centre of Confucianism. They complement and perfect each other. Just as the saying in Lun Yu, “To Subdue Oneself and Return to the Proprieties is Perfect Virtue”. “Li” refers to external behavior, while “ren” refers to internal morality. “''Li''” is a general term the rules and regulation according to the moral demanding. “''Li''” can restrict personal behavior, improve interpersonal relationship and help building a harmony and orderly society. However, Confucius does not give an accurate explanation of “''li''”, but its meanings can be analyzed from the concrete sentences concerning “''li''”. (Yang Bojun 2009: 23)&lt;br /&gt;
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“''Junzi''”, first found in The Book of Songs, was roughly referred to noble man. Thereafter, “''junzi''” was widely used in many ancient classics such as The Book of Changes, Shangshu and so on. Based on the original meaning “the noble man”, “''junzi''”’s meaning was extended and expanded. In Lun Yu, the word “''junzi''” got extended meaning of morality. The core conceptual word “''junzi''” mainly placed emphasis on moral deeds, then developed into the important cultural icon in Confucianism. According to The Notes of ''Lun Yu'' by Yang Bojun, “''junzi''” appears 107 times in ''Lun Yu'' .(Yang Bojun 2009: 11)&lt;br /&gt;
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====Different translations of key conceptual words====&lt;br /&gt;
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Different translators will have different translation. &lt;br /&gt;
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“Ren” has rich meanings. Its translation will to the certain degree influence the understanding of Lun Yu and Chinese traditional culture. For example:&lt;br /&gt;
子曰：“巧言令色，鲜矣仁！”《学而》&lt;br /&gt;
Ku: Confucius remarked, “With plausible speech and fine manners will seldom be found moral character.” &lt;br /&gt;
Xu: A good man, said the Master, would rarely say what he does not believe, or pretend to appear better than he is.&lt;br /&gt;
From the translation above, it is seen that Ku adopts free translation, and the English sentence is in formal grammer and syntax which accords with Western readers’ language habits. While Xu’s translation is not in the form of direct speech and he changes the order of the target text and use the parenthesis so as to conform to the habits of target language readers. It can be easily seen that Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. And Xu employs free translation to make target readers better understand the meanings. For the translation of “ren”, Ku translated it into “moral character”. He thought “ren” is refers to all the morality, and that “ren” is the highest realm of life. The translation “moral character” is more in line with Western language habits. While Xu interpreted it into “a good person”, of which “good” has broad meanings just like “ren” which is a kind of moral category of extremely broad meanings in ancient China. By comparison, “mental character” is better translation for “ren”. (Yang Bojun 2009: 23) (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Li” is generally thought to have three main meanings. The first one is worshiping the God. The second one refers to a ceremony held to show respect or solemnity. The third one refers to the social and moral norms of the aristocratic hierarchy in slave society of feudal society. For example, &lt;br /&gt;
道之以道，齐之以礼，有耻且格 。（《为政》）&lt;br /&gt;
Ku: If, on the other hand, in government you depend upon the moral sentiment, and maintain order by encouragung education and good manners, the people will have a sense of shame for wrong – doing and, moreover, wil emulate what is good. &lt;br /&gt;
Xu: If they are led by virtue and order is kept by the rites, they would be conscientious and act in agreement with what is right. &lt;br /&gt;
Generally, “li” is rendered as “rites,” “customs,” “propriety,” “ritual,” “moral,” “rules of proper behavior,” and “worship.” However, Ku did not literally translated “li” but to fully understand its original meaning in such concrete situation to translated it into “education and good manners”. While Xu translated it into “rites”. In the Oxford dictionary, “rite” means a ceremony performed by a particular group, often for religious purpose. In Spring and Autumn and Warring States periods of China, the social order was in chaos. Actually, “rite” is a proper word full of Chinese speciality, which is really hard for Western readers to understand. Therefore, Ku’s translation “education and good manners” is better one. It not only convey Confucian thoughts but also make it readable to Western readers. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Junzi” is Confucian ideal character standard. Then what is “junzi”? In Confucian point of view, “junzi” should be erudite, which is an important standard of being “junzi”. First and the most, “junzi” should be a benevolent man. In addition, “junzi” and “xiaoren” form contrast. For example,&lt;br /&gt;
人不知，而不愠，不亦君子乎？（《学而》）&lt;br /&gt;
Ku: But he is truly a wise and good man who fees no discomposure even when he is not noticed of men.&lt;br /&gt;
Xu: Is he not an intelligentleman, who is careless alike of being known or unknown?&lt;br /&gt;
According to Oxford dictionary, the term “exemplary” refers to providing a good example for people to copy. Ku adopted free translation to interprete one word “junzi” into several words “wide and good man”, which is easy for Western peple to understand what “junzi” is. It can be seen that Ku had a thoroungh understanding of Confucian thoughts as well as well-versed in English. While, Xu translated it into “intelligentleman”, which cannot be found in dictionaries. It is a new word created by Xu. “Interlligentleman” is combined by “intelligent” and “gentleman”. In the Oxford dictionary, the term “intelligent” means good at learning, understanding and thinking in a logical way about things. “gentleman” refers to a man who is polite and well educated and who has excellent manners and always behaves well. “Intelligentlemen” seemly attempt to achieve formal equivalence with “junzi”. However, it is unfamiliar to Wetern readers. So Ku’s translation “a wise and goood man”. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
In this paper, we have talked over two translation versions of ''Lun Yu'' written by Ku Hung-ming and Xu Yuanchong, especially the core conceptual words in ''Lun Y''u. In the matter of fact, both of them had good command of Chinese and western cultures. But their interpretation of Lun Yu were quite different from each other. Here we use Gadamer’s “fusion of horizons” to explain why they had different understandings of Lun Yu. Understanding is regarded as the fusion of horizons between translator and the text in the hermeneutics, however, besides, the target readers should also be taken into consideration. Thus, in the paper, the horizons of the original text, two translators and target readers are expounded in detail. Under the contrast between the two translation versions, we could find out that Ku Hung-ming’s translation is better one which can more convey the meaning of original text and can be easier for the readers of the target culture from the perspective of the fusion of horizons. &lt;br /&gt;
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However, this paper could not give an in-depth research on the transaltion of ''Lun Yu'' because of the author’s limited knowledge and not thorough understanding of the theory of “fusion of horizons”. In addition, Confucianism has got more and more important influence on the world in the recent years. However, the study of translation of ''Lun Yu'' has not gone far enough. Though lots of scholars have achieved a lot in the field, there is still much work to do in the future. Written by --[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 03:41, 9 December 2021 (UTC)&lt;br /&gt;
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Ku Hungming 辜鸿铭.(2011)《辜鸿铭英译&amp;lt;论语&amp;gt;》[M]. [The Discourses And Sayings of Confucius] 2011&lt;br /&gt;
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Yuanchong, Xu. (2013) Thus Spoke the Master[M]. Beijing: Dolphin Books, 2013: 12, 18.&lt;br /&gt;
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=杨柳青 Bian Zhilin's Literary Translation Theories and Practice  ——Take His Translation of Romantic Poems as examples=&lt;br /&gt;
[[Trans_Type_EN_10]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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Bian Zhilin is a famous Chinese translator and poet. He absorbed traditional translation theories dialectically and created translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; from the perspective of literary translation. Specifically, &amp;quot;Replacing foot with dun&amp;quot; is his poetry translation strategy. This paper will analyze Bian Zhilin translations of some romantic poems and shows some critical thinking about his literary translation theories.&lt;br /&gt;
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===Key words===&lt;br /&gt;
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&amp;quot;Faithfulness, Similarity and Translation&amp;quot;; &amp;quot;Replacing Foot with Dun&amp;quot;; Romantic Poetry&lt;br /&gt;
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===题目===&lt;br /&gt;
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卞之琳文学翻译理论和实践 ——以其浪漫主义诗歌译作为例&lt;br /&gt;
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===摘要===&lt;br /&gt;
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卞之林是著名的中国翻译家、诗人。他辩证地吸收传统翻译理论，从文学翻译的角度创立了“信、似、译”的翻译理论。 具体而言，“以顿代步”是他的诗歌翻译策略。本文将对卞之琳的浪漫主义诗歌译作进行分析，并对其文学翻译理论提出一些批判性性思考。&lt;br /&gt;
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===关键词===&lt;br /&gt;
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“信、似、译”；“以顿代步”；浪漫主义诗歌&lt;br /&gt;
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===Chapter 1 Introduction of Bian Zhilin and Romanticism===&lt;br /&gt;
====Introduction of Bian Zhilin====&lt;br /&gt;
Bian Zhilin is a representative of Chinese modernist poetry, a famous literary critic and literary translator. He translated foreign literature especially poetry and Shakespeare's plays. He has devoted his whole life to the literature and cultural exchanges between China and foreign countries. He is known as &amp;quot;the master of Poetry and the leading scholar in translation in China&amp;quot;. He dialectically absorbed previous translation theories and formed his unique translation thoughts. His famous works include ''Leaves of Three Autumns'' which is his first volume of Poetry and contains verses filled with the melancholy and despair, ''Fish Eyes Collection'', ''The Han Garden Collection'' and ''Poems of a Decade'' and so on.&lt;br /&gt;
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====Introduction of Romanticism====&lt;br /&gt;
Romanticism is a reaction against the Enlightenment and rationalism in 18th century, and a rejection of the precepts of order, calm, harmony, balance, idealization, and rationality that typified in classicism and neoclassicism. English Romanticism is generally defined to begin in 1798 with the publication of William Wordsworth and Samuel Taylor Coleridge's Lyrical Ballads and end in 1832 with Walter Scott's death. Romanticists place the individual at the center of art and make literature most valuable as an expression of his or her unique feelings and particular attitudes and make its accuracy a portraying the individual's experience. &lt;br /&gt;
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Romanticism is a period of poetry. During this period, many poets created plenty of wonderful poems which vividly show the beauty of nature and humanistic thoughts. English romantic poets contain the elder generation and the younger generation. The elder generation, also called &amp;quot;lake poets&amp;quot; includes William Wordsworth, Samuel Taylor Coleridge and Robert Southey and so on. The younger generation includes George Gordon Byron, Percy Bysshe Shelley and John Keats and so on. Besides, William Blake also deserves attention. He is a pre-romanticist and a forerunner of the romantic poetry of the 19th century. In this paper, I will analyze poems of William Blake, William Wordsworth and Percy Bysshe Shelly to show Bian Zhilin's translation theories.&lt;br /&gt;
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===Chapter 2 Bian Zhilin's Literary Translation Theories===&lt;br /&gt;
====&amp;quot;Faithfulness, Similarity and Translation&amp;quot;====&lt;br /&gt;
Bian Zhilin is a famous poet, translator and literary researcher in China. For decades, he not only made remarkable achievements in the field of poetry and Chinese and foreign literature studies, but also left a valuable fortune in literary translation, especially in poetry translation. Bian Zhilin has formed clear and instructive translation thoughts and theoretical views through her long-term translation practice. These translation thoughts and theoretical views influenced his translation behavior and effect, formed his exquisite translation art, and also had a great influence in the field of translation. He broke through the traditional translation theories and put forward the translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot; which is based on dialectically absorbing and reasonably sublating the traditional translation theories.&lt;br /&gt;
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=====Faithfulness=====&lt;br /&gt;
It is well-known that &amp;quot;faithfulness, expressiveness and elegance&amp;quot; created by a modern Chinese translator Yan Fu has become the most widely spread and popular translation standards in history of modern Chinese translation. And it has always been in the mainstream in the field of translation in China. There has been a long debate in Chinese translation field around &amp;quot;faithfulness, expressive and elegance&amp;quot;. However, &amp;quot;faithfulness&amp;quot; put forward by Bian Zhilin has achieved the transcendence and unification of this debate. &lt;br /&gt;
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======Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
According to Yan Fu, &amp;quot;faithfulness&amp;quot; means a translation should be faithful to the content of the original which is the first requirement of translation. &amp;quot;Expressiveness&amp;quot; means a translation should be fluent and articulate. &amp;quot;Elegance&amp;quot; means a translation should use elegant words so as to make the translation literary (Luo Xinzhang 136). Yan Fu believed that only elegant words can express the essence of original text. And he advocated translator used classical Chinese before Han Dynasty, namely, pre-Qin period. In fact, Yan Fu translated a lot of works in accordance with this criterion. &lt;br /&gt;
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======Debates around Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
Many speakers thought highly of Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, and this criterion once became the only standard for evaluating the quality of translation. Many literary translators like Liang Qichao, Lu Xun praised this criterion.&lt;br /&gt;
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Though &amp;quot;Faithfulness, expressiveness and elegance&amp;quot; has been widely accepted, there were still many doubts about this criterion. Most translators acknowledged Yan Fu's &amp;quot;faithfulness,expressiveness and elegance&amp;quot;, but they doubted &amp;quot;elegance&amp;quot;. For example, Chen Xiying, a famous Chinese female translator, opposed &amp;quot;elegance&amp;quot; because she thought &amp;quot;faithfulness and expressiveness&amp;quot; is quite enough for non-literary works and &amp;quot;elegance&amp;quot; is not necessary. Even for literary works, &amp;quot;elegance&amp;quot; is not necessary since some characters in literary works are from countryside and their speeches apparently couldn't be elegant (Luo Xinzhang 401-402). &lt;br /&gt;
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However, though these opinions are different they have one thing in common: all these opinions divide &amp;quot;faithfulness, expressiveness and elegance&amp;quot; up and judge them separately. &lt;br /&gt;
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======Bian Zhilin's &amp;quot;faithfulness&amp;quot;======&lt;br /&gt;
Unlike most translators, Bian Zhilin has his own unique view. Bian Zhilin believes there is only one advisable standard in &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, that is &amp;quot;faithfulness&amp;quot;. According to Bian Zhilin, &amp;quot;faithfulness&amp;quot; means being loyal to the original text comprehensively, not only to the content of the original text, but also to the form (Bian Zhilin 503). It seems that there is no apparent difference between Yan Fu's faithfulness and Bian Zhilin's faithfulness. But that's not the case. &lt;br /&gt;
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Firstly, Bian Zhilin doesn't totally deny the value of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. His faithfulness is mainly for literary translation which aims to highlight the artistic features of literary translation. Bian Zhilin believes that literary translation is an artistic and creative activity which not only includes language conversion but also involves the knowledge of literature, aesthetics, literature and art. He thinks &amp;quot;faithfulness, expressiveness and elegance&amp;quot; lays too much emphasis on the content and form of language which is not suitable for literary translation. &lt;br /&gt;
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Secondly, Bian Zhilin opposed the artificial separation of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. He thinks this separation is a kind of false perception which may cause the emphasis of one aspect and the neglect of the others. He thinks that artistic translation standard, strictly speaking, is only &amp;quot;faithfulness&amp;quot; which means the full fidelity to content and form. Actually, Bian Zhilin doesn't deny the existence value of expressiveness and elegance; instead, he seems &amp;quot;faithfulness, expressiveness and elegance&amp;quot; as a whole and &amp;quot;faithfulness&amp;quot; includes &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot;. Therefore, his faithfulness is comprehensive: both &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot; are internalized in &amp;quot;faithfulness&amp;quot;.&lt;br /&gt;
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Thirdly, Bian Zhilin believes &amp;quot;faithfulness&amp;quot; in literary translation means translation should be loyal to original text both in content and form. In others words, it's not desirable that translation be better or worse than the original. Besides, he holds that &amp;quot;faithfulness&amp;quot; in translation is not absolute but relative and it needs artistic creation of translators(Li Changshuan 57). What's more, literary translators should have the confidence in translating the &amp;quot;spirit&amp;quot; of the original so as to make translation vivid and expressive.&lt;br /&gt;
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All in all, Bian Zhilin believes the content and form of literary works are unified and indivisible, so is &amp;quot;faithfulness, expressiveness and elegance&amp;quot;.  At the same time, he admits &amp;quot;faithfulness&amp;quot; is relative rather than absolute considering difference between language and culture. Therefore, Bian Zhilin's faithfulness is inheritance and innovation of traditional translation theory and has important theoretical value.&lt;br /&gt;
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=====Similarity=====&lt;br /&gt;
======Formal Similarity and Spiritual Similarity======&lt;br /&gt;
Formal similarity means translation preserves the linguistic form of the original which includes words, grammar, sentence structure, figures of speech and types or forms of literature and so on. Any two languages have something both common and different. Those common features are the bases of formal similarity of translation. &lt;br /&gt;
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Spiritual similarity, on the contrary to formal similarity, means getting rid of the bondage of language form such as words, grammar when it is necessary. And translators should use authentic translation to convey the artistic features of the original. Spiritual similarity was first put forward by Mao Dun and was further advocated and practiced by Fu Lei. It has become one of the dominant theories in Chinese translation theories.&lt;br /&gt;
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======Debates around Formal Similarity and Spiritual Similarity======&lt;br /&gt;
In the field of Chinese translation, translators debated a lot around formal translation and spiritual translation. Many translators believe formal translation is more advisable than spirit translation. But others think differently. For instance, Chen Xiying believed there were three kinds of &amp;quot;faithfulness&amp;quot;, namely spiritual similarity, meaning similarity and formal similarity, among which spiritual similarity is superior, meaning similarity is the second and formal similarity is inferior. Chen Xiying held that formal similarity ignores the writing style of the original though it conveys the meaning of the original completely. Meaning translation is better than formal translation because it focuses on not only what the original writer says but also how he says it. But meaning translation is much more like imitation which cannot grasp the &amp;quot;spirit&amp;quot; of the original. Spirit translation, however, is the exact way to convey the &amp;quot;spirit&amp;quot; of the original. Besides, Yan Fu is another representative who pays more attention to spirit similarity than to formal similarity (Luo Xinzhang 694).&lt;br /&gt;
======Bian Zhilin's &amp;quot;Similarity&amp;quot;======&lt;br /&gt;
Bian Zhilin took a stand against the long-standing debate around formal similarity and spiritual similarity. In his opinion, there is only one word between formal similarity and spiritual similarity that is advisable——&amp;quot;Similarity&amp;quot;. Bian Zhilin holds that literary work is a unity of content and form; &amp;quot;form&amp;quot; and &amp;quot;spirit&amp;quot; in literary translation is complementary. On the one hand, &amp;quot;form&amp;quot; is the basis of &amp;quot;spirit&amp;quot; which means without concrete form, the spirit and artistic value of literary works can only be empty talk. On the other hand, &amp;quot;spirit&amp;quot; is the life of &amp;quot;form&amp;quot; which means literary works without &amp;quot;spirit&amp;quot; likes people without soul, which can only be empty body and meaningless form (Bian Zhilin 551).&lt;br /&gt;
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&amp;quot;Similarity&amp;quot; which was put forward by Bian Zhilin, actually contains the similarity both in formal similarity and spiritual similarity. In other words, ideal literary translation should achieve the unity of form and spirit. Bian Zhilin thinks literary translation can only achieve similarity with the original but not sameness (Bian Zhilin 8-9), which not only recognizes the difference between the original and the translation, but also acknowledges translators' creative efforts.&lt;br /&gt;
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=====Translation=====&lt;br /&gt;
======Literal Translation and Free Translation======&lt;br /&gt;
Literal Translation means expression forms and syntactic structure of the translated text should be as consistent as possible with the original when translators convey the meaning of the original text. Free translation, however, means translators should break the linguistic form of the original text and express the meaning of the original by using the customary expressions of the target language.&lt;br /&gt;
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======Debates around Literal Translation and Free Translation======&lt;br /&gt;
The debates between literal translation and free translation in the history of western translation can be date back to Cicero (106BC-43BC). Cicero opposed &amp;quot;word for word translation&amp;quot; (literal translation) which was deemed as &amp;quot;interpreter's translation&amp;quot; and advocated &amp;quot;sense for sense translation&amp;quot; (free translation) which was deemed as &amp;quot;orator's translation&amp;quot;(Tan Zaixi 24). Cicero's distinction about translation paved the way for following translators. For example, John Dryden published his views on literal translation and free translation. Dryden made distinction between metaphrase, phrase and imitation which was an extension of literal translation and free translation. What's more, Newmark thinks literal translation is preferred when the effect is the same (Newmark 39). And Nabokov holds that literal translation is true translation because it can convey the exact contextual meaning of the text as accurately as possible (Nabokov viii).&lt;br /&gt;
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======Bian Zhilin's Translation======&lt;br /&gt;
Bian Zhilin thinks only &amp;quot;translation&amp;quot; is advisable over the long-standing dispute over literal translation and free translation. Translation contains following meanings (Bian Zhilin 8).&lt;br /&gt;
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Firstly, literal translation and free translation are not contradictory but complementary. Too much emphasis on either side will only have a bad effect on literary translation. Bian Zhilin also criticizes translations that put too much emphasis on the source language or the target language.&lt;br /&gt;
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Secondly, translation cannot be creation. Translation should be based on the original text, not personal creation. But Bian Zhilin doesn't deny the creativity in translation and thinks the creativity is the life of translation as long as it is based on the original.&lt;br /&gt;
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====Bian Zhilin's Poetry Translation Strategies====&lt;br /&gt;
Absorbed thoughts from former and contemporary poets, Bian Zhilin created his poetry translation strategies. That is to translate English poetry in a poetical and metrical way and replace foot with dun. These strategies not only consider the western poetry patterns, but also considers the characteristics of Chinese, which has strong feasibility. Bian Zhilin's poetry translation strategies are closely related with his literary translation theory of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
=====Translating Poetry in A Poetical and Metrical Way=====&lt;br /&gt;
Bian Zhilin thinks that poetry is more a unity of content and form than other literary forms. Therefore, poetry translation includes both translation of poetry content and form. Bian Zhilin thinks poetry translation should be loyal to the original poem not only in content but also in form. Poems should be translated into the form of poem rather than prose. If the original poem is free verse, then translated version also should be free verse. If the original poem is metrical poem, then translation also should be a metrical one. (Bian Zhilin, 319) The coincidence between form and content in poetry translation is an embodiment of translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
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Meter is an important feature of poetry, including rhythm, rhythm and arrangement of words and stanzas. There are many differences in meter among poetry of different languages. And different poets and works use different meters. These become major factors of difficulties in poetry translation. &lt;br /&gt;
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Bian Zhilin thinks translators should preserve the metrical features of the original poems. In other words, translators should translate poetry in a metrical way. Therefore, poems should be translated by using equivalent meter. To be more specific, translators should translate foreign poems by using commonalities between Chinese traditional metrical basis and foreign metrical basis. It's not just simple application of foreign poetry patterns nor of Chinese traditional poetry patterns. Instead, it's the crossover of the two poetry patterns.&lt;br /&gt;
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=====Replacing Foot with Dun=====&lt;br /&gt;
The key to the metrical problem of poetry translation is what is the metrical unit of the line, &amp;quot;word&amp;quot; (a syllable) as a unit or &amp;quot;dun&amp;quot; (syllables) as a unit. Bian Zhilin believes metrical poems should be translated in equivalent &amp;quot;duns&amp;quot; which can replace meters and this kind of translation is without the limit of word numbers. This theory is well thought out and based on rhythmic characteristics of Chinese. As Bian Zhilin analyzed that when we speak Chinese, we usually say two or three Chinese characters as a &amp;quot;dun&amp;quot; in most cases, one character at least as a &amp;quot;dun&amp;quot; and four characters at most as a &amp;quot;dun&amp;quot;. This is the internal rules of Chinese. Chinese poems constitute stanzas, stanzas constitute lines and lines constitutes &amp;quot;duns&amp;quot;. Therefore, &amp;quot;dun&amp;quot; is the natural rhythmic units of Chinese poetry and reveals poems' &amp;quot;inherent music-like rhythm and beat&amp;quot;.&lt;br /&gt;
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However, that &amp;quot;dun&amp;quot; is the basic metrical unit of the Chinese poetry doesn't mean the number of duns in each line is exactly the same. Bian Zhilin advocates dun of two characters and dun of three characters should be arranged alternately and adjusted mutually to meet the needs of poetic expression and produce an effect similar to feet in western poetry.&lt;br /&gt;
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===Chapter 3 Analyses of Bian Zhilin's Translation Practice===&lt;br /&gt;
Bian Zhilin put his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and poetry translation strategies of &amp;quot;replacing foot with dun&amp;quot; into practice. Here are three poem excerpts of romantic poets and Bian Zhilin's translation of them.&lt;br /&gt;
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====William Blake's ''The Tiger'' in ''Songs of Experience''====&lt;br /&gt;
William Blake is a representative of English romantic literature. He was hailed by 20th century critics as &amp;quot;the great prophet&amp;quot; who was a pioneer of romanticism. He broke neoclassical traditions in the 18th century and emphasized instinct, passion and imagination. Besides, Blake is a revolutionary poet and expressed strong revolutionary passion and rebellious spirit in his poem. The Tiger is one of his earliest lyrical poems. It eulogizes the shape and strength of the tiger. Here is an excerpt of it:&lt;br /&gt;
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Tiger! Tiger! Burning bright&lt;br /&gt;
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In the forests of the night,&lt;br /&gt;
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What immortal hand or eye&lt;br /&gt;
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Could frame thy fearful symmetry?&lt;br /&gt;
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'''Bian Zhilin's Translation:'''&lt;br /&gt;
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老虎！|老虎！|火一样的辉煌，&lt;br /&gt;
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烧穿了|黑夜的|森林和|草莽，&lt;br /&gt;
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什么样|非凡的|手和|眼睛&lt;br /&gt;
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能塑造|你一身|惊人的|匀称？&lt;br /&gt;
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(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of dun.)&lt;br /&gt;
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The excerpt shows the praise for the tiger. In the poem, Blake uses symbolization and compares the tiger to a fire that destroys everything. Bian Zhilin represents the perfect creation of the creator with the symmetry of the tiger. &lt;br /&gt;
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Bian Zhilin translates the poem on the guidance of his theory of &amp;quot;faithfulness, similarity and translation&amp;quot;. In the first line of the excerpt, the use of &amp;quot;Tiger&amp;quot; with exclamation marks is a kind of call of the tiger——the king of the forest. Bian Zhilin translates them faithfully into &amp;quot;老虎！老虎！&amp;quot;. The third line is a rhetorical sentence that asks without answering, which reminds readers of the Creator——God, thus making the poetry profound. Bian Zhilin follows the rhythmic characteristics of the original poem and translates it artistically.  &lt;br /&gt;
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Bian Zhilin also makes his translation according to his theory of &amp;quot;replacing foot with dun”. The above stanza consists of four lines of trochaic tetrameter. Therefore, there are four feet in each line. And in translated version, there are four lines of four duns. Each duns contains two or three characters, thus make the structure of the translated poem neat and have a strong rhythm.&lt;br /&gt;
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====William Wordsworth's ''The“Lucy”Series''====&lt;br /&gt;
William Wordsworth is also an important poet in English romanticism. He was made poet laureate and he strongly promoted the innovation of English poetry and the development of the Romantic movement. He believes &amp;quot;Poetry is the spontaneous overflow of powerful feelings&amp;quot;. The following excerpt is taken from his &amp;quot;Lucy&amp;quot; series:&lt;br /&gt;
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A slumber did my spirit seal&lt;br /&gt;
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I had no human fears&lt;br /&gt;
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She seemed a thing that could not feel&lt;br /&gt;
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The touch of earthly years &lt;br /&gt;
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No motion has she now, no force&lt;br /&gt;
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She neither hears nor sees&lt;br /&gt;
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Rolled round in earth's diurnal course&lt;br /&gt;
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With rocks, and stones, and trees.&lt;br /&gt;
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'''Bian Zhilin's translation:'''&lt;br /&gt;
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迷糊|封住了|我的|精神；&lt;br /&gt;
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我没有|人世的|忧惶：&lt;br /&gt;
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她似乎|超然|物外，|不可能&lt;br /&gt;
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感觉到|岁月的|影响。&lt;br /&gt;
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现在|她无力了，|也不能|动弹；&lt;br /&gt;
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她不再|耳闻|目睹；&lt;br /&gt;
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卷在|地球的|日程里|滚转，&lt;br /&gt;
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混同了|岩石、|树木。&lt;br /&gt;
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(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
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The above poem was written when Wordsworth went and stayed in Germany with his sister Dorothy in 1798 and 1799. It uses simple words and the meaning of the poems is quite clear. And Bian Zhilin's translation of the poem is quite faithful and vivid. &amp;quot;Slumber&amp;quot; in the first line of the original is translated into &amp;quot;迷糊&amp;quot; rather than &amp;quot;沉睡&amp;quot;, which gives readers a sense of &amp;quot;lazy charm&amp;quot;. And &amp;quot;fears&amp;quot; in the second line was translated into &amp;quot;忧惶&amp;quot;；it’s quite vivid and pertinent. Besides, the original poem consists of two stanzas with four lines of iambus. In each stanza, the first and the third line have four feet and the second and the fourth line have three feet. The whole poem follows the rhyme scheme of &amp;quot;a-b-a-b, c-d-c-d&amp;quot;. Bian Zhilin replaces feet in the poem with duns. There are fours duns in the first and the third lines and three duns in the second and fourth lines in translation. And the translated version follows the same rhyme scheme with the original. The whole poem is translated and expressed in quite appropriate way.&lt;br /&gt;
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====Percy Bysshe Shelley's ''Song to the Men of England''====&lt;br /&gt;
Percy Bysshe Shelley, as one of the famous romantic poets, pursued freedom and resisted violence in his short life. He encouraged people to stand and fight for a better life and was branded a &amp;quot;complete revolutionary&amp;quot; by Marx. And Song to the Men of England was written by Shelley after &amp;quot;Peterloo incident&amp;quot; in Manchester in 1819 to reveal the cruel nature of reactionary rulers and call on people to revolt bravely. Here is an excerpt of Song to the Men of England:&lt;br /&gt;
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Men of England, wherefore plough&lt;br /&gt;
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For the lords who lay ye low?&lt;br /&gt;
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Wherefore weave with toil and care&lt;br /&gt;
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The rich robes your tyrants wear?&lt;br /&gt;
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Wherefore feed and clothe and save&lt;br /&gt;
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From the cradle to the grave&lt;br /&gt;
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Those ungrateful drones who would&lt;br /&gt;
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Drain your sweat——nay, drink your blood?&lt;br /&gt;
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'''Bian Zhilin's Translation:'''&lt;br /&gt;
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英国的|人民，|为什么|犁地&lt;br /&gt;
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报答|老爷们|踩你们|成泥？&lt;br /&gt;
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为什么|辛勤|劳苦|去织布，&lt;br /&gt;
&lt;br /&gt;
让那些|恶霸|穿华丽|衣服？&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
为什么|你们|从摇篮|到坟冢&lt;br /&gt;
&lt;br /&gt;
尽供给|和保养|那许多|雄峰？&lt;br /&gt;
&lt;br /&gt;
他们|不感激，|还非常|坚决，&lt;br /&gt;
&lt;br /&gt;
要喝干|你们的汗|——再加|血；&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
This excerpt is about the clash between two classes of society, the poor working class and the rich nobles. The major theme of this poem is exploitation. People plow for the sake of the lords, who are like drone bees that do no work but live off of the works of others. The narrator is urging the workers to make a stand as they are being treated unfairly. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin practices his poetry translation strategies of &amp;quot;translating poetry in metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; in this poem. In the original poem, each of two stanzas consists of four lines of iambic tetrameter, rhyming &amp;quot;a-a-b-b, a-a-b-b&amp;quot;. In the translated version, there are also two stanzas composed of four lines. And in each line, there are four duns which replaces the four feet in the original poem. The rhyme scheme in translated version is the same as that in the original.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translate the poem faithfully and vividly. For example, he translates &amp;quot;lay ye low&amp;quot; into &amp;quot;踩你们成泥&amp;quot; which well preserves the images of the original work. And &amp;quot;tyrants&amp;quot; in the fourth line of the first stanza is translated into &amp;quot;恶霸&amp;quot; which is concise and accurate. In the second stanza, &amp;quot;From the cradle to the grave&amp;quot; modifies &amp;quot;the men of England&amp;quot; rather than those &amp;quot;ungrateful drones&amp;quot;, Bian Zhilin understands the linguistic structure of the poem and translates it into &amp;quot;你们从摇篮到坟冢&amp;quot;. &amp;quot;坟冢&amp;quot; is more formal than &amp;quot;坟墓&amp;quot; and it's suitable for poetry, from which we can see the precision of Bian Zhilin's choose of words. In the last line, Bian Zhilin uses a dash and the words &amp;quot;再加&amp;quot; to highlight the brutal nature of the rulers. Actually, this translation is a good practice of his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===Chapter 4 Critical Thinking of Bian Zhilin's Translation Theories===&lt;br /&gt;
There is no doubt that Bian Zhilin's translation theories greatly promoted the development of English poetry translation in China. His &amp;quot;faithfulness, similarity and translation&amp;quot; is the inheritance and innovation of Chinese traditional translation theories. And it indeed provides a new way for poetry translation. Besides, Bian Zhilin thinks poetry should be translated into poetry rather than prose. In other words, translators should translate poetry in a poetical and metrical way. He stresses the importance of the unity between form and content and thinks high quality translation should be a unity of content and artistic style of the original text.&lt;br /&gt;
&lt;br /&gt;
Despite Bian Zhilin's great contribution to literary translation theories, I think there are still some problems existing in Bian Zhilin's translation strategies. In Bian Zhilin's opinion, translators can replace foot with dun thus achieving similar rhythmical effect in Chinese version with the English original. It seems that it is a quite advisable and feasible method. Bur actually, it cannot be practiced widely. In English poetry, each foot consists of two syllables, which is fixed and regular. But things are changed in Chinese. The character numbers in each dun in Chinese are not fixed. There may be one or two or three or four characters in each dun, so different people may have different divisions of duns based on their different understanding of context. Therefore, the division of duns may be disordered and random, which makes &amp;quot;replacing foot with dun&amp;quot; not advisable in many cases.&lt;br /&gt;
&lt;br /&gt;
Another problem in Bian Zhilin's translation theories is the ignorance of metrical patterns of foot. In English poetry, there are different metrical patterns like iambus, trochee, spondee and pyrrhic and so on. But there are no such meters in Chinese. &amp;quot;Replacing foot with dun&amp;quot; only considers the correspondence of foot but ignores the correspondence of metrical patterns of foot, so Bian Zhilin's &amp;quot;translating poetry in metrical way&amp;quot; actually is not adequate. We know Chinese is a kind of tone language which has four tones. We can use four tones to correspond the metrical patterns of foot in English. But it's quite difficult in so far and still needs more exploration.&lt;br /&gt;
&lt;br /&gt;
===Chapter 5 Conclusion===&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. His literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and &amp;quot;translating poems in a poetical and metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; give us a lot of enlightenment in the translation of poems. This paper analyzes Bian Zhilin's translation of romantic poems to show his translation strategies. However, there are still some problems in his theories, for example, the division of duns are disordered and random which are based on the understanding of translators and there is no correspondence in metrical patterns of foot. These are the problems that are needed to be considered and solved.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Blake, William. Songs of Experience[M]. New York: Dover Publications, Inc., 1971.&lt;br /&gt;
&lt;br /&gt;
Durrant, Geoffrey. William Wordsworth [M]. Cambridge: Cambridge University Press, 1979.&lt;br /&gt;
&lt;br /&gt;
Nabokov, Vladimir. &amp;quot;Forward&amp;quot;, A.S.Pushkin, Eugene Onegin, Nabokov, V.trans. London: Routledge &amp;amp; Kegan Paul, 1964/1975, p.viii.&lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. Approaches to Translation. Oxford: Pergamon, 1981, p39.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2002).《卞之琳文集》（中卷）. 安徽教育出版社, p503.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2000).《卞之琳文集》（上卷）. 安徽教育出版社, p8.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(1994).《从&amp;lt;西窗集&amp;gt;到&amp;lt;西窗小书&amp;gt;》.[英] 克里斯托弗·衣修伍德《紫罗兰姑娘》, 卞之琳译. 中国工人出版社, p8-9.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2007).《人与诗：忆旧说新》（增订本）. 安徽教育出版社, p319.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2005). 《英国诗选》. 商务印书馆, p156.&lt;br /&gt;
&lt;br /&gt;
Chen Xiying陈西滢(1984).《论翻译》. 罗新璋编《翻译论集》. 商务印书馆, p401-402.&lt;br /&gt;
&lt;br /&gt;
Fu Lei傅雷(1984).《论文学翻译书》. 罗新璋编《翻译论集》. 商务印书馆, p694.&lt;br /&gt;
&lt;br /&gt;
Li Changshuan李长栓(2004). 《非文学翻译理论与实践》. 中国对外翻译出版公司, p57.&lt;br /&gt;
&lt;br /&gt;
Shen Suru沈苏儒(1998).《论信达雅：严复翻译理论研究》. 商务印书馆, p8.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜(1991).《西方翻译简史》.商务印书馆, p24.&lt;br /&gt;
&lt;br /&gt;
Yan Fu严复(1984).《&amp;lt;天演论&amp;gt;译例言》.罗新璋编《翻译论集》. 商务印书馆, p136.&lt;br /&gt;
&lt;br /&gt;
=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012, 37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær, 2015, 10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005, 9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004, 1. Translation is essential for cultures and languages to exchange information. Newmark (1988) defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects. Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
&lt;br /&gt;
Nida (1964) indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style. Larson (1998) has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context. &lt;br /&gt;
&lt;br /&gt;
Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”.(Snell-Hornby 1988, 33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957, 167. By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
&lt;br /&gt;
The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003, 16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
&lt;br /&gt;
This study is aimed to probe Newmark's (1988) translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988, 81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.&lt;br /&gt;
&lt;br /&gt;
===Translation and Culture===&lt;br /&gt;
&lt;br /&gt;
2. Translation and Culture &lt;br /&gt;
&lt;br /&gt;
Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
&lt;br /&gt;
The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988, 7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988, 5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988, 7).  &lt;br /&gt;
&lt;br /&gt;
In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford (1965) defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language” (Catford 1965, 20). According to Venuti’s translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader” (Venuti 1995, 18). Schjoldager stated that “a translation is a text that expresses what another text has expressed in another language” (Schjoldager 2008, 19). Culture is a complex whole which includes knowledge, belief, art, law, morals, customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan (2014), claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014, 2). Hermanns (1999) contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures. Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014, 2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark (2001), illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001, 328). &lt;br /&gt;
&lt;br /&gt;
Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
&lt;br /&gt;
2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
&lt;br /&gt;
Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora, fauna, food, clothes, housing, work, leisure, politics, law, and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988, 327) Christine Nord names them “culturemes” (Nord 1997, 9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012, 1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Aixela, 1997; Davies, 2003), others choose cultural words (Newmark, 2003) or culture-bound phenomena/concepts (Baker, 1992, Newmark, 2003, Robinson, 2003). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker, 1992, 21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988, 94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988, 95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988, 95).&lt;br /&gt;
&lt;br /&gt;
2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
&lt;br /&gt;
The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85, P. 22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003, 16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.&lt;br /&gt;
&lt;br /&gt;
===Types of Translation ===&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
Newmark (1988) determines 8 types of translation which are: &lt;br /&gt;
 &lt;br /&gt;
3.1 Word-for-Word Translation &lt;br /&gt;
&lt;br /&gt;
This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
&lt;br /&gt;
3.2 Literal translation &lt;br /&gt;
&lt;br /&gt;
In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
&lt;br /&gt;
3.4 Semantic Translation &lt;br /&gt;
&lt;br /&gt;
Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
&lt;br /&gt;
3.5 Adaptation &lt;br /&gt;
&lt;br /&gt;
This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015, 15). &lt;br /&gt;
&lt;br /&gt;
3.6 Free Translation &lt;br /&gt;
&lt;br /&gt;
The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
&lt;br /&gt;
3.7 Idiomatic Translation &lt;br /&gt;
&lt;br /&gt;
This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
&lt;br /&gt;
3.8 Communicative Translation &lt;br /&gt;
&lt;br /&gt;
This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
===Translation Strategies  ===&lt;br /&gt;
&lt;br /&gt;
4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
&lt;br /&gt;
4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela (1996), translators need to choose several strategies based on the source language culture and target culture.  He distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, he tries to command by the level of their intercultural intervention. He divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies). &lt;br /&gt;
&lt;br /&gt;
4.1.1. Conservation: &lt;br /&gt;
In conservation, the less compelling process includes repetition, orthographic adaptation, linguistic translation, extratextual gloss and intratextual gloss. &lt;br /&gt;
&lt;br /&gt;
4.1.1.1 Repetition: In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus, the translator keeps as much as possible the original reference (Aixela, 1996, p. 61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
&lt;br /&gt;
4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
&lt;br /&gt;
4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
&lt;br /&gt;
4.1.1.4 Extra-textual Gloss: Here, the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes, endings, words, ideas, translators in dictionaries, italics and so on. &lt;br /&gt;
&lt;br /&gt;
4.1.1.5 Intra-textual Gloss: It's like the past but the translator feels that he/she can include the globe as an indirect part of the text, not to distract the reader. &lt;br /&gt;
&lt;br /&gt;
4.2.1 Substitution &lt;br /&gt;
In substitution, According (Aixela, 1996) “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here”. &lt;br /&gt;
&lt;br /&gt;
4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
&lt;br /&gt;
4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
&lt;br /&gt;
4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela, 1997, p.63). &lt;br /&gt;
&lt;br /&gt;
4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Shokri, Ketabi, 2015, p.8). &lt;br /&gt;
&lt;br /&gt;
4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela, 1996, p. 64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
&lt;br /&gt;
4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela, 1997). &lt;br /&gt;
&lt;br /&gt;
4.3 Mona Baker’s Translation Strategies &lt;br /&gt;
Baker’s strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation. (Baker, 1992). He suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies, which are the following: &lt;br /&gt;
&lt;br /&gt;
4.3.1 Translation by a more general word: According to Baker, this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
&lt;br /&gt;
4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
&lt;br /&gt;
4.3.3 Translation by cultural substitution: This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
&lt;br /&gt;
4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
&lt;br /&gt;
4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
&lt;br /&gt;
4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
&lt;br /&gt;
4.3.7 Translation by omission: Losing phrases or words that are not vital to text development. &lt;br /&gt;
&lt;br /&gt;
4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view, however, Baker's (1992) translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
&lt;br /&gt;
===Cultural Categories  ===&lt;br /&gt;
5. Cultural categories &lt;br /&gt;
 &lt;br /&gt;
5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
5.1.2 Material culture &lt;br /&gt;
Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.” &lt;br /&gt;
5.1.3 Social culture &lt;br /&gt;
The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
5.1.4 Organisation &lt;br /&gt;
Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
 &lt;br /&gt;
5.2 Newmark Classification CSIs &lt;br /&gt;
Newmark (1988) established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items.&lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
 &lt;br /&gt;
Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
&lt;br /&gt;
2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
&lt;br /&gt;
3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
&lt;br /&gt;
4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
&lt;br /&gt;
5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
&lt;br /&gt;
6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
&lt;br /&gt;
7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
&lt;br /&gt;
8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
&lt;br /&gt;
9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
&lt;br /&gt;
10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
&lt;br /&gt;
11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
&lt;br /&gt;
12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
&lt;br /&gt;
13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
&lt;br /&gt;
14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
&lt;br /&gt;
16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
&lt;br /&gt;
17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
&lt;br /&gt;
18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
&lt;br /&gt;
19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
&lt;br /&gt;
20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
&lt;br /&gt;
21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
&lt;br /&gt;
22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
&lt;br /&gt;
23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
&lt;br /&gt;
24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996, 31), “translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by (Newmark 1988, 81), “translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.” &lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation, then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions. &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity, as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts, the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term, and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part, but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark (1988) has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9. &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark’s strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark (1988) were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However, the translator must be competent in using the translation procedures to provide an accurate translation. &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
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=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims to observe the development of translation studies through its different types, various strategies, styles and particular methods. In this paper, the readers are introduced to some famous translation scholars including their view of translation studies. At the further discussions, this study lets the readers acknowledge the main issues on translation studies, focusing on different styles of variations such as grammar, sentence structure, textual analysis, strategies and methods. This study may help those who are interested to conduct translation researches and help them by giving options of which theories is beneficial to their analysis. Moreover, it aims to explore the clear definition of translation as well as help the readers to understand the basic concept which are used in the field of translation. The present study, therefore, attempts to outline the scope of the discipline of translation studies and more importantly, it is an attempt to outline its activity that required a deep mastering of language, a good source of knowledge and target cultures.&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation, styles of variations, strategies&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
It is undoubtedly right that translation is important to share information. In line with these premise, the number of translation professionals is getting higher. In fact, the result of translation researches tends to help human daily life in term of evaluation, designing translator machines, and cultural studies.	 Therefore, translation means converting written information from one language into another. It is the new discipline appeared in the second half of the 20th century. The term “Translation Studies” was coined by James S. Holmes, an American-Dutch poet and translator of poetry, in his seminal paper “The Name and Nature of Translation Studies”.  Translation enables effective communication between people around the world. It is a courier for the transmission of knowledge, a protector of cultural heritage, and essential to the development of a global economy. Translation helps us to know about the developments in the field of creative arts, education, literature, business, science and politics. It has shifted from the traditional conception of the fixed, stable and unchangeable nature of the text and its meaning to a text with wide scope for variations. Translation also helps in nation building. In this globalised world, the demand for translation and language related services has increased many times. Translation is not only needed for the creation of national identity but has also become an essential tool for keeping pace with the processes of globalization and localization. The activity of translation has a long-standing tradition and has been widely practiced throughout history, but in our rapidly changing world its role has become of paramount importance. Nowadays, knowledge in which cultural exchanges have been widening, has been increasingly expanding and international communication has been intensifying, the phenomenon of translation has become fundamental. Be it for scientific, medical, technological, commercial, legal, cultural or literary purposes, today human communication depends heavily on translation and, consequently, interest in the field is also growing. Accordingly, the discussion, in the present study, proceeds primarily from the perspectives of “Translation Studies” and “Linguistics”. One major goal is to show the interrelationships between linguistics and translation, and how they benefit from each other. Nowadays, translation research has started to take another path, which is more automatic. The invention of the internet, together with the new technological developments in communication and digital materials, has increased cultural exchanges between nations. This leads translators to look for ways to cope with these changes and to look for more practical techniques that enable them to translate more and waste less. They also felt the need to enter the world of cinematographic translation, hence the birth of audiovisual translation. The latter technique, also called screen translation, is concerned with the translation of all kinds of TV programs, including films, series, and documentaries. This field is based on computers and translation software programs, and it is composed of two methods; dubbing and subtitling. In fact, audiovisual translation marks a changing era in the domain of translation.&lt;br /&gt;
In short, translation has very wide and rich history in the West. Since its birth, translation was the subject of a variety of research and conflicts between theorists. Each theorist approaches it according to his viewpoint and field of research, the fact that gives its history a changing quality.&lt;br /&gt;
&lt;br /&gt;
Discussion &lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation. For each type, a selection of examples will be considered for analysis based on translation theories and techniques. We will show that some chunks of text require literal translation, while other requires interpretive method. In addition, this paper will also examine various strategies and its styles of variations based on translational study. The following strategies will be presented in the paper as; &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	They involve text manipulation.&lt;br /&gt;
•	They must be applied to the process.&lt;br /&gt;
•	They are goal-oriented.&lt;br /&gt;
•	They are problem-centered.&lt;br /&gt;
•	They are applied consciously.&lt;br /&gt;
•	They are inter-subjective.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Most theorists agree that strategies are used by translators when they encounter a problem and literal translation is not useful. Different researchers have investigated and described various translation strategies from their different perspectives. It intends to show what translation strategies exist and when and why they are used by professional translators. Different scholars have various perspectives to the aspects of the act of translation, so, they define and describe different types of strategies. Bergen's (n. d.) classification of the strategies includes three categorizations which will be discussed mainly in this paper: &lt;br /&gt;
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•	Comprehension strategies &lt;br /&gt;
•	Transfer strategies&lt;br /&gt;
•	Production strategies&lt;br /&gt;
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An addition to this paper, styles of variations will also be introduced to the readers through different aspects and examples. The concept of style can be defined in terms of the distinctive way an individual or a group uses language, or better still the discourse used to perform distinct functions of language aimed at achieving specific purposes. However, this does not entail that style is simply a matter of form since it is the product of other components such as the genre of discourse, its semantics, syntax and phonology. Indeed, in order to analyze a given stylistic variation one needs an extensive checklist that includes lexical and grammatical categories, allusions, and figures of speech. Style can be understood to refer to the recurring typical features of the source text compared to the typical features of the translated text.  In a quantitative and qualitative analysis, this variation is shown to be influenced by several pragmatic and social factors, and to index the interpreters' stances towards source speakers and towards the immigrant court users who are the recipients of translations from English. It is argued that translation styles have profound consequences for limited English speakers, as the insistence on institutional norms in translating to them is viewed as a gate keeping behavior that may impede their full participation in the proceedings. &lt;br /&gt;
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What is translation? &lt;br /&gt;
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Translation went through various definitions going from a mere linguistics activity during the sixties, a cultural and communicative activity during the seventies reflects the social impacting activity in the latest founding of the literature. &lt;br /&gt;
“Translation is traditionally known as being the replacement of textual material in one language into equivalent textual material in another language”. &lt;br /&gt;
House (2015) mentions that translation is considered as the “replacement” of a text in the source language by a semantically and pragmatically equivalent text in the target language. It is strongly related to a source language and target language cultures. It requires a high level of mastery languages, an awareness of any contextual factors within which the discourse emerges. There is no need to mention how it affected civilizations through different areas of mankind history. For example, An Arab-Islamic civilizations. There have always been different directions on how one should or should not translate. In the Arab tradition, two main methods existed and were in complete divergence namely the literal and the free method. &lt;br /&gt;
On the other hand, in the Western tradition there are various methods currently exist namely, the linguistic, the hermeneutic, the interpretive, the functionalist, the interventionist, the poly-systemic and the text-typologist method.  More so, it may be important to point out that translation has been defined in many ways, and every definition reflects the theoretical approach underpinning it. &lt;br /&gt;
As Shuttlworth and Cowie (1997) observe throughout the history of research into translation, the phenomenon has been variously delimited by formal descriptions, echoing the frameworks of the scholars proposing them. For example, Bell (1991: XV) starts with an informal definition of translation, which runs as follows: the transformation of a text originally in one language into an equivalent text in a different language retaining, as far as is possible, the content of the message and the formal features and functional roles of the original text. &lt;br /&gt;
At the beginning of the ‘scientific’ (Newmark, 1988, p. 2) study of translation, Catford (1965, p. 20) described it in these terms, the replacement of textual material in one language (SL) by the equivalent textual material in another language. &lt;br /&gt;
Thirty years later, in Germany, the concept of translation as a form of ‘equivalence’ is maintained, as we can see from Koller’s definition (1995, p. 196): “The result of a text processing activity, by means of which a source language text is transposed into a target-language text. Between the resultant text in L2 (the target-language text) and the source text in L1 (the source language text) there exists a relationship, which can be designated as a translational, or equivalence relation”. Because complete equivalence (in the sense of synonymy or sameness) cannot take place in any of his categories, Jakobson (1959) declares that all poetic art is, therefore, technically untranslatable. That is, the translator has to take the question of interpretation into account in addition to the problem of selecting a TL phrase which will have a roughly similar meaning. Exact translation is impossible. In this regard, Bassnett (1996) claims that all texts, being part of a literary system descended from and related to other systems are “translations of translation of translations”: every text is unique and at the same time, it is the translation of another text. No text is entirely original because language itself, in its essence, is already a translation: firstly, of the non-verbal world and secondly, since every sign and every phrase is the translation of another sign and another phrase. However, this argument can be turned around without losing any of its validity: all texts are original because every translation is distinctive. Every translation, up to a certain point, is an invention and as such it constitutes a unique text.&lt;br /&gt;
In this analysis of the above definition, Manfredi (2008), points out that the above distinction can be divided into two main perspectives, those that consider translation either as a ‘process’ or a ‘product’. To this twofold categorization, Bell (1991, p. 13) adds a further variable, since he suggests making a distinction between translating (the process), a translation (the product) and translation (i.e., “the abstract concept which encompasses both the process of translating and the product of that process”. Moreover, thanks to advances in new technologies, today we can also incorporate into TS the contribution of corpus linguistics, which allows both theorists and translators analyses of large amounts of electronic texts (Manfredi, 2008). On the other hand, Halliday (1992, p. 15) takes translation to refer to the total process and relationship of equivalence between two languages; we then distinguish, within translation, between “translating” (written text) and “interpreting” (spoken text). Halliday, thus, proposes distinguishing the activity of “translation” (as a process) from the product(s) of “translating”, including both “translation” (concerning written text) and ‘interpreting’ (regarding spoken text.&lt;br /&gt;
“Translation is the production of a functional target text maintaining a relationship with a given source text that is specified according to the intended or demanding function of the target text.&lt;br /&gt;
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Types of Translation&lt;br /&gt;
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Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation.&lt;br /&gt;
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Technical translation &lt;br /&gt;
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Technical translation is a type of specialized translation involving the translation of documents produced by technical writers, or more specifically, texts which relate to technological subject areas or texts which deal with the practical application of scientific and technological information. (Wikipedia) &lt;br /&gt;
Translators' main goal is to accurately translate the technical terminology to match the document and the message of the original content.&lt;br /&gt;
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The benefits of technical translation&lt;br /&gt;
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A professional technical translation service is provided by translators with dual specialties, that is, professionals who are fluent in the language pair, but who are also experts in the field covered by the documents to be translated.&lt;br /&gt;
When you need to have your documents translated by a technical translator, translators who are not experts may not be able to provide the necessary solutions and terminology for a quality translation. If the translator is not an expert in the field, he/she will have to learn the new terminology while working. This means that translation will take longer, have higher chances of inaccuracies, and may result in higher costs. Therefore, the main advantages of hiring an agency specialized in this type of service are as follows:&lt;br /&gt;
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Literary translation&lt;br /&gt;
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Literary translation is the translation of creative and dramatic prose and poetry into other languages. This includes the translation of literature from ancient languages and the translation of modern fiction so that it can reach a wider audience. &lt;br /&gt;
Literary translation is of huge importance. It helps to shape our understanding of the world around us in many ways.                                                     Reading Homer and Sophocles as part of a classical education in school helps to build an understanding of history, politics, philosophy and so much more. Meanwhile, reading contemporary translations provides fascinating insights into life in other cultures and other countries.                                                       In a fast-paced world so rife with misunderstanding and confusion, such efforts to share knowledge and experiences across cultural boundaries should be applauded.&lt;br /&gt;
The translation of literature differs greatly from other forms of translation. The sheer size of the texts involved in literary translation sets it apart.                Tackling a translation that runs to hundreds of thousands of words is not a task for the faint-hearted. Nor is recreating poetry in a new language, without losing the beauty and essence of the original work.&lt;br /&gt;
One of the key challenges of literary translation is the need to balance staying faithful to the original work with the need to create something unique and distinctive that will evoke the same feelings and responses as the original. This can be particularly challenging when it comes to translating poetry.&lt;br /&gt;
Poems are written with incredible attention to detail. Not only are the words and phrases important, but the number of syllables and the entire rhythm of the completed work. It’s a challenging task to complete just in one language, let alone when trying to recreate a poet’s work during a translation. Daniel Hahn, director of the British Centre for Literary Translation, sums up the issue beautifully. &lt;br /&gt;
As literary translators will attest, a single word can be extremely troublesome. The author of a work of fiction has chosen that word for a good reason, so the translator must ensure that it is faithfully delivered in the target language. However, what if no direct translation is available? Or what if several options exist, each with a slightly different nuance? Urdu language translator Fahmida Riaz outlines her approach to such thorny issues.&lt;br /&gt;
For instance, “Every piece you translate comes from the pen of an individual, so you have to give it an individual treatment. I try to retain the ambience of the original culture, rather than the language, as it is reflected in the text.” &lt;br /&gt;
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Pragmatic translation&lt;br /&gt;
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Pragmatic translation is the basic assumption that provided a source language text contains no misstatements of fact, is competently written and has to be fully translated rather than summarized or functionally reorientated; one's purpose in translating it is to be referentially and pragmatically accurate. In this paper, I shall not deal with referential accuracy but concentrate instead on the pragmatic aspects of translation. As the term pragmatic translation may be used in a variety of ways, I should like to state my own definition of pragmatic, which derives from Charles Morris and ultimately from Charles S. Peirce. I am using pragmatic as one of the two factors in translation: pragmatic denotes the reader's or readership's reception of the translation, as opposed to referential, which denotes the relationship between the translation and the extra-linguistic reality it describes. &lt;br /&gt;
Translation is a properly way to a properly communication and pragmatics is how to use language in communication properly. By translation, many things from different languages and cultures can understand to each other. In other words, translation can be stated as a facilitator to make a communication runs well.&lt;br /&gt;
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===An Overview on Translation Studies  ===&lt;br /&gt;
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===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
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=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
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===Conclusion ===&lt;br /&gt;
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=== References ===&lt;br /&gt;
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= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature  --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:45, 12 December 2021 (UTC)&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
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In this chapter, the researcher wants to highlight the different concepts about the fundamental question &amp;quot;what is idiomatic expression&amp;quot; of different critics, theorists and linguistic experts, and prominent scholars of translation studies. Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
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Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
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&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda Corelli 2006, 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984, 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992, 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to (Newmark 1981, 11), “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”&lt;br /&gt;
.	The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to (Corelli 2006, 53), English has a sizeable idiomatic base.&lt;br /&gt;
About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.&lt;br /&gt;
The main issue that idiomatic and fixed expressions pose for translators, according to (Baker 1992, 65), is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.&lt;br /&gt;
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Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.&lt;br /&gt;
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===Literature Review ===&lt;br /&gt;
In this chapter, the author/researcher defines the strategy and its different definitions from the perspective of different subjects and fields. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented. Krings defines it as the content of the project, while Seguinet divided the term into three steps. However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. &lt;br /&gt;
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The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward.&lt;br /&gt;
Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint.&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to (Seguinot 1989, 27) (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.&lt;br /&gt;
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Furthermore, (Loescher 1991, 8) defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot; As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998, 4) claim moreover, (Bell 1998, 188) distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.&lt;br /&gt;
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According to (Venuti 1998, 240), &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot; He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to (Jaaskelainen 2005, 15), product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.&lt;br /&gt;
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Furthermore, (Jaaskelainen 2005, 16) distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making. (Newmark 1988, 221) distinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;&lt;br /&gt;
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Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016, 13).&lt;br /&gt;
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The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010, 15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017, 54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
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Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985, 9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female.&lt;br /&gt;
Several research articles are found on translated work (license and khol do) of Urdu famous short stories writer Sadat Hassan Manto's from a different perspective like psychoanalysis, postcolonial, feminist approaches but to explore the problem of translations strategies face by translator Aatish Taseer during the process of translation has not been mention till date. To summarize this, the research includes a critical, in-depth, comprehensive analysis of issues that previously did not address.&lt;br /&gt;
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=== Theoritical Framework ===&lt;br /&gt;
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Different strategies have been used, like using an idiom of similar meaning and similar form, the idiom of similar meaning and different form, translation by Paraphrasing, translation by omission. The approach of employing idioms of similar meaning and form, according to Mona Baker, entails using an idiom in the target language that can express about the same meaning as the source language idiom, as well as having lexical similarity. On the other hand, this type of matching happens periodically as well as regularly.&lt;br /&gt;
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Similarly, employing idioms with similar meanings but different forms means that it is possible to locate an idiom or fixed expression in the target text language that has a similar meaning to the source idiom or expression but is made up of distinct lexical elements. Consider the case of English and French, both of which use the idiom mentioned above. In English, one good deed is rewarded with another, whereas in French, handsome deeds are rewarded with handsome deeds.&lt;br /&gt;
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Furthermore, we did not come across any idioms in the category mentioned above during translating idioms. To deal with this issue, the translators used the most popular approach, known as a translation by paraphrase, which is short, straightforward, and time-saving. When a match cannot be identified in the target language or when it appears improper to employ idiomatic language in target material due to aesthetic differences between the source and target languages, this is the most typical approach for translating an idiom from source to target language. However, one thing to keep in mind is that a perfect translation is not required is necessary or possible.&lt;br /&gt;
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Last but not least, to overcome the problem of idiom translation, the translator employs the strategy of translation by omission. This can be defined as an idiom being omitted entirely in the target text with a single word. This is done because the idiom has no close match in the target language; its meaning cannot be easily paraphrased or due to stylistic reasons. &lt;br /&gt;
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Data analysis Techniques:&lt;br /&gt;
Textual analysis is the method of data analysis in qualitative research that brings forth the hidden and potent message, structure, and function of research in giving text, Alan Mckee (defines textual analysis as whenever we perform textual analysis on the text, we make an educated guess at some time of the most likely interpretations that might be made of that text (Alan Mckee 2001, 3)&lt;br /&gt;
Analysis of the translation of short stories in light of Mona baker's theory &amp;quot;khol do and license&amp;quot; are short stories written by Sadat Hassan Manto and translated by many translators from Urdu into English. During translation, the translator adopted many strategies for translating idiomatic expression, sometimes by Paraphrasing, sometimes by omission, sometimes using similar idioms of form and meaning while sometimes using different words and the same form, the whole.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:51, 12 December 2021 (UTC)&lt;br /&gt;
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===Discussion and Analysis===&lt;br /&gt;
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The chapter analyzes and discusses all the data collected by the author/researcher from different sources. All the examples of idioms are first identified, then translated into the target text, and back-translated for the sole purpose of exploring the strategies being used by the translator. A separate section is given to every strategy with its related example. Moreover, the idiomatic expression, the target work for finding, is highlighted through the bold letter.&lt;br /&gt;
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4.1	Translation by Paraphrasing:&lt;br /&gt;
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Based on our findings, the most often used strategy was &amp;quot;translation by paraphrasing.&amp;quot; An inspection also reveals that Aatish Taseer preferred this strategy. Here are some examples applied by the translators, and in the following section, the logic behind their preference towards this strategy is elaborate. The following are examples from two short stories of Sadat Husain Manto's &amp;quot;khol do&amp;quot; and &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 1: &lt;br /&gt;
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ST: Sirajuddin ne subah das baji anki kholi to logo ka ail mutalatam samandar deka.&lt;br /&gt;
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TT: Ten a.m., Siraj Uddin opens his eyes on the cold floor of the camp, seeing the swelling sea of men.&lt;br /&gt;
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BT: sub ke das baji jab Sirajuddin ne apni anki koli to logo ka aik ublaha howa samandar ka nizara dekni laga.&lt;br /&gt;
&lt;br /&gt;
So, the above idioms are literal idioms being translated with the help of Paraphrasing because there is no perfect equivalent of mutalatam words in English languages. A similar look at another idiom from short stories &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&lt;br /&gt;
ST: Khuda tomahra bala kari.&lt;br /&gt;
&lt;br /&gt;
TT: Your God will reward&lt;br /&gt;
&lt;br /&gt;
BT: Is ka badla khoda tomahi di.&lt;br /&gt;
&lt;br /&gt;
Here, the word reward is being used for Bala Kari, an example of transitional by Paraphrasing.&lt;br /&gt;
Let  take another example from &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
&lt;br /&gt;
ST: unkho nai Jan khateli pa rak kar sakena ko donda.&lt;br /&gt;
&lt;br /&gt;
TT: even putting their lives online, they search sakina &lt;br /&gt;
&lt;br /&gt;
BT: apni zindagio ko khatri me dal kar unkho nai sakina ko dond nekala.&lt;br /&gt;
&lt;br /&gt;
The above idioms are examples of pure idiom translated from Urdu into English with the help of paraphrases strategies. However, under the same strategies, the idioms of another short story of Manto,s &amp;quot;license,&amp;quot; are translated by Aatish Taseer. Some of the examples are given below.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
ST: Abu kochwan bara cheel jabela ta. It is the binomial type of idioms taken from the first sentence of the short story &amp;quot;license&amp;quot; by Sadat &lt;br /&gt;
Hasan Manto &lt;br /&gt;
&lt;br /&gt;
TT: Abu kochwan is stylish man.&lt;br /&gt;
&lt;br /&gt;
BT: Abu kochwan aik wazahdar admi ta.&lt;br /&gt;
&lt;br /&gt;
From the above idiom, it is clear that there is no perfect equivalence of cheela chabela idiom in English; that is, the translator goes &lt;br /&gt;
through paraphrasing strategies. Look at another example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
ST: Lein har waqat bank bani rekhi ka usi be had showk ta&lt;br /&gt;
&lt;br /&gt;
TT: He had a weakness for style and fashion.&lt;br /&gt;
&lt;br /&gt;
BT: Dan saj ke rekhna uski kamzori me sai ik ta.&lt;br /&gt;
&lt;br /&gt;
So all of the above examples, which are analyzed one by one, are examples of idioms being translated through paraphrasing strategies. (De Beaugrande and Dressler 1981, 50) define paraphrases as &amp;quot;approximate conceptual equivalence among outwardly different material.&amp;quot; Similarly, in this regard, Hirst defines paraphrases as &amp;quot;talk(ing) about the same situation in a different way.&amp;quot; Munday declared that &amp;quot;equivalence is particularly useful in translating idioms and proverbs” For instance, if the English idiom like a bear with a sore head is rendered into Persian as (mesle borje zahremar), meaning like a tower of snake venom, the strategy of equivalence has been applied. &lt;br /&gt;
&lt;br /&gt;
According to Leonardi, &amp;quot;Equivalence can be said to be the central issue in translation.&amp;quot; In this regard, house believes that &amp;quot;a translation text should match not only its source text in function but also employ equivalent situational-dimensional means to achieve that function&amp;quot; (Baker 2002, 49).  who shares this approach, states that equivalence is used &amp;quot;for the sake of convenience—because most translators are used to it rather than because it has any theoretical status&amp;quot; (Kenny 1998, 77). &lt;br /&gt;
&lt;br /&gt;
Despite different attitudes to the concept of equivalence, most specialists pay much attention to its meaning in the theory of translation. The translation is a form of communication, and that is why it is vital to establish equivalence between the source text and the target text. Although Vinay and Darbelnet believe that equivalence is used differently than in modern translation theory, it is evident that equivalence is one of the basic concepts of translation that cannot be neglected. Consequently, based on the Above mentioned studies using Paraphrasing in translation stands as the core concept in the process of translation, and still, most of the translators cling to it for producing a more comprehensible and explicable text. These language ideas and translation models are ideal constructs, presented abstractly in order to be differentiated precisely. They may exist in an uneasy combination in actual theories and practices, resulting in logical tensions or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation. Theories and actions must be contextualized in historical settings. They've been utilized as analytical tools to describe various topics in section introductions. Theoretical writings and current events these language notions and translation models are ideal constructs expressed in an abstract manner in order to be distinguished precisely in real-life hypotheses they may exist in an uncomfortable mix, resulting in logical conflicts or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
4.2	Using an idiom of Similar Meaning and Form &lt;br /&gt;
&lt;br /&gt;
As mentioned earlier, this strategy type is being used by Aatish Taseer during their translated work of Manto's short stories &amp;quot;khol do&amp;quot; and&amp;quot; license&amp;quot; on an occasional basis. Some examples are mention below.&lt;br /&gt;
&lt;br /&gt;
From khol do.&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
ST: Larki ka rang zard hogaya.&lt;br /&gt;
&lt;br /&gt;
TT: The girl's face became fail&lt;br /&gt;
&lt;br /&gt;
BT: larki ka rang zar hogya.&lt;br /&gt;
&lt;br /&gt;
Similarly, another example from the license is&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: Abu our us ke mat beer hogaie&lt;br /&gt;
&lt;br /&gt;
TT: They fall in love with each other.&lt;br /&gt;
&lt;br /&gt;
BT: WO ik dosri ke mokhbat me geriftar hogaie&lt;br /&gt;
&lt;br /&gt;
The above idioms are pure ones and are being translated with the help of similar meanings and similar forms.&lt;br /&gt;
&lt;br /&gt;
The procedures: transposition, modulation, equivalence, and adaptation, and when it comes to defining the term Equivalence, (Vinay and Darbelnet 2000, 90) propose that it consists in rendering &amp;quot;the same situation … by two texts using completely different stylistic and structural methods&amp;quot;, and when it comes to translating idiomatic expressions like &amp;quot;Il pleut à seaux&amp;quot; it can be translated as &amp;quot;It is raining cats and dogs&amp;quot; using the idiom of similar form and meaning in the target language.&lt;br /&gt;
&lt;br /&gt;
As (Baker 1992, 12) states, this strategy involves using an idiom in the TL which conveys roughly the same meaning as that of the source language idiom and, in addition, consists of identical lexical items. The salient point is that this kind of match can only occasionally be achieved, which cannot be picked up more often by translators. Accordingly, both translators mentioned in the current study had quite a slim chance of using this strategy type. &lt;br /&gt;
&lt;br /&gt;
4.3 Using an idiom of similar meaning but different form:&lt;br /&gt;
&lt;br /&gt;
During translating Manto short stories, &amp;quot;khol do&amp;quot; and &amp;quot;license,&amp;quot; some of the idioms are translated with the help of this strategy. Some of the examples are given below from two different short stories.&lt;br /&gt;
&lt;br /&gt;
Example number one is from the short story &amp;quot;khol do&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
ST: Aur bolwai gos ayai thee?&lt;br /&gt;
&lt;br /&gt;
TT: The roitors come abroad.&lt;br /&gt;
&lt;br /&gt;
BT: pasadi bahar agai hai.&lt;br /&gt;
&lt;br /&gt;
The above idiom is a pure type of idiom being translated with the help of above mention strategy. The word rioter is being used for bolwai, which is not a perfect word for bolwai. In Urdu bolwai, people believe in violence when minorities or the low population of any country want some rights. These people stop them by using violence, burn down their properties, rapes women, and do things like that. Another example from the license is below.&lt;br /&gt;
&lt;br /&gt;
Example 9:&lt;br /&gt;
&lt;br /&gt;
ST: Dosri kotwal abu ko dek kar jal ban ho jati.&lt;br /&gt;
&lt;br /&gt;
TT: The other coachman burn with envy.&lt;br /&gt;
&lt;br /&gt;
BT: Abu ke kamyabi dek kar aur kotwal abu sai khasad karni lagi’&lt;br /&gt;
&lt;br /&gt;
The above idioms are a pure idiom that reflects the effect of jealousy between competitors to achieve equivalency. Aatish Taseer uses envy word for jal ban instead of other which have similar meaning but different form. Look at the other example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: Dino lat vo lagal se kam karni laga.&lt;br /&gt;
&lt;br /&gt;
TT: Dino came with an excuse.&lt;br /&gt;
&lt;br /&gt;
BT: Dino abb bahi tarashni laga.&lt;br /&gt;
	&lt;br /&gt;
The above idioms are types of binomial idioms translated with the help of idioms with similar meanings and different forms. (Newmark 1988, 81) mentions the difference between translation methods and translation procedures. He writes that &amp;quot;[w]hile translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language&amp;quot; (Newmark 1988, 81). Idiomatic translation in his definition reproduces the 'message' of the original. However, it distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original, leading to using an idiom of similar meaning but a different form. Besides, it is often possible to find an idiom or fixed expression in the target language with a meaning similar to that of the source idiom or expression but which consists of different lexical items (Baker 1992, 12). Therefore, translators discover idiomatic expressions in the target language with different forms than in the source language. In the current study, the translators approached this strategy merely for 9% of the total times, which means the frequency of Iranian and English idioms with the same meaning and different forms is not considered high. &lt;br /&gt;
&lt;br /&gt;
4.4 Translation by omission:&lt;br /&gt;
&lt;br /&gt;
A translator is less using these strategies, and we did not find any clue on this type of strategy in an area under consideration.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:48, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== Findings===&lt;br /&gt;
&lt;br /&gt;
(Mandelbit 1995) believed that idioms with different cognitive mapping in the target language would be more challenging to translate. After conducting study and data analysis of collected data, the result revealed that the translator frequently used three out of four strategies of the Mona Baker model during the translation process, which is a translation by Paraphrasing, translation by similar meaning and similar form, translation by similar meaning and different form. In contrast, translation by omission does not found in his work.&lt;br /&gt;
After detail and careful analysis of data, more than half of idioms like &amp;quot;swelling sea of man,” my lord break his arrogance, “weakness for style and fashion.&amp;quot; As I mentioned earlier, many more are translated under the umbrella of Paraphrasing, which is considered the most common method used for translating idioms.&lt;br /&gt;
&lt;br /&gt;
Similarly, we also reflect strategies like similar meaning and different form and similar meaning and similar form. The idiom &amp;quot;rioter came abroad,” burn with envy,” The girl's face became pale, &amp;quot; They fall in love with each other&amp;quot; are translated with the help of two mention strategies, respectively.&lt;br /&gt;
&lt;br /&gt;
Although translation by omission is a strategy used on rare occasions because of its meaning, its meaning cannot be easily paraphrased or stylistic reason. Here, the researcher also did not find any idiom translated with the help of the omission strategy.&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
Go through detailed discussion and analysis of data collected from my source. We finally concluded that the idioms present in two short stories, &amp;quot;khol do&amp;quot; and &amp;quot;License,&amp;quot; are translated under the frame of Mona Baker's idiomatic model. Translation by Paraphrasing is mainly used while idioms of similar meaning and form and idioms of similar meaning and different forms are used occasionally. The researcher discusses all the strategies with related examples in the order of maximum used to minimum used. The strategy by omission did not find it works. All the data are collected from different sources and analyzed with the help of different researcher tools, and the result is written in light of the finding. Different from previous studies, the writer presents the strategies to translate idioms by each type of idiomatic expression found in the story. From the result, it is considered the translation of idiomatic expressions in the story is quite accurate. As the number of accurate data is more the data which is not related to the translation. We take conclusion from the translation through idiomatic expression and paraphrasing is the best way to translate a novel or a story however it is very difficult job to do because it needs more accurate and precise knowledge about the source language and an inspiring method to express ideas in the target language. However, translation is thing through which we can connect the world with each other and also we can study and observe diverse cultures.            &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abu-Saydeh, A. F. (2004). Translation of English idioms into Arabic. Babel, 114-131.&lt;br /&gt;
&lt;br /&gt;
Ahsan, S. (2020). A comparative study of two translations of manto's short story &amp;quot;Toba Tek&amp;quot;. International Journal of English Language Studies, 12-27.&lt;br /&gt;
&lt;br /&gt;
Alexander, R. J. (1987). Mimeograph. In R. J. Alexander (Ed.) Collocation and Culture. Trier: University of Trier, West Germany.&lt;br /&gt;
&lt;br /&gt;
Al-Qinai, J. (2000). Translation quality assessment. strategies, parameters and procedures. Translator's Journal, 497-519.&lt;br /&gt;
&lt;br /&gt;
Bayashi, J. (2020). Japanese-English translation: An advanced guide. Oxfordshire: Routledge.&lt;br /&gt;
&lt;br /&gt;
Das, V. &amp;amp;. (1995). Critical events: An anthropological perspective on contemporary India. New Delhi: Oxford Printing Press.&lt;br /&gt;
&lt;br /&gt;
Mufti, A. (2007). The Language of English India. In I. &amp;amp;. End (Ed.) Enlightenment in the Colony. Princeton University Press.&lt;br /&gt;
&lt;br /&gt;
Waka Xia, L. (2019). A discourse analysis of news translation in China. Syydney: Routledge.&lt;br /&gt;
&lt;br /&gt;
= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
===Ambiguity===&lt;br /&gt;
&lt;br /&gt;
===Lexical and Structural Mismatches===&lt;br /&gt;
&lt;br /&gt;
===Multiword units: Idioms and Collocations===&lt;br /&gt;
&lt;br /&gt;
===Summary===&lt;br /&gt;
&lt;br /&gt;
===Further Reading===&lt;/div&gt;</summary>
		<author><name>Atta Ur Rahman</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=131240</id>
		<title>Translation types, strategies, styles, methods</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=131240"/>
		<updated>2021-12-12T09:48:38Z</updated>

		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* Discussion and Analysis */&lt;/p&gt;
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&lt;div&gt;'''Translation types, strategies, styles, methods'''&lt;br /&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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==Abstract==&lt;br /&gt;
''Legend of Zhen Huan'', as an excellent Chinese TV series, has successfully entered the American market. However, the American version of Legend of Zhen Huan still has some shortcomings in translation. By comparing and analyzing the subtitle texts of the ''Legend of Zhen Huan'' in China and the United States, this paper aims to discuss the problems existing in the overseas translation of the ''legend of Zhen Huan'' and the translation strategies and methods adopted in the subtitle translation of the American version, so as to provide some enlightenment for Chinese costume dramas to reach the world in the future.&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
Translation strategy and translation methods; ''Legend of Zhen Huan''; Subtitle translation&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
The TV series ''Legend of Zhen Huan'' is Imperial-harem competing play produced by the Beijing Television Arts Center in 2011. This play is adapted from a novel of the same name written by Liu Lianzi, which mainly tells the story of the young girl Zhen Huan growing up from an unsophisticated young girl to an empress dowager who is good at politics. Since its debut in China in 2012, ''the Legend of Zhen Huan'' has been a hit among Chinese audiences, with its ratings rising and even forming “Zhen Huan craze” for a time. The reason why the play has received so much praise, on the one hand, is that the film and television script is well-produced; on the other hand, it is because the plots and dialogues of the characters in the play cover a wealth of historical and cultural knowledge, embodying the profundity of Chinese culture.&lt;br /&gt;
Due to its great success in the domestic market, the series finally attracted the attention of foreign producers: the American team adapted the original ''Legend of Zhen Huan'', cutting the 76-episode original drama into six episodes,which was officially launched on Netflix’s paid website in the United States on March 15, 2015. It is the first Chinese TV series to be broadcast on mainstream TV stations in the United States. &lt;br /&gt;
However, the American version of the ''Legend of Zhen Huan'' failed to be sought after by audiences in the US, with most viewers abandoning the show after only one or two episodes.The English lines of the ''Legend of Zhen Huan''’s have ever been criticized by some Chinese audiences. After a deep study of the reason, in addition to the lack of content caused by a large amount of deletion and cutting, another important reason is the insufficiency of subtitle translation. This paper attempts to explore the translation strategies of the subtitle of ''Legend of Zhen Huan'', hoping to provide some inspiration for the subtitle translation of domestic film and television works of the same type.&lt;br /&gt;
&lt;br /&gt;
==Literature Review==&lt;br /&gt;
&lt;br /&gt;
===Previous studies in Subtitle Tranlation abroad===&lt;br /&gt;
In the early 1970s, Doller Up (1974) published a paper entitled “On Subtitle in TV Programs” on Babel, an authoritative journal of the International Association of Translators, which was the first time that scholars paid special attention to subtitle translation. In addition, he creatively pointed out the great value of TV subtitles to foreign language teaching, and then made contributions to the cause of education.&lt;br /&gt;
&lt;br /&gt;
In 1976, Istvan Fodor published a book called Film Dubbing: Aspects of Phonology, Semiotic Aesthetics, and Psychology, which centered on film dubbing from an acoustic perspective. Fodor argues that because each country’s language and culture are unique and irreplaceable, it is almost impossible to achieve perfect “synchronization” in all aspects of the translation of film(Fodor 1976:82).&lt;br /&gt;
&lt;br /&gt;
In 1982, Christopher Titford first proposed the concept of “restricted translation” in his article “Subtitling: Restricted Translation”. He believes that the limitations of film and television as a medium themselves are the main cause of problems encountered by translators in practice (Titford 1982:113).&lt;br /&gt;
&lt;br /&gt;
In 1992, Ivarsson, a Swedish subtitling translation scholar, published his book Subtitling for Media: A Handout of Art, which can be said to be the first comprehensive study of subtitling translation works in Europe. In this book, Ivarsson introduces the development of subtitle translation technology in detail. The most representative subtitle translation scholars are Gambill and Gottlieb, who are two translation theorists. Yves Gambill, a Finnish translator, is a very important expert in the field of film and television translation. Gambill has a wide range of research fields, he has compiled a large number of academic monographs, such as language transfer and Audiovisual Communication: bibliography, which discusses the classification of translation patterns, translation strategies, translation audience and so on (Gambill 1997).&lt;br /&gt;
&lt;br /&gt;
===Previous studies on Subtitle translation at home===&lt;br /&gt;
The research on subtitle translation in China mainly focuses on the English translation of Chinese films, and a large number of such papers and articles have been published, which are also the most representative research results of subtitle translation in China. In addition, with more and more domestic films moving toward the international stage, some attention has been paid to the study of Chinese subtitles.&lt;br /&gt;
&lt;br /&gt;
The study on Chinese and English subtitle translation can be divided into several fields, including film and television language characteristics, subtitle translation methods, subtitle translation history and so on.&lt;br /&gt;
&lt;br /&gt;
Subtitle translation methods can be broadly divided into two categories. One category refers to some practical translation methods and skills summed up by translators based on their years of translation experience, such as the seven kinds of experiences of film and television translation proposed by Qian Shaochang (2000), which stresses the importance of “translation” in the output of films and TV plays. The other is related to domestic MA papers. They usually start with some translation theories, such as German functional translation theory, Eugene Nida’s functional equivalence theory, relevance theory, and Susan Basnett’s cultural translation theory, and finally conclude translation methods such as domestication, foreignization, literal translation, free translation, omission and so on.&lt;br /&gt;
&lt;br /&gt;
In recent years, with the increasing popularity of American TV series in China, the phenomenon of online subtitle translation has begun to attract attention from all sides. As time went by, subtitle translation goes beyond the simple purpose of satisfying the entertainment needs of movie fans, and begin to be applied to teaching practice and students’ self-learning process. This phenomenon is bound to attract academic attention. For example, Wang Hui (2005) discussed this issue in his article “The Impact of Subtitling on Vocabulary Acquisition”. This paper draws some conclusions which are beneficial to foreign language teaching.&lt;br /&gt;
&lt;br /&gt;
However, there are still many deficiencies in the study on subtitle translation. The only literature we can refer to is few books on the translation of film and television subtitle. In other words, subtitle translation is not discussed in detail.&lt;br /&gt;
&lt;br /&gt;
==Subtitle translation features==&lt;br /&gt;
&lt;br /&gt;
===Subtitle translation needs to be brief and comprehensive===&lt;br /&gt;
Subtitle translation should not be lengthy for two reasons: First, because the screen keeps switching, each screen stay can not be very long, the scene with the character’s dialogue switches over more quickly, in a matter of seconds, which is fleeting. Second, whether it is the large screen in the cinema or the small screen in the home, due to space constraints, if the subtitle translation is not simple enough, it will lead to an increase in the number of words in the target language, not to mention the English words that take up more space than Chinese phrases. English words take up more space than Chinese phrases.&lt;br /&gt;
&lt;br /&gt;
Take the Chinese phrase “Computer”for example, the English equivalent word is computer. The Chinese verb “来”corresponds to the English word “Come”. In general, English words have more characters than their Chinese counterparts, except in rare cases. Since the length of the word can not be artificially controlled, subtitle translation will put a higher demand on the number of words. In a typical presentation, Chinese and English subtitles are displayed simultaneously at the bottom of the screen, up to two lines of Chinese and two lines of English.&lt;br /&gt;
&lt;br /&gt;
If there are too many words, the limited space can not accommodate in a few seconds, the audience will have a dazzling feeling as well. Therefore, one of the distinctive features of subtitle translation is its concise use of words.&lt;br /&gt;
&lt;br /&gt;
===Subtitling translation requires natural equivalence===&lt;br /&gt;
The subtitling of the target language should be as natural as the subtitling of the source language. The subtitle translation discussed in this paper is mainly about the dialogue of the characters in the play. On the one hand, the style of dialogue is colloquial, in this sense,It is important   for the translator to pay attention to whether the subtitle translation that the target language audience can hear and see is in line with their daily speaking style.If the original spoken language is translated formally and rigidly, the audience of the target language will feel less natural and fluent, and their movie-watching experience can not be comparable with that of the source language audience. On the other hand, the spoken language features of the characters can clearly shape the characters in the play. If the translator does not grasp the spoken features of the characters, the target audience can not understand the character’s connotation as well as the source audience.&lt;br /&gt;
&lt;br /&gt;
Therefore,if a character needs to say something filthy, or even taboo, to make the character stand out, the subtitle translator must also translate the same filthy and taboo.These taboos should inevitably appear in the subtitle translation, and we should not mince words about them. The same is true of English to Chinese subtitle translation and Chinese to English translation. Because these taboo words are the extension of the role connotation, improper handling will affect the target audience's understanding of the connotation of the role.&lt;br /&gt;
&lt;br /&gt;
===Subtitle translation needs to be easy to understand===&lt;br /&gt;
The film and Television Play is the Popular Entertainment Program, so subtitle translation should be clear at a glance. There are thousands of people watching TV dramas, and their knowledge and cultural level vary widely, and their appreciation level is naturally mixed.Film and TV series have such a wide audience, which requires subtitle translation to take care of the needs of the majority of the audience whether from the perspective of box office and Audience Rating, or from the perspective of cultural communication.&lt;br /&gt;
&lt;br /&gt;
==Theory of Domestication and Foreignization==&lt;br /&gt;
In the process of translation, the translator should determine the general direction of translation, cultivate a good sense of culture, and fully understand that translation is an important feature of information exchange across different languages and cultures. But how to achieve that? There are two opposite strategies in translation: foreignization and domestication. The terms of domestication and foreignization were put forward by Laurence Venutti in his book Translators’ invisibility in 1995:&lt;br /&gt;
&lt;br /&gt;
===Domestication===&lt;br /&gt;
The domestication strategy is to localize the source language, take the target language or target readers as the destination, and convey the content of the original text in the way that the target language readers are accustomed to.Domestication requires the translator to be closer to the target language reader, and the translator must speak like the native author.This translation strategy will often make the translation transparent, smooth, relaxed and natural, close to the reader to the greatest extent, so as to dilute the strangeness brought by the original text.In film and television subtitle translation, domestication is often used in order to make the audience understand the film smoothly.&lt;br /&gt;
&lt;br /&gt;
===Foreignization===&lt;br /&gt;
The foreignization strategy is completely opposite to the domestication strategy, which is oriented by the source language culture and that &amp;quot;the translator should not disturb the author as much as possible to make the reader close to the author&amp;quot;.Foreignization advocates believe that the main purpose of translation is cultural communication, so the translation should try its best to preserve the language and cultural information contained in the source language.Only in this way can the exchange and fusion of source and target cultures be achieved through translation. In addition, they believe that the translator should believe the reader’s imagination and intelligence to the utmost, and believe that when reading the translated version, the reader should not only understand the simple words, but also understand the foreign culture through the words, and they have the capacity to understand the culture. &lt;br /&gt;
&lt;br /&gt;
Of course, as two translation strategies, domestication and foreignization are the unity of opposites and they complement each other. Absolute domestication and absolute foreignization do not exist.&lt;br /&gt;
&lt;br /&gt;
==Case Study==&lt;br /&gt;
&lt;br /&gt;
===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
The essence of “foreignization”is “the tendency toward the original author”, that is, the translator tries to be close to the original author in his translation (Xiong Bing, 2014). In the words of the Friedrich Schleiermacher, this means that the translator“Tries not to disturb the original author, but to take the reader to the original author”(Robinson, 2006:229) . Specifically in Translation, the translator tries to retain the original language, literariness, cultural characteristics and exotic customs (Xiong Bing, 2014) . Therefore, the nature of foreignization strategy is mainly in favor of the original author, and its defects are mainly reflected in the readability of the translation. In other words, the translation may be blunt and not well received and understood by the audience. Therefore, the translation effect is not ideal for the target audience.&lt;br /&gt;
&lt;br /&gt;
====Literal Translation====&lt;br /&gt;
Literal translation means keeping both the content and the form of the original text in the translation when the language conditions permit, especially the metaphor, image, national and local color of the original text.The vast majority of subtitle translation of the Us version of ''Legend of Zhen Huan'' adopts literal translation. Look at the following example:&lt;br /&gt;
&lt;br /&gt;
Example 1&lt;br /&gt;
&lt;br /&gt;
Chinese version：嬛嬛一袅楚宫腰。&lt;br /&gt;
&lt;br /&gt;
American version：the slim waist of the concubines of the Chu palace.&lt;br /&gt;
&lt;br /&gt;
For the word “Huan”in the name of Zhen Huan, the American version uses the Foreignization method, which is translated literally as the slim waist of the concubines of the Chu palace.Western audiences may be confused by the subtitles,Western audiences may be confused by the subtitles, because Zhen Huan is clearly a woman from the Qing Dynasty, how come another Chu Palace? In terms of accuracy and the conveying of cultural context, this translation is well-done, but it creates a barrier for the audience to understand. Therefore, the translation can throw out on its real meaning, such as translated into As my name, Huan, means graceful women with slim waist, &amp;quot;Chu palace&amp;quot; here means can be omitted.&lt;br /&gt;
&lt;br /&gt;
Example 2&lt;br /&gt;
&lt;br /&gt;
Chinese version：一片冰心在玉壶&lt;br /&gt;
&lt;br /&gt;
American version：A jade vessel is the symbol of a pure heart.&lt;br /&gt;
&lt;br /&gt;
“Jade Vessel”in Chinese has a unique associative meaning, while the meaning of these words in English is vacant. Western audiences just think that Dr. Wen is evaluating his character, but they can’t hear his pure love for Zhen Huan, so on the basis of foreignization, it’s better to add some domestication translation to make it easier for the audience to understand.&lt;br /&gt;
&lt;br /&gt;
The American versions of examples 1 and 2 are very literal and concise translations, because the original subtitles have no hidden meaning.However, due to the wrong choice of translation methods, a small number of translated subtitles are just like translation cavities.If the cultural significance of the original text is lost, the translation may be regarded as a failure.In a sense, actors’ performances and lines are the &amp;quot;booster&amp;quot; of the plot development of the TV series.However, if the audience can not understand the original meaning, the story will be much less attractive in the eyes of the audience.For example:&lt;br /&gt;
&lt;br /&gt;
Example 3&lt;br /&gt;
&lt;br /&gt;
Chinese version：“赏你一丈红”&lt;br /&gt;
&lt;br /&gt;
American version：Then I will award Attendant Xia the Scarlet Red.&lt;br /&gt;
&lt;br /&gt;
In the original subtitle of example 3, “一丈红” (yi zhang hong,  literally “two-meter-long red”) is used to punish a palace maid or a  concubine who had done something wrong in China’s ancient imperial palace. The specific content of the penalty goes as follows: a two-meter-long and two-inch-thick board was used by the performer to give the guilty palace maid or concubine a good beating on their waist or the place below it until their bones were broken and the blood gushed out.   Looking from the distance, you will see that the blood covered a long distance. Thus, it is called “一丈红”. &lt;br /&gt;
&lt;br /&gt;
In the American version of Legend of Zhen Huan, it is translated into “the Scarlet Red”. the word Scarlet itself means “Lewd and sinful,”as in the Scarlet letter. It is very appropriate to translate &amp;quot;red&amp;quot; with scarlet. However, this partial literal translation runs counter to the American audience’s way of thinking, which they think it as nothing more than a horror show. In this way, the specific penalty content will be lost, and the target audience can't feel that the harem struggle is everywhere in the court, and can't get the equal effect for them.&lt;br /&gt;
&lt;br /&gt;
In this way, the specific content of the penalty will be lost, the target audience can not feel the Harem struggle existed everywhere in the imperial court and the equivalent effects cannot be obtained for them.&lt;br /&gt;
&lt;br /&gt;
====Zero Translation====&lt;br /&gt;
The so-called &amp;quot;zero translation&amp;quot; means that some elements of the source language are directly introduced into the target language without the ready-made words in the target language (Xiong Bing, 2014). This translation method is mainly used to translate the names of people and officials in the English version of the ''Legend of Zhen Huan''. That’s because in ancient China, there was a very strict patriarchal system with the ideas of three cardinal guides and the five constant virtues.&lt;br /&gt;
&lt;br /&gt;
In the eyes of the Chinese people, the distinction between the titles of concubines and concubines is clear at a glance, but it is difficult for foreigners to see these things, because medieval European monarchs were nominally allowed only one wife, there is no such complicated hierarchy of appellation among women. Therefore, such titles as &amp;quot;贵妃&amp;quot;, &amp;quot;妃&amp;quot;, &amp;quot;嫔&amp;quot;, &amp;quot;贵人&amp;quot;, &amp;quot;常在&amp;quot; and &amp;quot;答应&amp;quot; are presented in a dynamic equivalent way (words with similar functions in the source language), for example:&lt;br /&gt;
&lt;br /&gt;
Example 4&lt;br /&gt;
&lt;br /&gt;
熹贵妃——Noble Consort Xi    华妃——Consort Hua&lt;br /&gt;
&lt;br /&gt;
莞嫔 ——Concubine Huan       沈贵人——Lady Shen&lt;br /&gt;
&lt;br /&gt;
夏常在——Attendant Xia       小主——Young Mistress&lt;br /&gt;
&lt;br /&gt;
敦亲王：Prince Dun            舒太妃：Consort Dowager Shu&lt;br /&gt;
&lt;br /&gt;
Example 4 only shows a few official titles of the characters in the ''Legend of Zhen Huan''. However, the translation subtitles in this example reveal a subtitle rule that the American version of the ''Legend of Zhen Huan'' Uses Zero Translation for personal names and free translation for official titles. And we can clearly see the efforts of translators to represent this hierarchical culture in ancient China. However, this method of translation can not meet the needs of the current audience, because the ancient Chinese culture is broad and profound, and the official titles of emperors and concubines in the play conform to the traditional Chinese culture&lt;br /&gt;
&lt;br /&gt;
However, the cultural ideologies of the American people and the Chinese people are very different. Traditional translation can not convey the characteristics of the characters and the intensification of their contradictions. The American people have not experienced the five thousand years of slavery and feudalism in China, nor do English dictionaries or translation related books have Chinese cultural vocabulary. In addition, the current subtitle translation does not advocate the use of a large number of notes, which will have a negative impact on the effect of watching the drama.&lt;br /&gt;
&lt;br /&gt;
Therefore, notes are usually used only for the first appearance of a character, in order to provide the necessary introduction in enough subtitling space.When they appear a second time, the introduction will be omitted.As for the conflicts between the characters and the progress of the plot, it is difficult for the target audience unfamiliar with Chinese History to adapt to the culture and conflict in the play. Therefore, it is hard to arouse their interest in watching this drama.&lt;br /&gt;
&lt;br /&gt;
===Translation Methods under Domesticating Strategy===&lt;br /&gt;
Opposite to the foreignizing strategy, domestication is characterized by the “tendency toward the target recipients” (Xiong Bing, 2014). In other words, the translator tries to be as close to the target recipients in the translation as possible. In Schleiermacher’s words, it means that translators “try not to disturb the reader, but to bring the original author to the reader” (Robinson, 2006: 229). Specifically speaking, in the translation, the translator uses the language, literary devices, cultural elements that the target language readers love to replace the language, literary devices and cultural elements of the original language as much as possible, and abides by the language, literary devices and cultural norms of the original language (Xiong Bing, 2014). &lt;br /&gt;
&lt;br /&gt;
The domesticating strategy is a translation strategy just opposite to the foreignizing strategy. Its advantage is that the translation can be fluent, easy to understand, and easily accepted by the target recipients; or it tries to meet the specific needs of the target audience. However, the domesticating strategy also has some shortcomings. The first weakness of it is the loss of the language, literariness, culture and other important elements of the source text, so that the target audience cannot appreciate the exotic authentic language and cultural practices. This cannot help the cultural exchange and dissemination between different ethnic groups. The second weakness is that the domesticating strategy of the translated text may lead to semantic loss and semantic ambiguity in translated texts.&lt;br /&gt;
&lt;br /&gt;
====Omission====&lt;br /&gt;
Omission is a very important method in domestication strategy.The Syntactic structure of English emphasizes &amp;quot;hypotaxis&amp;quot;, and there are appropriate connecting elements between each component of a sentence to express their mutual relations, which emphasizes the consistency and coordination of grammatical relations.The structure of Chinese sentences is &amp;quot;parataxis&amp;quot;, and the relationship between each component of the sentence depends more on the intention, and less on the linking component. The structure form is relatively relaxed, and the words and sentences are relatively simple.Therefore, Omission is one of the most common methods in Chinese text translation.Word reduction means that in translation, the translator must grasp the differences between Chinese and English, omit the unnecessary linking elements in Chinese, make the translation smooth, avoid stiff and cumbersome, and eliminate unnecessary words and words as far as possible.There are many examples of reducing words in the translation of Legend of Zhen Huan.&lt;br /&gt;
&lt;br /&gt;
Example 1&lt;br /&gt;
&lt;br /&gt;
Chinese version:“先敬罗衣后敬人。” &lt;br /&gt;
&lt;br /&gt;
American version: “The clothing completes the person.”&lt;br /&gt;
&lt;br /&gt;
This Chinese idiom means that people will first look at the clothes they are wearing and judge their social status according to the clothes. There is a derogatory element in it.However, in the translation of this sentence, the translator adopted the word reduction method and did not translate every word.The word &amp;quot;complete&amp;quot; expresses the idea that &amp;quot;clothes make the man&amp;quot;, but fails to express the meaning intended in the original text.Therefore, the author thinks that can continue to use the Omission here, will change its translated into “According to clothing to estimate people’s status.”&lt;br /&gt;
&lt;br /&gt;
Example 2&lt;br /&gt;
&lt;br /&gt;
Chinese version: “花开堪折直须折，莫待无花空折枝。” &lt;br /&gt;
&lt;br /&gt;
American version: One must pick a flower at the prime of its bloom, Do not wait until the blossom fade and falls.&lt;br /&gt;
&lt;br /&gt;
There are three Chinese characters for &amp;quot;折&amp;quot; in this sentence, but the translator did not show any of them in the Process of English translation.Shall we say that he did not translate the Chinese meaning?Of course not. The translator must have noticed these three &amp;quot;fold&amp;quot; characters in the process of translation. If one of them is translated out, the sentence will appear too long-winded and not in line with the characteristics of subtitle translation.Therefore, the translator starts from the meaning of the original text to persuade people to cherish, and cleverly leaves out the word &amp;quot;折&amp;quot;, which not only avoids repetition, but also conveys the meaning of the original text.This reflects the three principles of Skopos theory: &amp;quot;Based on the source language, pay attention to the culture in the target language, the intention of translation activities and the acceptance state of the American audience&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
====Addition====&lt;br /&gt;
Addition is also an important translation method in domestication strategy.Augmentation refers to the use of structural and semantic augmentation to compensate for linguistic and cultural deficiencies in the target text.Structural supplement refers to the addition of omitted words or replaced words to make the content of translation more complete.Semantic supplement refers to the translator's addition of nouns, verbs, summative words, explanatory words and conjunctions to compensate for the lack of language and culture in the target text so that readers can understand the original text.&lt;br /&gt;
&lt;br /&gt;
Example 1&lt;br /&gt;
&lt;br /&gt;
Chinese version:“他不忍叫你明珠暗投。”  &lt;br /&gt;
&lt;br /&gt;
American version:&amp;quot;You will not be granted an ordinary life when you can live an extraordinary one.&lt;br /&gt;
&lt;br /&gt;
In this example, the translator adopted Addition method to make a explanatory translation for &amp;quot;明珠暗投&amp;quot; , the translation of &amp;quot;be granted an ordinary life when you can live an extraordinary one.&amp;quot;As we know, Chinese idioms are one of the wonders of The Han culture, and they often show rich implicit meanings in condensed four-character sentences.In the translation of this sentence, it is easy for us to understand the meaning of &amp;quot; 明珠暗投&amp;quot;&amp;quot;, but how to make the American audience understand, the translator needs to make an explanation, so that the American audience can understand the implicit meaning of the original text, so as to reduce the cultural burden.&lt;br /&gt;
&lt;br /&gt;
Example 2&lt;br /&gt;
&lt;br /&gt;
Chinese version：“臣妾一与社稷无功，二与龙脉无助。” &lt;br /&gt;
&lt;br /&gt;
American version:“Firstly, I have made no contribution to the nation. Secondly, I have begotten no heirs.&lt;br /&gt;
&lt;br /&gt;
In example 2, the translator interprets &amp;quot;社稷&amp;quot; as &amp;quot;nation&amp;quot; for readers to understand.&amp;quot;社稷&amp;quot; has always been a synonym for &amp;quot;nation&amp;quot; in Chinese, just as &amp;quot;White House&amp;quot; is a synonym for &amp;quot;America&amp;quot;. In addition, there is no English equivalent for &amp;quot;nation&amp;quot;, so it is appropriate for the translator to use &amp;quot;nation&amp;quot;.Heirs to dragon vein, a Feng shui concept meaning undulating mountains, succeed.Later, the royal family regarded it as the lifeblood of the country, so they would call the royal blood &amp;quot;dragon vein&amp;quot;.Heirs to dragon Vein, which in this case means heirs to the emperor's children, succeed in translating it into Heirs to the emperor.It's less common and more advanced than the word &amp;quot;children&amp;quot;, which is often thrown around.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
The subtitle translation strategy of Legend of Zhen Huan generally focuses on domestication, and tends to transform implicit meaning into explicit meaning.When the meaning of the source language is complex and difficult to be understood by the target language audience, the translation strategy of domestication is usually adopted, and the expressions used in the target language are adopted.If there is an equivalent or similar expression between the target language and the source language, alienation should be considered, and a concise explanation should be added if conditions permit, so that the cultural essence of the source language can be preserved and the audience can experience the charm and national characteristics of traditional Chinese culture.&lt;br /&gt;
&lt;br /&gt;
As a translation strategy, absolute domestication and absolute foreignization do not exist in translation practice.The task of the translator is to make the best use of the two strategies in practice according to the specific language characteristics, the purpose, the language characteristics of the source language and the target language, and the national culture, so as to bridge the cultural differences between the two countries.&lt;br /&gt;
&lt;br /&gt;
==Reference==&lt;br /&gt;
[１]Dollerup, Cay. On Subtitles in Television Programs[J]. Babel, 1974, (20): 197-202. &lt;br /&gt;
&lt;br /&gt;
[２]Ivstor, Fordor. Film Dubbing: Phonetic Semiotic, Esthetic and Psychological Aspects[C]. John Benjamins, 1976. &lt;br /&gt;
&lt;br /&gt;
[３]Schleiermacher, F. On the Different Methods of Translation[A]. In Robinson, D.(ed.). Western Translation Theory: From Herodotus to Nietzsche[C]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
&lt;br /&gt;
[４]Titford, Christopher.Subtitling: Constrained Translation[J]. Lebende Sprachen, 1982, 27(3):113-116.  &lt;br /&gt;
&lt;br /&gt;
[５]钱绍昌. 影视翻译──翻译园地中愈来愈重要的领域[J]. 中国翻译, 2000(1):61-65.&lt;br /&gt;
&lt;br /&gt;
[６]汪徽.字幕对伴随性词汇习得的影响[J].外语电化教学,2005(2):47-52. &lt;br /&gt;
&lt;br /&gt;
[７]熊兵. 翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J]. 中国翻译, 2014(3):82-88.&lt;br /&gt;
&lt;br /&gt;
=2 刘晓 The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
[[Trans_Type_EN_2]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
With the rapid growth of economy, people's pursuit of life quality is gradually increasing. Travelling abroad has become a hot topic nowadays. The rapid development of overseas travel has increased the market demand for tourism translation, and more stringent requirements for tourism translators. How to deal with the translation problems caused by the cultural differences between Chinese and English during the translation process is of great importance to improve the quality of tourism translation. The communicative translation strategy in Newmark's translation theory focuses on the effect that the translation brings to the target language readers, which is of certain guiding significance to the E-C translation of tourism texts. Therefore, this paper takes ''Everglades National Park, Florida (Excerpt)'' as an example to analyze the specific translation strategies and methods in the application of Newmark's translation theory in tourism texts, so as to provide reference for other translators.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Translation strategy and translation methods; Peter Newmark; Tourism texts&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
This paper is based on the English-Chinese translation of ''Everglades National Park, Florida (Excerpt)''. By analyzing the application of Peter Newmark's communicative transaltion in the translation, the author proposes some translation methods, which can be provided for future references.  This chapter mainly introduces the background information and significance of the report, and the domestic research status.&lt;br /&gt;
&lt;br /&gt;
====Research background====&lt;br /&gt;
&lt;br /&gt;
With the development of the world, various kinds of tourism appear in people’s life, and has unprecedentedly, extremely widely spread a variety of culture and lifestyle. Tourism has become a rising sunrise industry in modern society (Jin Huikang, 2007). To a foreign country to enjoy the beautiful scenery can make people know the colorful world and further know what they want. And this activity also has made tourism translation a reality and a thriving discipline.&lt;br /&gt;
&lt;br /&gt;
However, due to the different geographical environments, cultural differences and historical backgrounds in different countries, many translators often ignore the disadvantages brought by differences in language and cultural habits in the process of translation, so that the original meaning of the original text will be lost in the process of transmission, which may cause confusion for tourists and cannot achieve the purpose of offering them accurate information and stimulating their interest.&lt;br /&gt;
&lt;br /&gt;
Therefore, in order to make it more convenient for domestic citizens to travel abroad, translators should choose appropriate translation strategies and methods according to the cultural differences between China and foreign countries in the process of tourism English translation, so that tourists can form an objective and correct understanding of scenic spots. The semantic translation and communicative translation strategies in Peter Newmark’s Theories respectively focus on whether the meaning of the original text is exactly reproduced and the effect and influence that the translation brings to the target language readers, which are of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
&lt;br /&gt;
====Research significance====&lt;br /&gt;
&lt;br /&gt;
In theory, based on Peter Newmark’s translation theories, this paper chooses the semantic translation strategy and puts forward appropriate translation methods for the English-Chinese translation of tourist text -- the ''Everglades National Park, Florida (Excerpt)'', which is of certain guiding significance for English - Chinese translation of tourist texts.&lt;br /&gt;
Based on the practice of the ''Everglades National Park, Florida (Excerpt)'' English - Chinese translation and the analysis of Newmark’s communicative translation strategy’s application, this paper sums up some translation methods, such as voice change, objective and personal subject changing, adding conjunctions, etc. And these methods can be provided for future references in the translation study and practice of others, which has a certain practical significance.&lt;br /&gt;
&lt;br /&gt;
'''correction：'''&lt;br /&gt;
&lt;br /&gt;
In terms of theory, based on Peter Newmark's translation theory, this paper selects a semantic translation strategy and proposes a corresponding translation method for the English-Chinese translation of the tourism text, Florida Everglades National Park (excerpt), which has certain guiding significance for the English-Chinese translation of the tourism text. Based on the practice of English-Chinese translation of Florida's Everglades National Park (excerpt) and the analysis of the application of Newmark's communicative translation strategies, this paper summarises some translation methods, such as phonetic conversion, objective and personal subject conversion, and the addition of conjunctions. And these methods can provide references for the future translation research and practice of others, and have certain practical significance.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 08:02, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
====Literature review====&lt;br /&gt;
&lt;br /&gt;
Through the analysis of Newmark’s communicative translation in recent years, it can be found that there are many references for the guidance of communicative translation on tourism translation texts. He Xueyun (2005) proposes that the public notices and signs should belong to the vocative functional text and focus on the reader-centered communicative translation, which can give foreigners a better environment for travel, study and work in China. For such a style, the communicative translation theory should be chosen, the target readers put in the first place and always in mind, and their culture and receptivity taken into account. Jin Huikang (2006) believes that tour guide words must have a specific expected function, which are a kind of texts that integrate informative, expressive and vocative functions. Therefore, tourism translation should aim at effective attraction for overseas tourists, and the translator should grasp the group characteristics of overseas tourists and audiences when carrying out tourism propaganda or translating tourism materials. Ma Chen (2010) points out that the tourism text is a kind of article mainly based on vocative function, and the core of which is to accurately convey information for readers. Liu Anhong (2013) proposes tourism text as a kind of publicity material, aiming to stimulate tourists’ interest in visiting. According to the division of Newmark, the tourism text should belong to the text with the vocative function as its main function and the informative function as its secondary function. Therefore, the translation of tourism text should effectively achieve the effects similar to the original text.&lt;br /&gt;
&lt;br /&gt;
From the combing of previous literatures, it can be found that there are many studies on the translation of tourism texts guided by Newmark’s communicative translation strategy. However, at present, there are few studies on the translation of tourism texts from English to Chinese, and more studies focus on the Chinese- English translation. For this reason, this paper is based on the translation practice of ''Everglades National Park, Florida (Excerpt)'' to provide some reference for future English – Chinese translation of tourism.&lt;br /&gt;
&lt;br /&gt;
===Tourism Texts===&lt;br /&gt;
&lt;br /&gt;
====General Introduction====&lt;br /&gt;
&lt;br /&gt;
Tourism text is an important carrier for readers to obtain scenic spot information, and Tourism text is to stimulate readers' desire to travel by introducing tourist attractions and resources, and its ultimate purpose is to meet readers' expectations and arouse readers' enthusiasm by delivering tourism information. In other words, the dominant function of tourism text is vocative function. At the same time, tourism texts also provide readers with information they like, from which people can acquire relevant knowledge such as culture and customs, natural geography, etc. Therefore, informative function is also its important feature. It can be seen that the two most important functions of tourism texts are respectively informative and vocative one, whose premise is to provide information and purpose is to attract tourists. &lt;br /&gt;
&lt;br /&gt;
In addition, we should realize that translation of tourism texts is a professional translation of tourist attractions and resources for target readers, and its essence is a communicative behavior. If the translator fails to properly deal with the differences between cultures, it will often fail to achieve the expected results. Therefore, during the translation process, more attention should be paid to the accuracy and effectiveness of the information, so as to make the translation conform to the target readers’ reading habits and aesthetic expectation (Li Daosheng, 2000). This requires the translator to put the reader's acceptance first in the process of translation. That is, tourism text translation should not only realize the conversion from one language to another, but also take language barriers and cultural differences into account. Therefore, in order to achieve the goal of successful communication, translators should flexibly apply various translation strategies and adopt appropriate translation methods according to the text types of tourism texts.&lt;br /&gt;
&lt;br /&gt;
====Introduction to the ''Everglades National Park, Florida (Excerpt)''====&lt;br /&gt;
&lt;br /&gt;
Established in 1974, Everglades National Park covers 2,354 square miles, or 6,097 square kilometers (1.4 million acres). Located at the tip of southern Florida, it is the largest subtropical wildlife sanctuary in the continental United States. Everglades National Park protects an unparalleled landscape which provides important habitat for numerous rare and endangered species such as the manatee, American crocodile, and the elusive Florida panther.&lt;br /&gt;
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''Everglades National Park, Florida (Excerpt)'' is excerpted from a notice from U.S. National Park Service about the phased reopening of the park, including alerts of the reopening, activities, safety and accessibility. It can also be regarded as a travel guide, which describes the journey towards people and offers help to the tourists who want to go there, and which often includes the description of the best travel time, transportation, accommodation, scenic spots and matters needing attention. As a practical text, its main purpose is to introduce and promote tourist scenic spots, that is the Everglades National Park in Florida. Its vocative and informative function are very prominent, and it has the characteristics of reader-orientation, the effectiveness of information transmission and timeliness.&lt;br /&gt;
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===Newmark's Translation Theory===&lt;br /&gt;
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====General introduction of Peter Newmark's translation theories====&lt;br /&gt;
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Peter Newmark, a well-known translation theorist, is one of the main figures in the founding of translation studies in the English-speaking world in 20th century. Newmark devoted himself to studying the past and present of Western translation, and put forward his own views on this basis. Newmark’s translation theories mainly include three parts, that is, the classification of text types, translation approaches, and the lately correlative theory of translation.&lt;br /&gt;
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According to Karl Buhler’s knowledge of language features and Jacobson’s classification of them, Newmark proposed six functions of language informative function, expressive function, vocative function, phatic function, aesthetic function, and lastly metalingual function. (Hou Yingying, 2020) Then Newmark divided text types into three: expressive-functional texts, informative-functional texts, vocative-functional texts.&lt;br /&gt;
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After putting forward these three text types, Peter Newmark suggested eight translation approaches or strategies. Firstly, from the perspective of focusing on the source language, he suggested word-for-word translation, literal translation, faithful translation and semantic translation; Secondly, from the perspective of focusing on the target language, he suggested adaptation, free translation, idiomatic translation and communicative translation (Newmark, 2001:45).&lt;br /&gt;
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In 2007, Newmark came up with a new theory, that is, correlative theory of translation, which means that “The more serious and important the language of the original or source text, the more closely it should be translated.” (Newmark, 2007)&lt;br /&gt;
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In conclusion, Peter Newmark has proposed many significant theories and made extensive discussion on those concepts, which will have a great influence on the translation practice.&lt;br /&gt;
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====Semantic translation and communicative translation====&lt;br /&gt;
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Peter Newmark divided text genres into “expressive text”, “informative text” and “vocative text” in his classic work ''Approaches to Translation''. Imaginative literary works, such as poems, songs, novels and dramas, authoritative statements, autobiographies, essays and personal correspondence, etc. are expressive texts. All the formatted texts with science and technology, industry and commerce, and economy as themes belong to informative texts. And vocative text refers to all texts that can infect readers and make them “get information”.&lt;br /&gt;
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With reference to these three kinds of texts, Newmark further creatively proposed the concepts of semantic translation and communicative translation: “communicative translation” means that the effect of the target text on the reader of the target language is as much as the effect of the original text on the reader of the source language; “semantic translation” refers to the reproduction of the context of the source text as accurately as possible under the premise of the semantic and syntactic structure of the target language. He believed that only communicative translation and semantic translation can achieve the two major goals of translation: being accurate, and being economic (effective).&lt;br /&gt;
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In ''About Translation'', Newmark made a detailed comparison of the characteristics of semantic translation and communicative translation from different aspects, and pointed out that the fundamental difference between them lies in that when the information and the effect are in conflict, communicative translation lays more emphasis on effect than content, while semantic translation lays more emphasis on content than effect. Communicative translation can give the translator full freedom, the translator can reorganize the syntax, eliminate the original obscure places in the source language, and make the language conform to the standard of the target language. However, semantic translation emphasizes the content of the information itself, tries to make the form of the target text similar to the form of the original text, and retains the language characteristics and expressive style of the original author. Therefore, compared with semantic translation, communicative translation is more subjective and can better reflect the translator’s creativity and it attaches great importance to the communicative effect of translation, the key to which is to convey information, make readers of the target language think, act and feel, and play an inductive role in making the translation natural and smooth, and more readable. &lt;br /&gt;
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Newmark pointed out that the translation of expressive texts should employ semantic translation, while informative and vocative texts communicative translation which is reader-centered. The most direct purpose of tourism texts translation is to convey information to readers on the premise of attracting readers’ attention and leaving readers with deep memories, so that readers can take actions -- to visit tourist attractions and pay attention to matters that should be paid attention to. Thus, it can be seen that the tourism text belongs to the vocative text and the communicative translation should be applied. &lt;br /&gt;
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To sum up, Newmark’s communicative translation focus on the effect that the translation brings to the target language readers, which is of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
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===Case Study===&lt;br /&gt;
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The purpose of communicative translation is to try to make the translation have the same effect on the target reader as the original does on the source reader. That is to say, the key point of communicative translation is to be loyal to the target language and the target text reader, that is, the source language is required to obey the target language and culture, leaving no doubt or obscurity to the reader, and eliminating difficulties and obstacles in reading or communication for the reader as far as possible.&lt;br /&gt;
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Because the translator wants to achieve a certain communicative purpose, emphasizes the effect and has a specific target audience, the translation has inevitably broken the restrictions of the original text, pursuing smoothness, clarity, directness and conformity with conventions. In this part, the author analyzes the specific application of communicative translation in the translation practice of the ''Everglades National Park, Florida (Excerpt)'' from three aspects: lexical, syntactic and textual analysis.&lt;br /&gt;
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====At Lexical Level====&lt;br /&gt;
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Generally speaking, there is partial equivalence between English and Chinese, that is, similar expressions in Chinese can replace the meaning of English words or phrases (Liu Junping, 2009). In the following, two translation methods used in lexical translation will be introduced: conversion of part of speech and the translation of public signs.&lt;br /&gt;
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1)Conversion of part of speech&lt;br /&gt;
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Example 1:&lt;br /&gt;
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ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors.''&lt;br /&gt;
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TT: 个人、团体或家庭都能在这找到适合的户外活动。&lt;br /&gt;
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Analysis: As we all know, English belongs to the Indo-European language family, while Chinese the Sino-Tibetan language family. Many differences exist between English and Chinese in terms of vocabulary and grammatical structure. Therefore, in the process of translating English into Chinese, due to the different ways of expression between English and Chinese some sentences can be translated word by word, while most sentences cannot. In order to make the Chinese translation smooth and natural, some words in the original text need to be converted into different parts of speech in the target text without sticking to the surface structure of the original text. In other words, some words in the original text can be converted into other parts of speech in Chinese on the premise of being faithful to the original meaning and retaining the original effect. &lt;br /&gt;
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The original sentence uses a nominal phrase “no shortage of” to express the meaning that no matter how many people come together for outdoor activities, there are always options. The translator translates it into a verbal phrase, that is, everyone can find a suitable outdoor activity here, so that the meaning gets across and the whole sentence flows naturally.&lt;br /&gt;
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Example 2:&lt;br /&gt;
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ST: ''Accessibility: No immediate trails.''&lt;br /&gt;
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TT: 如何前往：没有路径可直接到达。&lt;br /&gt;
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Analysis: As English tends to use more nouns with static narratives, while Chinese tends to use more verbs with dynamic ones. The static tendency of English mainly comes from nominalization, a common phenomenon in English. Nominalization mainly refers to the use of nouns (phrases) to express the information originally expressed by verbs (phrases), such as the use of abstract nouns to express actions, behaviors, changes, states, etc (Lian Shuneng, 1993). For example, “accessibility” in Example 2 is an abstract noun, which is used to show the way to one place. Chinese, on the other hand, tends to use verbs. So, in order to better convey the effect and let the reader read without any doubt or discomfort, the translator converted the noun into a verb phrase, that is “如何前往”. Likewise, in the noun phrase “no immediate trails”, the author wants to say that there is no direct way (to arrive at the destination). When translating, if it is directly translated into a noun phrase “没有直达路”, the reader may feel difficult to read. So, if it is translated into “there is no direct path can reach that place”, the sentence will be more smoothly and convey the original information and the effect is also retained.&lt;br /&gt;
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2)Public signs&lt;br /&gt;
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Example 3 &amp;amp; 4:&lt;br /&gt;
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ST: ''Things To Do'' &lt;br /&gt;
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TT: 活动介绍&lt;br /&gt;
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ST: ''What you can do''&lt;br /&gt;
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TT: 解决措施&lt;br /&gt;
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Analysis: As mentioned in the theoretical framework above, tourism text belongs to vocative text. As a kind of tourism text, public signs are a special style for specific people to achieve a certain communicative purpose. Its application scope is very wide, almost involved in every aspect of our daily life, such as street signs, billboards, road signs, shop signs, warnings, propaganda, travel briefs and so on. As a communicative tool, it conveys necessary and useful information to the public by means of a few words, simple and easy to understand icons or the combination of both (He Xueyun, 2006). Therefore, it can be seen that public signs feature lots of nouns, verbs, phrases and abbreviations and more often, fixed expression, which means in translation, only concise and idiomatic expression can fully convey the effect of the original text.&lt;br /&gt;
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Just as the example 3, once the original text is translated literally, that is “要做的事情”, it sounds rather awkward, which not only does not convey the meaning of the source text that was intended as an introduction to the activities that can be done, but also may lead the reader to believe that this section is about what is required. However, if it is translated into “活动介绍”, readers can clearly know the main content of this part and can find out the activities they are interested in. This expression is very concise and also in line with the Chinese language habits. The same is true of example 4.&lt;br /&gt;
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Example 5 &amp;amp; 6:&lt;br /&gt;
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ST: ''Alligators and crocodiles - Crocodilians are one of the reasons people visit the park, however, these are wild animals that can be dangerous to humans.''&lt;br /&gt;
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TT: 小心短吻鳄和鳄鱼——鳄鱼是人们参观公园的原因之一，然而，这些野生动物对人类会很危险。&lt;br /&gt;
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ST: ''Poisonous plants - The park’s ecosystems support a variety of plant life including some that cause reactions to human skin.''&lt;br /&gt;
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TT: 警惕有毒植物——公园的生态系统支持多种植物的生长，包括一些会对是人类皮肤过敏的植物。&lt;br /&gt;
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Analysis: Tourist texts belong to the vocative text, emphasizing the transfer of the effect of the information and the empathy of the reader. This requires the translator to pay attention to the internal logic of the text, modify the translated text to make it clear in the process of tourism translation without sticking to the original form and give full consideration to the core position of readers. &lt;br /&gt;
Examples 5 and 6 are in the same sentence structure -- firstly species are given, and then that the species could be in some danger is pointed out. If it is translated in accordance with the original text word by word, then the front part is just posing out that species. However, if such warning words as “小心” or “警惕” are added, it can let the reader know before he continues reading that this species may be dangerous when visiting, and then with reading below, the reader will know why it is dangerous. This will prepare the reader mentally, and the reading will be smoother.&lt;br /&gt;
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====At Syntactical Level====&lt;br /&gt;
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Two aspects are included in syntactic analysis, which are change of subjects and passive voice, and the punctuation.&lt;br /&gt;
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1)Change of subjects and passive voice&lt;br /&gt;
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Example 7:&lt;br /&gt;
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ST: ''Wading birds, cormorants, Purple Gallinules, and nesting Anhingas may be found along the path anytime of the day during the winter (dry) season.''&lt;br /&gt;
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TT: 在冬季（旱季），任何时候您都可以在沿路发现涉水鸟类、鸬鹚、紫雀和筑巢的美洲蛇鸟。&lt;br /&gt;
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Analysis: English tends to use more impersonal subjects, which means it rarely uses the personal subject to describe but expresses how objective things act on people’s perception to things appear in an objective tone. So, the structure is often like this: inanimate subject + animate subject (Lian Shuneng, 2010). Chinese pays more attention to subjective thinking, and often describes objective things from the point of view of oneself, or tends to describe people and their behavior or state, so the personal subject is often used. When the personal subject is clear, Chinese often implies or omits it.&lt;br /&gt;
Passive voice is a common grammatical phenomenon in English. In some styles, the use of passive sentences has almost become a habit of expression. Passive sentences give rise to the tendency of using impersonal subjects, and vice versa. Chinese uses fewer passive forms. The main reason for this difference is that the use of passive forms in Chinese is limited, and the mark of the passive voice, such as “让”, “给”, “受”, mostly expresses displeasure.&lt;br /&gt;
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Therefore, in example 7, the translator transformed the passive voice into the active voice and the impersonal subjects “Wading birds, cormorants, Purple Gallinules, and nesting Anhingas” into the personal subjects “您”. What’s more, as this tourism text is written for readers, the use of the second person subject can shorten the distance. &lt;br /&gt;
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Example 8 &amp;amp; 9: &lt;br /&gt;
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ST: ''Wading birds, American Coots, Osprey, White-crowned Pigeons, warblers, Red-shouldered Hawks, Anhingas, rails, Painted Buntings and other transients are best viewed here in the morning.''&lt;br /&gt;
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TT: 早晨在这里观赏涉禽、美洲骨顶鸡、鱼鹰、白头鸽、莺、赤肩鹫、美洲蛇鸟、秧鸡、彩绘鹀和其他过路的鸟类的效果最好。&lt;br /&gt;
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ST: ''In the summer, fewer programs are offered.''&lt;br /&gt;
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TT: 夏季提供的项目较少。&lt;br /&gt;
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Analysis: Just as what has been said above, English has a tendency to use impersonal subjects and passive voice, while Chinese is exactly the opposite. And when the subject is clear, Chinese often implies or omits it, which is just like example 8 the personal subject “you” is omitted. &lt;br /&gt;
In example 9, the omitted subject is the national park, and the temporal adverbial phrase “in the summer” becomes the subject in form, which is a common expression in Chinese. That is because subjects in Chinese are not only in various forms, but also dispensable: it can denote giving, receiving, time, place.&lt;br /&gt;
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2)Punctuation&lt;br /&gt;
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Example 10:&lt;br /&gt;
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ST: ''Connecting trails through the Pinelands run 7 miles (11 km) west from the Long Pine Key campground to Pine Glades Lake along the main park road.''&lt;br /&gt;
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TT: 这些小道从长松岛营地向西延伸7英里（11公里），穿过一片松林地，连通公园主路边松林湖。&lt;br /&gt;
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Analysis: English sentences are complicated, and subordination is one of the most important characteristics of modern English, which features right-branching, sentences long and complex, made in “architecture style”. Conversely, Chinese sentences are relatively short, and commonly use scattered sentences, loose sentences, tight sentences or composite sentences with parallel structure. Chinese features left-branching, and sentences are made in “chronicle style”, using clauses to streamline the thoughts. &lt;br /&gt;
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So, when there are many prepositional phrases in the original English sentence, the translator can divide the long sentence into several short sentences and recognize those by adding comma, which can help readers to sort out the logic of the original text and get the main information. By using communicative translation, the translator divided the original sentence into three sentences. The logical sequence is that “The trails run seven miles (11 kilometers) west from the Long Pine Key campground. Passing through the Pinelands, they lead to Pine Glades Lake along the main park road.”, which shows the location of both the Long Pine Key campground, the Pinelands and Pine Glades Lake correctly, leaving no doubt to readers of the target language.&lt;br /&gt;
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Example 11:&lt;br /&gt;
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ST: ''In keeping with Monroe County’s closure order for beaches, North Nest Key and all waters within 100 yards from the shore will be closed for protection of park resources during the holiday weekend. The closure will begin on Friday, July 3 at 6 a.m.''&lt;br /&gt;
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TT: 根据门罗县对海滩的关闭安排，为保护公园资源，北巢岛和离海岸100码以内的所有水域将自7月3日星期五早上6点起暂停对外开放。&lt;br /&gt;
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Analysis: In the original text there are two sentences, which can be combined to make the meaning complete and language pithy in the target language. And it can be taken into consideration to reconstruct them by replacing full stop with comma. By considering communicative translation, the translator put two prepositional phrases in advance as adverbials, which are “in keeping with Monroe County’s closure order for beaches” and “for protection of park resources during the holiday weekend”, and then turned the second sentence into a temporal adverbial phrase and put it in the main clause as an adverbial. So, the whole structure is “In keeping with Monroe County’s closure order for beaches and for protection of park resources during the holiday weekend, North Nest Key and all waters within 100 yards from the shore will be closed from Friday, July 3 at 6 a.m.” By doing so, the information is concisely conveyed, and Chinese readers can well understand it.&lt;br /&gt;
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====At Textual Level====&lt;br /&gt;
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Discourse refers to the actual language unit used and is the whole language constituted by a series of consecutive paragraphs or sentences in the communication process. In general, a text consists of words, phrases, sentences and sentence cluster (Lan Lingyan, 2020), among which the components were cohesion in form and coherence in semantics.&lt;br /&gt;
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Example 12:&lt;br /&gt;
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ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors. The diverse habitats allow for enjoyable activities ranging from hiking, canoeing, kayaking, biking, fresh and saltwater fishing, and camping in the ultimate wilderness.''&lt;br /&gt;
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TT: 个人、团体或家庭都能在这找到适合的户外活动。无论是步行、乘坐独木舟、划皮划艇、骑自行车，还是在淡水或海水钓鱼、在终极荒野地露营，您都可以饱览多样的自然环境、尽享快乐。&lt;br /&gt;
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Analysis: Coherence in a piece of writing refers to the principle that all paragraphs, sentences or ideas are combined so well that they form a united whole. Coherent translation has smooth structural, grammatical, and logical movement from one sentence or idea to the next and the reader does not have to pause and guess at the meaning caused by gaps in development between ideas, sentences and paragraphs. &lt;br /&gt;
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In example 12, the last topic of the fist sentence in the original sentence is outdoor activities, while the subject of the second sentence is the diverse habitats. This is a shift in the topic, which may make the readers pause and guess at the logical relation between them. Therefore, in translation, guided by communicative translation, the translator needs to mind the text coherence and to make proper adjustments. Out of this, the translator put the activities in the second sentences as the subject of the second sentence in the target text, so that the first sentence can pass through smoothly to the next one, so does the understanding of readers.&lt;br /&gt;
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Example 13:&lt;br /&gt;
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ST: ''Everglades National Park is a popular spot for saltwater and freshwater sport fishing. Boats can be chartered at Flamingo. Be sure to check a visitor center for park fishing regulations and closed areas.''&lt;br /&gt;
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TT: 大沼泽地国家公园是一个很受欢迎的钓海水鱼和淡水鱼的地方。在弗拉明戈可以租船。在钓鱼之前，一定要阅读游客中心的公园捕鱼规定和封闭区域。&lt;br /&gt;
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Analysis: Cohesion can be thought of as all the grammatical and lexical links that link one part of a text to another. This includes the use of synonyms, lexical sets, pronouns, verb tenses, time references, grammatical reference, etc. For example, ‘it’, ‘neither’ and ‘this’ all refer to an idea previously mentioned.&lt;br /&gt;
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In example 13, this paragraph mainly talks about fishing in the Everglades National Park, with a topic sentence and two explanatory sentences: one introducing the place for chartering and the other cautions. There are no grammatical or lexical links within these three sentences, and the logic is connected by semantics. Considering well understanding of readers in the target language, the translator added one lexical link “before fishing” between the last two sentences, to make the reader understand that he or she should read the rules and precautions of fishing before going fishing. Also, with repeating the key word “fishing”, the central idea of this whole paragraph is prominent, and the sentences are logically and smoothly linked to express the intended meaning, thus making this paragraph a cohesive group.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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====Major findings====&lt;br /&gt;
For the text, the tourism text belongs to the vocative text, which focuses on conveying the information and effect, so the communicative translation theory should be adopted to this kind of translation. As for this original text, the first part that introduces the outdoor activities belongs to the tourism advertisements, which are descriptive with vivid words. Tourism advertising is infective, with short and concise words, full of creativity, lively and concise sentence structure, and strong attraction. While the announcement that informs of the operating status of the park is a quite different style. The wording is formal, standard, accurate and stylized. Secondly, the source text involves a wide range of knowledge and large vocabulary. For example, “hardwood hammock” for “硬木吊床” and “Geocaching” for “寻宝”. &lt;br /&gt;
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Based on the analysis of examples from lexical, syntactic and textual levels, some translation methods can be proposed. On one hand, when translating, some words in the target text can be converted into different parts of speech in the original text to make the language natural and idiomatic. On the other hand, when doing English – Chinese translation, in most cases, passive voice should be changed into active voice, personal subject is favored in Chinese, and subjects can also be omitted sometimes. Lastly, as English and Chinese have lots of differences in sentences, the translator should change the order of the sentences sometimes to make them smooth and fluent, and some words can be added to make the meaning coherent.&lt;br /&gt;
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====Limitations====&lt;br /&gt;
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Besides some major findings, there are also many limitations in this translation practice. Firstly, communicative translation focuses on the effect conveyed by the translation rather than the information, which can easily make the translator ignore some original. So, in the translation, other available translation theories should also be taken into account to achieve best translation. &lt;br /&gt;
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Then, when translating a text, whether it is a tourism text or a literary works, they cannot be translated immediately. Relevant information and background should be collected in advance, and otherwise some mistakes which should be avoided will be made. For example, “Snail Kite (蜗鸢)” might be translated as “蜗牛风筝” if the translator does not look it up in advance.&lt;br /&gt;
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===References===&lt;br /&gt;
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[1] Newmark, Peter. About Translation[M]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
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[2] Newmark. Approaches to translation[M]. Shanghai Foreign Language Education Press, 2001. &lt;br /&gt;
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[3] Newmark, Peter. A New Theory of Translation[J]. Sborník Prací Filozofické Fakulty Brněnské Univerzity, 2007(13)&lt;br /&gt;
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[4] Newmark, Peter. A Textbook of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2001:39-42. &lt;br /&gt;
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[12] 刘军平，西方翻译理论通史[M]. 武汉：武汉大学出版社, 2009.&lt;br /&gt;
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[13] 马忱.交际翻译策略对汉英旅游翻译的启示[J].郑州航空工业管理学院学报(社会科学版), 2010,29(06):119-121.&lt;br /&gt;
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'''correction：'''&lt;br /&gt;
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[1] Newmark, Peter. About Translation[M]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
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[2] Newmark. Approaches to translation[M]. Shanghai Foreign Language Education Press, 2001. &lt;br /&gt;
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[3] Newmark, Peter. A New Theory of Translation[J]. Sborník Prací Filozofické Fakulty Brněnské Univerzity, 2007(13)&lt;br /&gt;
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[4] Newmark, Peter. A Textbook of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2001:39-42. &lt;br /&gt;
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[5] He Xue Cao. The current situation of Chinese-English public language translation and its communicative translation strategy[J]. Foreign Language and Foreign Language Teaching, 2006(03):57-59.&lt;br /&gt;
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[6] Hou Yingying. A comparative study of Katherina Rice and Peter Newmark's translation theory of text types[J]. English Abroad, 2020(22):49-50+60.&lt;br /&gt;
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[7] Jin Huikang. Exploring cross-cultural tourism translation [J]. Shanghai Translation, 2007(01):31-34.&lt;br /&gt;
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[8] Lan Lingyan. A practical report on Chinese translation of Family Life (excerpt) under the guidance of communicative translation theory[D]. Nanchang University, 2020.&lt;br /&gt;
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[9] Li Daosheng. A comparative analysis of Chinese-English semantics [J]. Language Education, 2000(4):4-5.&lt;br /&gt;
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[10] Lian Shouneng. A Comparative Study of English and Chinese [M]. Beijing: Higher Education Press, 1993.&lt;br /&gt;
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[11] Liu Anhong. Research on translation strategies of tourism texts in the perspective of cross-cultural communication [J]. Chinese Culture Forum, 2013(10):160-163.&lt;br /&gt;
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[12] Liu Junping, General History of Western Translation Theory [M]. Wuhan: Wuhan University Press, 2009.&lt;br /&gt;
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[13] Ma Chen. Implications of communicative translation strategies for Chinese-English tourism translation [J]. Journal of Zhengzhou Institute of Aviation Industry Management (Social Science Edition),2010,29(06):119-121.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:34, 12 December 2021 (UTC)&lt;br /&gt;
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=3 刘越 Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
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==Abstract==&lt;br /&gt;
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There are many translation practices under the guidance of communicative translation theory, but there are not many translation practices in Korean novels. Through this translation practice, we hope to summarize the translation methods and strategies adopted in the translation of novel subject matter under the guidance of communicative translation theory in terms of vocabulary, sentence and rhetoric. In this paper, under the guidance of communicative translation theory of Korean novels &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; to analyze translation strategies and translation methods, let us hope that through the work of human changes in temperature to realize that the most warm affection and the most simple human feelings, seems to be the fact that more and more far from us, let us together to explore the history of the &amp;quot;family&amp;quot; gradually forgotten by us and meaning, Wake up our sense of affection, cause our emotional resonance.&lt;br /&gt;
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[[Correction:]] There are many translation practices guided by communicative translation theory, but not many in Korean novel translation. Therefore, it is of great significance to analyze the translation of Korean novels under the guidance of communicative translation theory. With the communicative translation theory as the theoretical foundation, this paper will take the Chinese translation of two novels &amp;quot;The Innocents&amp;quot; and &amp;quot;The Goat Family&amp;quot; excerpted from the Korean novel collection ''Eun-ju's Movie'' as examples, and analyze the translation methods and translation strategies in lexical, syntactic and rhetorical respects, so as to provide better understanding of Korean novels and more effective guidance for the Korean novel translation practice. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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==Keywords==&lt;br /&gt;
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Communicative translation theory; Korean novels; Translation methods and strategies&lt;br /&gt;
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==Introduction==&lt;br /&gt;
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[[Correction(addition of a transitional paragraph):]] This section will briefly introduce the emergence and development of communicative translation, and the applicability of communicative translation theory to the translation of popular novels. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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===Emergence and Development of Communicative Translation===&lt;br /&gt;
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According to the function of language, i.e. the purpose for which it is used, Newmark proposes the following three text types: expressive text, informative text, and vocative text.&lt;br /&gt;
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At the heart of the expressive function is the use of words by the speaker or author to express his or her thoughts and feelings. The author's unique form of language is as important as the content.Expressive function texts emphasise the authority of the original author, and translations should follow the principle of &amp;quot;original author first&amp;quot;, faithful to both the content of the ideas expressed by the original author and the language style of the original author, without regard to the reaction of the target reader. The core of the information function is the external context, i.e. all the information about a topic, or the unspeakable reality. At the heart of the information text is the &amp;quot;authenticity&amp;quot; of the content; the author's language is secondary. Translation should be based on the principle of &amp;quot;authenticity first&amp;quot;. The call to action is reader-centred and aims to &amp;quot;call the reader to action, to think, to feel&amp;quot;. The translation should follow the principle of 'reader first', putting the reader of the target language first. The translator can make full use of the advantages of the incoming language, without adhering to the expressions of the original, so that the translated language can achieve the same effect as the original.&lt;br /&gt;
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[[Correction:]] The first type is the expressive text. Its core is the expression of feelings and the conveyance of ideas. In this kind of text, the original author's unique language form and content are equally important. Consequently, with regard to the translation of expressive texts, the translator should follow the &amp;quot;author-first&amp;quot; principle, faithful to the original author's ideas and language form, without considering the target-language readers' reaction. The expressive texts include literary works, personal letters, autobiographies and prose. The second type is the informative text. The core of this kind of text is the external context, i.e. all the information about a topic, or the unspeakable reality. Concerning the informative text, the emphasis is placed on authenticity and the reality outside the language, so the translator should follow the &amp;quot;authenticity-first&amp;quot; principle in translation, with the original author's language in the secondary position. The informative texts include the non-literary works, textbooks, academic papers, newspapers and magazines, etc. The third type is the vocative text. This type has the readers-centered feature, calling on the readers to act, think and feel. Therefore, the translator should follow the &amp;quot;readers-first&amp;quot; principle, making full use of the advantages of the target language, and not confined to the original expressions, so that the translated text can produce the same effect as the source text. The vocative texts include product instructions, brochures, advertisements, etc. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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On this basis, two translation concepts, communicative translation and semantic translation, are proposed. Newmark believes that the theory of communicative translation focuses on the understanding and reaction of the recipient, the reader of the translation, and more on the effect rather than the content of the translated expression. The translator can give full play to the advantages of the translated language and introduce foreign elements into the culture of the translated language, with the advantages of naturalisation, Italian translation and idiomatic translation. Semantic translation attaches importance to the original text, focuses on its semantic content and strives to preserve the culture of the original text, and has the advantages of word-for-word, word-for-word and faithful translation. Communicative translation is suitable for informative and attractive texts such as autobiographies, personal emotional declarations, important political statements (or other statements), most non-literary texts, news, intellectual articles and books, textbooks, reports, scientific and technical literature, official correspondence, promotional material, advertisements, announcements, popular fiction. (Yang 1989:68-71)# His communicative and semantic translations have largely enriched the study of translation theory and influenced the field of translation.&lt;br /&gt;
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[[Correction:]] On this basis, the two translation concepts, communicative translation and semantic translation, are proposed. Newmark believes that the communicative translation theory emphasizes the recipients' or readers' understanding and reaction, and focuses more on the effect that the translation generates than its content. With communicative translation, the translator can give full play to the advantages of the target language, and introduce foreign elements into the target-language culture through domestication and idiomatic translation. At the same time, semantic translation attaches importance to the original text, keeps an eye on its semantic content and strives to preserve the source-language culture, featuring the advantages of literal translation and faithful translation. Communicative translation is suitably applied in informative and attractive texts such as autobiographies, personal emotional declarations, important statements, most non-literary texts, news, intellectual articles and books, textbooks, reports, scientific and technical literature, official correspondence, promotional materials, advertisements, announcements, as well as popular fiction. (Yang 1989: 68-71) Newmark's communicative and semantic translations have largely enriched the study of translation theory and influenced translation field. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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===Applicability of Communicative Translation Theory to the Translation of Popular Novels===&lt;br /&gt;
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First of all, the core content of communicative translation theory is that on the basis of being faithful to the content of the original text, it focuses on the readers' understanding ability and feelings, and pays more attention to the expression effect of the target text than the content. For the translator, the translator can give full play to the advantages of the target language and get rid of the constraints of the language structure of the original text. If the original text is illogical, ambiguous, and there are redundant words and ambiguities in the sentence, as well as dialects, coarse slang and other phenomena in the article, the translator has the right to reorganize the syntax and improve it by using collocation and common sentence patterns in accordance with the habits of the target language, so as to make the language more standardized. Translators also have the right to correct errors and omissions in the original text.( Shuang 1999(05):840）&lt;br /&gt;
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[[Correction:]] First of all, communicative translation theory accentuates the core that the translation, based on its faithfulness to the content of the original text, lays stress on the readers' understanding ability and feelings, and pays more attention to the expressive effect of the target-language text than its content. The translator can take advantage of the target language and get rid of the constraints of the language structure of the original text. If the original text is illogical and ambiguous with redundant words and ambiguities in the sentences, as well as dialects, coarse slang and other peculiar language phenomena, the translator has the right to reorganize the syntactic structure,  and use collocations as well as common sentence patterns in accordance with the habits of the target language, so as to render the language more standardized and natural and to improve the quality of translation. And the translator is also entitled to correct the errors and omissions in the original text. (Shuang 1999 (05): 840) (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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Secondly, according to Newmark's text type, communicative translation theory is applicable to vocative texts, which focus on the inspiring effect and take the target readers as the center. The purpose of translation is to elicit the desired response, including popular books and best-selling novels. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. The novel is mainly composed of characters, plots and descriptions of the environment to reflect the social reality. Novel is a literary genre that conveys thoughts and feelings and arouses readers' resonance. It belongs to appeal text, so communicative translation theory is suitable for novel translation.&lt;br /&gt;
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[[Correction:]] Secondly, according to Newmark's classification of text types, communicative translation theory is applicable to vocative texts, which stress their inspirational effect and take the target-language readers as the center. The purpose of translation is to elicit the expected response, which also resides in the translation of popular books and best-selling novels. The common goal of communicative translation and the vocative text is to enable readers to think and resonate emotionally. Additionally, the novel, consisting mainly of characters, plots and environmental descriptions, often reflects the social reality. And it is a literary genre that conveys thoughts and feelings and arouses readers' empathy, hence the novel falls into vocative text, and communicative translation theory is available to novel translation. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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The most important thing in novel translation is to convey the content of the original text and the author's thoughts and feelings to the readers, and to arouse the readers' deep thinking and empathy. When translating a novel, the translator should describe the plot of the original text and try to get close to the literary image depicted by the original author and the literary artistic conception created in the novel.&lt;br /&gt;
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If only follow the content style and text structure of the original text, it will violate the original intention of translation, making the translation obscure and unclear. Under the guidance of communicative translation theory, the translator can give full play to the advantages of the target language, modify and polish the original text, adjust the logic of expression, eliminate the differences between the original text and the target text, and get a smooth translation. At the same time, the translator can also pay more attention to the target readers, fully consider the reading habits and thinking mode of the target readers, and use easy to understand language vocabulary to convey the information of the source text and the thoughts and feelings of the source text author to the readers, so that the target text readers and the source text readers get the same effect.&lt;br /&gt;
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[[Correction:]] Only limited to the content and textual structure of the original text, the translators will violate the initial intention of translation, making the translation obscure and unclear. Under the guidance of communicative translation theory, the translators can bring the advantages of the target language to full play, modify and polish the original text, adjust the logic of expression, eliminate the differences between the original text and the target text, so that the translation can be more smooth. Meanwhile, the translators can also pay more attention to the target-language readers, take their reading habits and thinking mode into full consideration, and employ easy-to-understand language to convey the information of the source text and the original author's thoughts and feelings, attempting to produce on its readers an effect as close as possible to that obtained on the readers of the original. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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==Case Study under the Guidance of Communicative Translation Theory==&lt;br /&gt;
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Guided by Peter Newmark's communicative translation theory, the author carries out translation practice on two short stories &amp;quot;The Innocent Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. Under the guidance of communicative translation theory, this section adopts the strategies of translation modification and meaning extension to solve the problems of ambiguous and implicit sentences in novels. At the sentence level, the strategy of paraphrase, syntactic and translation is adopted. In the aspect of rhetoric, this paper adopts the translation strategies of addition and repetition, and makes a case study to explore and summarize the translation methods and strategies applicable to novel subject matter under the guidance of communicative translation theory.&lt;br /&gt;
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[[Correction:]] Guided by Peter Newmark's communicative translation theory, the paper will carry out analysis of translation strategies in two short stories &amp;quot;The Innocent Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. &lt;br /&gt;
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===Translation Strategies and Methods under Communicative Translation Theory at Lexical Level===&lt;br /&gt;
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[[Correction(addition of a transitional paragraph):]] This section, under the guidance of communicative translation theory, will elucidate the application of translation strategies in Korean novel at the lexical level, such as conversion and extension. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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====Conversion====&lt;br /&gt;
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The translation method refers to the conversion of parts of speech in the original text, such as changing nouns into verbs, adjectives into verbs, etc., so as to make the translation conform to the expression habits of the target language. Different languages have different linguistic phenomena and cultural backgrounds. In order to make the translation more in line with the language expression habits of The Chinese people and convey the correct meaning of the original text to The Chinese readers, every word in the Korean sentence cannot be translated dead, and some parts of speech in The Korean language have to be changed in translation.(Chen 1994)# The following is a case study of translating a part of speech in the original text into another part of speech in Chinese.&lt;br /&gt;
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[[Correction:]] Conversion at the lexical level refers to the change of parts of speech in the original text, such as the conversion of nouns into verbs, adjectives into verbs, etc., so as to make the translation conform to the target-language expression habits. As a result of the fact that different languages have different linguistic phenomena and cultural backgrounds, in order to make the translation more in line with the expression habits of Chinese language and convey the correct meaning of the original text to the Chinese readers, the words word in the Korean sentences cannot be translated too rigidly, and sometimes the word class in the original text should be changed when translating. (Chen 1994) For example, (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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Eg.1 그럴 때의 아이는 이제 노인이 아니라 소년가장 같았다.&lt;br /&gt;
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First translation：那一刻我觉得孩子不像老人，而像少年家长。 &lt;br /&gt;
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Retranslation：那一刻我觉得他不像一个历经沧桑的老人，而像一个饱经世故的孩子。&lt;br /&gt;
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&amp;quot;소 년 가 장&amp;quot; is a noun, the author looked up Chinese dictionary, found &amp;quot;소 년 가 장&amp;quot; in Korean means &amp;quot;가 정 의 생 계 를 실 질 적 으 로 책 임 지 고, 어 렵 게 생 계 를 유 지 하 는 소 년&amp;quot;, at the beginning of translation, in accordance with the original literal translation is &amp;quot;young parents&amp;quot;, but is not in conformity with the Chinese expression habit, it is not easy to let Chinese readers understand, The author in the guidance of communicative translation theory, through the network search and found the dictionary lookup &amp;quot;소 년 가 장&amp;quot; and Chinese proverb &amp;quot;the poor children early master&amp;quot; has the same effect, but here can make statements impassability, in order not to cause the reader to understand the problems, the author give full play to the advantages of the Chinese, the author by using the method of adaptation, Phrases collocation and considering the Chinese habit, the term &amp;quot;소 년 가 장&amp;quot; divided &amp;quot;소 년&amp;quot; and &amp;quot;가 장&amp;quot; two nouns, and the term &amp;quot;가 장&amp;quot; translated into adjectives &amp;quot;world&amp;quot;, the &amp;quot;소 년&amp;quot; translated into &amp;quot;children&amp;quot;, both to convey the meaning of the original, and can make readers easily understand the content.&lt;br /&gt;
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Eg.2：거기에 아이가 자신을 만나려 하지 않기 때문에 돈을 주지 않는 것이라는 비난의 말이 반복해서 쓰여 있었기 때문이다. &lt;br /&gt;
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Translation ：文件上反复指责说孩子不想认他这个父亲，所以不给抚养费。&lt;br /&gt;
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In the original text 비 난&amp;quot; is a noun, the author according to the original text in translation translated into &amp;quot;document and is accused of child, father didn't want to see him the accused, so not to support&amp;quot;, at the same time with the two accused, groundwork or at the back of the verb &amp;quot;blame&amp;quot;, also make the repetitive, so the author under the guidance of communicative translation theory, When translated again, the noun &amp;quot;비 project-oriented&amp;quot; is translated into the verb &amp;quot;blame&amp;quot;, so that the translation is easy to understand.&lt;br /&gt;
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====Extension====&lt;br /&gt;
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Extension translation method is refers to according to the specific context of contact and words in the original context, starting from the basic meaning of Korean original words, through the letter of the word or phrase in the sentence, its excellent implied meaning appropriately, use some conforms to the Chinese expression habit of character words, the content of the original essence of accurate expression. &lt;br /&gt;
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[[Correction:]] Extension refers to the translation method by which the essence of the original text can be accurately expressed through the use of some expression methods in line with the expression habits of Chinese and the selection of exact and idiomatic Chinese words, according to the internal coherence of the context. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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Eg.3：①텔레비전을 쳐다보던 아이가 대뜸 내밷었다. ②동식이 집을 나서자마자 엄마는 휴이히히히, 하는 기괴한 한숨을 길게 내뱉었다.&lt;br /&gt;
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Translation：①正在看电视的儿子突然吐槽道：“妈，你快看，电视里那个人真像我爸”。 ②母亲就“唉！”长长地叹了一口气。&lt;br /&gt;
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The author by looking up the dictionary, in the original &amp;quot;내 밷 다&amp;quot; has two meanings: (1) 입 안 에 있 던 것 을 입 밖 으 로 뱉 어 내 보 내 다. (2) 마 음 에 내 키 지 아 니 하 거 나 못 마 땅 한 어 조 로 불 쑥 말 하 다. &lt;br /&gt;
Chinese meaning is &amp;quot;vomit, and said,&amp;quot; the author under the guidance of communicative translation theory, reader's expressions and words in Chinese habit as the center, contact the original context and context, considering the words collocation, adopt the method of the extension, the &amp;quot;내 밷 다&amp;quot; translated into &amp;quot;fun&amp;quot; and &amp;quot;sigh&amp;quot;, not only conforms to the present context, and in accordance with the Chinese language habits.&lt;br /&gt;
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Eg.4: ①그러니까 엄마는 내가 돈 얘기 할 것을 미리 알고서 지금 차단막을 치는 것이리라. ②형이 옆구리를 툭 치며. ③까지는 살큼 익혀서 찬지름 치고 조선간장으로 조물조물 무쳐노면 고기반찬보다 낫드라. &lt;br /&gt;
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Translation：①但母亲好像早已看透了我的心思，先堵住了我的口。 ②大哥用胳膊肘戳了我一下。 ③蒸个七八分熟的时候撒上香油好好拌一下就行了，这样比那些荤食都好吃。&lt;br /&gt;
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The verb &amp;quot;치&amp;quot; would give many different meanings with different words, such as ①&amp;quot;beating, beating, beating, playing&amp;quot;.② take, base, wrap, erect, ③ feed, feed, etc. On the basis of communicative translation theory, and fully understand the original meaning, context, and considering Chinese words collocation is used, depending on the context, the extension method was adopted, will &amp;quot;치 다&amp;quot; translated into &amp;quot;blocking&amp;quot;, &amp;quot;stamp&amp;quot;, &amp;quot;and&amp;quot; verb, such as to conform to the Chinese habits of expression.&lt;br /&gt;
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===Translation Strategies and Methods under Communicative Translation Theory at Syntactic Level===&lt;br /&gt;
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Communicative translation theory is pointed out that to the readers, the translator should give full play to the advantages of the target language, to make the translation conform to the target language expression of habit, not to leave any arcane to readers, while Korean and Chinese belong to different language families, there are differences in expression habit, this summary is mainly under the guidance of communicative translation theory, This paper analyzes the translation of sentences in The Pure Man and The Goat Family by means of paraphrase, syntactic and combined translation.&lt;br /&gt;
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[[Correction:]] Communicative translation theory points out that the translator should give full play to the advantages of the target language and enable the translation to conform to the expression habit of the target language, leaving no arcane to readers. Since Korean and Chinese belong to different language families, there are distinctions in their expression habits. This part, with communicative translation theory as the theoretical basis, will analyze the translation methods at syntactic level in two short stories &amp;quot;The Pure Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. The three methods that will be mainly discussed are interpretation method or paraphrase, demolition syntax or deconstruction, and cotranslation. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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====Interpretation Method====&lt;br /&gt;
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Hermeneutic method is also an interpretative translation method. Because Chinese and Korean have different expression habits, in the process of translation, we can use the paraphrase method to explain some ambiguous sentences, which can not only make the translation clear, but also accurately convey the original purpose.&lt;br /&gt;
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[[Correction:]] Interpretation method is also known as hermeneutic method or paraphrase. Considering the differences in expressions habits between Chinese and Korean, in the process of translation, paraphrase method can be used to diminish some ambiguities in sentences, which can not only clarify the sentences in the translation, but also accurately convey the original author's purpose. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
Eg.5：어느날, 아이가 눈에 보이는 사물들을 가리켜 얼마짜리냐고 물었을 때, 어떤 행위를 가리켜 얼마 받느냐고 물었을 때, 나는 어린것이 별걸다 궁금해한다고 면박을 줬다. 면박을 주는 것으로 마음에 이는 민망함을 무마시켰다. 아이의 입에서 처음 돈 얘기가 나왔을 때, 그때 나는 이미 알아챘어야 했는지도 모른다.&lt;br /&gt;
&lt;br /&gt;
First Translation: 当某一天，孩子们指着各种东西问花了多少钱，挣了多少钱时，我当面斥责说“小孩子家家的，真是什么都好奇”。我以这种当面驳斥的方式来掩饰心中的尴尬。当我第一次从孩子嘴里听到关于钱的话题时,我可能就已经觉察到了些什么。&lt;br /&gt;
&lt;br /&gt;
Retranslation: 当某一天，孩子们指着各种东西问价格时，我当面斥责说‘小孩子家的，问这个做什么’，以此来掩饰我内心的尴尬。当我第一次从孩子嘴里听到关于钱的话题时，我可能已经觉察到时代变了，我那‘不知钱为何物’的时代过去了。&lt;br /&gt;
&lt;br /&gt;
The author at the beginning of the translation of &amp;quot;그 때 나 는 이 미 알 아 챘 어 야 했 는 지 도 모 른 다&amp;quot;, literal translation is &amp;quot;I may already have noticed what&amp;quot;, but the specific perceive what is not clear, causing distress to Chinese readers, by contacting the above learned that the &amp;quot;I&amp;quot; as a child is the hairpin, objects such as pottery fragments, But now the child is the &amp;quot;money&amp;quot;, the author under the guidance of communicative translation theory, to the readers, adopting the tactics of interpretation method, interpreted &amp;quot;I perceived that the&amp;quot; content &amp;quot;I might have been aware of The Times have changed, I that 'I don't know the money was the era of the past&amp;quot;, thus the author want to convey the original concept of the era of the change of the clear expression come out.&lt;br /&gt;
&lt;br /&gt;
Eg.6：영호야, 명절 때만이라도 꼭 아빠한데 가봐, 가기 싫으면 연락이라도 드리고.아빠가 아무리 네 맘에 안 들더라도 너는 네 할 도리를 해야 떳떳한 사람이 되는 거야,알았지?&lt;br /&gt;
&lt;br /&gt;
First Translation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。只有做了自已应该做的才能做一个光明磊落的人，知道吗？&lt;br /&gt;
&lt;br /&gt;
Retranslation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。为人处事和忠孝贤良是亘古不变的，要想做一个光明磊落的人，就要做好自己的分内之事，知道吗？阿姨的话要记住哦。&lt;br /&gt;
&lt;br /&gt;
Early in the translation of &amp;quot;너 는 네 할 도 리 를 해 야 떳 떳 한 사 람 이 되 는 거 야&amp;quot;, the corresponding Chinese literal translation is &amp;quot;only do oneself should do can do a aboveboard person&amp;quot;, but &amp;quot;할 도 리&amp;quot; what, did not explain clearly in the original, need the reader to consider, in order not to leave readers obscure place, The author puts the advantage of Chinese into full play and interprets &amp;quot;up 도 wish to be good&amp;quot; into English by means of context and translation theory. At the same time, I also think that this is the advice of adults. It is necessary to tell him this truth in a soft and powerful tone. After this sentence, &amp;quot;Remember what aunt said&amp;quot; is added to make the original meaning clearly conveyed to readers, so that readers can better understand the original content.&lt;br /&gt;
&lt;br /&gt;
====Demolition Syntax====&lt;br /&gt;
&lt;br /&gt;
Deconstruction is the breaking down of a long sentence into several shorter sentences. As Korean and Chinese belong to different language families, there are many differences in syntax. The word order of Korean sentences is the structure of SOV, and narration is the main body and focus of the sentence, and there are a large number of long sentences, which rely on word endings to express various grammatical meanings. No amount of sentence elements will cause meaning confusion.&lt;br /&gt;
&lt;br /&gt;
However, the word order of Chinese sentences is the SVO structure, which depends on vocabulary, function words and word order to distinguish sentence components, so the sentence structure is simple, mainly short sentences. The translation of Korean long sentences into Chinese sentence groups can make the translation logical, smooth and accurate.&lt;br /&gt;
&lt;br /&gt;
Eg.7：동식의 이혼에 책임이 없다고 할 수는 없는 형제들이 돈을 모아 동식에게 새집을 지어줬는데 집안 새것이면 뭐 하냐고 동식이 폭력을 휘두를 조짐을 보이자 그 팔아 종류의 폭력을 아버지에게 당해본 엄마는 지레 겁을 먹고 소를 팔아 동식에게 새장가 갈 자금을 쥐여줄 수밖에 없었다.&lt;br /&gt;
&lt;br /&gt;
First Translation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子。挨过父亲打的母亲因为对东植这种动不动就挥拳头打人的行为心有余悸，并觉得只有新房子没用，就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
&lt;br /&gt;
Retranslation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子，母亲因为挨过父亲的打，所以对东植这种动不动就挥拳头打人的行为心有余悸，觉得只有新房子无济于事，改不了他的暴力行为，索性就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
&lt;br /&gt;
The original text Is a long sentence, &amp;quot;는 데&amp;quot; is a long attributive clause, behind the author under the guidance of communicative translation theory, using the translation, in the resolution of a sentence, adjust the structure of the sentence, but his father mother &amp;quot;dragged&amp;quot; compared to read man translationese is too heavy, have the taste of Korean Chinese, is not in conformity with the Chinese expression habit, the author on the basis of this, The translation has been revised and polished to make it smooth and smooth.&lt;br /&gt;
&lt;br /&gt;
====Cotranslation====&lt;br /&gt;
&lt;br /&gt;
Cotranslation refers to the combined translation of two or more sentences in the original text. Using the combined translation method to translate, will reduce the long winded translation, obtain a smooth and smooth translation.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] Cotranslation, also known as combination, refers to the translation method by which two or more sentences in the original text are combined into a single sentence in the target-language text. The use of combined translation can reduce long-windedness and redundancies in translation, obtaining a smooth, natural and lucid translation. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
Eg.8 ：나는 큰오빠와 작은오빠가 아버지가 남긴 논을 가져간 것을 알고 있었다. 큰언니, 작은언니가 결혼할 때 밭을 가져 갔다는 것도. 동식은 제 몫이 논도 밭도 아닌 집인 것에 불만을 품고 쓰러져가는 슬레이트집에 불을 질렀다.&lt;br /&gt;
&lt;br /&gt;
First Translation：我知道大哥和二哥结婚时分走了家里的水田，大姐和二姐结婚时分走了家里的旱地，东植因为分到的不是田和地，而是即将坍塌的的石板屋，一气之下就在屋里放了火。&lt;br /&gt;
&lt;br /&gt;
Retranslation：哥哥姐姐们结婚时把家里的水田和旱地都分走了。而东植分到的是即将坍塌的的石板屋，他对此很不满，一气之下就放火烧了房子。&lt;br /&gt;
&lt;br /&gt;
Are two sentences in the original, the author first translation, according to the original text translated into two other subject-predicate bin structure of the sentence, but &amp;quot;big sister&amp;quot; &amp;quot;big brother&amp;quot; &amp;quot;sister&amp;quot; &amp;quot;second brother&amp;quot; will be read repetitive, so the author under the guidance of communicative translation theory, adopt the method of r the appellation of original elements became the &amp;quot;brothers and sisters&amp;quot;, and the two sentence elements into a simple sentence, Reduce redundant redundant.&lt;br /&gt;
&lt;br /&gt;
===Translation Strategies and Methods under Communicative Translation Theory at Rhetorical Level===&lt;br /&gt;
&lt;br /&gt;
Communicative translation theory points out that should take the readers as heavy, compared to convey to the readers the article content, pay more attention to the expression effect, good expression effect can cause the resonance of the readers, caused the reader's thinking, and good expression effect depends on the use of rhetoric, this summary is mainly under the guidance of communicative translation theory, adopt different translation strategies, The rhetorical translation in The Innocent Man and The Goat Family is analyzed.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] In view of communicative translation theory, the translator should take the readers to heart, and pay more attention to the expression effect compared to the conveyance of the content. The excellent expression effect that can engender the readers’ resonance and lead them to think majorly resorts to the use of rhetoric. This section, guided by communicative translation theory, will enunciate the translation methods at the rhetoric level employed in the Chinese translation of the two Korean short stories. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
====Addition====&lt;br /&gt;
&lt;br /&gt;
Addition is a translation method that adds content to the target text in order to accurately express the meaning of the source text, meet the needs of the target text readers and make the target text conform to the expression habits of the target language. Since Chinese and Korean have different pragmatic ways and expressive habits, some words or sentences should be added in the translation to make the translation more consistent with the Chinese context, the reader's expressive habits and the exact meaning of the original text.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] Addition is a translation method by which some items should be added to the target-language text in order to accurately express the meaning of the source text, make the translation correspond with the expression habits of the target language and meet the the target-text readers' needs. Since Chinese and Korean have different pragmatic ways and expressive modes, some specific words or sentences should be added in the translation to render the translation more consistent with the Chinese context, the readers' reading habits and the concrete meaning of the original text. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
Eg.9：나는 아이 아빠의 돈을 ‘그깟 돈’이라고 표현했다.&lt;br /&gt;
&lt;br /&gt;
First Translation：我把孩子爸爸的钱称为“那么点儿钱”。&lt;br /&gt;
&lt;br /&gt;
Retranslation：我把孩子爸爸给的钱称为“塞牙缝的钱”。&lt;br /&gt;
&lt;br /&gt;
&amp;quot;그깟&amp;quot; is a contraction of &amp;quot;그까짓&amp;quot;. It means so little, so little. The amount of money given by the father of the child is very small. The author under the guidance of communicative translation theory, give full play to the advantages of target language, adopt the method of thickening of translation, the use of metaphor, the &amp;quot;그 깟 돈&amp;quot; translated into accord with the readers expression habit &amp;quot;for all of the money&amp;quot;, making it easy to understand, more intuitive said the little amount, so as to impress the reader.&lt;br /&gt;
&lt;br /&gt;
====Repetition====&lt;br /&gt;
&lt;br /&gt;
Repetition refers to the translation technique of appropriately repeating a part of words or sentences in translation. The repetition method can make the meaning of the translation more clear, further strengthen the appeal of the article, highlight the thoughts and feelings of the article, and achieve a good rhetorical effect.&lt;br /&gt;
&lt;br /&gt;
Eg.10：아비를 한번도 찾지 않다가 돈 달라고, 그것도 법정에서 애 얼굴을 봐야 하는 아비 된 자의 참담한 심정을 당신들이 아느냐고.&lt;br /&gt;
&lt;br /&gt;
First Translation：孩子一次也没来看过我这个父亲，却开口要钱？而且只有上了法院，我才好不容易看孩子一眼，你们理解我这个做父亲的心情和处境吗！&lt;br /&gt;
&lt;br /&gt;
Retranslation：孩子一次也没来看过我就跟我开口要钱，只有上了法院，我才好不容易看孩子一眼，我这个做父亲的苦楚，悲凉的的心情，你们理解吗！理解吗！&lt;br /&gt;
&lt;br /&gt;
The author by contacting the specific context, as a father, no contact for many years but children themselves to court, the state of mind should be both angry and sad, based on the theory of communicative translation, using the skill of verb repetition, to &amp;quot;알 다&amp;quot; repeated translation, to emphasize my angry tone, in order to make the article more vivid and accurate meaning.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
&lt;br /&gt;
This paper selected the south Korean writer Kong Shanyu stories &amp;quot;well bead film&amp;quot; in the two novel &amp;quot;pure people&amp;quot; and &amp;quot;the goat family&amp;quot; has carried on the translation practice, the two novels are using the simple nature of language and a small amount of dialect vocabulary, shape lifelike characters, are described by family members of the past, let the past and reality contrast, It reflects the social reality that with the development of society, people have become selfish and indifferent, and the most simple family and human feelings seem to be more and more far away from us, so as to explore the history and significance of the &amp;quot;family&amp;quot; and the simple social atmosphere, which are gradually forgotten by Koreans.&lt;br /&gt;
&lt;br /&gt;
The core of Peter Newmark's communicative translation theory is that on the basis of being faithful to the content of the original text, the translator can give full play to the advantages of the target language, get rid of the constraints of the language structure of the original text, and pay attention to the effect of the expression of the target text. According to Newmark's text type, communicative translation theory applies to appeal texts, which focus on the target reader and aim to elicit the desired response, including popular books, popular novels and so on. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. Under the guidance of Peter Newmark's communicative translation theory, the author analyzes and discusses the translation strategies in the Pure Man and The Goat Family, which are complicated sentences, ambiguous meanings and implicit expressions.&lt;br /&gt;
&lt;br /&gt;
From the lexical level analysis, the author mainly combined with the context, to Chinese readers as the center, to comply with the Chinese expression and language habits, consider the reader's understanding ability, on the basis of Chinese used to translation and translation methods of extension, so as to satisfy the to the original readers and the translation of the original dual need of the readers have the same effect, At the same time, it also ensures the accuracy and flexibility of the translation words, so as to conform to the translator's lexical habits. From the statement level analysis, &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; appeared in the text of the long sentence and attributive clause, at the same time, some relatively obscure sentences substance, so the author adopted the method of interpretation, syntax and translation of translation strategies, to explain the sentence, split, reorganization, thus reducing the sentence's mad outages and ideographic unclear, The translation is in line with the habits of Chinese readers and effectively conveys the essence of the original text. From the rhetoric analysis, communicative translation theory points out that compared with the content, should attach great importance to the expression of the translation effect, good expression effect depends on the use of rhetoric, so the author USES the translation strategy of work and repetition, has carried on the modification to the original and polishing, to strengthen the artistic effect and influence of the translation, make readers for the characters vivid impression, Arouse readers' reflection and emotional resonance.&lt;br /&gt;
&lt;br /&gt;
Therefore, the results of this study indicate that the communicative translation theory is of guiding significance to the Chinese translation of Korean novels and can provide a reference for similar translation practices. Communicative translation theory is pointed out that to the reader as the center, the translator can get rid of the original text, giving full play to the advantages of target language to adjust the structure and logic, to make the translation easy to understand, but there may be lack of scattering situation, so the translator should properly our subjective initiative, to insure the effect of readers in at the same time, also used to avoid the above situation. In addition, there are also shortcomings in the translation, but the author still hopes that this translation practice can provide reference for the future Korean-Chinese translation practice. At the same time, through this translation practice, the author has realized his own shortcomings. In the future, the author will continue to learn, accumulate practical experience, and strive to improve his literary accomplishment and language foundation, and improve his translation level.&lt;br /&gt;
&lt;br /&gt;
[[Correction of Conclusion:]] &lt;br /&gt;
&lt;br /&gt;
This paper selects the south Korean writer Kong Shanyu's two short stories &amp;quot;The Innocents&amp;quot; and &amp;quot;The Goat Family&amp;quot; excerpted from the novel collection ''Eun-ju's Movie'', and interprets translation strategies and methods at lexical, syntactic and rhetorical levels in their Chinese translations, under the guidance of Peter Newmark's communicative translation theory. The two stories both boast the simple and natural language as well as a small amount of Korean dialects, along with the lifelike characterization, describing family members of the past and making a contrast between the past and the present reality. The two short novels reflect the social reality that with the development of society, people have become selfish and indifferent, and the family warmth and human feelings seem to be more distant from the individuals, so as to explore the history and significance of the &amp;quot;family&amp;quot; as well as the simple and harmonious social atmosphere, which are gradually forgotten by Koreans.&lt;br /&gt;
&lt;br /&gt;
According to Peter Newmark's communicative translation theory, translation should be faithful to the source text, and the translator can give full play to the advantages of the target language, get rid of the constraints of the source-language structure, and focus on the expressive effect that the target-language text produces. What's more, in the light of the text types categorized by Newmark, communicative translation theory applies to appeal or vocative texts, which keep a close eye on the target-language readers and intend to elicit the desired response, and popular books and novels fall into this text type. Besides, the common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. In a word, the interpretation of translation strategies and methods in Chinese translation of Korean novels guided by communicative translation theory is feasible.&lt;br /&gt;
&lt;br /&gt;
From the analysis in the lexical aspect, this paper demonstrates that the translation techniques --- conversion and extension --- are used in Chinese translation of these two Korean short stories. Such Chinese translation, fully considering the context and taking Chinese readers as the center, complies with the Chinese expression and language habits. Given the readers' understanding capability, the translator employs conversion of word class and extension of lexical meaning, so as to satisfy the needs of both the original readers and the target-language readers. Meanwhile, the use of conversion and extension also ensures the accuracy and flexibility of the translated vocabulary. At the syntactic level, the original two stories embrace a lot of long sentences and attributive clauses, as well as some sentences with relatively obscure substances. Thus, the adoption of paraphrase, deconstruction and combination, which re-explain, split, reorganize the sentences, reduces ideographic unclarity as well as long-wined sentences and diversify the sentence patterns, rendering the translation close to the target-language readers. In the rhetorical respect, communicative translation theory attaches greater importance to the expressive effect of the translation compared with the delivery of the content, and the use of rhetoric can result in exceptional expression effect. Consequently, the application of addition and repetition modifies and polishes the original text, so that the artistic charm of the translation can be enhanced, the desirable impression can be deepened, and the readers' reflection and emotional resonance can be aroused.&lt;br /&gt;
&lt;br /&gt;
To sum up, it can be seen that Peter Newmark's communicative translation theory is of guiding significance to the Chinese translation of Korean novels and can provide a reference for future translation practices. With communicative translation theory, the translator who adheres to the &amp;quot;readers-first&amp;quot; principle can get rid of the limitation of the original text, give full play to the advantages of the target language, and adjust the sentence structure and textual logic, so as to further improve the quality of translation.&lt;br /&gt;
&lt;br /&gt;
However, owing to the confined conditions and limited academic capacity, there are also shortcomings in this paper: firstly, the paper takes only two pieces of Korean short stories as examples in case study, so it lacks strong persuasiveness and representativeness; secondly, since there are few researchers on Chinese translation of Korean novels at home and abroad, this paper resorts to insufficient literature guidance and reference. As a consequence, it is expected that researchers in this field can cooperate well to build up a system to minimize the possible errors and create more thorough and holistic works to elaborate on and improve Chinese translation of Korean novels. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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==References==&lt;br /&gt;
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'''English Literature:'''&lt;br /&gt;
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[1]. GAO Chang. The Application of Peter Newmark's Communicative Translation Theory to the Translation of Chinese Historical Allusions [J]. Overseas English, 2013(11).&lt;br /&gt;
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[2]. JIAN Fang. Newmark's Translation Theory and Film Names [J]. Overseas English, 2010(08).&lt;br /&gt;
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[3]. LI Xin, ZHANG Zhe. On Peter Newmark’s Semanic Translation &amp;amp; Communicative Translation[J]. Overseas English, 2015（03）.&lt;br /&gt;
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'''Korean literature:'''&lt;br /&gt;
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[4]. Gong Seon-ok. In the 1980s, my literature Gwangju, and my life's hardship [J]. History of Criticism, 1995 (08).&lt;br /&gt;
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[5]. Kang Young-mi. Preliminary review of the singing movement in the 1970s and 1980s [J]. Mental Culture Research 41(3), 2018.(09).&lt;br /&gt;
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[6]. Kim Young Hee. Modern and Alternative Experience and Women--Park Wan-seo, Kim In-sook, and Gong Sun-ok's novel [J]. Creation and Criticism 23(3), 1995(09).&lt;br /&gt;
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[7]. Osunbang. A study of the translation of novels in modern China and the two-way translation of Sino-Korean novels[J]. Seoul: Sungsil University Press, 2008.&lt;br /&gt;
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'''Chinese Literature:'''&lt;br /&gt;
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[8]. Chen Lin. A comparison of Eugene A. Naida and Peter Newmark's translation theories [J]. Journal of Xiangtan University (Social Science Edition), 1994,(08): 87-91.&lt;br /&gt;
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[9]. Si Jitao and Yan Honglan. The translation of split sentences and combined sentences in English-Chinese translation[J]. Journal of Guangxi Right River Nationalities Teachers College,2005(02):21&lt;br /&gt;
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[10]. Chen Lin. A comparison of Eugene A. Naida and Peter Newmark's translation theory [J]. Journal of Xiangtan University (Social Science Edition), 1994, (08).&lt;br /&gt;
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[11]. Yang Shi-Zhuo. A brief analysis of Newmark's theory of semantic and communicative translation[J]. Fujian Foreign Language, 1989:68-71.&lt;br /&gt;
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corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=毛雅文On Translation Strategies and Methods in Chinese Translation of English Prose --- Chinese Translation of Robert Lynd’s &amp;quot;Pleasures of Ignorance&amp;quot; as an example=&lt;br /&gt;
&lt;br /&gt;
'''浅析英语散文汉译中的翻译策略——以罗伯特·林德《无知的乐趣》汉译本为例'''&lt;br /&gt;
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[[Trans_Type_EN_4]]&lt;br /&gt;
&lt;br /&gt;
毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
&lt;br /&gt;
Prose, together with poetry, novel and drama, is a kind of literary form. It is not limited to rhythm, plot and characters, flexible in form, real and natural. English prose has a long history and various types, so it becomes an important object in translation practice and research. In China, the most famous English prose writers are Francis Bacon and Charles Lamb, hence, their works can be regarded as the focus of studies on Chinese translation of English prose. In fact, Chinese translation of English prose draws less attention in translation circle of China, compared with that of English poetry and drama. With English prose as the starting point, this paper will introduce the characteristics of English prose and the domestic studies on its Chinese translation, and take the Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, the representative work of English modern prose writer Robert Lynd, as an example to analyze its translation strategies and methods.&lt;br /&gt;
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==摘要==&lt;br /&gt;
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散文是与诗歌、小说、戏剧并称的一种文体，不拘泥于韵律、情节、人物，形式灵活，真实自然。英语散文历史悠久，类型多样，是翻译实践与研究中的重要研究对象。在我国，最著名的英语散文家是弗朗西斯·培根和查尔斯·兰姆，他们的作品也因此成为英语散文汉译的重点。而事实上，我国翻译界更加重视的是诗歌与小说的汉译，英语散文汉译的研究相较之下比较滞后。本文将以英语散文为切入点，介绍英语散文的特点及其在我国的汉译研究，并以英国现代散文家罗伯特·林德的代表作《无知的乐趣》汉译本为例，主要分析其中的策略及方法。&lt;br /&gt;
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==Key Words==&lt;br /&gt;
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&amp;quot;Pleasures of Ignorance&amp;quot;; Chinese translation of English prose; translation strategies; translation methods; translation techniques&lt;br /&gt;
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==关键词==&lt;br /&gt;
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《无知的乐趣》；英语散文汉译；翻译策略；翻译方法；翻译技巧&lt;br /&gt;
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==Introduction==&lt;br /&gt;
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This chapter will point to the research background and its significance, and briefly set forth the structure of this paper and the methods used.&lt;br /&gt;
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===Research Background and Significance===&lt;br /&gt;
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In recent years, with the deepening of the reform and opening-up, the channels of international cultural exchange have become increasingly unblocked, and China's translation industry has also flourished. The studies on translation theory, drawing lesson from western translation studies, have yielded fruitful results, and more noteworthily, remarkable achievements have been made in studies on literary translation for all to see. (Hou Qiang 2014: 1)&lt;br /&gt;
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Prose is a basic literary form in written or spoken language that typically exhibits a natural flow of speech and grammatical structure. A large number of works in philosophy, history, economics, journalism, etc, are examples of works written in prose. It can be seen that prose, which is widely used for creation, occupies an important position in literature. However, there are few researchers majoring in prose translation, still fewer ones who specialize in Chinese translation of English prose. In view of the above, this paper, based on previous studies, will study the Chinese translation of English prose, and take the Chinese translation by Liu Bingshan of ''The Pleasures of Ignorance'' created by the English prose writer Robert Lynd, exploring its characteristics in translation strategies and methods, so as to provide better understanding and some reference for the appreciation and translation of English prose. (He Xiuqin 2018: 6) (Song Jie 2018: 1)&lt;br /&gt;
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===Methodology and Structure===&lt;br /&gt;
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This paper will employ the methods of literature research and case analysis. The paper consists of three parts. The first section is literature review, explicating the distinctive properties and linguistic features of English prose, and the prose translation with its principles, as well as introducing the previous studies on Chinese translation of English prose at home. The second part, the core of this paper, will take Liu Bingshan's Chinese translation version of Robert Lynd's prose work &amp;quot;Pleasures of Ignorance&amp;quot; as an example, carry out the interpretation of this translation in terms of its types, styles as well as strategies and methods employed. Lastly, the conclusion will point to the findings in this study and the weaknesses in the paper.&lt;br /&gt;
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==Literature Review==&lt;br /&gt;
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This part will draw into the domestic previous studies on Chinese translation of English prose.&lt;br /&gt;
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With regard to Chinese translation of English prose, at present, there are few domestic scholars dedicated to its systematic research. According to the different perspectives, the relevant researches at home can be roughly divided into three categories.&lt;br /&gt;
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First, concerning research on the theory of Chinese translation of English prose into Chinese, there are relatively small number of studies in this direction. One of the most fruitful works is ''The Study and Translation of British and American Prose'' co-authored by Zhao Xiuming and Zhao Zhangjin (2010), which makes a detailed investigation of the literary characteristics, historical evolution and style evolution of British and American prose. The work also discusses the basic principles of English prose translation in terms of pre-translation text analysis, historical and cultural context, artistic principles, and styles, etc., which can offer a reference for the further study of the theories and practices of English prose translation. (Hou Qiang 2014: 4)&lt;br /&gt;
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Second, regarding research on the famous translators of English and American prose with their translation styles and skills, Xia Ying explored the style of Professor Cao's translation of Francis Bacon with the essay titled &amp;quot;Research on Professor Cao Minglunss Chinese translation of bacon prose&amp;quot;. (Xia Ying, 2012:165-166) Some others probed into Liu Bingshanss and Li Shicong's thoughts on prose translation which have guiding significance for prose translation practice. (Hou Qiang 2014: 4)&lt;br /&gt;
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Third, as regards research on the practice of Chinese translation English prose based on translation theory, Huang Jianling (2021) analyzed the Chinese translation of Bacon's essays from the perspective of translation aesthetics. Hu Hongyun (2013) translates and elaborates on the British prose Farewell in vocabulary, semantics, style and cultural transmission, on the basis of Eugene Nida's Functional Equivalence theory. (Hou Qiang 2014: 5)&lt;br /&gt;
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These researches and investigations have laid a solid foundation for future studies and the analysis in this paper.&lt;br /&gt;
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==Overview of English Prose==&lt;br /&gt;
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Prose can be defined in broad sense and in narrow sense. In broad sense, prose refers to all the written and oral works in a loose form free from parallelism; and in narrow sense, it specifically means the writings with certain literary qualities, such as essays, and a literary genre juxtaposed with poetry, novel, drama and movie-television literature.&lt;br /&gt;
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This section will clarify the distinctive characteristics and linguistic features of English prose, as well as its translation principles.&lt;br /&gt;
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===Distinctive Features of English Prose===&lt;br /&gt;
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As an independent literary genre, English prose has its own distinctive characteristics.&lt;br /&gt;
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The first characteristic is its expression of sincere feeling. Prose mostly depicts the real people, things and scenery, and is generated based on record and recollection of life. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. So in this sense, prose can be considered as an earnest conversation between the author and the readers. (Zhang Baohong 2011: 28)&lt;br /&gt;
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Secondly, English prose is characterized by the wide material selection. In English prose, one detail, episode and facet of life can be used to display the author's specific emotions and circumstances, and all materials related to the theme can also be employed. It places no emphasis on rhythm and rhyme, like poetry, as well as to plot and characters, like drama. (Zhang Baohong 2011: 29)&lt;br /&gt;
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Besides, English prose features the free and loose structure. The structure of prose writings is free and flexible. Prose is elastic and natural and boasts descriptive, argumentative and lyrical qualities, thereof constituting its most distinctive advantage. There are no strict restrictions and fixed patterns in the prose structure, but its flexibility and randomness is not tantamount to disorder and scatter, and its choice of theme and expression of feelings should be closely centered on one main line. (Zhang Baohong 2011: 29)&lt;br /&gt;
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===Linguistic Features of English Prose===&lt;br /&gt;
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Compared with other literary forms, prose has no more skills to resort to. Therefore, as regards the form of artistic expression, English prose mainly has recourse to its own language features.&lt;br /&gt;
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First and foremost, succinctness and fluency characterize English prose language. The concise prose language not only fully delivers the content that the author intends to convey, but effectively shows the author's emotions and attitude towards persons and things. This is not the result of the author's deliberate elaboration, but the natural overflow of his or her plain and pure emotion. The fluency of prose language refers to both the informal use of words and phrases, and the author's sound expression of feelings. (Zhang Baohong 2011: 29)&lt;br /&gt;
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Meanwhile, colloquial style and literary grace are characteristic of prose language. As prose mainly focuses on description of the author's personal stories and sentiments, thus, he speaks or writes with his own posture, style and tone, as if he is confiding to the readers, so as to highlight the agreeable conversation style and unique colloquial style. Colloquial prose language is natural due to its simplicity, friendly owing to its ease of communication, and true thanks to its individuality. (Zhang Baohong 2011: 30)&lt;br /&gt;
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Furthermore, another linguistic feature of English prose is the smooth rhythm and reading. The rhythmic beauty of prose language is reflected in phonetic respect and in sentence patterns. The prose reading is catchy, with no obstacles and awkwardness, and its rhythm is in line with the natural law of oral breathing pauses as well as with the ups and downs of feelings. (Zhang Baohong 2011: 30)&lt;br /&gt;
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===Principles of English Prose Translation===&lt;br /&gt;
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The beauty of prose lies in its language and artistic conception, the two permeating each other and jointly creating the artistic charm of prose. In prose translation practice, the following principles can be observed to reproduce the artistic appeal.&lt;br /&gt;
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Keep an eye on sound and rhythm. Despite that the sound and rhythm of prose are often internal, not as obvious, regular and musical as that of poetry, they are not disordered with no aesthetic purpose. On the contrary, they effectively represent the variation of emotion in the prose, and are consistent with its unique aesthetic interest. This illustrates that in prose translation, on the one hand, the translators should recognize the great value and significance of prose sound and rhythm; on the other hand, with the intention of reproducing the linguistic subtleties of the original text, the translators can fully touch its aesthetic interest from the cadence between the lines, and perceive its inner rhythm from sentence length and speech speed. (Zhang Baohong 2011: 30)&lt;br /&gt;
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Pay attention to personalized mode of discourse. Different writers with various discourse modes bring about manifold writing styles. Not only is the personalized mode of discourse reflected in the author's choice of words and sentences as well as layout of the prose, but also in his thoughts and aesthetic interest. As a result, the translators can start with analyzing the original writer's one classic work and then his anthology and even look closely at the literary features of his age, in order to grasping the writer's personalized discourse mode, which is of particular importance to reproduce his artistic personality and the characteristics of his emotional expression in translation practice. (Zhang Baohong 2011: 31)&lt;br /&gt;
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Place a premium on the unity of scene and emotion. The unity of scene and interest in prose is embodied in diverse ways of language expression and structure, as well as the images or settings created by the author. In translation practice, based on the unity of scene and interest in the prose, it is beneficial to preserve and reproduce the overall aesthetic orientation of the original text through aesthetic reconstruction in word selection and layout, so that the translated text can obtain the aesthetic taste similar to the original prose.(Zhang Baohong 2011: 31)&lt;br /&gt;
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All in all, a general understanding of English prose can facilitate the study of its Chinese translation.&lt;br /&gt;
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==Case Study of Chinese Translation of &amp;quot;Pleasures of Ignorance&amp;quot;==&lt;br /&gt;
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The selected source text is &amp;quot;The Pleasures of Ignorance&amp;quot;, written by Robert Lynd. &lt;br /&gt;
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Robert Lynd (1879-1949), born in Belfast, Northern Ireland, was a modern critic and prose writer. He, together with E. V. Lucas, was a pioneer in reviving the tradition of Charles Lamb's prose. And The Pleasures of Ignorance is one of his notable prose works.&lt;br /&gt;
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This prose points out that it is because ignorance that people are interested in the nature and the world and their pursue knowledge, and the process of seeking knowledge is full of pleasure, by which the author emphasizes the importance of learning more and gaining insight. The article reveals somewhat erudition and aesthetic sensibility, as well as love for nature and and passion for life. From his leisurely writing, the author's maturity of thought and capability in usage of words is unveiled. Though the tone of the original text makes the readers feel that the author is chatting with them, giving people familiarity and closeness, it is not particularly colloquial. On the contrary, there is a kind of exactness and elegance of the learned between the lines, thus it can be seen that the case text is a typical scholar prose. (Zhu Mingju 2007: 326)&lt;br /&gt;
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The translator Professor Liu Bingshan firmly grasps these features of the original text and conveys the original style by carefully choosing words and sentences, with the principles of faithfulness, smoothness and expressiveness. His Chinese translation of &amp;quot;The Pleasures of Ignorance&amp;quot; will be analyzed in terms of translation strategies and methods. (Zhu Mingju 2007: 326)&lt;br /&gt;
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There is the natural connection between translation strategies and translation methods, but the two concepts are often confused. It is generally believed that translation strategies (such as foreignization and domestication) are at the cultural level, while the translation methods (such as literal translation and free translation) are at the textual level. Translation methods are the approaches, steps and techniques used to achieve a specific translation purpose based on a certain translation strategy in translation activities, whereas translation strategies are a collection of principles and methods. Consequently, this paper will enunciate the translation text on the basis of translation methods under foreignization strategy and domestication strategy respectively. (Xiong Bing 2014: 84)&lt;br /&gt;
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===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
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Foreignization is a strategy in which a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. This strategy is &amp;quot;an ethnodeviant pressure on target-language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad&amp;quot; to have alien reading experience. The translation methods under foreignization employed in Professor Liu's target text include literal translation, zero-translation and transliteration. (Venuti, 2004: 20) (Lian Shuneng 2006: 13)&lt;br /&gt;
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====Literal Translation====&lt;br /&gt;
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Literal translation is in fact looser renditions that replace individual source language words with individual target language wors wherever possible, and cling as closely as possible to the source language word order in the target language. (Lian Shuneng 2006: 12)&lt;br /&gt;
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Specifically, in the case translation text, the translator faithfully retains some personal pronouns and demonstrative pronouns in the original text. For example, &lt;br /&gt;
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(1)It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance.&lt;br /&gt;
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同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
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(2)This ignorance, however, is not altogether miserable.&lt;br /&gt;
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不过，这种无知也并非全然不幸。&lt;br /&gt;
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(3)But your and my ignorance is not confined to cuckoos.&lt;br /&gt;
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但是，你我的无知并不仅限于杜鹃这一方面。&lt;br /&gt;
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(4)A contemporary English novelist was once asked by a foreigner what was the most important crop in England.&lt;br /&gt;
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一个外国人问一位当代英国小说家，英国最重要的农作物是什么。&lt;br /&gt;
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The translation of these sentences, though properly altering the word order and voice with the adherence to the target-language syntactic norms, does not adopt the usage of transferred meaning in dealing with lexical sense.&lt;br /&gt;
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The use of literal translation, especially the retaining of the personal pronouns, like &amp;quot;we&amp;quot; and &amp;quot;you and I&amp;quot;, conveys the style of the original text, showing friendliness and intimacy.&lt;br /&gt;
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====Zero-Translation====&lt;br /&gt;
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Zero translation refers to the translation in which the translators do not use the ready-made words in the target language to translate the source language words. This translation phenomenon occurs when adjustments must be made due to the differences in the syntactic structures of the two languages. For example, some articles and personal pronouns are not translated in E-C translation. (Fang Mengzhi 2011: 108)&lt;br /&gt;
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In Professor Liu's Translation, zero-translation is particularly displayed by omission, a translation technique. For instance,&lt;br /&gt;
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Omission of the expletives ''It'' and ''There'':&lt;br /&gt;
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(5)''It'' is impossible to take a walk in the country oneself without being amazed at the vast continent of one's own ignorance.&lt;br /&gt;
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任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
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(6)''There'' are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy.&lt;br /&gt;
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这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。&lt;br /&gt;
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Omission of English articles:&lt;br /&gt;
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(7)Thousands of men and women live and die without knowing the difference between ''a'' beech and ''an'' elm, between ''the'' song of ''a'' thrush and ''the'' song of ''a'' blackbird.&lt;br /&gt;
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成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
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Omission of pronouns:&lt;br /&gt;
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(8)... as she (the cuckoo) lays ''her'' egg on the ground and takes it in ''her'' bill to the nest in which it is destined to breed infanticide.&lt;br /&gt;
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把蛋下到地面上，然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。&lt;br /&gt;
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The application of zero-translation can render the translation text concise, neat and fluent, and make the rhythm of the prose more natural and flexible, conforming to the principle of prose translation.&lt;br /&gt;
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====Transliteration====&lt;br /&gt;
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Proper names such as the names of persons and places of foreign countries, are, as a rule, to be transliterated, i.e., to be translated by using Chinese characters to represent the sound in articulating these names. (Lian Shuneng 2006: 344)&lt;br /&gt;
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In transliteration, the translators should follow the original pronunciation of proper names, in Liu's translation, for example,&lt;br /&gt;
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(9)Hamlet 哈姆雷特 Pickwick 匹克威克 (both transliterated from English)&lt;br /&gt;
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Besides, in transliteration, the translators sometimes should also use the standard pronunciation of the Chinese characters. One of the difficulties in transliterating a foreign name in Chinese characters lies in the lack of many foreign sounds in Chinese, and the variation in the pronunciation of the Chinese characters causes confusion. The remedy is to fix certain Chinese characters for a certain syllable of foreign names. And many long-standing translated names, though not named after the original sounds, have been recognized by the world and are generally invariable. (Lian Shuneng 2006: 346)&lt;br /&gt;
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For example, in the translation in case study. For example, in the translation in case study,&lt;br /&gt;
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(10)Montaigne 蒙田 (not 蒙泰涅)&lt;br /&gt;
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Transliteration plays a crucial role in translation of proper nouns and technical terms, which ensures the correct conveyance of information.&lt;br /&gt;
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The translation methods under foreignization are able to make the translation process more visible, by means of showing how translators are deeply involved in the construction of culture and ideology. The use of these methods can retain the foreignness of the source text and produce on the target-language readers an effect as close as possible to that obtained on the readers of the original, through which the readers can further understand the foreign expressions and cultures, realizing the differences between the two countries.&lt;br /&gt;
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===Translation Methods under Domesticating Strategy===&lt;br /&gt;
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Domestication is a strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for target language readers. This strategy is &amp;quot;an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home&amp;quot;. In other words, as regards the use of domesticating strategy, the translators are required to make target-language readers feel familiar and close through conveying the content of the original text with the expressions to which TL readers are accustomed. And in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, free translation method and imitation method under domestication are used and displayed in several translation techniques. (Venuti 2004: 20) (Lian Shuneng 2006: 14)&lt;br /&gt;
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====Free Translation====&lt;br /&gt;
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Free translation, also known as sense-for-sense translation, emphasizes transfer of the meaning or &amp;quot;spirit&amp;quot; of a source text over accurate reproduction of the original wording. The purpose of this method is to accommodate the needs of the target-language readers by producing a text which conforms to the linguistic and textual norms of the target language and culture which does not therefore sound &amp;quot;foreign&amp;quot;. (Shuttleworth &amp;amp; Cowie, 2014: 59)(Lian Shuneng 2006: 12)&lt;br /&gt;
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Such a method, in this case study, is specifically embodied in the choice of words packed with Chinese characteristics, that is, diction, also a translation technique. For example,&lt;br /&gt;
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(11)Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is ''the exception''.&lt;br /&gt;
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在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是''凤毛麟角''。&lt;br /&gt;
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(12)It is not that we have not seen the birds. It is simply that we ''have not noticed'' them.&lt;br /&gt;
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所以如此，并不是因为这些鸟我们没有见过，而只是因为我们''习焉不察''。&lt;br /&gt;
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(13)When in the oak’s green arms the cuckoo ''sings'', &lt;br /&gt;
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And first delights men in the ''lovely springs''.&lt;br /&gt;
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杜鹃在橡树的绿色怀抱里''啭啼''，&lt;br /&gt;
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第一个为人们带来''欢欣、美好的春意''。&lt;br /&gt;
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In translating these sentences, the translator transfers some words into vocabulary or phrases with conspicuously Chinese features. For instance, the transfer of &amp;quot;the exception&amp;quot; and &amp;quot;have not noticed&amp;quot; to Chinese idioms &amp;quot;凤毛麟角&amp;quot; (that describes rare and precious items) and &amp;quot;习焉不察&amp;quot; (which means that one is too accustomed to something to call it in questions), respectively, exemplifies the typical Chinese four-character structure. Moreover, the verb &amp;quot;sings&amp;quot; is transferred to &amp;quot;啭啼&amp;quot; (that describes birds' melodious chirp), a Chinese term composed of two words with the same left side, which is one of common and special linguistic phenomena in Chinese language. Meanwhile, &amp;quot;the lovely springs&amp;quot; is transferred to &amp;quot;欢欣、美好的春意&amp;quot; (a joyful and wonderful feeling brought by the spring) through abstraction.&lt;br /&gt;
Thus, it can be seen that the application of free translation can reproduce the sense of the original text more smoothly and idiomatically. And the wide adoption of the four-character structures enhance the academic atmosphere of the translation version.&lt;br /&gt;
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====Imitation====&lt;br /&gt;
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With regard to the use of imitation, the translators do not stick to the meaning details of the original text, let alone its vocabulary and syntactic structure, but take the original text as a reference model, either by deleting and condensing to only translate its gist and key information, or by adding and expanding to deliver more information than that in the original text. For instance, (Xiong Bing 2014: 85)&lt;br /&gt;
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(14)Thousands of ''men and women'' ''live and die'' ''without knowing'' the difference between a beech and an elm, between the song of a thrush and the song of a blackbird.&lt;br /&gt;
 &lt;br /&gt;
成千上万的''男男女女''，''从生到死''，''一辈子''也''说不出''山毛榉和榆树有什么区别，''听不出''画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
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In the translation of this sentence, a variety of translation techniques are employed. &lt;br /&gt;
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①　Conversion:&lt;br /&gt;
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The translator uses conversion to alter the syntactic structure of the original sentence. &lt;br /&gt;
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The predicate &amp;quot;live and die&amp;quot; is converted into the preposition phrase &amp;quot;从生到死&amp;quot; as the adverbial in Chinese.&lt;br /&gt;
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And the adverbial preposition phrase in the source text &amp;quot;without knowing&amp;quot; is converted into the predicate in Chinese translation.&lt;br /&gt;
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②　Division:&lt;br /&gt;
&lt;br /&gt;
In accordance with the need of Chinese expression, &amp;quot;without knowing&amp;quot; is divided into two verb phrases &amp;quot;说不出&amp;quot; and &amp;quot;听不出&amp;quot; in Chinese as the predicate.&lt;br /&gt;
&lt;br /&gt;
③　Addition:&lt;br /&gt;
&lt;br /&gt;
With the addition of the expression &amp;quot;一辈子&amp;quot;, the translator highlights the long time between life and death.&lt;br /&gt;
&lt;br /&gt;
④　Repetition:&lt;br /&gt;
&lt;br /&gt;
The plural form &amp;quot;men and women&amp;quot; is translated into the reiterative locution &amp;quot;男男女女&amp;quot; by repetition. &lt;br /&gt;
&lt;br /&gt;
The change of sentence structure via techniques such as conversion and division as well as of vocabulary via repetition and addition render the translation natural and smooth, showing the translator’s superb handling of the original text.&lt;br /&gt;
&lt;br /&gt;
(15)...we are all the ''more'' delighted ''at the spectacle of'' its ''runaway flight'' as it (the cuckoo) ''hurries'' from wood to wood conscious of its crimes ...&lt;br /&gt;
&lt;br /&gt;
一日''看见''它（杜鹃）因为自己犯了罪而''煌惶不安地''从这个林子飞''逃''向那个林子 ... 我们才会觉得''大大''开心。&lt;br /&gt;
&lt;br /&gt;
In this example, there are also various translation techniques used.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
Firstly, the preposition phrase &amp;quot;at the spectacle of&amp;quot; is converted into the verb &amp;quot;看见&amp;quot; in Chinese. &lt;br /&gt;
&lt;br /&gt;
Secondly, the noun phrase &amp;quot;runaway flight&amp;quot; is converted into Chinese verbs &amp;quot;飞&amp;quot; (fly) and &amp;quot;逃&amp;quot; (escape). &lt;br /&gt;
&lt;br /&gt;
Besides, the verb &amp;quot;hurries&amp;quot; (that means to move quickly in a particular direction) is converted into &amp;quot;惶惶不安地&amp;quot; (which means to feel panic, afraid and utterly uneasy), a Chinese adverb to modify the verbs &amp;quot;飞&amp;quot; and &amp;quot;逃&amp;quot;, which endows the subject cuckoo with somewhat human characteristic.&lt;br /&gt;
&lt;br /&gt;
②　Repetition:&lt;br /&gt;
&lt;br /&gt;
The adjective &amp;quot;more&amp;quot; is translated into the reiterative locution &amp;quot;大大&amp;quot;, a Chinese adverb equivalent to &amp;quot;very&amp;quot; or &amp;quot;extremely&amp;quot; in English to modify the adjective &amp;quot;delighted&amp;quot;. &lt;br /&gt;
&lt;br /&gt;
In this example, the adjustment of the sentence order and conversion of parts of speech make the translation more consistent with the word sequence in Chinese. Meanwhile, the choice of words such as the Chinese four-character structure &amp;quot;惶惶不安&amp;quot; conveys the romantic charm beyond the original text. And there are also indicators of use of repetition embodied in the typical Chinese reiterative locutions like &amp;quot;惶惶&amp;quot; and &amp;quot;大大&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
(16)I have myself a ''capricious'' and ''leaking'' memory.&lt;br /&gt;
&lt;br /&gt;
我自己的记忆力也是''漏洞百出''、''不听使唤''。&lt;br /&gt;
&lt;br /&gt;
Although this is a short sentence, it still contains the flexible use of translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
At first, the original object &amp;quot;memory&amp;quot; is converted to the subject in the Chinese translation.&lt;br /&gt;
And then, the subject &amp;quot;I&amp;quot; with its appositive &amp;quot;myself&amp;quot; is converted into the attribute &amp;quot;我自己的&amp;quot; to modify the subject in the translation &amp;quot;记忆&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
On account of the conversion of the subject and the verb, the original predicate &amp;quot;have&amp;quot; is inappropriate. The addition of &amp;quot;也是&amp;quot; that is equivalent to the verb &amp;quot;be&amp;quot; in English enforces the completeness of sentence structure. And this is a structural addition mainly due to the structural difference between Chinese and English.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The two vivid adjective &amp;quot;capricious&amp;quot; and &amp;quot;leaking&amp;quot; are translated as &amp;quot;不听使唤&amp;quot; and &amp;quot;漏洞百出&amp;quot; respectively which are typical Chinese four-character structures. The Chinese adjective &amp;quot;漏洞百出(的)&amp;quot; means that the loopholes appear one after another, which is often used to describe that one's writing or speech is untenable because of lack of sufficient reasons and grounds. And here, this word shows the author's weak memory with which he forgets things time and again. And the other adjective &amp;quot;不听使唤(的)&amp;quot; generally depicts that someone loses control and is not obedient to the rules or instructions. Here, the word properly demonstrates that the author cannot manipulate his memory well and also cannot preclude it from being weaker. The use of these two words conforms to the choice of affective and stylistic meanings.&lt;br /&gt;
&lt;br /&gt;
In this example, the conversion of the subject and object as well as the change of the predicate enable the translation to be more closely accord with the Chinese sentential structure. Moreover, the two figurative adjectives packed with personified traits not only fully  convey the author's intention, but also enhance literariness of the translation and even display a lively mood beyond the original text.&lt;br /&gt;
&lt;br /&gt;
(17)We know, again, that, the blossom precedes and ''not succeeds'' the fruit of the apple-tree, but ''this does not lessen our amazement at'' the beautiful holiday of a May orchard.&lt;br /&gt;
&lt;br /&gt;
另外，我们知道苹果树''先''开花，''后''结果，可是五月''一旦''到来，果园里一片欢闹的花海。''我们不是仍然惊为奇观吗？''&lt;br /&gt;
&lt;br /&gt;
This is a typical example of the imitation method embodied in the use of diverse translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
Regarding the conversion of word classes, the noun &amp;quot;blossom&amp;quot; is converted into the Chinese verb &amp;quot;开花&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Concerning the conversion of sentence members, the object in the clause &amp;quot;apple-tree&amp;quot; is converted into the subject &amp;quot;苹果树&amp;quot; in the Chinese translation. And the attribute &amp;quot;May&amp;quot; is converted into the adverbial in Chinese as &amp;quot;五月一旦到来&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Considering the conversion of sentence patterns, the negative sentence &amp;quot;this does not lessen our amazement at...&amp;quot; is converted into a interrogative sentence &amp;quot;我们不是仍然惊为奇观吗？&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Negation:&lt;br /&gt;
&lt;br /&gt;
The negative form &amp;quot;not succeeds&amp;quot; in English is translated into the affirmative form &amp;quot;后结果&amp;quot; in Chinese, intensifying a positive tone on which Chinese language often places emphasis.&lt;br /&gt;
&lt;br /&gt;
③　Division:&lt;br /&gt;
&lt;br /&gt;
The original complicated sentence in English is divided into several simplex clauses and phrases in Chinese, which underlines the &amp;quot;chronicle style&amp;quot; of Chinese language with frequent use of shorter or composite structures.&lt;br /&gt;
&lt;br /&gt;
④　Addition:&lt;br /&gt;
&lt;br /&gt;
Now that the original sentence is divided into smaller components, it is necessary to supply connectors for better cohesion. The addition of the logical connectors in Chinese such as &amp;quot;先&amp;quot;, &amp;quot;后&amp;quot;, &amp;quot;一旦&amp;quot; and &amp;quot;仍然&amp;quot; render the translation more smooth and expressive.&lt;br /&gt;
&lt;br /&gt;
In this instance, the translator flexibly takes advantage of the techniques such as conversion, negation and division, not only contributing to the diversity of sentence patterns but also adding sense of warmth and vividness of the translation. Additionally, the semantic addition of logical connectors render the translation more cohesive and coherent.&lt;br /&gt;
&lt;br /&gt;
(18)Once more I shall ''see'' the world as a garden through ''the eyes'' of a stranger, ''my breath taken away with surprise by the painted fields''.&lt;br /&gt;
&lt;br /&gt;
那时，我像一个陌生者进人大花园，''放眼四望''，''五色缤纷''的原野再一次使我''目不暇接''，''心迷神醉''。&lt;br /&gt;
&lt;br /&gt;
As regards this example, the translator enriches the meaning of the original text and creates a more balmy atmosphere by employing various translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Division:&lt;br /&gt;
&lt;br /&gt;
The long complex sentence, composed of two clauses, is divided into several separated clauses in arranged in a certain order, which renders the translation rhythmic and highlights the focus of expression.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
The addition of the Chinese set phrase &amp;quot;目不暇接&amp;quot; (which means that so many wonderful things and so swift change of scenery come into sight that the eyes are kept fully occupied) makes the context more coherent, as it echoes &amp;quot;see&amp;quot; and &amp;quot;the eyes&amp;quot; in the preceding and connects the &amp;quot;painted fields&amp;quot; in the following that greet the author's eyes and take his breath away.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The verb &amp;quot;see&amp;quot; is translated into &amp;quot;放眼四望&amp;quot; (to look around), the noun phrase &amp;quot;breath taken away with surprise&amp;quot; into &amp;quot;心醉神迷&amp;quot; (to be thrown into ecstasies), and the adjective &amp;quot;painted&amp;quot; into &amp;quot;五彩缤纷&amp;quot; (colorful). These recurring four-character structures in translation are loaded with positive meanings, and proper to depict the attractive scenery and to be used in scholar prose.&lt;br /&gt;
&lt;br /&gt;
④　Conversion:&lt;br /&gt;
&lt;br /&gt;
The original clause &amp;quot;my breath taken away with surprise by the painted fields&amp;quot; is in passive voice, and is converted into the active voice in Chinese translation &amp;quot;五色缤纷的原野再一次使我目不暇接，心迷神醉&amp;quot;. This kind of conversion is due to the fact that the Chinese passive form marked by &amp;quot;被&amp;quot; is traditionally felt to be an &amp;quot;inflictive voice&amp;quot;, mainly expressing things unpleasant or undesirable, contrasted with the cheerful aura overflowing the original text. &lt;br /&gt;
&lt;br /&gt;
The translator employs short clauses separated from the original complex sentence to bestow smoothness and naturalness on the translation and strengthen its artistic appeal. Furthermore, the translator selects the words that tally with the affective, contextual and stylistic meanings of the original. And the opportune addition of words and change of voice also polish the translation.    &lt;br /&gt;
&lt;br /&gt;
The reasonable use of the imitation translation method can make the translation more idiomatic and vivid, and even enable the translation overshadow the original text in terms of showcasing the artistic and aesthetic charm.&lt;br /&gt;
&lt;br /&gt;
In a word, translation methods under domesticating strategy will involve he careful selection of texts which lend themselves to being translated in this manner, the conscious adoption of a fluent, natural-sounding target language style, the adaptation of target text to conform to target discourse types, the interpolation of explanatory material, the removal of source language REALIA and the general harmonization of target text with target language preconceptions and preferences. These methods can render the translation highly literary, aesthetic and readable, and also can to some extent optimize the source text. The appropriate application of domesticating translation is able to even become a sublimation of the original.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
&lt;br /&gt;
This paper makes an analysis of translation strategies and translation methods in English prose, with translator Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot; created by Robert Lynd as an example. With translation strategies and methods as the starting point, this paper considers Chinese translation of English prose as the research subject. The paper first introduces English prose along with its distinctive properties, linguistics features and principles of its translation. And then this paper carries out the interpretation of translation strategies and methods in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot; in which the application of translation methods as well as techniques under foreignizing and domesticating strategies are elaborated, and the concrete effects they exert are also elucidated.&lt;br /&gt;
&lt;br /&gt;
===Major Findings===&lt;br /&gt;
&lt;br /&gt;
Based on the above study of translation strategies and methods employed in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, the features or common ground of Chinese translation of English prose in terms of translation strategies and methods can be generally summarized.&lt;br /&gt;
&lt;br /&gt;
In Chinese translation of English prose, foreignization strategy and domestication strategy are both used in the light of the style, linguistic features, and syntactic structures of the source text.&lt;br /&gt;
&lt;br /&gt;
But, on the whole, the domesticating translation strategy which includes translation methods such as free translation and imitation is applied more frequently compared with foreignization. This is because that prose translation actually falls into literary translation that is special on the grounds of the unique characteristics of the original literary works. In literary works, or specifically, in English prose, some words are not used with their literal meanings but their connotative or extension meanings, so literal translation under foreignization may not correctly convey the real significance of the original text. Meanwhile, in English prose, there are complex syntactic structures whose translation cannot be carried out with no proper conversion and alteration. Additionally, multiple rhetoric devices such as metaphor, metonymy and allusion are used in English literary works, and the literal translation of these figures of speech may elude the target-language readers because of the cultural differences and the obscurity of the translation. However, the appropriate adoption of translation methods under domestication strategy, to some extent, can give the target-language readers a sense of closeness and deliver the aesthetic charm with the premise that the real meaning of the original text can be ensured.&lt;br /&gt;
&lt;br /&gt;
In terms of translation methods under foreignizing strategy, literal translation is used when the lexical meaning of the source text is lucid and the syntactic structures in it are relatively simple and clear, so the translators need not find a new path in the mode of expression in order to be faithful to the source text. And the use of literal translation can convey the information more objectively and avoid the interference of translators' subjective factors. Meanwhile, in Chinese translation of English prose, the use of zero-translation is frequent but imperceptible, with the omission of some words peculiar to English, such as expletives it and there, English articles and pronouns, but sometimes the English pronouns can also be retained to show a sense of closeness and friendliness. Besides, transliteration is used for the translation of proper nouns and technical terms not only in English prose but also in almost all text types, with conforming to the principles of being named after the original sound and of the translated names accepted through common practice. In a word, translation methods under foreignization can ensure the objective conveyance of information of the original text and preserve its foreignness and unique cultural values that can enrich the target-language readers' knowledge and their languages.&lt;br /&gt;
&lt;br /&gt;
With regard to translation methods under domesticating strategy, in Chinese translation English prose, free translation and imitation method are oftentimes employed. English prose, as one of the English literary genres, boasts distinctive features of literature, such as aesthetic value, language with hidden meanings and the usual use of figures of speech as well as culturally loaded images, which may not be shown vividly and be easily understood by target-language readers via literal or word-for-word translation. Thus, translation methods under domestication, with careful choice of words, proper adjustment of syntactic structures and sentence sequence, and appropriate sublimation of the original text, can express the original author's feelings more lively, render the translation more fluent, idiomatic and expressive, and display the aesthetic charm of the source text.&lt;br /&gt;
&lt;br /&gt;
At the lexical level, in Chinese translation of English prose, the translation techniques --- diction, addition, conversion and repetition --- are usually used. The typical Chinese four-character structures appear time from time in Chinese translation, and the translators choose the words in line with the affectionate, contextual and stylistic meanings of the original prose, which intensify literariness and satisfy the characteristics of scholar prose. Moreover, the addition of Chinese conjunctive words and logical connectors by which sentences in translation are connected into a text can create better cohesion. Furthermore, the conversion of word classes in translation is based on the contrastive studies of English and Chinese, viz., English with its nominal style is static whereas Chinese with its verbal style is dynamic. Besides, it is one of the peculiarities of Chinese to reduplicate characters or words in word-formation and to repeat the similar or same word or expression in a discourse for expressiveness and parallelism, which can render translation more appealing to Chinese readers and produce rhetorical and grammatical effect.&lt;br /&gt;
&lt;br /&gt;
At the syntactic level, the translation techniques --- conversion and division--- are often employed in Chinese translation of English prose. To start with, conversion in the syntactic respect involves conversions of sentence members, sentence patterns and the voice. The conversion of word classes often results in the conversion of sentence members, and the alteration of sentences patterns like the inter-conversion between assertive or negative sentences and question sentences can variegate sentence types in translation. The conversion of passive voice in English prose into active voice in Chinese translation is due to the preference for active forms that can produce positive effect in Chinese language. What's more, part of sentences in English prose are longer and complicated because of subordination, a fundamental feature of English, and it may be hard to reproduce the original thought with following the original sentence structure in translation, hence the division of complex English sentences into word-groups, clauses or simplex sentences in Chinese can endow Chinese translation of English prose with more naturalness, fluency and sense of rhythm.&lt;br /&gt;
&lt;br /&gt;
The research on the features of translation strategies and methods in Chinese translation of English prose, theoretically can offer a deeper insight into English prose and its translation, and practically can help to some extent improve the quality of Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
===Limitations and Suggestions===&lt;br /&gt;
&lt;br /&gt;
There are drawbacks in this paper: firstly, the paper takes only one piece of English prose as an example in case study, so it lacks strong persuasiveness; secondly, since there are few researchers on prose translation at home and abroad, especially those specializing in Chinese translation of English prose, this paper resorts to insufficient literature guidance and reference; thirdly, owing to the confined conditions and narrow academic capacity, this paper is devoid of enough depth and breadth as well as favorable insight and acuity, thus the theoretical support and practical assistance it provides are bound to be limited. As a consequence, it is expected that researchers in this field can cooperate well to build up a system to minimize the possible errors and create more thorough and holistic works to enunciate and improve Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
&lt;br /&gt;
[1] Lawrence Venuti. Rethinking Translation: Discourse, Subjectivity, Ideology [C]. London and New York: Routledge, 1992: 5-20.&lt;br /&gt;
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[3] Mark Shuttleworth. Moira Cowie. Dictionary of Translation Studies [M]. London and New York: Routledge, 2014: 43-44, 59, 144-145.&lt;br /&gt;
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&lt;br /&gt;
==Appendix==&lt;br /&gt;
&lt;br /&gt;
(The original text:)&lt;br /&gt;
&lt;br /&gt;
The Pleasures of Ignorance&lt;br /&gt;
&lt;br /&gt;
By Robert Lynd&lt;br /&gt;
&lt;br /&gt;
It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance. It is impossible to take a walk in the country oneself without being amazed at the vast continent of one’s own ignorance. Thousands of men and women live and die without knowing the difference between a beech and an elm, between the song of a thrush and the song of a blackbird. Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is the exception. It is not that we have not seen the birds. It is simply that we have not noticed them. We have been surrounded by birds all our lives, yet so feeble is our observation that many of us could not tell whether or not the chaffinch sings, or the colour of the cuckoo. We argue like small boys as to whether the cuckoo always sings as he flies or sometimes in the branches of a tree-whether Chapman drew on his fancy or his knowledge of nature in the lines:&lt;br /&gt;
&lt;br /&gt;
When in the oak's green arms the cuckoo sings, &lt;br /&gt;
&lt;br /&gt;
And first delights men in the lovely springs.&lt;br /&gt;
&lt;br /&gt;
This ignorance, however, is not altogether miserable. Out of it we get the constant pleasure of discovery. Every fact of nature comes to us each spring, if only we are sufficiently ignorant, with the dew still on it. If we have lived half a lifetime without having ever seen a cuckoo, and know it only as a wandering voice, we are all the more delighted at the spectacle of its runaway flight as it hurries from wood to wood conscious of its crimes and at the way in which it halts hawk-like in the wind, its long tail quivering, before it dares descend on a hillside of fir-trees where avenging presences may lurk. It would be absurd to pretend that the naturalist does not also find pleasure in observing the life of the birds, but his is a steady pleasure, almost a sober and plodding occupation, compared to the morning enthusiasm of the man who sees a cuckoo for the first time, and, behold, the world is made new.&lt;br /&gt;
&lt;br /&gt;
And, as to that, the happiness even of the naturalist depends in some measure upon his ignorance,which still leaves him new worlds of this kind to conquer. He may have reached the very Z of knowledge in the books, but he still feels half ignorant until he has confirmed each bright particular with his eyes. He wishes with his own eyes to see the female cuckoo—rare spectacle!—as she lays her egg on the ground and takes it in her bill to the nest in which it is destined to breed infanticide. He would sit day after day with a field-glass against his eyes in order personally to endorse or refute the evidence suggesting that the cuckoo does lay on the ground and not in a nest.And, if he is so far fortunate as to discover this most secretive of birds in the very act of laying, there still remain for him other fields to conquer in a multitude of such disputed questions as whether the cuckoo’s egg is always of the same colour as the other eggs in the nest in which she abandons it. Assuredly the men of science have no reason as yet to weep over their lost ignorance. If they seem to know everything, it is only because you and I know almost nothing. There will always be a fortune of ignorance waiting for them under every fact they turn up. They will never know what song the Sirens sang to Ulysses any more than Sir Thomas Browne did.&lt;br /&gt;
&lt;br /&gt;
If I have called in the cuckoo to illustrate the ordinary man's ignorance, it is not because I can speak with authority on that bird. It is simply because, passing the spring in a parish that seemed to have been invaded by all the cuckoos of Africa, I realized how exceedingly little I, or anybody else I met, knew about them. But your and my ignorance is not confined to cuckoos. It dabbles in all created things, from the sun and moon down to the names of the flowers. I once heard a clever lady asking whether the new moon always appears on the same day of the week. She added that perhaps it is better not to know, because, if one does not know when or in what part of the sky to expect it,its appearance is always a pleasant surprise. I fancy, however, the new moon always comes as a surprise even to those who are familiar with her time-tables. And it is the same with the coming-in of spring and the waves of the flowers. We are not the less delighted to find an early primrose because we are sufficiently learned in the services of the year to look for it in March or April rather than in October. We know, again, that, the blossom precedes and not succeeds the fruit of the apple-tree, but this does not lessen our amazement at the beautiful holiday of a May orchard.&lt;br /&gt;
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At the same time there is, perhaps, a special pleasure in relearning the names of many of the flowers every spring. It is like rereading a book that one has almost forgotten. Montaigne tells us that he had so bad a memory that he could always read an old book as though he had never read it before. I have myself a capricious and leaking memory. I can read Hamlet itself and The Pickwick Papers as though they were the work of new authors and had come wet from the press, so much of them fades between one reading and another. There are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy. But this is only when life has an object beyond entertainment. In respect of mere luxury, it may be doubted whether there is not as much to be said for a bad memory as for a good one. With a bad memory one can go on reading Plutarch and The Arabian Nights all one's life. Little shreds and tags, it is probable, will stick even in the worst memory, just as a succession of sheep cannot leap through a gap in a hedge without leaving a few wisps of wool on the thorns. But the sheep themselves escape,and the great authors leap in the same way out of an idle memory and leave little enough behind.&lt;br /&gt;
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And, if we can forget books, it is as easy to forget the months and what they showed us, when once they are gone. Just for a moment I tell myself that I know May like the multiplication table and could pass an examination on its flowers, their appearance and their order. Today I can affirm confidently that the buttercup has five petals. (Or is it Six? I knew for certain last week.) But next year I shall probably have forgotten my arithmetic, and may have to learn once more not to confuse the buttercup with the celandine. Once more I shall see the world as a garden through the eyes of a stranger, my breath taken away with surprise by the painted fields. I shall find myself wondering whether it is science or ignorance which affirms that the swift (that black exaggeration of the swallow and yet a kinsman of the humming-bird) never settles even on a nest, but disappears at night into the heights of the air. I shall learn with fresh astonishment that it is the male, and not the female,cuckoo that sings. I may have to learn again not to call the champion a wild geranium, and to rediscover whether the ash comes early or late in the etiquette of the trees. A contemporary English novelist was once asked by a foreigner what was the most important crop in England. He answered without a moment's hesitation: &amp;quot;Rye&amp;quot;. Ignorance so complete as this seems to me to be touched with magnificence; but the ignorance even of illiterate persons is enormous. The average man who uses a telephone could not explain how a telephone works. He takes for granted the telephone, the railway train, the linotype, the aeroplane, as our grandfathers took for granted the miracles of the gospels. He neither questions nor understands them. It is as though each of us investigated and made his own only a tiny circle of facts. Knowledge outside the day's work is regarded by most men as a gewgaw. Still we are constantly in reaction against our ignorance. We rouse ourselves at intervals and speculate. We revel in speculations about anything at all—about life after death or about such questions as that which is said to have puzzled Aristotle, &amp;quot;why sneezing from noon to midnight was good, but from night to noon unlucky.&amp;quot; One of the greatest joys known to man is to take such a flight into ignorance in search of knowledge. The great pleasure of ignorance is, after all, the pleasure of asking questions. The man who has lost this pleasure or exchanged it for the pleasure of dogma, which is the pleasure of answering, is already beginning to stiffen. One envies so inquisitive a man as Jowett, who sat down to the study of physiology in his sixties. Most of us have lost the sense of our ignorance long before that age. We even become vain of our squirrel’s hoard of knowledge and regard increasing age itself as a school of omniscience. We forget that Socrates was famed for wisdom not because he was omniscient but because he realized at the age of seventy that he still knew nothing. (Zhu Mingju 2007: 319-322)&lt;br /&gt;
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(Liu Bingshan's Chinese translation:)&lt;br /&gt;
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无知常乐&lt;br /&gt;
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刘炳善 译&lt;br /&gt;
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同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是凤毛麟角。所以如此，并不是因为这些鸟我们没有见过，而只是因为我们习焉不察。在我们一生中，鸟类始终就在我们周围，然而我们对于它们的观察总是那样马马虎虎，所以我们当中许多人都说不清花鸡到底会不会知，也不知道杜鹃究竟是什么颜色。对于有些问题、我们像小孩子一样争论不休、譬如说，杜鹃在飞着或栖身于树枝间的时候，是否一直不停地鸣，而查普曼下面两行诗的灵感究竟是来自他的想像还是来自他的自然知识∶&lt;br /&gt;
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杜鹃在橡树的绿色怀抱里啭啼，&lt;br /&gt;
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第一个为人们带来欢欣、美好的春意。&lt;br /&gt;
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不过，这种无知也并非全然不幸，因为正是由于它，我们才能不断尝到发现的乐趣。只要我们是的的确确地无知，那么每年大地春回，自然界的每一种事物都会带着它那清新的露珠重新出现在我们面前。如果我们活了半辈子，对于杜鹃除了听过它那飘忽不定的叫声，从来没有见过它是什么模样，那么，一日看见它因为自己犯了罪而煌惶不安地从这个林子飞逃向那个林子。或是看见它顶着风、像老鹰似的停留在半空中，它那长长的尾巴颤动着，不敢落下来，生怕有什么鸟儿藏在那山坡上的枞树林里等着要找它报仇。我们才会觉得大大开心。有人想着，博物学家整天观察鸟类，大概就不会觉得有什么趣儿了吧？其实大谬不然--他那持续不断的乐趣几平已经变成一种安详的职业习惯了，不像有人某天早晨突然第一次看见一只杜鹃，不胜雀跃之至，于是，看哪，天地也为之焕然一新了。&lt;br /&gt;
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说到这儿，甚至连博物学家的快乐在一定程度上也有赖于自己的无知；只有如此。才能给他留出一些新的领域有待他去征服。即使他已经攀登了书本知识的顶峰，他仍会感到自己不过是半通不通，每一个引人注目的细节还必须用自己的亲眼观察来加以一一证实。他盼着能亲眼看到雌杜鹃（这可是个稀罕物儿！）把蛋下到地面上。然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。因此，博物学家就要戴上望远镜，日复一日地坐在那里等待着亲眼证实或者否定那种认为杜鹃确实是在地面上而非在窠里下蛋的说法。而日，即使他很幸运，能够发现杜鹃下蛋实况，这个在鸟类来说算是极大的秘密，其他一大批有争议的问题还依然存在。就像新的领土有待他去开拓，例如，杜鹃的蛋跟它占用的窠里其他鸟的蛋是否总是一样颜色？自然，科学家没有理由为了自己失去无知而哭泣。如果他们看起来似乎是精通一切的话，那也不过因为你我差不多是一无所知罢了。实际上，当他们要把一件事实的盖子揭开的时候，某种命定的无知就在等待着他们。海妖们向尤利塞斯唱的究竟是什么歌儿？——他们永远不可能知道，正像托马斯·勃朗爵士也不知道一样。&lt;br /&gt;
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我请杜鹃来做例子以说明普通人的无知，并不是因为我有什么权威可以对这种鸟儿发发议论。不过，我曾在某个教区暂住，而那年春天从非洲飞来的杜鹃似乎全集合在那个地方，因此我也就有机会了解到我自己以及我所碰见的每一个人对于这种鸟儿的知识是如何地微不足道。但是，你我的无知并不仅限于杜鹃这一方面。它涉及到宇宙万物，从太阳、月亮一直到花卉的名字。有一天，我听见一位聪明伶俐的太太提出了这样一个问题∶新月是不是总在星期几露面？她接着又说：不知道倒好，正因为人不知道在什么时候、在天空的哪一带能看见它，新月一出现才给人带来一场惊喜。然而我想、哪怕入把月亮盈亏时间表记得再熟。看见新月出现还是不免又惊又喜，春回大地，花开花落，也莫不如此。尽管我们对一年四季草本节令了如指掌，知道樱草开花在三月四月而不在十月，不过看见一株早开花的樱草，我们还是照样地高兴。另外，我们知道苹果树先开花，后结果，可是五月一旦到来，果园里一片欢闹的花海。我们不是仍然惊为奇观吗？&lt;br /&gt;
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倘在每年春天，把许多花卉之名重温一遍，还另有一番风味。那就像把一本差不多忘得干干净净的书再重新念一遍。蒙田说过，他的记忆力很坏，所以他随时都能拿起一本旧书，像从未读过的新书一样地念。我自己的记忆力也是漏洞百出、不听使唤。我甚至能拿起《哈姆雷特》和《匹克威克外传》，当作是初登文坛的新作家刚刚印成白纸黑字的作品来念，因为自从上回念过以后，这两部书在我脑子里的印象已经模模糊糊了。这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。不过，在这种时候，人不仅想得到娱乐，还追求着什么目的。如果只讲享受的话，记忆力坏比记忆力好究竟差到哪里去，还真是大可怀疑哩。记忆力坏的人可以一辈子不断地念普卢塔克的《英雄传》和《天方夜谭》，而永远感到新鲜。很可能，最坏的记忆力也难免粘粘连连地留下一星半点的印象，恰如一只只绵羊从篱笆洞里接连通过，总不免在那刺条上留下一丝半缕的羊毛。然而，绵羊终归逃出去了，正像伟大的作家从我们不争气的记忆中消失。所留下的东西简直微不足道。&lt;br /&gt;
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既然读过的书我们可以忘得一干二净，那么一年十二个月以及每个月的风物，一旦时过境迁。我们同样可以轻而易举地把它们忘在脑后。在某个短暂时刻，我可以说自己对于五月就像对于乘法表那样熟悉，关于五月里的花木、开花时间乃至前后次序，我能通过考试。今天，我就敢肯定金凤花有五瓣。（难道是六瓣吗？上个礼拜我还记得清清楚楚来着。）可是，到了明年，我也许连算术也忘个干干净净;我得从头学起，以免把金凤花误认成白屈菜。那时，我像一个陌生者进人大花园，放眼四望，五色缤纷的原野再一次使我目不暇接，心迷神醉。那时，我也许要对这么一个问题拿不定注意，就是; 认为雨燕（那种简直像大号小燕子、又和蜂鸟沾点儿亲戚的黑鸟儿）从来不在窠里歇着，一到夜里就飞向高高的天空，到底是一种科学论断，还是一种无知妄说？当我知道了会唱歌的并不是雌杜鹃，而是雄杜鹃。我还要再次感到惊讶。我得重新学习，以免把剪秋罗当作野大竺葵；还要去重新发现白杨在树木生长的习惯法中究章算是早成材还是晚成材。某天。一个外国人问一位当代英国小说家，英国最重要的农作物是什么。他毫不犹豫地回答：“稞麦。”在我看来，这是一种堂而皇之派头的彻头彻尾的无知；不过，大大无知的也包括那些没有文化的人。普通人只会使用电话，却无法解释电话的工作原理。他把电话、火车、铸造排字机、飞机都看作当然之事，就像我们的祖父一代把福音书里的奇迹故事视为理所当然一样。对于这些事，他既不去怀疑，也不去了解。我们每个人似乎只对很小范围内的某几件事才真正下工夫去了解、弄清楚。大部分人把日常工作以外的一切知识统统当作花哨无用的玩意儿。然面，对于我们的无知，我们还是时时抗拒着，我们}有时振作起来，进行思索。我们随便找一个什么题目，对之思考，甚至入迷——关于死后的生命，或者关于某些据说亚里士多德也感到大惑不解的问题，例如“打喷嚏，从中午到子夜则吉，从夜晚至中午则凶，其故安在？”为求知识而陷入无知，这是人类所欣赏的最大乐事之一。归根结底，无知的极大乐趣即在于提出问题。一个人，如果失去了这种提问的乐趣，或者把它换成了教条的答案，并且以此为乐，那么，他的头脑已经开始僵化了。我们羡慕像裘伊特这样勤学好问之人，他到了六十多岁居然还能坐下来研究生理学。我们多数人不到他这么大的岁数就早已丧失了自己无知的感觉了。我们甚全像松鼠似的对自己小小的知识储存感到沾沾自喜，把与日俱增的年龄看作是培养无所不知的天然学堂。我们忘记了∶苏格拉底之所以以智慧名垂后世，并非因为他无所不知，而是因为他到了七十高龄还能明白自己仍然一无所知。 (Zhu Mingju 2007: 322-325)&lt;br /&gt;
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=毛优Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
[[Trans_Type_EN_5]]&lt;br /&gt;
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毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
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=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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[[Trans_Type_EN_6]]&lt;br /&gt;
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彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
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从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。	&lt;br /&gt;
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Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
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Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
翻译风格，巴黎的忧郁，郭宏安，亚丁&lt;br /&gt;
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==Introduction==&lt;br /&gt;
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The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
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Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations. Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
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==Liu Miqing’s theory of translation style==&lt;br /&gt;
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Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
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Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.&lt;br /&gt;
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In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
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==Form Markers==&lt;br /&gt;
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According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
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===Register Markers===&lt;br /&gt;
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“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
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The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
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Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
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Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
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Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
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This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
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===Lexical Markers===&lt;br /&gt;
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Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence, translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
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==Non-formal Markers==&lt;br /&gt;
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The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
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Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
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According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
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Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
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The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
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The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
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Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
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Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.&lt;br /&gt;
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==References==&lt;br /&gt;
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[1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[3] 刘宓庆 Liu Mingqing. 新编当代翻译理论[M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp;amp; Publishing Corporation, 2005.&lt;br /&gt;
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[4] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.&lt;br /&gt;
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[5] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.&lt;br /&gt;
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=秦建安 A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
[[Trans_Type_EN_7]]&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Lu Xun, chief commander of China's modern cultural revolution, is not only a great thinker and political commentator but the founder of modern Chinese literature. Kong I-Chi is one of the masterpieces of Lu Xun's novels. Although the total number of characters is less than 3,000 words, Lu Xun exposes the nature of feudal ethics and its negative influence through his character portrayal, which is loved by many readers home and aboard. The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but so as close as possible to the original text in terms of syntactic structure and wording. Therefore, his translations once became the authoritative version of Lu Xun's novels. From the perspective of Nida’s functional equivalence theory, this thesis conducts translation research on the English translation of the famous writer Yang Xianyi, analyzing whether the translation is functionally equivalent to the original text and construe the English translation of prose from the lexical, syntactic, and semantic level to try to explore the translation strategies, styles and methods of Kong I-Chi which aims to explain the functional equivalents in Lu Xun's short novel translation.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Functional Equivalence Theory; Lu Xun; Kong I-Chi;translation method&lt;br /&gt;
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===Introduction===&lt;br /&gt;
This chapter will be expanded with respect to the research background, its significance and the methodology. The literature review will also be included which describes the previous studies on the Functional Equivalence Theory and previous translation versions of ''Kong I-Chi''.&lt;br /&gt;
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'''Research Background and Significance'''&lt;br /&gt;
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As the most famous writer in modern China, Lu Xun has a decisive bearing on the modern history of Chinese literature. Lu Xun settled in a period of transformation in Chinese literature. His short stories are different from modern short stories in terms of text and expression. ''Kong I-Chi'' was written in 1918 when there was a turmoil in China. At that time, although the imperial examination system had been abolished, the education system had not changed, and many scholars had not shaken off the shackles of feudal tenets. &lt;br /&gt;
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''Kong I-Chi'' enjoys high reputation at home and abroad and has been translated into English, Japanese, French, Russian and other languages. Compared with other language versions, the English versions enjoy a wider spread and have deeper influence. In 1954, the couple Yang and Dai translated it into English and published Selected Stories of Lu Xun in which ''Kong I-Chi'' was included. Yang Xianyi and his wife Gladys Yang are great translator beyond all doubt. They are knowledgeable and familiar with Chinese and Western cultures also have devoted their life to translating excellent Chinese and Western literary works. Through their translation, we can better master the author's own novel intentions.&lt;br /&gt;
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'''Methodology'''&lt;br /&gt;
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In recent years, the translation of traditional Chinese literary works was attached great significance by both Chinese and foreign scholars. As an important part of ancient Chinese culture, though, it is a common genre in Chinese and foreign literature, the short novels cannot be neglected. For translators, how to deal with the modern and balance Chinese and Western cultural differences has become a salient problem. It is not only necessary to understand the characteristics of modern Chinese literature, but also to be very familiar with Chinese and Western cultures for the translator. Functional Equivalence Theory is put forward by American linguists Eugene Nida. According to him, two different languages represent two different cultures which will never be the same, but translation is a kind of communication between the two cultures and translators should try their best to achieve functional equivalence between the two languages rather than seek for rigid correspondence when making translation, which can accurately reproduce the source culture in the target language and eliminate cultural differences. It puts forward a new attitude to treat different languages and cultures, promoting language communication and mutual understandings among people. Thus, taking Nida’s theory as guidance, this research is meaningful not only for translation studies, but also for cultural exchanges.&lt;br /&gt;
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'''Literature Review'''&lt;br /&gt;
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As one of Nida’s major contribution to contemporary translation studies, Functional Equivalence Theory has brought about heated discussion among scholars at home and abroad since its birth. Many momentous works of Nida also have been translated and introduced into China, such as Nida on Translation edited and translated by Tan Zaixi (1999) and Language and Translation translated by Cai Yi (1985) which of them aroused great repercussions in Chinese translation field. As the prototypical member of Functional Equivalence Theory, receptor’s response theory draws scholars’ attention. Zhang Xiujuan (2015) points out that “receptor’s response theory breaks the tradition of Chinese translation that translators pay much attention to the text but may ignore the response of readers, and provides a new perspective for Chinese scholars to make studies on translation theories”.&lt;br /&gt;
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Kong I-Chi, as the most typical character in Lu Xun's novels in the teaching textbooks of Chinese junior high school students, has left an indelible impression in the hearts of Chinese people. The most recognized translators of ''Kong I-Chi'' include Yang and Dai, Lyle William and Edgar Snow. The translation of Lu Xun's novels during the period of Yang and Dai reach its heyday. For a long time, domestic and foreign publishing houses have published works translated by the couple. Since Edgar Snow lived in the same age as Lu Xun, his translation is closer to Lu Xun's life background. It wasn't until 1990 that the American scholar William Lyell's new American translation was published, and the new stage of the English translation of Lu Xun's novels began. The British English version translated by Yang and Dai is elegant and idiomatic, giving readers the good impression of pure British English.&lt;br /&gt;
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=== Theoretical Framework: Nida’s Functional Equivalence Theory ===&lt;br /&gt;
==== Introduction of Functional Equivalence Theory ==== &lt;br /&gt;
===== The Original of Functional Equivalence Theory  =====&lt;br /&gt;
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Nida's main academic activities unfold around the translation of the Bible. In the process of &amp;quot;Bible&amp;quot; translation, Nida started from reality and developed a set of his own translation theory, which eventually became one of the classics in translation studies. In 1964, Nida (1964) put forward “dynamic equivalence” in ''Toward a Science of Translating'', and gave it specific definition in ''The Theory and Practice of Translation'' (1969). In the mid-1980s, “dynamic equivalence” was replaced by “functional equivalence” to avoid misunderstandings on the term “dynamic”, which was the origin of Functional Equivalence Theory.&lt;br /&gt;
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=====The Development of Functional Equivalence Theory  =====&lt;br /&gt;
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The most important and the most intractable part in Functional Equivalence Theory is the disposal of message. The theory requires that the message in receptor’s language must be consistent with the source language. In such a translation, translators should strive to “reproduce as literally and meaningfully as possible the form and content of the original” (Nida 1964:159). Later he successfully applied the research results of modern linguistics to translation theory which also reciprocally pushed his theory forward. There are three stages in the development of Functional Equivalence Theory.&lt;br /&gt;
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The first stage is that starting from the essence of language; he used semantic theory to make an objective and accurate analysis of the referent and associative meaning of words. In Nida's point of view, various language structures have great similarities, and the deep structure is far more common than the surface structure. Therefore, the translation of the deep structure between languages can ensure the fidelity of the translation to the greatest extent. At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensue smoothness of the translation as much as possible. The faithful and fluent translation presupposes conditions for the equivalence of receptor’s response, which makes it possible to realize functional equivalence.&lt;br /&gt;
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The second stage is that the theory was prone to lay its foundation on information theory. Nida held the view that translation is the activity of converting information expressed in one language into information in another language, which is, converting information of one code into information of another code. The translation plays a communicative role in transmitting information. Only when the target reader obtains the same amount of information as the original reader can the relationship between the target language recipient and the target language information be basically the same as the relationship between the original language recipient and the original source information. Nida noticed that there is a receptive gap between the original reader and target reader especially when the original language and the target language belong to different language families and different cultures. Thus, in order to improve the amount of the receptor’s information as much as the original reader’s, Nida emphasizes the translator can moderately change the form of the original text to provide a better understanding for receptors.&lt;br /&gt;
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On third stage, Nida tended to embellish his theory from the perspective of social semiotics. Nida insisted that the translation means translation meaning, and semiotics is the most comprehensive system for analyzing meaning. In the book &amp;quot;''Language, Culture, and Translation''&amp;quot;, Nida pointed out that social semiotics studies all codes and codes of human society, and its focus is on the most comprehensive and complex symbol system used by mankind-Language. Therefore, in terms of decoding and encoding, no translation method is as comprehensive as the social semiotic translation method.&lt;br /&gt;
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Nida also recognized that there would never be complete equivalence and it was just a quaesitum. With further development of Functional Equivalence Theory, he thought that it has different degrees of adequacy and on that basis he put forward two levels of functional equivalence — the maximal level and the minimal level of equivalence. The former refers to “the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did” (Nida 1993:118), but this is just an ideal state which cannot be achieved especially when there are huge cultural and aesthetic differences between the two languages. While the latter means “the readers of a translated text should be able to comprehend it to point that they can conceive of how the original readers of the text must have understood and appreciated it” (Nida 1993: 118), and translation below this level can never be accepted. According to Nida, if a translation is between these two levels, it can be regarded as a good one.&lt;br /&gt;
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==== Basics of Functional Equivalence Theory  ==== &lt;br /&gt;
=====Receptor’s Response  =====&lt;br /&gt;
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In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s responce. When translators are working on translation, they are increasingly unable to ignore the reader's feedback on the translation. From the perspective of reception aesthetics, translation theorist Nida said that only when the reader accepts the translation can the translation be truly completed. Therefore, when translating, the translator cannot ignore the acceptability of the translation. The translator builds a bridge between the original author and the reader of the target language through translation, and it is the translation that can clearly reflect this bridge role.&lt;br /&gt;
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Receptor’s Response Theory draws attention to the reader and the reading process, rather than the author or the text. Pat Mora and James Welch define it as: &amp;quot;The theory emphasizes the importance of the reader's role in text understanding.&amp;quot; The same description also appears in many of Nida’s works in which the importance of “receptor’s response” is emphasized repeatedly. &lt;br /&gt;
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There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which was pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information need to be filled in by the reader himself. Such uncertainty occupies another very important position in this theory. This concept includes those vague factors, such as gaps and blanks. This kind of uncertainty encourages readers to add their own ideas when reading, so there is usually more than one understanding of a literal work. The third point is implicit reader also proposed by Isel, as opposed to the actual reader, which refers to the intended reader set by the writer himself who can concretize the text. Isel points out that the implicit reader is not the actual reader, but a reader that the author expects to design in the creative process, that is, the implicit recipient. It is a certain character that the artist conceives and pre-sets based on his experience or hobbies. The forth part is the identity theme. In other words, the work itself has no fixed objective meaning; only when the reader reshapes the work out of his own identity theme and the reader replicates his own fantasies during the reading process, the work can be given meaning. The last point is the interpretative group which was put forward by Stanley Fish. It refers to people who share the same interpretation strategy as we have. In a known context or reader group, the interpretation of the work meaning is the product from the group.&lt;br /&gt;
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===== Principles for Producing Functional Equivalence  =====&lt;br /&gt;
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To achieve the closest natural equivalence between the source language and target language, Nida put forward six principles as the guidance of different kinds and degrees of adjustments:&lt;br /&gt;
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1.	When the translation that strictly keeps the form of the source text makes receptors misunderstand the designative meaning, changes need to be made in the translated text, or a footnote should be added for further explanation if literal translation is still be selected.&lt;br /&gt;
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2.	When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aim to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.&lt;br /&gt;
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3.	When the translation that strictly keeps the form of the source text is so semantically and syntactically difficult that average readers may give up the attempt to understand it, changes should be made in the translated text and the nature of the changes needs to be indicated in the introduction or footnote.&lt;br /&gt;
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4.	When the translation that strictly keeps the form of the source text causes significant misconceptions on the associative meanings of the source text or huge loss in the appreciation for the stylistic values of the source text, changes should be made to reflect the associative meanings of the source text.&lt;br /&gt;
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5.	The way that a translation is to be used (such as a drama to be read or acted on the stage) is of great significance to the extent to which changes are to be made.&lt;br /&gt;
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6.	A source text that must be translated together with accompanying codes (such as songs and operas) generally requires numerous adjustments in all aspects, including phonology, lexicon, syntax, and discourse. (Nida 1993: 125-128).&lt;br /&gt;
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=== Introduction to Lu Xun and ''Kong I-Ch''i  === &lt;br /&gt;
==== Lu Xun and the values of ''Kong I-Chi'' ====&lt;br /&gt;
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To read and translate Kong I-Chi, you must first understand its author-Lu Xun.&lt;br /&gt;
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Lu Xun is a great writer. Mentioning classical literary works, no matter what innovative methods are adopted, whether realistic, romantic, or magical, the content should be close to life, reflect the reality of times and speak for the people. In terms of form, literary works should conform to the inherent rules of literary creation-forming a unique artistic style and achieving the perfect unity of truth, goodness, and beauty. Lu Xun's works fully meet the above requirements. &lt;br /&gt;
Lu Xun is also a famous thinker. Indeed, Lu Xun did not specifically study thinking or modes of thinking, nor did he have advanced theoretical monographs, but he, like thinkers in ancient and modern times, both at home and abroad, used suspicion and criticism as spiritual swords to explore truth and reveal. He held the view that it was his duty to awaken the sleeping souls of the Chinese people with literary works of various genres. The depth and breadth of his thinking is even higher than that of some contemporary thinkers. This is well reflected in his work Kong I-Chi.&lt;br /&gt;
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Lu Xun, who is a revolutionary, has a precious characteristic, that is, the purity of his revolutionary original intention. Lu Xun leaned towards socialism under the white horror of the low ebb of the Chinese revolution. What's more commendable is that as a sober realist, Lu Xun never conceives any romantic illusions about the revolution. No matter what difficulties the revolution encounters, Lu Xun always has an optimistic belief in the prospects of the revolution.&lt;br /&gt;
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From a general perspective, Lunatic's Diary is more macro and image specific than Kong I-Chi, while Kong I-Chi starts from the micro level, depicting the poor people at the bottom of society who was bullied and oppressed and lost their dignity as human beings. In addition, there are many opinions in the critics. For example, Mr. Lu Xun's Kong I-Chi was written to criticize the feudal imperial examination system, and some people think that it was sent out to criticize the “dark” old society. The famous critic Lin Zhihao believes that this novel is not only to assail at the corruption of the feudal imperial examination system, but also to reveal the persecution of people’s spiritual and ideology by the feudal education system in the dark old society. The social reality was that most scholars had been ruthlessly “eaten” up by the environment. When the shackles of thinking have been broken, we can dig into the deep meaning under the surface of Kong I-Chi, that is, the process of literati's loss of personality and the process of redemption under the background of the dark society of feudalism. Although the tragedy is redemptive, the process is also accompanied by a fall.&lt;br /&gt;
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==== Study on the Translation of ''Kong I-Chi''  ====&lt;br /&gt;
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''Kong I-Chi'' is a masterpiece of Lu Xun. The novel was created in the winter of 1918, published in the sixth volume of &amp;quot;''Italic text''New Youth&amp;quot; in April 1919. (刘家鸣1992: 15). ''Kong I-Chi'' is Lu Xun's most satisfying work (孙伏园等2000: 58), and it is also one of Lu Xun's novels that English translators are vying to translate resulting in an amount of English translation. &lt;br /&gt;
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So far, there are eight translations of ''Kong I-Chi'': 1)A British man E.H.F.Mills translated ''Con Y Ki'' from Jing Yinyu's French translation (Mills 1930: 42-50), included in ''The Tragedy of Ah Q and Other Contemporary Chinese Short Stories'' published by George Rutridge Bookstore in London in 1930; 2) The English translation of ''K’ung I-chi'' by the American Jin Shouzhuo (G.A.Kennedy 1932: 14-15), which was later included in ''Isaacs'' (Isaacs 1974: 25-32) edited by Yi Luosheng; 3) ''K’ung I-chi'' translated by Lin Jijin (Lin 1935:3-4); 4) Unsigned version of The Tragedy of ''K'ung I-Chi'' (Anonymous 1936: 2-3); 5) ''K’ung I-chi'' was co-translated by American journalists Edgar Snow and Yao Xinnong; 6) later comes to Yang Xianyi and Gladys's translation ''K'ung I-chi'' (hereinafter referred to as &amp;quot;Yang Translation&amp;quot;) (Yang &amp;amp; Gladys 1960: 40-46); 7)Then, famous American sinologist William Lyell translated ''Kong Yiji'' (Lyell 1990: 42-48); 8) other translation of ''Kong Yiji'' was produced by British sinologist Lan Shiling ( Lovell 2009: 32-36).&lt;br /&gt;
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This article focuses on Yang's translation, trying to explore Yang and Dai's translation strategies, styles and methods of ''Kong I-Chi'' from the lexical, syntactic and semantic levels, and aims to explain the functional equivalence in the English translation of Lu Xun's short stories.&lt;br /&gt;
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=== Analysis of the Translation of ''Kong I-Chi'' from the Perspective of Functional Equivalence  === &lt;br /&gt;
==== Lexical Analysis ====&lt;br /&gt;
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There are many cultural-loaded words in the original Kong I-Chi text, such as this. Culture-loaded words are deeply imprinted by the region and era of a certain language society which express things and concepts peculiar to a certain culture. Such words as “进学” and “秀才” not only carry rich cultural connotations, but also exist only in a certain culture which may be blank in another culture. It is this characteristic which is “I have and you do not have” that often becomes an obstacle to cross-cultural communication and translation. From the perspective of Functional Equivalence, this thesis will analyze how these words are handled in Yang's translation.&lt;br /&gt;
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In the sentence “幸亏荐头的情面大，辞退不得”, the word “荐头” was translated into “someone influential” by Yang and Dai. “荐头” is the person who introduces works to other people in ancient China. Such person is absolutely influential. But for reader, such influential people may be a nobleman or someone who is very authoritative in the area which may result in discrimination. The job introducers also can be regarded as common people instead of the influential. From the perspective of Functional Equivalence, Yang’s translation explicitly showed the deep meaning with loss of cultural characteristic.&lt;br /&gt;
The phrase “之乎者也” was translated into “archaisms” which stands for the use of an archaic expression. In Chinese, the original meaning of “之乎者也” is four auxiliary words commonly used in classical Chinese. Therefore, the word &amp;quot;之乎&amp;quot; also refers to the basic abilities that a scholar should possess. Later, it is used to ridicule the scholar who only knows how to analyze words while cannot solve practical problems. Functional equivalence theory requires efforts to create translations that not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. The word “archaisms” corresponds exactly to the description of Kong I-Chi in Lu Xun’s story who is a nerd.&lt;br /&gt;
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Other prototypical cultural-loaded word is “进学”. Yang translated it into “pass the official examination”. As a link in the imperial examination system in ancient China, “进学” means that the children of the Qing dynasties who can pass the examination will be admitted to the prefectural and county schools. Such system is unique to China. To achieve functional equivalence, that is, to allow non-native readers to understand this special cultural mark, the translator must explain this cultural phenomenon as much as possible or find a corresponding expression in the foreign language culture. The same in the word “秀才” on this sentence “你怎的连半个秀才也捞不到呢?” “秀才” also belong to the imperial system. “秀才” is a subject for selecting officials in ancient China, and it was once used as a special name for school students. Yang translated it into “passed the lowest official examination”. As the minimum requirement of the ancient imperial examination system, those who passed the selection examination were called  “秀才”. According to Nida’s theory, it perfectly expresses the ancient Chinese imperial examination system, and at the same time allows foreign language readers to understand Kong I-Chi’s knowledge background.&lt;br /&gt;
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==== Syntax Analysis ====&lt;br /&gt;
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In terms of syntax, the differences in sentence patterns between English and Chinese are the most salient. English emphasizes hypothesis while Chinese emphasizes parataxis, which leads to the conversion of sentence patterns in the process of translation. According to Nida's Functional Equivalence Theory, if the change in form is still insufficient to express the meaning and culture of the original text, the translation technique of &amp;quot;reconstruction&amp;quot; can be used to resolve cultural differences and make the source language and the target language equal in meaning. &amp;quot;Reconstruction&amp;quot; refers to the conversion of the deep structure of the source language into the surface structure of the target language (郭建中,2000 , P67), that is, the cultural connotation of the source language article is explained by the vocabulary of the target language.&lt;br /&gt;
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In ''Kong I-Chi'', when Kong I-Chi took our his money and ordered some food, other people started to sneer at his revenue sources and said “你一定又偷了人家东西了!” The exclamatory sentence in the original text showed others' affirmation of Kong I-Chi's theft. Yang translated it into “You must have been stealing again!” Here we can notice the tense of the two sentences. Lu Xun used the past tense in original text, which expresses that Kong I-Chi's stealing is an established fact. However, Yang used the present perfect continuous tense when translating. In English, the present perfect continuous tense manifests that something the subject has done in the past is still being done, and may continue in the future, expressing the continuation of an action. There is no need to add any other additional descriptions, just from this tense, readers can realize everyone's thoughts on Kong I-Chi's theft. Such reconstruction of tense verifies the application of Functional Equivalence Theory in turn.&lt;br /&gt;
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Afterwards, these people who deprecated him refuted Kong I-Chi's maintenance of himself, saying: “什么清白?” In Yang's translation, it is translated as “Pooh, good name indeed!” In the original text, it is originally an interrogative sentence, but Yang transformed it into an exclamation sentence, added English slang “pooh” in it and translated “清白” into good name. If the interrogative sentence in the original text is literally translated into &amp;quot;what’s the innocence&amp;quot;, the comic effect, that is, everyone's disdain for Kong I-Chi in the exclamatory sentence will not be achieved. The sentiment contained in the original text is successfully conveyed through the conversion of sentence patterns.&lt;br /&gt;
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When describing Kong I-Chi’s knowledge background, the original text mentioned: “幸而写得一笔好字，便替人家钞钞书”. In Yang’s translation, he didn’t directly translate it into a verb phrase instead of into a noun phrase which was “Happily, he was a good calligrapher.” Knowing the characteristics of English and Chinese languages, he metonymically recreated dynamic Chinese verb clauses into static noun clauses.&lt;br /&gt;
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==== Semantic Analysis ====&lt;br /&gt;
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How to eliminate cultural differences as much as possible so that the semantics of the original language can be perfectly embodied? From the perspective of Functional Equivalence Theory, the translator needs to transform the deep structure of the source language into the surface structure of the target language which requires translator to use the corresponding vocabulary in the target language to directly explain the connotation of the original text, so that the target readers can accept the translation more easily. For example, in the original text, the sentence “因为他姓孔，别人便从描红纸上的 ‘上大人孔乙己’这半懂不懂的话里，替他取下一个绰号，叫作孔乙己” includes an allusion: 上大人孔乙己 which refers to a character in the card game popular in ancient China. In such card game, the characters always are drawn in a red paper. For children in ancient China, the card game was easy to play and was a childhood memory.&lt;br /&gt;
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In Yang’s translation, he translated it into “As his surname was Kung, he was nicknamed ‘Kung I-chi’, the first three characters in a children's copybook.” Such translation omits a lot of information from the original text, such as “描红纸上” and “半懂不懂”. But Yang gave a substitute for the omission: he explained the game allusion about children which can be regarded as a strategy that helps foreign readers better understand how Kong I-Chi comes. &lt;br /&gt;
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Another illustration is the translation of this sentence: “孔乙己，你当真认识字么？” It seems fairly easy for common people to translate it with “Kong I-Chi, do you really know words?” , while Yang gave a different version: “Kung I-chi, do you really know how to read?” In our cognitive concepts, if a man knows how to read a word, then he must know this word. But if he knows the word, he may not only know how to read it, but even know how to write it. Such special mechanism is called conceptual metonymy. Yang metonymically narrowed the scope of the meaning of the word “认识”and accurately positioned the meaning of this understanding according to the context. The translator abandons the equivalence of form and achieves the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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This article selects Yang’s translation of &amp;quot;''Kong I-Chi''&amp;quot; as the study case, and analyzes the translation effect from three aspects: lexicon, syntax and semantics, combined with Nida’s Functional Equivalence Theory. It is believed that the translator flexibly uses a variety of translation methods to deal with the differences between English and Chinese languages, and the translation has realized functional equivalence as a whole.&lt;br /&gt;
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At the lexical level, the translator adopts the naturalization method when translating the proper nouns of &amp;quot; ''Kong I-Chi'' &amp;quot;, adding notes to individual words. The translation perfectly conveys the meaning of the original vocabulary. &lt;br /&gt;
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At the syntactic level, when there are differences in the expression of English and Chinese sentences, the translator will split the sentence, adjust the subject and object of the sentence, change the sentence structure and the sentence order to make the translation conform to the expression of the target language where the translation is smooth and natural. When translating the allusions of &amp;quot; ''Kong I-Chi'' &amp;quot;, the translator adopts literal translation and annotations. &lt;br /&gt;
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In terms of semantics, the translator uses the mechanism of conceptual metaphors to accurately show the original flavor.&lt;br /&gt;
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This article believes that the success of Yang’s English translation of &amp;quot;''Kong I-Chi''&amp;quot; lies in its fluent, natural language and exotic flavor. The author and translator of &amp;quot; ''Kong I-Chi'' &amp;quot; are both famous artists. The translation case from the English translation of &amp;quot;''Kong I-Chi''&amp;quot; reflects the practical application of the Functional Equivalence Theory in Lu Xun's novels. The writer also hopes that this thesis can provide ideas and inspirations for the English translation of other Lu Xun's novels.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Nida E.A. ''Language and Culture: Contexts in translating''. Shanghai: Shanghai Foreign Language Education Press.2001. &lt;br /&gt;
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[2]Nida, Eugene A.1964. Towardsa ''Science of Translating'', Leiden: E.J.Brill. &lt;br /&gt;
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[3]Nida, Eugene A.&amp;amp;Charles R.Taber, 1969, ''The Theory and Practice of Translation'', Leiden: E.J.Brill&lt;br /&gt;
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[4]鲁迅Lu Xun.鲁迅全集(第一卷)Selected Work of Lu Xun(volume Ⅰ）[M].北京Beijing:人民文学出版社People's Literature Publishing House ,1982.&lt;br /&gt;
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[5]谭载喜Tan Zaixi．新编奈达论翻译New Nida's Translation[M]．北京Beijing：中国对外翻译出版公司China Translation &amp;amp; Publishing Corporation，1999.&lt;br /&gt;
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[6]杨坚定Yang Jianding，孙鸿仁Sun Hongren．鲁迅小说英译版本综述A Summary of the English Versions of Lu Xun's Novels[J]．鲁迅研究月刊Lu Xun Research Monthly，2021(4)．&lt;br /&gt;
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[7]伊塞尔Iser.本文中的读者 Readers in this article[A]．二十世纪西方美学名著选（下）Selected Works of Western Aesthetics in the Twentieth Century (Part 2)[C]．上海Shanghai：复旦大学出版社Fudan University press,1998.&lt;br /&gt;
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[8]杨宪益.Yang Xianyi,戴乃迭 Dai Naidie译.鲁迅选集英文版(一) Selected Works of Lu Xun (1)[M].北京:外文出版社 Beijing: Foreign Languages Press,1980.&lt;br /&gt;
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[9]https://baike.baidu.com/item/%E5%8A%9F%E8%83%BD%E5%AF%B9%E7%AD%89%E7%90%86%E8%AE%BA/3373397?fr=aladdin&lt;br /&gt;
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[10]https://www.zhihu.com/question/29965932&lt;br /&gt;
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=颜子涵 Translation methods and strategies applicable to the style of biographical literature -- Taking Incidents in Life of Slave Girl (excerpt) as an example=&lt;br /&gt;
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[[Trans_Type_EN_8]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
The translated text of this article is a part of the English biography Incidents in Life of Slave Girl. The author of this work is Harriet Jacobs. This translation mainly takes the translation functional equivalence theory of American linguist Eugene A.Nida as the theoretical framework, adopts some translation skills in translation practice, and discusses the translation skills and Strategies of Chinese translation of such texts by analyzing the stylistic characteristics of biographical literature, especially African American autobiography. Through the Chinese translation of this autobiography, we can have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Autobiographical Literature; Black female slaves; Translation methods and Strategies&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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This paper is divided into four parts. The first part is an overview of the translation project, which mainly introduces the relevant situation of the translation project, the author and works of the translated text; The second part is the preliminary preparation of translation, including project text analysis and translation plan formulation; The third part, translation theory and case analysis, including functional equivalence theory, translation strategies and case analysis; The fourth part is the summary of the project, mainly on the problems encountered in translation, the experience and inspiration gained in the process of translation.&lt;br /&gt;
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This work belongs to the category of biographical literature. Biographical literature is a literary genre in which the author reproduces the characters' life stories and experiences, shows the characters' spiritual outlook and values, and depicts the characters' distinct love and hate and vivid personality through documentary writing and a variety of literary and artistic techniques. There are more than 50 characters involved in the biography. In the author's works, these characters are very vivid, such as the forbearance of a strong grandmother to the slave owner, the loyalty of a hard-working aunt to the slave owner, the oppression of female slaves by a crafty and sinister doctor, and the wit of Linda Brent, the heroine who pursues freedom and courage. In particular, the author's description of the heroine's seven years spent in a &amp;quot;cage&amp;quot; like cabin before she fled to the North more ruthlessly castigates the evil of slavery. The heroine's experience deeply moved her relatives and friends, including white slave owners. With the help of her relatives and friends, the heroine was able to escape to the north.&lt;br /&gt;
Taking the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework, this paper adopts the following translation skills in the process of translation: 1. The translation methods of foreignization and domestication are used to achieve partial functional equivalence between the source language and the target language, so as to reduce the lack of culture after translation. 2. According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to make the translation conform to the expression habits of the target language. 3. The methods of addition and subtraction are adopted to make the translation consistent with the original in grammar and language form, as well as in cultural background and word association. 4. The Conversion Transformation is adopted to make the translation more acceptable to the target language readers. By analyzing the stylistic characteristics of biographical literature, especially African American autobiography, the author discusses the translation skills and Strategies of Chinese translation of such texts.&lt;br /&gt;
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=== Text background===&lt;br /&gt;
From the beginning of the British northern colony to the early 20th century, blacks were brutally exploited and oppressed by the slavery system. In particular, female slaves not only had to bear heavy labor, but also suffered the destruction and abuse of supervisors. Since the publication of the first Autobiography of black slaves in 1760, some advanced elements in black slaves denounced and denounced the evils of slavery with their own experience, and made outstanding contributions to the abolition movement. The author of this work is Harriet Jacobs, whose pseudonym is Linda Brent. Born in a slave family, she fought tirelessly because she could not bear the persecution of slave owners on her and her children. After fleeing to the north, the author wrote a biography of his personal experience of being enslaved, exploited, persecuted, fleeing to the north and realizing freedom, which was published in 1861. Through the Chinese translation of this autobiography, more people have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves.&lt;br /&gt;
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===Research Purpose and Significance===&lt;br /&gt;
This autobiography of black women starts from the experience of childhood from the perspectives of black slaves and women. In the process of growing up, the author experienced different masters of good and evil. When she was a child, her hostess let the author learn to read and write. Later, she died of illness. Then the new owner, Dr. flint and his wife tortured and framed her. Later, for the freedom of her children, the author resolutely decided to flee to the north and enjoy the right to freedom with her children. In the process of pursuing freedom, he went through escape, pursuit, hiding until he went north by boat. The author selects simple but typical examples in daily life, through the description of characters' psychology and language, the contradictory struggle between the interests of opposite classes, the criminal complaint of slave trafficking, and the process of slaves fleeing to the north, reveals the slave owner's naked exploitation and fraud of slaves, and reveals the slave's sincerity, courage and longing for freedom. The simple language and narrative techniques of the work fully shape the tenacity, courage, intelligence and clear love and hate of the female slave Linda Brent, and show the readers the misfortune and suffering of many slaves.&lt;br /&gt;
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=== Translation theory and case analysis===&lt;br /&gt;
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3.1 functional equivalence theory&lt;br /&gt;
This translation practice report takes the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework. Eugene Nida is an American linguist and a famous translation theorist. From the perspective of etymology, according to the essence of translation, he put forward the famous dynamic equivalence translation theory, namely &amp;quot;functional equivalence&amp;quot;. In this theory, he pointed out that &amp;quot;translation is to reproduce the information of the source language from semantics to style in the most appropriate, natural and equivalent language&amp;quot;. He believes that translation is not only the equivalence of lexical meaning, but also the equivalence of semantic style and style. The information conveyed by translation includes both surface lexical information and deep cultural information. Equivalence in dynamic equivalence includes lexical equivalence, syntactic equivalence, textual equivalence and stylistic equivalence. Nida pointed out that the translation should be functionally equivalent to the original text. Judging whether the translation is equivalent to the original text should be based on the psychological response of the readers, that is, the translator should not only stay in the equivalence of structure and semantics, but strive to make the target readers produce the functions and effects that the original author wants to achieve through his works, so as to make the target readers after reading the translation, Get the same feelings as the original readers, and make translation really become a converter of thoughts, feelings and cultural information. Therefore, in literary translation, according to Nida's theory, the translator should take the four aspects of dynamic equivalence as the translation principle to accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
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The core of Nida's functional equivalence theory is &amp;quot;content is greater than form&amp;quot;, which emphasizes that when there is a conflict between content and form, content must precede form (Nida, 2004:203). Due to the differences between Chinese and Western ways of thinking and logical habits, in order to make the translation conform to the habits of readers in the target country and make it easier for readers in the target country to accept, the author has adopted different translation methods and strategies. According to the specific content of Nida theory, this paper intends to analyze its application in English-Chinese translation practice from four aspects. 1、 According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to achieve lexical semantic equivalence between the source language and the target language; second, addition and subtraction and part of speech conversion are used to make the translation conform to the expression habits of target slogans in grammar and language form and consistent with the original text in terms of cultural background and word association; third, forward and reverse translation is used to reproduce the original text Fourth, for the long and difficult sentences of the original text, the translation methods such as reorganization, sentence splitting and merging are adopted to make the language expression forms of the translation more rich and diverse, and more easily accepted by the target language readers.&lt;br /&gt;
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3.2 translation skills and case analysis&lt;br /&gt;
When translating vocabulary, the author mostly adopts the literal translation method to convey the information of the original text more accurately. If the meaning of the translation is not accurate enough or does not conform to the Chinese expression habits after the literal translation, the author adopts the free translation method, while for the long and difficult sentences with complex structure, the translational translation method and split method are adopted to make them conform to the Chinese expression habits and more acceptable to the readers.&lt;br /&gt;
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=== Translation skills, methods and case studies===&lt;br /&gt;
Case 1: literal translation and free translation to achieve semantic equivalence in vocabularyIn the process of translation, it is the basic quality of every translator to correctly express the source language in the target language. In order to achieve this goal, the translator must start with the smallest unit of the source language—vocabulary. In project translation, the author follows the functional translation theory and pursues semantic equivalence. First, we must ensure the equivalence of lexical meaning. The author mainly discusses the semantic equivalence of words from two aspects: literal translation and free translation.&lt;br /&gt;
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1. Literal translation  &lt;br /&gt;
Literal translation emphasizes the consistency between the original text and the translation in form and content, which helps to maintain the style of the original text. Literal translation is not a dead translation, a hard translation, or a literal translation. Literal translation emphasizes retaining its form and reaching its meaning.&lt;br /&gt;
The example 1:&lt;br /&gt;
“Nothing could please her better than to see me humbled and trampled upon” is literally translated as ”没有什么比看到我恭顺谦卑、任人践踏更让她快活啦。”&lt;br /&gt;
Analysis: in this sentence, humbled and trampled upon is used to express the due psychology and living state of slaves in the eyes of slave owners. Here, it can be translated into obedience, humility and trampling, which can reflect the coldness of slave owners and the misery of slaves.&lt;br /&gt;
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2. Free translation&lt;br /&gt;
Paraphrase emphasizes divine similarity. When the original text is quite different from the translation in terms of lexical meaning, syntactic structure and style, it can not be confined to the original text. Free translation should be adopted to explain the form of the original language in another language form, so as to correctly express the ideological thrust of the original text. Free translation should conform to the grammatical norms and expression habits of the target language, so as to make the translation more fluent and natural. Free translation is not arbitrary addition and deletion, nor random translation. Free translation emphasizes &amp;quot;preaching its spirit&amp;quot; rather than &amp;quot;retaining its shape&amp;quot;. The work belongs to biographical literature. There are great differences between the source language culture and the target language culture. The translator can not adhere to literal translation from beginning to end, but should carry out free translation according to needs, so as to achieve better translation effect.&lt;br /&gt;
The example 2:&lt;br /&gt;
I resolved to give him no cause to accuse me of being too much of a lady, so far as work was concerned.&lt;br /&gt;
literal translation: 就工作而言，我决心让他找不到口实指责我过分淑女。&lt;br /&gt;
free translation: 就工作而言，我决心让他找不到口实指责我养尊处优。&lt;br /&gt;
Analysis: a lady originally means 女士或优雅的女子. Too much of a lady is often understood as 十分优雅. Because the author could read and write and looked dignified, he had not done heavy work like other slaves before, &amp;quot;I&amp;quot; guessed that the young master was disgusted with it. Here, too much of a lady is translated by free translation, which reflects the inner contempt of the young master for &amp;quot;me&amp;quot;.&lt;br /&gt;
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Case 2: addition, subtraction and part of speech conversion make the translation achieve sentence meaning equivalence, which is in line with the expression habit of the target language.&lt;br /&gt;
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3. Additional translation&lt;br /&gt;
The example 4:&lt;br /&gt;
One day, she sat under the window where I was at work, crying that weary cry which makes a mother's heart bleed. &lt;br /&gt;
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一天，她就坐在我干活的那个房间的窗户外哭，哭得声嘶力竭让任何一个做母亲的心里流血。&lt;br /&gt;
Analysis: A mother literally means &amp;quot;一个母亲&amp;quot;, but the following clause is translated into &amp;quot;哭得声嘶力竭让一个母亲的心里流血&amp;quot;. The emotion of the translation is weak. In this article, &amp;quot;I&amp;quot; as a slave must work and can't take into account children and family affection, because in the slave owner's view, slaves are low animals and don't deserve feelings. Although I heard my daughter crying, I couldn't get over it. Any mother would be distressed to hear her daughter's cry. In order to make up for the lack of emotion in literal translation, the method of additional translation should be adopted here, which is translated as &amp;quot;任何一个母亲&amp;quot;&lt;br /&gt;
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4. Omission &lt;br /&gt;
The example 5:&lt;br /&gt;
The doctor stamped his foot at him in a rage, and exclaimed, &amp;quot;Get out of the way, you little damned rascal! If you don't, I'll cut off your head.&amp;quot;&lt;br /&gt;
translated text：医生愤怒地跺了他一脚，厉声说道：“滚开!他妈的小坏蛋，如果不听话，我把你的头砍下来!”&lt;br /&gt;
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Analysis: Dr. flint twice went to the north to pursue the fugitive slave &amp;quot;I&amp;quot; without success. He spent a lot of money and was full of anger. At this time, my son asked him if he had brought his mother back. Dr. flint stamped his feet angrily, scolded and threatened the child. Through the vivid description of Dr. Flint's body movements and language, his angry image jumped onto the paper,In order to achieve the same effect and achieve the equivalence of language style, the author uses even verbs according to the original &amp;quot;stamped his foot at him in a rage, and exclaimed&amp;quot; and translates it into &amp;quot;stamp his foot angrily and say&amp;quot; you little damned rascal!!! &amp;quot;It is also a typical strong adult's words towards weak children. In order to be concise and powerful, the author omits &amp;quot;you&amp;quot; and translates it into &amp;quot;他妈的小坏蛋&amp;quot;.&lt;br /&gt;
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The example 6:&lt;br /&gt;
But when winter came, the cold penetrated through the thin shingle roof, and I was dreadfully chilled.&lt;br /&gt;
translated text：上次遭遇蛇咬，现在我对蛇更惧怕了，踏上这个藏身的地方，我不由心惊胆颤。&lt;br /&gt;
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Analysis: My fear of snakes is literally translated as &amp;quot;我对蛇的恐惧&amp;quot;, and the subject of the following clause is &amp;quot;我&amp;quot;. In order to give the target readers a unified reading perspective, my fear of snakes had been increased is translated as: 我对蛇更惧怕了. By transforming the noun of fear into a verb, the translation is more concise and more in line with Chinese expression habits than literal translation.&lt;br /&gt;
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Case 3: The stylistic style of the original text is reproduced by positive and negative translation.&lt;br /&gt;
5.The Positive and Negative Translation&lt;br /&gt;
The example 7:Nobody respects a mother who forsakes her children; and if you leave them, you will never have a happy moment.&lt;br /&gt;
translated text 1：没有人尊重抛弃孩子的母亲，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
translated text 2：抛弃孩子的母亲会遭人唾弃，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
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Analysis: This sentence contains a negative indefinite pronoun—nobody. In translation text 1, the first half of the original text (Nobody respects a mother who forsakes her children) is translated into &amp;quot;没有人尊重抛弃孩子的母亲&amp;quot;. Although the meaning is translated, the expression is not authentic. Translation text 2 uses the positive and negative translation method to change negative into positive, and “Nobody respects” into &amp;quot;being despised&amp;quot; can better express the speaker's (my grandmother's) eagerness to oppose &amp;quot;I&amp;quot; to escape.&lt;br /&gt;
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Case 4:The translation methods of reorganization, sentence splitting and merging are adopted to make the translation conform to the expression habits of the target language&lt;br /&gt;
There are great differences between English and Chinese syntactic structures. English is a linear language. Its syntax takes the subject predicate structure as the central axis, while other components form branch lines in the form of branches and connect with the main axis through connectives. The logical relationship between sentences tends to be explicit,; Chinese is more parataxis, and the combination between the components in a sentence or between sentences mostly depends on the connection of semantics and uses fewer connectives. Chinese sentences are arranged under the command of theme, that is, the structure of &amp;quot;topic description&amp;quot; has various forms and free combination. The logical relationship between sentences is more implicit (Yang Lin, 2007: Preface). There are few logical relational words between clauses and between sentences. Therefore, the author adopts the reorganization method, combining syntax and disassembling syntax to realize the semantic equivalence of sentences, and studies the influence of sentence structure on the translation. The significance is to better guide the translation practice.&lt;br /&gt;
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5.Recasting&lt;br /&gt;
The example 7: This was the good old lady who paid fifty dollars for my grandmother, for the purpose of making her free, when she stood on the auction block.&lt;br /&gt;
translated text：这个老太太是个好人，当年外祖母站在拍卖台上，为了让外祖母获得自由她花五十美元买下了我的外祖母。&lt;br /&gt;
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Analysis: The original text contains two compound structures, one is an attributive clause, the other is a time adverbial clause. Because Chinese sentences are constructed according to the law of logical order, the word order is arranged according to the actual sequence and event order, which is divided into sequence in time, and pay attention to the causality in logic. The author adjusts the time adverbial clause to the front, first explain the time, then explain the reason, and finally the result. This reorganized translation plays an important role in shaping the relationship between sentences, which is in line with the characteristics of Chinese sentence structure.&lt;br /&gt;
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6.Sentence-combining&lt;br /&gt;
The example 8: There was joy and there was sadness in the sound. It made my tears flow.&lt;br /&gt;
translated text：无论是哭声还是笑声都会让我泪流满面。&lt;br /&gt;
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Analysis: The original text is two sentences. Considering the close causal relationship between the two sentences, the author adopts the translation method of combined sentence to translate it into one sentence, so that the target language readers can read it more naturally.&lt;br /&gt;
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7.Dismantle the syntactic&lt;br /&gt;
The example 9: My hope was that the doctor would get discouraged, and, for fear of losing my value, and also of subsequently finding my children among the missing, he would consent to sell us; and I knew somebody would buy us.&lt;br /&gt;
translated text：损失一个女奴，再赔上我的两个孩子，这正是弗林特医生所担心的。他会泄气并同意卖掉我们，我知道有人会买下我们，而这正是我所希望的！  &lt;br /&gt;
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Analysis: When dealing with long English sentences, the method of splitting is generally used to divide the original sentence into several parts and combine them according to their internal logical relationship. The adverbial clause after the subject of “My hope” consists of three parallel sentences, the second of which has a more complex cause adverbial. The author first takes apart the subject clause, first translates the clause, and then presents the subject at the end, which is in line with the characteristics of Chinese presentation before topic.&lt;br /&gt;
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Case 5: Stylistic equivalence&lt;br /&gt;
The basic task of translation is to faithfully present the original text, so it is necessary for the translator to pursue the style of the original text. To achieve stylistic equivalence, the translator needs to analyze and identify the stylistic markers in the original. The original text contains national language characteristics, historical allusions and religious beliefs, so it has cultural differences. In translation, it should reflect the style of the original text and optimize it accordingly, so as to realize the re creation of style and adapt to the communication of the target language.&lt;br /&gt;
The original text has strong religious and cultural content, simple and pious faith, and shows their enthusiasm and passion for them. In translation, we should not only show the feeling of religious belief and culture, but also optimize the sentence style and deal with alienation appropriately, so that readers can feel the piety and understand the author's writing intention.&lt;br /&gt;
The key to shaping the problem role lies in its adaptability to the style of the original language. Only by adopting appropriate translation methods, deeply understanding the cultural background of the original text and skillfully changing the style of the original text, can the style meaning of the original text be reproduced in the target language and better reflect its charm and artistic conception.&lt;br /&gt;
In a word, a biographical text should be well expressed first to make it conform to the expression habits of the target language. First, we should deeply understand the creative intention of the original author and think of what we think from the perspective of the original author, so as to realize the central idea of the original text. The premise of translation is that the translator should have profound language and cultural skills and deeply understand the particularity of different background cultures, Have a good command of the target language, and then use it flexibly.&lt;br /&gt;
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The example 10: She hasn't so much feeling for her children as a cow has for its calf. If she had, she would have come back long ago, to get them out of jail, and save all this expense and trouble. &lt;br /&gt;
translated text：她对孩子的感情还不如母牛呢，母牛还知道护犊子。如果她有感情，她很久以前就会回来把他们救出去了，也就没有这些代价和麻烦了。&lt;br /&gt;
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Analysis: This sentence is a complaint made by Dr. Flint's wife—my mistress, about my escape. Considering that cows in Chinese culture also have the image of caring for their cubs, The author translates call “feeling for her children as a cow has for its calf” as：“母牛还知道护犊子”, This not only achieves cultural equivalence, but also sounds colloquial. On the other hand, it is in line with the speaker's identity as a mean slave owner.[He was &amp;quot;a chip of the old block.&amp;quot; If he found any slave out after nine o'clock, he could whip him as much as he liked; and that was a privilege to be coveted.如果他发现任何人九点后（宵禁时刻）跑出去，他就会抓住并鞭打此人，直到他满意为止。这是别人垂涎三尺的特权。]&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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Through the development of this project, the author believes that the translation of biographical works needs to have a full understanding of the differences between Chinese and English languages and cultures, thinking habits and expression methods. Only after having an accurate understanding and grasp of the language characteristics and contents of the original text, can words and sentences be carefully selected and constantly modified and polished in the process of translation, Make it an excellent translation. The author summarizes the following points in the whole translation process:&lt;br /&gt;
The translation method of biographical text. Biographical text has both information function and expression function (Zhang Meifang, 2006). Therefore, in translation, the translator should not only correctly express the information of the original text, but also reflect the literariness of biographical literature. In view of the differences in thinking and logic between Chinese and English, different translation methods should be adopted in the translation process. For example, literal translation can be used in terms of vocabulary, so as to simply, clearly and accurately convey the meaning of the original text. If literal translation is not possible, free translation, addition or subtraction, positive and negative translation, such transformation and other methods should be adopted to strive to achieve literal semantic equivalence. In terms of sentences, according to the respective characteristics of Chinese and English sentence structures, translation skills such as reorganization, disassembly and combination of syntax are adopted in order to meet the reading habits of target language readers. Experience the language style of biographical literature. In this project, the author's narrative language is simple and simple, and do a good job in the analysis of the characteristics of biographical literature materials. For a translator, the types of material translation can be diverse, literary or scientific, so the translator must do a good job in the analysis of text materials when he gets a relatively unfamiliar translated text, Only after analyzing the materials thoroughly and finding out the characteristics can the preparatory work be done adequately. This project adopts biographical text, which is characterized by many names and place names and strong local cultural characteristics. Therefore, in order to improve the accuracy of translation, the author has made a lot of preparations before translation, including finding the author's relevant background information, relevant historical facts, as well as the folk customs at that time. With reference to the new English Chinese dictionary, the names of people and places in the text are translated uniformly. Due to sufficient preparation, these problems encountered in translation have been solved.&lt;br /&gt;
The author has two experiences in maintaining problem awareness in the translation process. &lt;br /&gt;
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First, if you encounter an uncertain word and sentence in the translation process, you should consult the relevant reference books in time or use the Internet. &lt;br /&gt;
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Second, when dealing with cultural problems, I often ask my classmates or experts in this field for advice, so as to solve the problems in time.&lt;br /&gt;
At the same time, there are some problems in the process: My translation experience is still shallow and the cultural knowledge reserve is insufficient. There are some disadvantages in this project.Because my Chinese level needs to be further improved, the translated language is still immature and not concise enough. Second, the lack of relevant knowledge leads to the fact that the unique things of foreign culture can only be translated directly and hard in translation, resulting in the stiff and rigid translation. Such as a box, covered with sheepskin, is called the gumbo box. A dozen beat on this, while other strike triangles and jawbones, to which bands of dancers keep time.&lt;br /&gt;
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Third, in translation, we should not only maintain the meaning of the original text, but also reflect the style of the original text. We can't have both fish and bear's paw—鱼和熊掌不可兼得。Therefore, I believe that only through a lot of translation practice and summing up experience can we improve our translation level.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Beardslee, Karen E. Through Slave Culture's Lens Comes the Abundant Source: Harriet A. Jacobs's Incidents in the Life of a Slave Girl.&amp;quot; MELUS 24 (1999): 37-58.&lt;br /&gt;
&lt;br /&gt;
[2]Jacobs Incidents in the life of a Slave Girl: Written by herself.&amp;quot; Languages &amp;amp;Literature 15(2001):314-336.&lt;br /&gt;
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[3]Incidents in Life of a Slave Girl chapters 16 to 30&lt;br /&gt;
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[4]李小春. (2016). 浅析英语翻译技巧及方法的应用. 读天下(20), 1.&lt;br /&gt;
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[5]李亚云.《一名女奴的人生际遇》之黑人女性身份建构[J].文学教育(上),2015(07):30-31.p&lt;br /&gt;
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[6]李亚云. 《一名女奴的人生际遇》之黑人母性分析[D].中央民族大学,2016.&lt;br /&gt;
&lt;br /&gt;
[7]付娟. 英汉翻译中拆句法和合并法的有机结合探析[J]. 好家长, 2016(38):1.&lt;br /&gt;
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=邝艳丽 On the Translation Strategies of English Version of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hong-Ming and Xu Yuanchong=&lt;br /&gt;
[[Trans_Type_EN_9]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
''Lun Yu'', one of Chinese classics, records behavior and thoughts of Confucius and his disciples. ''Lun Yu'', intensively reflecting Chinese Confucianism, plays a significant role in Chinese culture. Dating from 1809, there are about sixty translations of ''Lun Yu'' during the two hundred years. This paper will study the two English versions of ''Lun Yu'' by Ku Hung-ming and Xu Yuanchong from the the theory of Horizon Fusion proposed by Hans-Georg Gadamer, mainly the core conceptual words in ''Lun Yu''. Besides, the paper will explore the translation strategies adopted by the two translators from different visions such as the horizons of the original text, the translator and the target culture. The better translation of core conceptual words will come to a conclusion through the contrastive analysis.&lt;br /&gt;
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===Keywords===&lt;br /&gt;
Fusion of horizons; Ku Hong-Ming; ''Lun Yu''; Xu Yuanchong&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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''Lun Yu'', as a carrier of Confucianism, has profound influence on the culture all over the world. Confucianism has largely influenced the development of European philosophy, which provide new theoretical basis for European Enlightenment in the eighteenth century (Li Zongzheng 2016: 112-116). In Voltaire’s opinion, the discovery of Chinese culture is important to the process of European society, just as what what has been discovered by Vasco da Dagama and Magellan to the nature (Bao Xiankuo 2001: 62-67). With the continuing development of China in the recent years, China exerts more and more significant influence on the world. In the meanwhile, more and more people would like to learn Chinese language and cultures. When it comes to Chinese culture, all the people, Chinese and foreigners, nearly think of Confucianism, which is generally regarded as the important components of Chinese traditional culture, as well as the mainstream of the spirit of national modern culture. Moreover, Confucianism is intensively embodied in the ancient work called ''Lun Yu'', which records the behaviors and thoughts of Confucius and his disciples mainly in the form of dialogues. ''Lun Yu'' involves so many aspects such as politics, education and so on. The wide and profound influence of Confucianism on the world attributes the success to the development of translations of ''Lun Yu'' by Chinese or foreign translators.&lt;br /&gt;
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''Lun Yu'' is a classic work. The reason why classics remains classics is that it can be translated and re-translated. The language itself of ''Lun Yu'' is difficult to be understood, and what are reflected by ''Lun Yu'' such as history, thoughts, culture and culture is also hard to be understood. Therefore, translators in different times produce different translations of ''Lun Yu'' due to different constrictions of subjective or objective factors. Derrida, holding the point of hermeneutics, considers that the understanding of works is open and that the understanding of text by the readers is always unfinished and uncertain for reading is the process of creation. ''Lun Yu'', acclaimed as one of the leading classics in the course of Chinese literature’s development, is always given new life by the scholars. Therefore, every translation version of classics deserves to be studiedin the different times. Moreover, the employment of fusion of horizons may not only be a reference for English translation of ancient Chinese classics, but also be beneficial foe the spread of traditional culture. &lt;br /&gt;
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This paper chooses two English translation versions of ''Lun Yu'', one by Ku Hung-ming, the other one by Xu Yuanchong. The paper mainly makes a contrastive study of different translation strategies adopted by the two translators from the perspective of fusion of horizons. In order to make an in-depth study, the thesis will focus on the analysis of the translation of core conceptual words of ''Lun Yu'', and aim to present a more appropriate translation to both fully express the content of Chinese culture and make western readers easier to understand.&lt;br /&gt;
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===Overview on the Theory of Fusion of Horizons===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====Fusion of Hrizons====&lt;br /&gt;
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Hans-Georg Gadamer is the greatest thinker in 20th century when his academic work ''Truth and Method'' was published. The publishment brought about widespread attention in the world and helped him reach the immortal status in the field of philosophy. Actually, the theory used in this paper is originated from ''Truth and Method''. “Horizon” was first proposed by Edmund Husserl, a great German philosopher. For the concept of “Horizon”, Husserl believed that “everything worldly giving is given under the horizon. Finally, everything given by the world itself has the horizon of the world, and it is only for this reason that it is realized as the world.” (Wei Fangyuan 2013: 134-136)&lt;br /&gt;
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It can be seen that “Horizon” in Husserl’s eye is related to consciousness. Husserl’s “Horizon” includes two ones, internal horizon and external horizon. Internal horizon refers to what previous knowledge people have grasped or not. External horizon refers to grasp or experience of another open horizon when people have internal horizon. Martin Heidegger, from the respective of Ontology, believed that “Horizon” is something real which has been known by human and exists previously. This becomes precondition of our understanding. Inspired by Martin Heidegger and Edmund Husserl, Hans-Georg Gadamer affirmed the importance of “Horizon”. In his Hermeneutic, “Horizon” refers to the process of understanding from a specific standpoint. And “Fusion of Horizons” means that the process of understanding in nature is open without fixed pattern and answer. “Fusion of Horizon is not onlly diachronic, but also synchronic. History and present, object and subject, self and other, all form an infinite unified entirety. (Wei Fangyuan 2013: 134-136 ) &lt;br /&gt;
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Gadamer thinks that, both the translator and the object which is explained by the translator have their own horizons. The object-- history, classics, personal life, philosophy or work of art—has its own historical horizons. When we understand historical classical works, philosophy or certain culture with the horizons given by the history, the conflict of two different horizons and historical background will inevitably happen. Translation neither demands the translator to totally give up his own horizon in order to get into the text’s horizons, nor allows the interpreter simply includes the text into his own horizons. Translator, starting from his original horizons, ceaselessly test his own “prejudice” and open his own horizons, in the contact with the object which is interpreted by the interpreter, then two different horizons forming a new horizon. This process is called “fusion of horizons”. The reason why it is possible to interpret historical text is the fusion of horizons of the readers and writers of the original text.&lt;br /&gt;
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====Fusion of Horizons in translation study====&lt;br /&gt;
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In the view of Hans-Georg Gadamer, any understandings is carried out in the stream of history for any interpreter and reader lives in the history in his or her own way. Historicity is the basic fact of human existence. People’s historical particularity and limitations cannot be eliminated and avoided. Both subject and object exist in historicity. History determines that people cannot get rid of historicity. Such question faced by Hermeneutics is not what we carry out but what caused on us by something beyond our willing and behavior. In the research of translation Gadamer’s “Fusion of Horizons” can be borrowed and reformed into views or perspective available to the translation study. (Li Ge 2020:50-63)&lt;br /&gt;
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To achieve such a horizon, means that we learn to see something beyond its restricted horizon. However, the reason why we do this is for watching the things in a more correct angle and in a bigger unity, rather than for avoid seeing it.(Gadamer, H. G. 2004: 304) We need to study translation from a higher point and in a more overall angle. Only in this way can we “full see” the parts of the integrity, which is the enlightenment brought by “fusion of horizons”. The precondition of translation is that the translator and the original text have the common horizons. If the translator does not know medicine, he cannot interpret some books about medicine, and vice versa. The translator need to understand the original text’s meanings at first, which means that he will get into the horizon of the original text, and overcome the difference to form a new horizon. This is the first fusion of horizons. The second one is that the translator gets into the horizons of the target readers. Then the third fusion of horizons, the final interpretation of the translator, is the fusion of the two texts after the first two fusions. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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During the process of translation, the horizons are produced in the history rather than in isolation. In the fusion of horizons, the past and the present, the subject and the object, form a unity. Everything exists in the point of history, and all the interpretation cannot be finished for good. The original text itself is historical. The language, content, thoughts and etc. in it are marked by characteristics of the times. The translator is also historical. He will be influenced by his identity, status and tradition. There does not exist “perfectness” and “standard” in the translation. It will vary with different historical period. So the study of translation also goes on. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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===Overview on the Translations of ''Lun Yu''===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====The history of translations of ''Lun Yu====&lt;br /&gt;
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''Lun Yu'' is as important to Chinese is the Bible is to Westerners. So ''Lun Yu''’s translation is hot in western countries. ''Lun Yu'', whose translation can be traced back as early as the end of 16th century, has been translated by lots of missionary, sinologist, philosopher, litterateur and other scholars. There have been more than 40 translation versions of ''Lun Yu'' so far. Its English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. In 1861 James Legge’s The Confucian Analects became the mark of the English translation of ''Lun Yu''. A Companion for Chinese Translators makes comments on the translation version that James Legge can roughly understand the meaning of the original text and that his enormous notes can show his serious and careful attitude to the translation of our Chinese classics. (Wang Hui 2003: 39-43) &lt;br /&gt;
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In 1898, Ku Hong-ming’s translation of Lun Yu was published in Shanghai. The reason why he retranslated Lun Yu is that he was not content with James Legge’s. Ku Hong-ming use the strategy of foreignization, trying to translate Lun Yu in the same way an educated British express his thoughts. And Ku thought the Chinese proper nouns should be omitted and some European writers’ saying in order to remove the feeling of strangeness of British readers. In 1938, Arthur Waley’s version of Lun Yu was published. Waley wrote long-winded introduction for the translation, which was accompanied by detailed notes for readers and was followed by the footnotes for in-depth discussion on the text. Cui Yonglu thought that Waley’s translation, retaining the original text’s meaning and culture and paying attention to the detail, is beneficial to scholars. In 1998, Roger Ames’ translation of Lun Yu was published. His retranslation, which is based on a philosophical perspective, exerted great influence in the world of translation at home and abroad. In 2005, Xu Yuanchong’s Thus Spoke the Master was published. The book’s title borrowed the name of well-known philosophical translation called Thus Spoke Zarathustra, which shows Chinese translators’ creative spirits. In addition, there are still so many translators, such as Ezra Pound, James Ware, Din Cheuk Lau, Lin Yu tang and so on. (Wang Hui 2003: 39-43) &lt;br /&gt;
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====Different angles of the study on the translations of ''Lun Yu''====&lt;br /&gt;
In the nearly 30 years, the study of ''Lun Yu''’s translation has become hot in the translation studies. Scholars have made lot of studies of ''Lun Yu''’s translation from different angles and theories. From the linguistic point of view, scholars focus on the equivalence of lexicon, syntax, text and style. Professor Liu Chongde wrote “A research into Waley’s English version of The Analects—And some comments on its English versions by Legge and D. C. Lau”. Professor Liu summarized the language features and style of the two translations by Waley and Legge. Besides, he compared James Legge’s version and D. C. Lau’s, and made a conclusion that the former one preferred the written English, complicated sentences and archaic words which were quite similar to the style of the original, while the latter one preferred using spoken English and simple sentences.(Liu Chongde 2001:15-17) &lt;br /&gt;
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From the cultural point of view, Yao Shun in Southwest Jiaotong University did “On English translation of Confucius notions from the perspective of Skopos theory—A case study on Legge’s and Waley’s Translation of ''Lun Yu''”. Yao concluded that translation cannot be measured only by the equivalence with the source text, other elements such as translators’ purposes and expectation of target readers should be taken allowance for and that amongst these factors, the intention of the target text ranks the first.(Yao Shun 2014: 42-43)&lt;br /&gt;
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From the sociological point of view, Zhang Xin in Jiangnan University did “A study on Xu Yuanchong’s English Translation of ''Lun Yu'' from the Sociological Perspective of Bourdieu”.   Zhang draw some tentative conclusions. Firstly, the original text must be valuable and unique with an international reputation to facilitate its dissemination in the world. Secondly, translators should pay full attention to the readability and acceptability of target readers to meet their anticipation. Thirdly, the success of a work is the combination of various social factors.(Zhang Xi 2020:80-89)&lt;br /&gt;
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=== The Translation of ''Lun Yu'' from Fusion of Horizons===&lt;br /&gt;
''Lun Yu'' has always been translated or retranslated into many languages. Before interpretation, interpreters are supposed to try to totally understand ''Lun Yu'' in the first step. However, in the matter of fact, the language of a text is really hard for translators to totally understand. Different cultural background and different translators may produce different translation version.&lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》） [8]”. In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. &lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
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Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》）”.In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. (Yao Sshun 2014:42-43) &lt;br /&gt;
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====Horizon of the translator====&lt;br /&gt;
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Ku Hung-ming (1857-1928) is not only a famous literary figure in modern China, but also a great translator. He became an influential scholar at the turn of the 20th century because of his works that advocated Confucianism. Ku’s traslated works, including Lun Yu and Zhong Yong, played a significant role in spreading traditional Chinese culture to the western world. Ku, well-versed in both Chinese and Western cultures, has a good command of nine languages such as English, French, Germany and so on. He is the first one was proficient in Western science and language in the late Qing Dynasty. Special background of growth and education makes his thoughts combine advantages between Chinese and Western cultures. He tried to translate Lun Yu as a work written by a educated English man in order to promote Chinese traditional culture to spread in Western countries. At the meanwhile, he added his thinking and understanding of Confucianism in order to express the truth and spirit of Confucian classics and Chinese belief system. In order to make Western readers accept to the most extent the Confucian culture, Ku adopted some special methods, such as using extreme translation strategy of Domestication to translate Chinese special expression; borrowing the expression in Western literature to translate some words; applying the strategy of combination of omission and addition.(Niu Xiyu 2021: 89-90)&lt;br /&gt;
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When translating Lun Yu, Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. Western readers are not familiar with Confucian core words whose total equivalence can not be found in the Wesern culture. Ku did not translate the core words according to the literal meaning, but according to his deep understanding of Confucian classics he adopted flexible methods to translate the words in different situation. Besides, in order to make the translation of Lun Yu more readable to Western readers, Ku adopted the stratedy of domestication to interprete Confucian thoughts in Western way of mind. On the one hand, Ku used Western terms to translate those Confucian concept words which is difficult to Western readers. For example, he translates “天” as “God”. On the other hand, he quoted those well-known writers and thinkers who are familiar to Western readers, such as Johann Wolfgang von Goethe, Ralph Waldo Emersonand so on. Ku tries to make the content and form of the translation to accord with the way of thinking and cognitive structure of Western people. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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Xu Yuanchong, professor in Peking University, has been devoting himself in Literature translation study. He accomplished numerous classical translations and proposed many translation theories. He makes contribution to the development of Chinese traditional career.In 1921, Xu Yuanchong was born in Jiangxi Province in China. Since he was a child, Xu Yuanchong had been deeply influenced by his families. His mother was well educated and his uncle worked as a translator. All of these inspired his passion of enjoying literature and going after beauty, as we can see the three-beauty-concept-concept proposed in his later books. His uncle succeeded in translating the play called Wang Baochuan into English, which caused a sensation when it was performed in England. Later on the British dramatist George Bernard Shaw interviewed his uncle, which inspired the great interests of Xu Yuanchong in learning English well. In 1938, he was admitted to the Foreign Languages Department of National Southwest United University with the seventh place. In 1939, he translated the book “别丢掉” written by Lin Huiyin at the first time in order to express his love for a girl. Then he fell in love with translation ever after. Although suffering a lot, he still insisted to be himself. Xu made a great contribution to the development of Chinese translation. Xu introduces the three-beauty-concept to translation theory. The theory of three beauty advocates that a translation should be as beautiful as the original in sense, in sound and in font. These three aspects call also be respectively called Beauty of Sense, Beauty of Sound, and Beauty of Form. Beauty of Sense, emphasizing the deeper meaning, is of the first-rate importance. Beauty of Sound, emphasizing rhyme and rhythm, is of the second-importance. Beauty of Form, emphasizing length, is of the third-rate importance. All of these have great influence on his translation. (Li Mi 2004: 83-84)&lt;br /&gt;
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====Horizon of the target language culture====&lt;br /&gt;
The purpose of translation is to be read by the target readers. However, the target individual is different. They differ from historical background, education, knowledge, and so on. Some foreign readers read Lun Yu just for broaden his vision and know Chinese culture, some study the translation just for doing academic researches. The ages of target readers also influence the translation. Some young readers with less knowledge need translation which can be easily understood. For those aged readers the sophisticated translations are needed. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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===Contrastive Analysis===&lt;br /&gt;
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As Confucian classics recording the words and deeds between Confucius and his disciples, Lun Yu deeply influences generations of Chinese people. Lun Yu combines Chinese rich culture from thousands of years and gathers immortal spirit of Eastern philosophy. Therefore, a number of scholars at home or abroad want to translate Lun Yu. Especially, the various academic conference that has taken place in the recent years attract many scholars to absorb Confucian wisdom and explore Chinese wisdom from the old classics.&lt;br /&gt;
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====Description of key conceptual words====&lt;br /&gt;
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''Lun Yu''’s English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. Since that many other scholars have thrown themselves in the wave of translation of ''Lun Yu''. The scholars at home and abroad attempt to know more about the Chinese society, language, and Chinese culture through ''Lun Yu''. However, in order to really understand and interpret ''Lun Yu'', we must be clear about the meaning of the core conceptual words in ''Lun Yu''. Whether the translation of the core conceptual words is right or not has something to do with whether the readers abroad can understand the real meaning of the classics ''Lun Yu''. The translation of core conceptual words is so critical that has drawn many scholars’ attention. However, in the present situation of translation, one core conceptual word has so many Chinese translation, and some translation is not very accurate, which will cause trouble for foreigner readers to understand the original meaning and its cultural meaning. For those core words concerning Chinese culture, if wrongly translated, will not cause foreigners’ misunderstanding Chinese traditional culture, but also influence the improvement of national cultural soft power. Thus, the discussion of the translation of ''Lun Yu'', especially that of the core words, is very important to the circles of translation and culture. There are lots of core conceptual words in Lun Yu, but This thesis will mainly discuss the five core words: “''ren''”, “''li''”, and “''junzi''”. &lt;br /&gt;
“''Ren''” is the supreme state of moral ideal advocated by Confucius, and the spirit and centre of Confucian theory. Xu Shen in the Eastern Han Dynasty made an explanation of the word “''ren''” in “Shuo-wen chieh-tzu”. He thought “''ren''” is combined by “''ren''”(man) and “er”(number 2), and that “''ren''” does not express the quantitative relation but the interpersonal relationship, more accurately the interpersonal relationship close to friendship. (Xu Shen 2013: 1458) According to The Notes of ''Lun Yu'' by Yang Bojun, “''ren''” appears 109 times in ''Lun Yu'' . (Yang Bojun, 2009)&lt;br /&gt;
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“''Li''” is another important concept in ''Lun Yu'' after “''ren''”. According to The Notes of ''Lun Yu'' by Yang Bojun, “''li''” appears 74 times. Obviously, “''li''” is one of main ideas repeated by Confucius. Its connotation has become one of the objects the scholars of every dynasty attempt to study and understand since the ''Lun Yu'' came out. Both “''ren''” and “''li''” work as the centre of Confucianism. They complement and perfect each other. Just as the saying in Lun Yu, “To Subdue Oneself and Return to the Proprieties is Perfect Virtue”. “Li” refers to external behavior, while “ren” refers to internal morality. “''Li''” is a general term the rules and regulation according to the moral demanding. “''Li''” can restrict personal behavior, improve interpersonal relationship and help building a harmony and orderly society. However, Confucius does not give an accurate explanation of “''li''”, but its meanings can be analyzed from the concrete sentences concerning “''li''”. (Yang Bojun 2009: 23)&lt;br /&gt;
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“''Junzi''”, first found in The Book of Songs, was roughly referred to noble man. Thereafter, “''junzi''” was widely used in many ancient classics such as The Book of Changes, Shangshu and so on. Based on the original meaning “the noble man”, “''junzi''”’s meaning was extended and expanded. In Lun Yu, the word “''junzi''” got extended meaning of morality. The core conceptual word “''junzi''” mainly placed emphasis on moral deeds, then developed into the important cultural icon in Confucianism. According to The Notes of ''Lun Yu'' by Yang Bojun, “''junzi''” appears 107 times in ''Lun Yu'' .(Yang Bojun 2009: 11)&lt;br /&gt;
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====Different translations of key conceptual words====&lt;br /&gt;
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Different translators will have different translation. &lt;br /&gt;
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“Ren” has rich meanings. Its translation will to the certain degree influence the understanding of Lun Yu and Chinese traditional culture. For example:&lt;br /&gt;
子曰：“巧言令色，鲜矣仁！”《学而》&lt;br /&gt;
Ku: Confucius remarked, “With plausible speech and fine manners will seldom be found moral character.” &lt;br /&gt;
Xu: A good man, said the Master, would rarely say what he does not believe, or pretend to appear better than he is.&lt;br /&gt;
From the translation above, it is seen that Ku adopts free translation, and the English sentence is in formal grammer and syntax which accords with Western readers’ language habits. While Xu’s translation is not in the form of direct speech and he changes the order of the target text and use the parenthesis so as to conform to the habits of target language readers. It can be easily seen that Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. And Xu employs free translation to make target readers better understand the meanings. For the translation of “ren”, Ku translated it into “moral character”. He thought “ren” is refers to all the morality, and that “ren” is the highest realm of life. The translation “moral character” is more in line with Western language habits. While Xu interpreted it into “a good person”, of which “good” has broad meanings just like “ren” which is a kind of moral category of extremely broad meanings in ancient China. By comparison, “mental character” is better translation for “ren”. (Yang Bojun 2009: 23) (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Li” is generally thought to have three main meanings. The first one is worshiping the God. The second one refers to a ceremony held to show respect or solemnity. The third one refers to the social and moral norms of the aristocratic hierarchy in slave society of feudal society. For example, &lt;br /&gt;
道之以道，齐之以礼，有耻且格 。（《为政》）&lt;br /&gt;
Ku: If, on the other hand, in government you depend upon the moral sentiment, and maintain order by encouragung education and good manners, the people will have a sense of shame for wrong – doing and, moreover, wil emulate what is good. &lt;br /&gt;
Xu: If they are led by virtue and order is kept by the rites, they would be conscientious and act in agreement with what is right. &lt;br /&gt;
Generally, “li” is rendered as “rites,” “customs,” “propriety,” “ritual,” “moral,” “rules of proper behavior,” and “worship.” However, Ku did not literally translated “li” but to fully understand its original meaning in such concrete situation to translated it into “education and good manners”. While Xu translated it into “rites”. In the Oxford dictionary, “rite” means a ceremony performed by a particular group, often for religious purpose. In Spring and Autumn and Warring States periods of China, the social order was in chaos. Actually, “rite” is a proper word full of Chinese speciality, which is really hard for Western readers to understand. Therefore, Ku’s translation “education and good manners” is better one. It not only convey Confucian thoughts but also make it readable to Western readers. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Junzi” is Confucian ideal character standard. Then what is “junzi”? In Confucian point of view, “junzi” should be erudite, which is an important standard of being “junzi”. First and the most, “junzi” should be a benevolent man. In addition, “junzi” and “xiaoren” form contrast. For example,&lt;br /&gt;
人不知，而不愠，不亦君子乎？（《学而》）&lt;br /&gt;
Ku: But he is truly a wise and good man who fees no discomposure even when he is not noticed of men.&lt;br /&gt;
Xu: Is he not an intelligentleman, who is careless alike of being known or unknown?&lt;br /&gt;
According to Oxford dictionary, the term “exemplary” refers to providing a good example for people to copy. Ku adopted free translation to interprete one word “junzi” into several words “wide and good man”, which is easy for Western peple to understand what “junzi” is. It can be seen that Ku had a thoroungh understanding of Confucian thoughts as well as well-versed in English. While, Xu translated it into “intelligentleman”, which cannot be found in dictionaries. It is a new word created by Xu. “Interlligentleman” is combined by “intelligent” and “gentleman”. In the Oxford dictionary, the term “intelligent” means good at learning, understanding and thinking in a logical way about things. “gentleman” refers to a man who is polite and well educated and who has excellent manners and always behaves well. “Intelligentlemen” seemly attempt to achieve formal equivalence with “junzi”. However, it is unfamiliar to Wetern readers. So Ku’s translation “a wise and goood man”. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
In this paper, we have talked over two translation versions of ''Lun Yu'' written by Ku Hung-ming and Xu Yuanchong, especially the core conceptual words in ''Lun Y''u. In the matter of fact, both of them had good command of Chinese and western cultures. But their interpretation of Lun Yu were quite different from each other. Here we use Gadamer’s “fusion of horizons” to explain why they had different understandings of Lun Yu. Understanding is regarded as the fusion of horizons between translator and the text in the hermeneutics, however, besides, the target readers should also be taken into consideration. Thus, in the paper, the horizons of the original text, two translators and target readers are expounded in detail. Under the contrast between the two translation versions, we could find out that Ku Hung-ming’s translation is better one which can more convey the meaning of original text and can be easier for the readers of the target culture from the perspective of the fusion of horizons. &lt;br /&gt;
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However, this paper could not give an in-depth research on the transaltion of ''Lun Yu'' because of the author’s limited knowledge and not thorough understanding of the theory of “fusion of horizons”. In addition, Confucianism has got more and more important influence on the world in the recent years. However, the study of translation of ''Lun Yu'' has not gone far enough. Though lots of scholars have achieved a lot in the field, there is still much work to do in the future. Written by --[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 03:41, 9 December 2021 (UTC)&lt;br /&gt;
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Li Zongzheng, Ma Haidong 李宗政,马海东. (2016)《论语》英译的当代价值研究[J] [A study on the contemporary value of the ''Analects of Confucius''] 112-116.&lt;br /&gt;
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Wei Yuanfang 韦芳元. (2020) 浅析伽达默尔的视域融合理论[J].[On the Gadamer’s Theory Fusion of Horizons] 2013(12):134-136.&lt;br /&gt;
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Gadamer, H. G. Truth and Method[M]. New York: Continuum, 2004: 304.&lt;br /&gt;
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Wang Hui 王辉. (2003) 理雅各与《中国经典》[J]. [James Legge and Chinese Classics] 2003: 39-43.&lt;br /&gt;
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Lieu Chongde 刘重德. (2003)《论语》韦利英译本之研究—兼议里雅各、刘殿爵英译本[J]. [A Study of Lun Yu by Whaley—Discussion on contrastive analysis between James Legge and D.C.Lau)  2001: 15-17.&lt;br /&gt;
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Yao Shun 姚舜. (2014) 目的论视角下的儒家思想核心概念英译研究—以理雅各和韦利《论语》英译对比分析为例[D]. [A Study of Lun Yu Translated by Xu Yuanchong in the perspective of Skopostheory] 2014: 42-43.&lt;br /&gt;
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Niu Xiyu 牛汐语. (2021) 辜鸿铭《论语》译本中译者主体性的体现[J]. [The Presentation of Translator’s Subjectivity in Ku Hung-ming’s Lun Yu’s Translation] 2021:89-90.&lt;br /&gt;
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Li Mi 李谧. (2004) 许渊冲的诗译“三美”之说[J]. [Three Beauty in Poetic Translation of Xu Yuanchong] 2004: 83-84.&lt;br /&gt;
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Xu Shen 许慎. (2013)《说文解字》[Z]. [Shut-wen chieh-tzu] 2013: 1458&lt;br /&gt;
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Yang Bojun 杨伯峻. (2009)《论语释注》[Z]. [Annotation Analects] 2009: 213, 214, 215,2, 11, 23,&lt;br /&gt;
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Ku Hungming 辜鸿铭.(2011)《辜鸿铭英译&amp;lt;论语&amp;gt;》[M]. [The Discourses And Sayings of Confucius] 2011&lt;br /&gt;
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Yuanchong, Xu. (2013) Thus Spoke the Master[M]. Beijing: Dolphin Books, 2013: 12, 18.&lt;br /&gt;
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=杨柳青 Bian Zhilin's Literary Translation Theories and Practice  ——Take His Translation of Romantic Poems as examples=&lt;br /&gt;
[[Trans_Type_EN_10]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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Bian Zhilin is a famous Chinese translator and poet. He absorbed traditional translation theories dialectically and created translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; from the perspective of literary translation. Specifically, &amp;quot;Replacing foot with dun&amp;quot; is his poetry translation strategy. This paper will analyze Bian Zhilin translations of some romantic poems and shows some critical thinking about his literary translation theories.&lt;br /&gt;
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===Key words===&lt;br /&gt;
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&amp;quot;Faithfulness, Similarity and Translation&amp;quot;; &amp;quot;Replacing Foot with Dun&amp;quot;; Romantic Poetry&lt;br /&gt;
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===题目===&lt;br /&gt;
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卞之琳文学翻译理论和实践 ——以其浪漫主义诗歌译作为例&lt;br /&gt;
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===摘要===&lt;br /&gt;
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卞之林是著名的中国翻译家、诗人。他辩证地吸收传统翻译理论，从文学翻译的角度创立了“信、似、译”的翻译理论。 具体而言，“以顿代步”是他的诗歌翻译策略。本文将对卞之琳的浪漫主义诗歌译作进行分析，并对其文学翻译理论提出一些批判性性思考。&lt;br /&gt;
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===关键词===&lt;br /&gt;
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“信、似、译”；“以顿代步”；浪漫主义诗歌&lt;br /&gt;
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===Chapter 1 Introduction of Bian Zhilin and Romanticism===&lt;br /&gt;
====Introduction of Bian Zhilin====&lt;br /&gt;
Bian Zhilin is a representative of Chinese modernist poetry, a famous literary critic and literary translator. He translated foreign literature especially poetry and Shakespeare's plays. He has devoted his whole life to the literature and cultural exchanges between China and foreign countries. He is known as &amp;quot;the master of Poetry and the leading scholar in translation in China&amp;quot;. He dialectically absorbed previous translation theories and formed his unique translation thoughts. His famous works include ''Leaves of Three Autumns'' which is his first volume of Poetry and contains verses filled with the melancholy and despair, ''Fish Eyes Collection'', ''The Han Garden Collection'' and ''Poems of a Decade'' and so on.&lt;br /&gt;
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====Introduction of Romanticism====&lt;br /&gt;
Romanticism is a reaction against the Enlightenment and rationalism in 18th century, and a rejection of the precepts of order, calm, harmony, balance, idealization, and rationality that typified in classicism and neoclassicism. English Romanticism is generally defined to begin in 1798 with the publication of William Wordsworth and Samuel Taylor Coleridge's Lyrical Ballads and end in 1832 with Walter Scott's death. Romanticists place the individual at the center of art and make literature most valuable as an expression of his or her unique feelings and particular attitudes and make its accuracy a portraying the individual's experience. &lt;br /&gt;
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Romanticism is a period of poetry. During this period, many poets created plenty of wonderful poems which vividly show the beauty of nature and humanistic thoughts. English romantic poets contain the elder generation and the younger generation. The elder generation, also called &amp;quot;lake poets&amp;quot; includes William Wordsworth, Samuel Taylor Coleridge and Robert Southey and so on. The younger generation includes George Gordon Byron, Percy Bysshe Shelley and John Keats and so on. Besides, William Blake also deserves attention. He is a pre-romanticist and a forerunner of the romantic poetry of the 19th century. In this paper, I will analyze poems of William Blake, William Wordsworth and Percy Bysshe Shelly to show Bian Zhilin's translation theories.&lt;br /&gt;
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===Chapter 2 Bian Zhilin's Literary Translation Theories===&lt;br /&gt;
====&amp;quot;Faithfulness, Similarity and Translation&amp;quot;====&lt;br /&gt;
Bian Zhilin is a famous poet, translator and literary researcher in China. For decades, he not only made remarkable achievements in the field of poetry and Chinese and foreign literature studies, but also left a valuable fortune in literary translation, especially in poetry translation. Bian Zhilin has formed clear and instructive translation thoughts and theoretical views through her long-term translation practice. These translation thoughts and theoretical views influenced his translation behavior and effect, formed his exquisite translation art, and also had a great influence in the field of translation. He broke through the traditional translation theories and put forward the translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot; which is based on dialectically absorbing and reasonably sublating the traditional translation theories.&lt;br /&gt;
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=====Faithfulness=====&lt;br /&gt;
It is well-known that &amp;quot;faithfulness, expressiveness and elegance&amp;quot; created by a modern Chinese translator Yan Fu has become the most widely spread and popular translation standards in history of modern Chinese translation. And it has always been in the mainstream in the field of translation in China. There has been a long debate in Chinese translation field around &amp;quot;faithfulness, expressive and elegance&amp;quot;. However, &amp;quot;faithfulness&amp;quot; put forward by Bian Zhilin has achieved the transcendence and unification of this debate. &lt;br /&gt;
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======Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
According to Yan Fu, &amp;quot;faithfulness&amp;quot; means a translation should be faithful to the content of the original which is the first requirement of translation. &amp;quot;Expressiveness&amp;quot; means a translation should be fluent and articulate. &amp;quot;Elegance&amp;quot; means a translation should use elegant words so as to make the translation literary (Luo Xinzhang 136). Yan Fu believed that only elegant words can express the essence of original text. And he advocated translator used classical Chinese before Han Dynasty, namely, pre-Qin period. In fact, Yan Fu translated a lot of works in accordance with this criterion. &lt;br /&gt;
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======Debates around Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
Many speakers thought highly of Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, and this criterion once became the only standard for evaluating the quality of translation. Many literary translators like Liang Qichao, Lu Xun praised this criterion.&lt;br /&gt;
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Though &amp;quot;Faithfulness, expressiveness and elegance&amp;quot; has been widely accepted, there were still many doubts about this criterion. Most translators acknowledged Yan Fu's &amp;quot;faithfulness,expressiveness and elegance&amp;quot;, but they doubted &amp;quot;elegance&amp;quot;. For example, Chen Xiying, a famous Chinese female translator, opposed &amp;quot;elegance&amp;quot; because she thought &amp;quot;faithfulness and expressiveness&amp;quot; is quite enough for non-literary works and &amp;quot;elegance&amp;quot; is not necessary. Even for literary works, &amp;quot;elegance&amp;quot; is not necessary since some characters in literary works are from countryside and their speeches apparently couldn't be elegant (Luo Xinzhang 401-402). &lt;br /&gt;
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However, though these opinions are different they have one thing in common: all these opinions divide &amp;quot;faithfulness, expressiveness and elegance&amp;quot; up and judge them separately. &lt;br /&gt;
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======Bian Zhilin's &amp;quot;faithfulness&amp;quot;======&lt;br /&gt;
Unlike most translators, Bian Zhilin has his own unique view. Bian Zhilin believes there is only one advisable standard in &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, that is &amp;quot;faithfulness&amp;quot;. According to Bian Zhilin, &amp;quot;faithfulness&amp;quot; means being loyal to the original text comprehensively, not only to the content of the original text, but also to the form (Bian Zhilin 503). It seems that there is no apparent difference between Yan Fu's faithfulness and Bian Zhilin's faithfulness. But that's not the case. &lt;br /&gt;
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Firstly, Bian Zhilin doesn't totally deny the value of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. His faithfulness is mainly for literary translation which aims to highlight the artistic features of literary translation. Bian Zhilin believes that literary translation is an artistic and creative activity which not only includes language conversion but also involves the knowledge of literature, aesthetics, literature and art. He thinks &amp;quot;faithfulness, expressiveness and elegance&amp;quot; lays too much emphasis on the content and form of language which is not suitable for literary translation. &lt;br /&gt;
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Secondly, Bian Zhilin opposed the artificial separation of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. He thinks this separation is a kind of false perception which may cause the emphasis of one aspect and the neglect of the others. He thinks that artistic translation standard, strictly speaking, is only &amp;quot;faithfulness&amp;quot; which means the full fidelity to content and form. Actually, Bian Zhilin doesn't deny the existence value of expressiveness and elegance; instead, he seems &amp;quot;faithfulness, expressiveness and elegance&amp;quot; as a whole and &amp;quot;faithfulness&amp;quot; includes &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot;. Therefore, his faithfulness is comprehensive: both &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot; are internalized in &amp;quot;faithfulness&amp;quot;.&lt;br /&gt;
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Thirdly, Bian Zhilin believes &amp;quot;faithfulness&amp;quot; in literary translation means translation should be loyal to original text both in content and form. In others words, it's not desirable that translation be better or worse than the original. Besides, he holds that &amp;quot;faithfulness&amp;quot; in translation is not absolute but relative and it needs artistic creation of translators(Li Changshuan 57). What's more, literary translators should have the confidence in translating the &amp;quot;spirit&amp;quot; of the original so as to make translation vivid and expressive.&lt;br /&gt;
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All in all, Bian Zhilin believes the content and form of literary works are unified and indivisible, so is &amp;quot;faithfulness, expressiveness and elegance&amp;quot;.  At the same time, he admits &amp;quot;faithfulness&amp;quot; is relative rather than absolute considering difference between language and culture. Therefore, Bian Zhilin's faithfulness is inheritance and innovation of traditional translation theory and has important theoretical value.&lt;br /&gt;
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=====Similarity=====&lt;br /&gt;
======Formal Similarity and Spiritual Similarity======&lt;br /&gt;
Formal similarity means translation preserves the linguistic form of the original which includes words, grammar, sentence structure, figures of speech and types or forms of literature and so on. Any two languages have something both common and different. Those common features are the bases of formal similarity of translation. &lt;br /&gt;
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Spiritual similarity, on the contrary to formal similarity, means getting rid of the bondage of language form such as words, grammar when it is necessary. And translators should use authentic translation to convey the artistic features of the original. Spiritual similarity was first put forward by Mao Dun and was further advocated and practiced by Fu Lei. It has become one of the dominant theories in Chinese translation theories.&lt;br /&gt;
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======Debates around Formal Similarity and Spiritual Similarity======&lt;br /&gt;
In the field of Chinese translation, translators debated a lot around formal translation and spiritual translation. Many translators believe formal translation is more advisable than spirit translation. But others think differently. For instance, Chen Xiying believed there were three kinds of &amp;quot;faithfulness&amp;quot;, namely spiritual similarity, meaning similarity and formal similarity, among which spiritual similarity is superior, meaning similarity is the second and formal similarity is inferior. Chen Xiying held that formal similarity ignores the writing style of the original though it conveys the meaning of the original completely. Meaning translation is better than formal translation because it focuses on not only what the original writer says but also how he says it. But meaning translation is much more like imitation which cannot grasp the &amp;quot;spirit&amp;quot; of the original. Spirit translation, however, is the exact way to convey the &amp;quot;spirit&amp;quot; of the original. Besides, Yan Fu is another representative who pays more attention to spirit similarity than to formal similarity (Luo Xinzhang 694).&lt;br /&gt;
======Bian Zhilin's &amp;quot;Similarity&amp;quot;======&lt;br /&gt;
Bian Zhilin took a stand against the long-standing debate around formal similarity and spiritual similarity. In his opinion, there is only one word between formal similarity and spiritual similarity that is advisable——&amp;quot;Similarity&amp;quot;. Bian Zhilin holds that literary work is a unity of content and form; &amp;quot;form&amp;quot; and &amp;quot;spirit&amp;quot; in literary translation is complementary. On the one hand, &amp;quot;form&amp;quot; is the basis of &amp;quot;spirit&amp;quot; which means without concrete form, the spirit and artistic value of literary works can only be empty talk. On the other hand, &amp;quot;spirit&amp;quot; is the life of &amp;quot;form&amp;quot; which means literary works without &amp;quot;spirit&amp;quot; likes people without soul, which can only be empty body and meaningless form (Bian Zhilin 551).&lt;br /&gt;
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&amp;quot;Similarity&amp;quot; which was put forward by Bian Zhilin, actually contains the similarity both in formal similarity and spiritual similarity. In other words, ideal literary translation should achieve the unity of form and spirit. Bian Zhilin thinks literary translation can only achieve similarity with the original but not sameness (Bian Zhilin 8-9), which not only recognizes the difference between the original and the translation, but also acknowledges translators' creative efforts.&lt;br /&gt;
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=====Translation=====&lt;br /&gt;
======Literal Translation and Free Translation======&lt;br /&gt;
Literal Translation means expression forms and syntactic structure of the translated text should be as consistent as possible with the original when translators convey the meaning of the original text. Free translation, however, means translators should break the linguistic form of the original text and express the meaning of the original by using the customary expressions of the target language.&lt;br /&gt;
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======Debates around Literal Translation and Free Translation======&lt;br /&gt;
The debates between literal translation and free translation in the history of western translation can be date back to Cicero (106BC-43BC). Cicero opposed &amp;quot;word for word translation&amp;quot; (literal translation) which was deemed as &amp;quot;interpreter's translation&amp;quot; and advocated &amp;quot;sense for sense translation&amp;quot; (free translation) which was deemed as &amp;quot;orator's translation&amp;quot;(Tan Zaixi 24). Cicero's distinction about translation paved the way for following translators. For example, John Dryden published his views on literal translation and free translation. Dryden made distinction between metaphrase, phrase and imitation which was an extension of literal translation and free translation. What's more, Newmark thinks literal translation is preferred when the effect is the same (Newmark 39). And Nabokov holds that literal translation is true translation because it can convey the exact contextual meaning of the text as accurately as possible (Nabokov viii).&lt;br /&gt;
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======Bian Zhilin's Translation======&lt;br /&gt;
Bian Zhilin thinks only &amp;quot;translation&amp;quot; is advisable over the long-standing dispute over literal translation and free translation. Translation contains following meanings (Bian Zhilin 8).&lt;br /&gt;
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Firstly, literal translation and free translation are not contradictory but complementary. Too much emphasis on either side will only have a bad effect on literary translation. Bian Zhilin also criticizes translations that put too much emphasis on the source language or the target language.&lt;br /&gt;
&lt;br /&gt;
Secondly, translation cannot be creation. Translation should be based on the original text, not personal creation. But Bian Zhilin doesn't deny the creativity in translation and thinks the creativity is the life of translation as long as it is based on the original.&lt;br /&gt;
&lt;br /&gt;
====Bian Zhilin's Poetry Translation Strategies====&lt;br /&gt;
Absorbed thoughts from former and contemporary poets, Bian Zhilin created his poetry translation strategies. That is to translate English poetry in a poetical and metrical way and replace foot with dun. These strategies not only consider the western poetry patterns, but also considers the characteristics of Chinese, which has strong feasibility. Bian Zhilin's poetry translation strategies are closely related with his literary translation theory of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
=====Translating Poetry in A Poetical and Metrical Way=====&lt;br /&gt;
Bian Zhilin thinks that poetry is more a unity of content and form than other literary forms. Therefore, poetry translation includes both translation of poetry content and form. Bian Zhilin thinks poetry translation should be loyal to the original poem not only in content but also in form. Poems should be translated into the form of poem rather than prose. If the original poem is free verse, then translated version also should be free verse. If the original poem is metrical poem, then translation also should be a metrical one. (Bian Zhilin, 319) The coincidence between form and content in poetry translation is an embodiment of translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Meter is an important feature of poetry, including rhythm, rhythm and arrangement of words and stanzas. There are many differences in meter among poetry of different languages. And different poets and works use different meters. These become major factors of difficulties in poetry translation. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin thinks translators should preserve the metrical features of the original poems. In other words, translators should translate poetry in a metrical way. Therefore, poems should be translated by using equivalent meter. To be more specific, translators should translate foreign poems by using commonalities between Chinese traditional metrical basis and foreign metrical basis. It's not just simple application of foreign poetry patterns nor of Chinese traditional poetry patterns. Instead, it's the crossover of the two poetry patterns.&lt;br /&gt;
&lt;br /&gt;
=====Replacing Foot with Dun=====&lt;br /&gt;
The key to the metrical problem of poetry translation is what is the metrical unit of the line, &amp;quot;word&amp;quot; (a syllable) as a unit or &amp;quot;dun&amp;quot; (syllables) as a unit. Bian Zhilin believes metrical poems should be translated in equivalent &amp;quot;duns&amp;quot; which can replace meters and this kind of translation is without the limit of word numbers. This theory is well thought out and based on rhythmic characteristics of Chinese. As Bian Zhilin analyzed that when we speak Chinese, we usually say two or three Chinese characters as a &amp;quot;dun&amp;quot; in most cases, one character at least as a &amp;quot;dun&amp;quot; and four characters at most as a &amp;quot;dun&amp;quot;. This is the internal rules of Chinese. Chinese poems constitute stanzas, stanzas constitute lines and lines constitutes &amp;quot;duns&amp;quot;. Therefore, &amp;quot;dun&amp;quot; is the natural rhythmic units of Chinese poetry and reveals poems' &amp;quot;inherent music-like rhythm and beat&amp;quot;.&lt;br /&gt;
 &lt;br /&gt;
However, that &amp;quot;dun&amp;quot; is the basic metrical unit of the Chinese poetry doesn't mean the number of duns in each line is exactly the same. Bian Zhilin advocates dun of two characters and dun of three characters should be arranged alternately and adjusted mutually to meet the needs of poetic expression and produce an effect similar to feet in western poetry.&lt;br /&gt;
&lt;br /&gt;
===Chapter 3 Analyses of Bian Zhilin's Translation Practice===&lt;br /&gt;
Bian Zhilin put his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and poetry translation strategies of &amp;quot;replacing foot with dun&amp;quot; into practice. Here are three poem excerpts of romantic poets and Bian Zhilin's translation of them.&lt;br /&gt;
&lt;br /&gt;
====William Blake's ''The Tiger'' in ''Songs of Experience''====&lt;br /&gt;
William Blake is a representative of English romantic literature. He was hailed by 20th century critics as &amp;quot;the great prophet&amp;quot; who was a pioneer of romanticism. He broke neoclassical traditions in the 18th century and emphasized instinct, passion and imagination. Besides, Blake is a revolutionary poet and expressed strong revolutionary passion and rebellious spirit in his poem. The Tiger is one of his earliest lyrical poems. It eulogizes the shape and strength of the tiger. Here is an excerpt of it:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Tiger! Tiger! Burning bright&lt;br /&gt;
&lt;br /&gt;
In the forests of the night,&lt;br /&gt;
&lt;br /&gt;
What immortal hand or eye&lt;br /&gt;
&lt;br /&gt;
Could frame thy fearful symmetry?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
老虎！|老虎！|火一样的辉煌，&lt;br /&gt;
&lt;br /&gt;
烧穿了|黑夜的|森林和|草莽，&lt;br /&gt;
&lt;br /&gt;
什么样|非凡的|手和|眼睛&lt;br /&gt;
&lt;br /&gt;
能塑造|你一身|惊人的|匀称？&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of dun.)&lt;br /&gt;
&lt;br /&gt;
The excerpt shows the praise for the tiger. In the poem, Blake uses symbolization and compares the tiger to a fire that destroys everything. Bian Zhilin represents the perfect creation of the creator with the symmetry of the tiger. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem on the guidance of his theory of &amp;quot;faithfulness, similarity and translation&amp;quot;. In the first line of the excerpt, the use of &amp;quot;Tiger&amp;quot; with exclamation marks is a kind of call of the tiger——the king of the forest. Bian Zhilin translates them faithfully into &amp;quot;老虎！老虎！&amp;quot;. The third line is a rhetorical sentence that asks without answering, which reminds readers of the Creator——God, thus making the poetry profound. Bian Zhilin follows the rhythmic characteristics of the original poem and translates it artistically.  &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin also makes his translation according to his theory of &amp;quot;replacing foot with dun”. The above stanza consists of four lines of trochaic tetrameter. Therefore, there are four feet in each line. And in translated version, there are four lines of four duns. Each duns contains two or three characters, thus make the structure of the translated poem neat and have a strong rhythm.&lt;br /&gt;
&lt;br /&gt;
====William Wordsworth's ''The“Lucy”Series''====&lt;br /&gt;
William Wordsworth is also an important poet in English romanticism. He was made poet laureate and he strongly promoted the innovation of English poetry and the development of the Romantic movement. He believes &amp;quot;Poetry is the spontaneous overflow of powerful feelings&amp;quot;. The following excerpt is taken from his &amp;quot;Lucy&amp;quot; series:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
A slumber did my spirit seal&lt;br /&gt;
&lt;br /&gt;
I had no human fears&lt;br /&gt;
&lt;br /&gt;
She seemed a thing that could not feel&lt;br /&gt;
&lt;br /&gt;
The touch of earthly years &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
No motion has she now, no force&lt;br /&gt;
&lt;br /&gt;
She neither hears nor sees&lt;br /&gt;
&lt;br /&gt;
Rolled round in earth's diurnal course&lt;br /&gt;
&lt;br /&gt;
With rocks, and stones, and trees.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
迷糊|封住了|我的|精神；&lt;br /&gt;
&lt;br /&gt;
我没有|人世的|忧惶：&lt;br /&gt;
&lt;br /&gt;
她似乎|超然|物外，|不可能&lt;br /&gt;
&lt;br /&gt;
感觉到|岁月的|影响。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
现在|她无力了，|也不能|动弹；&lt;br /&gt;
&lt;br /&gt;
她不再|耳闻|目睹；&lt;br /&gt;
&lt;br /&gt;
卷在|地球的|日程里|滚转，&lt;br /&gt;
&lt;br /&gt;
混同了|岩石、|树木。&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
The above poem was written when Wordsworth went and stayed in Germany with his sister Dorothy in 1798 and 1799. It uses simple words and the meaning of the poems is quite clear. And Bian Zhilin's translation of the poem is quite faithful and vivid. &amp;quot;Slumber&amp;quot; in the first line of the original is translated into &amp;quot;迷糊&amp;quot; rather than &amp;quot;沉睡&amp;quot;, which gives readers a sense of &amp;quot;lazy charm&amp;quot;. And &amp;quot;fears&amp;quot; in the second line was translated into &amp;quot;忧惶&amp;quot;；it’s quite vivid and pertinent. Besides, the original poem consists of two stanzas with four lines of iambus. In each stanza, the first and the third line have four feet and the second and the fourth line have three feet. The whole poem follows the rhyme scheme of &amp;quot;a-b-a-b, c-d-c-d&amp;quot;. Bian Zhilin replaces feet in the poem with duns. There are fours duns in the first and the third lines and three duns in the second and fourth lines in translation. And the translated version follows the same rhyme scheme with the original. The whole poem is translated and expressed in quite appropriate way.&lt;br /&gt;
&lt;br /&gt;
====Percy Bysshe Shelley's ''Song to the Men of England''====&lt;br /&gt;
Percy Bysshe Shelley, as one of the famous romantic poets, pursued freedom and resisted violence in his short life. He encouraged people to stand and fight for a better life and was branded a &amp;quot;complete revolutionary&amp;quot; by Marx. And Song to the Men of England was written by Shelley after &amp;quot;Peterloo incident&amp;quot; in Manchester in 1819 to reveal the cruel nature of reactionary rulers and call on people to revolt bravely. Here is an excerpt of Song to the Men of England:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Men of England, wherefore plough&lt;br /&gt;
&lt;br /&gt;
For the lords who lay ye low?&lt;br /&gt;
&lt;br /&gt;
Wherefore weave with toil and care&lt;br /&gt;
&lt;br /&gt;
The rich robes your tyrants wear?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Wherefore feed and clothe and save&lt;br /&gt;
&lt;br /&gt;
From the cradle to the grave&lt;br /&gt;
&lt;br /&gt;
Those ungrateful drones who would&lt;br /&gt;
&lt;br /&gt;
Drain your sweat——nay, drink your blood?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
英国的|人民，|为什么|犁地&lt;br /&gt;
&lt;br /&gt;
报答|老爷们|踩你们|成泥？&lt;br /&gt;
&lt;br /&gt;
为什么|辛勤|劳苦|去织布，&lt;br /&gt;
&lt;br /&gt;
让那些|恶霸|穿华丽|衣服？&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
为什么|你们|从摇篮|到坟冢&lt;br /&gt;
&lt;br /&gt;
尽供给|和保养|那许多|雄峰？&lt;br /&gt;
&lt;br /&gt;
他们|不感激，|还非常|坚决，&lt;br /&gt;
&lt;br /&gt;
要喝干|你们的汗|——再加|血；&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
This excerpt is about the clash between two classes of society, the poor working class and the rich nobles. The major theme of this poem is exploitation. People plow for the sake of the lords, who are like drone bees that do no work but live off of the works of others. The narrator is urging the workers to make a stand as they are being treated unfairly. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin practices his poetry translation strategies of &amp;quot;translating poetry in metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; in this poem. In the original poem, each of two stanzas consists of four lines of iambic tetrameter, rhyming &amp;quot;a-a-b-b, a-a-b-b&amp;quot;. In the translated version, there are also two stanzas composed of four lines. And in each line, there are four duns which replaces the four feet in the original poem. The rhyme scheme in translated version is the same as that in the original.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translate the poem faithfully and vividly. For example, he translates &amp;quot;lay ye low&amp;quot; into &amp;quot;踩你们成泥&amp;quot; which well preserves the images of the original work. And &amp;quot;tyrants&amp;quot; in the fourth line of the first stanza is translated into &amp;quot;恶霸&amp;quot; which is concise and accurate. In the second stanza, &amp;quot;From the cradle to the grave&amp;quot; modifies &amp;quot;the men of England&amp;quot; rather than those &amp;quot;ungrateful drones&amp;quot;, Bian Zhilin understands the linguistic structure of the poem and translates it into &amp;quot;你们从摇篮到坟冢&amp;quot;. &amp;quot;坟冢&amp;quot; is more formal than &amp;quot;坟墓&amp;quot; and it's suitable for poetry, from which we can see the precision of Bian Zhilin's choose of words. In the last line, Bian Zhilin uses a dash and the words &amp;quot;再加&amp;quot; to highlight the brutal nature of the rulers. Actually, this translation is a good practice of his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===Chapter 4 Critical Thinking of Bian Zhilin's Translation Theories===&lt;br /&gt;
There is no doubt that Bian Zhilin's translation theories greatly promoted the development of English poetry translation in China. His &amp;quot;faithfulness, similarity and translation&amp;quot; is the inheritance and innovation of Chinese traditional translation theories. And it indeed provides a new way for poetry translation. Besides, Bian Zhilin thinks poetry should be translated into poetry rather than prose. In other words, translators should translate poetry in a poetical and metrical way. He stresses the importance of the unity between form and content and thinks high quality translation should be a unity of content and artistic style of the original text.&lt;br /&gt;
&lt;br /&gt;
Despite Bian Zhilin's great contribution to literary translation theories, I think there are still some problems existing in Bian Zhilin's translation strategies. In Bian Zhilin's opinion, translators can replace foot with dun thus achieving similar rhythmical effect in Chinese version with the English original. It seems that it is a quite advisable and feasible method. Bur actually, it cannot be practiced widely. In English poetry, each foot consists of two syllables, which is fixed and regular. But things are changed in Chinese. The character numbers in each dun in Chinese are not fixed. There may be one or two or three or four characters in each dun, so different people may have different divisions of duns based on their different understanding of context. Therefore, the division of duns may be disordered and random, which makes &amp;quot;replacing foot with dun&amp;quot; not advisable in many cases.&lt;br /&gt;
&lt;br /&gt;
Another problem in Bian Zhilin's translation theories is the ignorance of metrical patterns of foot. In English poetry, there are different metrical patterns like iambus, trochee, spondee and pyrrhic and so on. But there are no such meters in Chinese. &amp;quot;Replacing foot with dun&amp;quot; only considers the correspondence of foot but ignores the correspondence of metrical patterns of foot, so Bian Zhilin's &amp;quot;translating poetry in metrical way&amp;quot; actually is not adequate. We know Chinese is a kind of tone language which has four tones. We can use four tones to correspond the metrical patterns of foot in English. But it's quite difficult in so far and still needs more exploration.&lt;br /&gt;
&lt;br /&gt;
===Chapter 5 Conclusion===&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. His literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and &amp;quot;translating poems in a poetical and metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; give us a lot of enlightenment in the translation of poems. This paper analyzes Bian Zhilin's translation of romantic poems to show his translation strategies. However, there are still some problems in his theories, for example, the division of duns are disordered and random which are based on the understanding of translators and there is no correspondence in metrical patterns of foot. These are the problems that are needed to be considered and solved.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Blake, William. Songs of Experience[M]. New York: Dover Publications, Inc., 1971.&lt;br /&gt;
&lt;br /&gt;
Durrant, Geoffrey. William Wordsworth [M]. Cambridge: Cambridge University Press, 1979.&lt;br /&gt;
&lt;br /&gt;
Nabokov, Vladimir. &amp;quot;Forward&amp;quot;, A.S.Pushkin, Eugene Onegin, Nabokov, V.trans. London: Routledge &amp;amp; Kegan Paul, 1964/1975, p.viii.&lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. Approaches to Translation. Oxford: Pergamon, 1981, p39.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2002).《卞之琳文集》（中卷）. 安徽教育出版社, p503.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2000).《卞之琳文集》（上卷）. 安徽教育出版社, p8.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(1994).《从&amp;lt;西窗集&amp;gt;到&amp;lt;西窗小书&amp;gt;》.[英] 克里斯托弗·衣修伍德《紫罗兰姑娘》, 卞之琳译. 中国工人出版社, p8-9.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2007).《人与诗：忆旧说新》（增订本）. 安徽教育出版社, p319.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2005). 《英国诗选》. 商务印书馆, p156.&lt;br /&gt;
&lt;br /&gt;
Chen Xiying陈西滢(1984).《论翻译》. 罗新璋编《翻译论集》. 商务印书馆, p401-402.&lt;br /&gt;
&lt;br /&gt;
Fu Lei傅雷(1984).《论文学翻译书》. 罗新璋编《翻译论集》. 商务印书馆, p694.&lt;br /&gt;
&lt;br /&gt;
Li Changshuan李长栓(2004). 《非文学翻译理论与实践》. 中国对外翻译出版公司, p57.&lt;br /&gt;
&lt;br /&gt;
Shen Suru沈苏儒(1998).《论信达雅：严复翻译理论研究》. 商务印书馆, p8.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜(1991).《西方翻译简史》.商务印书馆, p24.&lt;br /&gt;
&lt;br /&gt;
Yan Fu严复(1984).《&amp;lt;天演论&amp;gt;译例言》.罗新璋编《翻译论集》. 商务印书馆, p136.&lt;br /&gt;
&lt;br /&gt;
=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012, 37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær, 2015, 10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005, 9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004, 1. Translation is essential for cultures and languages to exchange information. Newmark (1988) defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects. Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
&lt;br /&gt;
Nida (1964) indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style. Larson (1998) has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context. &lt;br /&gt;
&lt;br /&gt;
Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”.(Snell-Hornby 1988, 33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957, 167. By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
&lt;br /&gt;
The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003, 16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
&lt;br /&gt;
This study is aimed to probe Newmark's (1988) translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988, 81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.&lt;br /&gt;
&lt;br /&gt;
===Translation and Culture===&lt;br /&gt;
&lt;br /&gt;
2. Translation and Culture &lt;br /&gt;
&lt;br /&gt;
Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
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The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988, 7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988, 5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988, 7).  &lt;br /&gt;
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In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford (1965) defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language” (Catford 1965, 20). According to Venuti’s translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader” (Venuti 1995, 18). Schjoldager stated that “a translation is a text that expresses what another text has expressed in another language” (Schjoldager 2008, 19). Culture is a complex whole which includes knowledge, belief, art, law, morals, customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan (2014), claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014, 2). Hermanns (1999) contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures. Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014, 2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark (2001), illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001, 328). &lt;br /&gt;
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Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
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2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
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Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora, fauna, food, clothes, housing, work, leisure, politics, law, and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988, 327) Christine Nord names them “culturemes” (Nord 1997, 9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012, 1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Aixela, 1997; Davies, 2003), others choose cultural words (Newmark, 2003) or culture-bound phenomena/concepts (Baker, 1992, Newmark, 2003, Robinson, 2003). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker, 1992, 21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988, 94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988, 95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988, 95).&lt;br /&gt;
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2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
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The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85, P. 22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003, 16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.&lt;br /&gt;
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===Types of Translation ===&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
Newmark (1988) determines 8 types of translation which are: &lt;br /&gt;
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3.1 Word-for-Word Translation &lt;br /&gt;
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This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
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3.2 Literal translation &lt;br /&gt;
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In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
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3.4 Semantic Translation &lt;br /&gt;
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Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
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3.5 Adaptation &lt;br /&gt;
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This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015, 15). &lt;br /&gt;
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3.6 Free Translation &lt;br /&gt;
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The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
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3.7 Idiomatic Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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3.8 Communicative Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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===Translation Strategies  ===&lt;br /&gt;
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4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
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4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela (1996), translators need to choose several strategies based on the source language culture and target culture.  He distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, he tries to command by the level of their intercultural intervention. He divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies). &lt;br /&gt;
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4.1.1. Conservation: &lt;br /&gt;
In conservation, the less compelling process includes repetition, orthographic adaptation, linguistic translation, extratextual gloss and intratextual gloss. &lt;br /&gt;
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4.1.1.1 Repetition: In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus, the translator keeps as much as possible the original reference (Aixela, 1996, p. 61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
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4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
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4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
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4.1.1.4 Extra-textual Gloss: Here, the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes, endings, words, ideas, translators in dictionaries, italics and so on. &lt;br /&gt;
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4.1.1.5 Intra-textual Gloss: It's like the past but the translator feels that he/she can include the globe as an indirect part of the text, not to distract the reader. &lt;br /&gt;
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4.2.1 Substitution &lt;br /&gt;
In substitution, According (Aixela, 1996) “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here”. &lt;br /&gt;
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4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
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4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
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4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela, 1997, p.63). &lt;br /&gt;
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4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Shokri, Ketabi, 2015, p.8). &lt;br /&gt;
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4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela, 1996, p. 64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
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4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela, 1997). &lt;br /&gt;
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4.3 Mona Baker’s Translation Strategies &lt;br /&gt;
Baker’s strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation. (Baker, 1992). He suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies, which are the following: &lt;br /&gt;
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4.3.1 Translation by a more general word: According to Baker, this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
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4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
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4.3.3 Translation by cultural substitution: This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
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4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
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4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
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4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
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4.3.7 Translation by omission: Losing phrases or words that are not vital to text development. &lt;br /&gt;
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4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view, however, Baker's (1992) translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
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===Cultural Categories  ===&lt;br /&gt;
5. Cultural categories &lt;br /&gt;
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5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
5.1.2 Material culture &lt;br /&gt;
Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.” &lt;br /&gt;
5.1.3 Social culture &lt;br /&gt;
The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
5.1.4 Organisation &lt;br /&gt;
Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
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5.2 Newmark Classification CSIs &lt;br /&gt;
Newmark (1988) established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items.&lt;br /&gt;
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5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
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Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
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2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
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3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
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4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
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5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
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6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
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7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
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8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
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9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
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10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
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11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
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12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
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13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
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14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
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15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
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16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
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17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
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18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
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19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
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20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
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21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
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22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
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23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
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24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
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25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
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26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
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27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
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28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
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29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
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30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
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31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
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32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
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33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
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34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
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35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
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36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
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37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
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38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
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39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
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40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
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41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
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42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
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43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
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44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
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45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
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46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
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47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
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48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
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49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
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50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
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51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
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52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
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53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
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54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
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55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
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56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
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57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
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58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
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59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
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60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
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61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
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62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
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63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
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64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
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65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
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66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
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67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
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68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
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69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996, 31), “translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by (Newmark 1988, 81), “translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.” &lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation, then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions. &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity, as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts, the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term, and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part, but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark (1988) has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9. &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark’s strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark (1988) were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However, the translator must be competent in using the translation procedures to provide an accurate translation. &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abdi, H. (2019). Translating culture-specific items (CSIs) as a conundrum for Iranian MA translation students: Considering the level of study. Journal of new advances in English Language Teaching and Applied Linguistics, 1(1), 88-109. &lt;br /&gt;
&lt;br /&gt;
Aguado-Gimenez, P., &amp;amp; Pérez-Paredes, P. F. (2005). Translation-strategies use: A classroombased examination of Baker’s taxonomy. Meta: journal des traducteurs/Meta: &lt;br /&gt;
Translators' Journal, 50(1), 294-311. &lt;br /&gt;
&lt;br /&gt;
Ahmadi, M. R.S and Nosrati, Fatemah. (2012). Domestication and Foreignization Strategies in Translation of Culture-Specific Items. Translations of English-Persian Children’s Literature. San Francisco: Grin Publishing. Google Books. &lt;br /&gt;
&lt;br /&gt;
Al Saleh, R. A. (2019). An Application of Newmark's Procedures to Muhammad Abul Quasem's Alleman, J. C. Bee. W. Ulitkin, I. Files, F., Zetzsche, J., Chatonnet-Marton, P. &amp;amp; y del Árbol, E. V. Translation Strategies. &lt;br /&gt;
&lt;br /&gt;
Al-Sofi, B. B. M. A., &amp;amp; Abouabdulqader, H. (2020). Bridging the gap between translation and culture: towards a cultural dimension of translation. International journal of linguistics, literature and culture, 6(1), 1-13. &lt;br /&gt;
&lt;br /&gt;
Baker, M., 1992. In Other Words: A Coursebook on Translation. London: Routledge, p.20–42. &lt;br /&gt;
&lt;br /&gt;
Blažytė, D., &amp;amp; Liubinienė, V. (2016). Culture-specific items (CSI) and their translation strategies in Martin Lindstrom’s&amp;quot; Brand sense&amp;quot;. Kalbų studijos, (29), 42-57. &lt;br /&gt;
&lt;br /&gt;
Bush, P. (1998) &amp;quot;Literary Translation.&amp;quot; In: M. Baker, ed. Routledge Encyclopedia of Translation Studies, London: Routledge, pp.127-130. &lt;br /&gt;
&lt;br /&gt;
Catford. J. C. (1965). A linguistic theory of translation. Oxford: Oxford University Press. &lt;br /&gt;
English Translation of Mohammad Al-Ghazali's Islamic Guidance.Literature and Culture, 6(1), 1-13. &lt;br /&gt;
&lt;br /&gt;
Gečaitė, L. (2020). Culture-Specific Items and Their Translation Strategies in Victoria Hislop's Novel The Sunrise.” (2020). &lt;br /&gt;
&lt;br /&gt;
Hassan, B. E. A. (2014). Between English and Arabic: A practical course in translation. &lt;br /&gt;
Cambridge Scholars Publishing. &lt;br /&gt;
&lt;br /&gt;
Hermans, T. (1999). Translation in systems. Manchester: St. Jerome Publication  House, J. (Ed.). (2014). Translation: a multidisciplinary approach. Springer. &lt;br /&gt;
Issa, A. L. S. M., &amp;amp; Hammood, L. H. R.- Quranic-Specific Phrases under the Study of Translation; Significance and Applications. &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. (33), p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. 33, p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Lambert, J. (1998) Literary Translation. In: M. Baker, ed. Routledge Encyclopedia of Translation Studies. London: Routledge, 130-134. &lt;br /&gt;
&lt;br /&gt;
Landers, Clifford E. (2001) Literary Translation: A practical guide. New Jersey University Press: Multilingual Maters. &lt;br /&gt;
&lt;br /&gt;
Lustig, Myron, W. and Koeser, Joline  (2003), Intercultural Competence: Interpersonal Communication Across Cultures, Boston: Allyn and Bacon. &lt;br /&gt;
&lt;br /&gt;
Malmkjær, K. (1993). Who Can Make Nice A Better Word Than Pretty? Collocation, Translation, and Psycholoinguistics. In: Baker, M., Francis, G. and Tognini-Bonelli, E. &lt;br /&gt;
eds. Text and Technology. Philadelphia/Amsterdam: John Benjamins Publishing Company. pp.213-32. &lt;br /&gt;
&lt;br /&gt;
Mosavat, S., &amp;amp; Rahimpour, S. (2016). The Most and Least Used Translation Strategies for &lt;br /&gt;
Conveying Culture-Specific-Items in Young Adult Literature from English into Persian. International Journal of Humanities and Cultural Studies (IJHCS) ISSN 23565926, 1853-1873. &lt;br /&gt;
&lt;br /&gt;
Munday, J. (1997). Systems in Translation: A computer-assisted systemic approach to the analysis of translation of García Márquez. Ph.D thesis, University of Bradford. &lt;br /&gt;
&lt;br /&gt;
Newmark, P. (2001). A Textbook of Translation. Shanghai: Shanghai Foreign Language &lt;br /&gt;
Education Press &lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. (1988). A Textbook of Translation. New Jersey: Prentice-Halls &lt;br /&gt;
&lt;br /&gt;
Nord, Christiane. (1997). Translating as a Purposeful Activity: Functionalist Approaches &lt;br /&gt;
Explained. Manchester: St. Jerome. Accessed 10 November. 2018. Google Books Schjoldager, A. (2008). Understanding translation. Academica: Århus. &lt;br /&gt;
&lt;br /&gt;
Silalahi, M., &amp;amp; Lubis, S. (2013). Translation Procedures of Cultural Terms Found In Sejarah Bilingual For Students of Senior High School. &lt;br /&gt;
Valipoor, K., &amp;amp; andAzizeh Chalak, H. H. T. (2019). Cultural-specific items in translation of the Holy Quran by Irving: 43-51. &lt;br /&gt;
&lt;br /&gt;
Venuti, L. (1995). The translator’s invisibility: A history of translation. London and New York: &lt;br /&gt;
Routledge &lt;br /&gt;
&lt;br /&gt;
Widiarto, O. V. V. (2016). The translation procedures of cultural expressions applied in a game of thrones translated into Perebutan Tahta novel by Barokah Ruziati (Doctoral dissertation, Dian Nuswantoro University).&lt;br /&gt;
&lt;br /&gt;
=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims to observe the development of translation studies through its different types, various strategies, styles and particular methods. In this paper, the readers are introduced to some famous translation scholars including their view of translation studies. At the further discussions, this study lets the readers acknowledge the main issues on translation studies, focusing on different styles of variations such as grammar, sentence structure, textual analysis, strategies and methods. This study may help those who are interested to conduct translation researches and help them by giving options of which theories is beneficial to their analysis. Moreover, it aims to explore the clear definition of translation as well as help the readers to understand the basic concept which are used in the field of translation. The present study, therefore, attempts to outline the scope of the discipline of translation studies and more importantly, it is an attempt to outline its activity that required a deep mastering of language, a good source of knowledge and target cultures.&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation, styles of variations, strategies&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
It is undoubtedly right that translation is important to share information. In line with these premise, the number of translation professionals is getting higher. In fact, the result of translation researches tends to help human daily life in term of evaluation, designing translator machines, and cultural studies.	 Therefore, translation means converting written information from one language into another. It is the new discipline appeared in the second half of the 20th century. The term “Translation Studies” was coined by James S. Holmes, an American-Dutch poet and translator of poetry, in his seminal paper “The Name and Nature of Translation Studies”.  Translation enables effective communication between people around the world. It is a courier for the transmission of knowledge, a protector of cultural heritage, and essential to the development of a global economy. Translation helps us to know about the developments in the field of creative arts, education, literature, business, science and politics. It has shifted from the traditional conception of the fixed, stable and unchangeable nature of the text and its meaning to a text with wide scope for variations. Translation also helps in nation building. In this globalised world, the demand for translation and language related services has increased many times. Translation is not only needed for the creation of national identity but has also become an essential tool for keeping pace with the processes of globalization and localization. The activity of translation has a long-standing tradition and has been widely practiced throughout history, but in our rapidly changing world its role has become of paramount importance. Nowadays, knowledge in which cultural exchanges have been widening, has been increasingly expanding and international communication has been intensifying, the phenomenon of translation has become fundamental. Be it for scientific, medical, technological, commercial, legal, cultural or literary purposes, today human communication depends heavily on translation and, consequently, interest in the field is also growing. Accordingly, the discussion, in the present study, proceeds primarily from the perspectives of “Translation Studies” and “Linguistics”. One major goal is to show the interrelationships between linguistics and translation, and how they benefit from each other. Nowadays, translation research has started to take another path, which is more automatic. The invention of the internet, together with the new technological developments in communication and digital materials, has increased cultural exchanges between nations. This leads translators to look for ways to cope with these changes and to look for more practical techniques that enable them to translate more and waste less. They also felt the need to enter the world of cinematographic translation, hence the birth of audiovisual translation. The latter technique, also called screen translation, is concerned with the translation of all kinds of TV programs, including films, series, and documentaries. This field is based on computers and translation software programs, and it is composed of two methods; dubbing and subtitling. In fact, audiovisual translation marks a changing era in the domain of translation.&lt;br /&gt;
In short, translation has very wide and rich history in the West. Since its birth, translation was the subject of a variety of research and conflicts between theorists. Each theorist approaches it according to his viewpoint and field of research, the fact that gives its history a changing quality.&lt;br /&gt;
&lt;br /&gt;
Discussion &lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation. For each type, a selection of examples will be considered for analysis based on translation theories and techniques. We will show that some chunks of text require literal translation, while other requires interpretive method. In addition, this paper will also examine various strategies and its styles of variations based on translational study. The following strategies will be presented in the paper as; &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	They involve text manipulation.&lt;br /&gt;
•	They must be applied to the process.&lt;br /&gt;
•	They are goal-oriented.&lt;br /&gt;
•	They are problem-centered.&lt;br /&gt;
•	They are applied consciously.&lt;br /&gt;
•	They are inter-subjective.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Most theorists agree that strategies are used by translators when they encounter a problem and literal translation is not useful. Different researchers have investigated and described various translation strategies from their different perspectives. It intends to show what translation strategies exist and when and why they are used by professional translators. Different scholars have various perspectives to the aspects of the act of translation, so, they define and describe different types of strategies. Bergen's (n. d.) classification of the strategies includes three categorizations which will be discussed mainly in this paper: &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	Comprehension strategies &lt;br /&gt;
•	Transfer strategies&lt;br /&gt;
•	Production strategies&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
An addition to this paper, styles of variations will also be introduced to the readers through different aspects and examples. The concept of style can be defined in terms of the distinctive way an individual or a group uses language, or better still the discourse used to perform distinct functions of language aimed at achieving specific purposes. However, this does not entail that style is simply a matter of form since it is the product of other components such as the genre of discourse, its semantics, syntax and phonology. Indeed, in order to analyze a given stylistic variation one needs an extensive checklist that includes lexical and grammatical categories, allusions, and figures of speech. Style can be understood to refer to the recurring typical features of the source text compared to the typical features of the translated text.  In a quantitative and qualitative analysis, this variation is shown to be influenced by several pragmatic and social factors, and to index the interpreters' stances towards source speakers and towards the immigrant court users who are the recipients of translations from English. It is argued that translation styles have profound consequences for limited English speakers, as the insistence on institutional norms in translating to them is viewed as a gate keeping behavior that may impede their full participation in the proceedings. &lt;br /&gt;
&lt;br /&gt;
What is translation? &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Translation went through various definitions going from a mere linguistics activity during the sixties, a cultural and communicative activity during the seventies reflects the social impacting activity in the latest founding of the literature. &lt;br /&gt;
“Translation is traditionally known as being the replacement of textual material in one language into equivalent textual material in another language”. &lt;br /&gt;
House (2015) mentions that translation is considered as the “replacement” of a text in the source language by a semantically and pragmatically equivalent text in the target language. It is strongly related to a source language and target language cultures. It requires a high level of mastery languages, an awareness of any contextual factors within which the discourse emerges. There is no need to mention how it affected civilizations through different areas of mankind history. For example, An Arab-Islamic civilizations. There have always been different directions on how one should or should not translate. In the Arab tradition, two main methods existed and were in complete divergence namely the literal and the free method. &lt;br /&gt;
On the other hand, in the Western tradition there are various methods currently exist namely, the linguistic, the hermeneutic, the interpretive, the functionalist, the interventionist, the poly-systemic and the text-typologist method.  More so, it may be important to point out that translation has been defined in many ways, and every definition reflects the theoretical approach underpinning it. &lt;br /&gt;
As Shuttlworth and Cowie (1997) observe throughout the history of research into translation, the phenomenon has been variously delimited by formal descriptions, echoing the frameworks of the scholars proposing them. For example, Bell (1991: XV) starts with an informal definition of translation, which runs as follows: the transformation of a text originally in one language into an equivalent text in a different language retaining, as far as is possible, the content of the message and the formal features and functional roles of the original text. &lt;br /&gt;
At the beginning of the ‘scientific’ (Newmark, 1988, p. 2) study of translation, Catford (1965, p. 20) described it in these terms, the replacement of textual material in one language (SL) by the equivalent textual material in another language. &lt;br /&gt;
Thirty years later, in Germany, the concept of translation as a form of ‘equivalence’ is maintained, as we can see from Koller’s definition (1995, p. 196): “The result of a text processing activity, by means of which a source language text is transposed into a target-language text. Between the resultant text in L2 (the target-language text) and the source text in L1 (the source language text) there exists a relationship, which can be designated as a translational, or equivalence relation”. Because complete equivalence (in the sense of synonymy or sameness) cannot take place in any of his categories, Jakobson (1959) declares that all poetic art is, therefore, technically untranslatable. That is, the translator has to take the question of interpretation into account in addition to the problem of selecting a TL phrase which will have a roughly similar meaning. Exact translation is impossible. In this regard, Bassnett (1996) claims that all texts, being part of a literary system descended from and related to other systems are “translations of translation of translations”: every text is unique and at the same time, it is the translation of another text. No text is entirely original because language itself, in its essence, is already a translation: firstly, of the non-verbal world and secondly, since every sign and every phrase is the translation of another sign and another phrase. However, this argument can be turned around without losing any of its validity: all texts are original because every translation is distinctive. Every translation, up to a certain point, is an invention and as such it constitutes a unique text.&lt;br /&gt;
In this analysis of the above definition, Manfredi (2008), points out that the above distinction can be divided into two main perspectives, those that consider translation either as a ‘process’ or a ‘product’. To this twofold categorization, Bell (1991, p. 13) adds a further variable, since he suggests making a distinction between translating (the process), a translation (the product) and translation (i.e., “the abstract concept which encompasses both the process of translating and the product of that process”. Moreover, thanks to advances in new technologies, today we can also incorporate into TS the contribution of corpus linguistics, which allows both theorists and translators analyses of large amounts of electronic texts (Manfredi, 2008). On the other hand, Halliday (1992, p. 15) takes translation to refer to the total process and relationship of equivalence between two languages; we then distinguish, within translation, between “translating” (written text) and “interpreting” (spoken text). Halliday, thus, proposes distinguishing the activity of “translation” (as a process) from the product(s) of “translating”, including both “translation” (concerning written text) and ‘interpreting’ (regarding spoken text.&lt;br /&gt;
“Translation is the production of a functional target text maintaining a relationship with a given source text that is specified according to the intended or demanding function of the target text.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Types of Translation&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation.&lt;br /&gt;
&lt;br /&gt;
Technical translation &lt;br /&gt;
&lt;br /&gt;
Technical translation is a type of specialized translation involving the translation of documents produced by technical writers, or more specifically, texts which relate to technological subject areas or texts which deal with the practical application of scientific and technological information. (Wikipedia) &lt;br /&gt;
Translators' main goal is to accurately translate the technical terminology to match the document and the message of the original content.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The benefits of technical translation&lt;br /&gt;
&lt;br /&gt;
A professional technical translation service is provided by translators with dual specialties, that is, professionals who are fluent in the language pair, but who are also experts in the field covered by the documents to be translated.&lt;br /&gt;
When you need to have your documents translated by a technical translator, translators who are not experts may not be able to provide the necessary solutions and terminology for a quality translation. If the translator is not an expert in the field, he/she will have to learn the new terminology while working. This means that translation will take longer, have higher chances of inaccuracies, and may result in higher costs. Therefore, the main advantages of hiring an agency specialized in this type of service are as follows:&lt;br /&gt;
&lt;br /&gt;
Literary translation&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Literary translation is the translation of creative and dramatic prose and poetry into other languages. This includes the translation of literature from ancient languages and the translation of modern fiction so that it can reach a wider audience. &lt;br /&gt;
Literary translation is of huge importance. It helps to shape our understanding of the world around us in many ways.                                                     Reading Homer and Sophocles as part of a classical education in school helps to build an understanding of history, politics, philosophy and so much more. Meanwhile, reading contemporary translations provides fascinating insights into life in other cultures and other countries.                                                       In a fast-paced world so rife with misunderstanding and confusion, such efforts to share knowledge and experiences across cultural boundaries should be applauded.&lt;br /&gt;
The translation of literature differs greatly from other forms of translation. The sheer size of the texts involved in literary translation sets it apart.                Tackling a translation that runs to hundreds of thousands of words is not a task for the faint-hearted. Nor is recreating poetry in a new language, without losing the beauty and essence of the original work.&lt;br /&gt;
One of the key challenges of literary translation is the need to balance staying faithful to the original work with the need to create something unique and distinctive that will evoke the same feelings and responses as the original. This can be particularly challenging when it comes to translating poetry.&lt;br /&gt;
Poems are written with incredible attention to detail. Not only are the words and phrases important, but the number of syllables and the entire rhythm of the completed work. It’s a challenging task to complete just in one language, let alone when trying to recreate a poet’s work during a translation. Daniel Hahn, director of the British Centre for Literary Translation, sums up the issue beautifully. &lt;br /&gt;
As literary translators will attest, a single word can be extremely troublesome. The author of a work of fiction has chosen that word for a good reason, so the translator must ensure that it is faithfully delivered in the target language. However, what if no direct translation is available? Or what if several options exist, each with a slightly different nuance? Urdu language translator Fahmida Riaz outlines her approach to such thorny issues.&lt;br /&gt;
For instance, “Every piece you translate comes from the pen of an individual, so you have to give it an individual treatment. I try to retain the ambience of the original culture, rather than the language, as it is reflected in the text.” &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Pragmatic translation&lt;br /&gt;
&lt;br /&gt;
Pragmatic translation is the basic assumption that provided a source language text contains no misstatements of fact, is competently written and has to be fully translated rather than summarized or functionally reorientated; one's purpose in translating it is to be referentially and pragmatically accurate. In this paper, I shall not deal with referential accuracy but concentrate instead on the pragmatic aspects of translation. As the term pragmatic translation may be used in a variety of ways, I should like to state my own definition of pragmatic, which derives from Charles Morris and ultimately from Charles S. Peirce. I am using pragmatic as one of the two factors in translation: pragmatic denotes the reader's or readership's reception of the translation, as opposed to referential, which denotes the relationship between the translation and the extra-linguistic reality it describes. &lt;br /&gt;
Translation is a properly way to a properly communication and pragmatics is how to use language in communication properly. By translation, many things from different languages and cultures can understand to each other. In other words, translation can be stated as a facilitator to make a communication runs well.&lt;br /&gt;
&lt;br /&gt;
===An Overview on Translation Studies  ===&lt;br /&gt;
&lt;br /&gt;
===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
&lt;br /&gt;
=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature  --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:45, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the researcher wants to highlight the different concepts about the fundamental question &amp;quot;what is idiomatic expression&amp;quot; of different critics, theorists and linguistic experts, and prominent scholars of translation studies. Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
&lt;br /&gt;
Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda Corelli 2006, 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984, 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992, 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to (Newmark 1981, 11), “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”&lt;br /&gt;
.	The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to (Corelli 2006, 53), English has a sizeable idiomatic base.&lt;br /&gt;
About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.&lt;br /&gt;
The main issue that idiomatic and fixed expressions pose for translators, according to (Baker 1992, 65), is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.&lt;br /&gt;
&lt;br /&gt;
Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.&lt;br /&gt;
&lt;br /&gt;
===Literature Review ===&lt;br /&gt;
In this chapter, the author/researcher defines the strategy and its different definitions from the perspective of different subjects and fields. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented. Krings defines it as the content of the project, while Seguinet divided the term into three steps. However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. &lt;br /&gt;
&lt;br /&gt;
The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward.&lt;br /&gt;
Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint.&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to (Seguinot 1989, 27) (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.&lt;br /&gt;
&lt;br /&gt;
Furthermore, (Loescher 1991, 8) defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot; As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998, 4) claim moreover, (Bell 1998, 188) distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.&lt;br /&gt;
&lt;br /&gt;
According to (Venuti 1998, 240), &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot; He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to (Jaaskelainen 2005, 15), product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.&lt;br /&gt;
&lt;br /&gt;
Furthermore, (Jaaskelainen 2005, 16) distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making. (Newmark 1988, 221) distinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016, 13).&lt;br /&gt;
&lt;br /&gt;
The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010, 15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017, 54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
&lt;br /&gt;
Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985, 9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female.&lt;br /&gt;
Several research articles are found on translated work (license and khol do) of Urdu famous short stories writer Sadat Hassan Manto's from a different perspective like psychoanalysis, postcolonial, feminist approaches but to explore the problem of translations strategies face by translator Aatish Taseer during the process of translation has not been mention till date. To summarize this, the research includes a critical, in-depth, comprehensive analysis of issues that previously did not address.&lt;br /&gt;
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=== Theoritical Framework ===&lt;br /&gt;
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Different strategies have been used, like using an idiom of similar meaning and similar form, the idiom of similar meaning and different form, translation by Paraphrasing, translation by omission. The approach of employing idioms of similar meaning and form, according to Mona Baker, entails using an idiom in the target language that can express about the same meaning as the source language idiom, as well as having lexical similarity. On the other hand, this type of matching happens periodically as well as regularly.&lt;br /&gt;
&lt;br /&gt;
Similarly, employing idioms with similar meanings but different forms means that it is possible to locate an idiom or fixed expression in the target text language that has a similar meaning to the source idiom or expression but is made up of distinct lexical elements. Consider the case of English and French, both of which use the idiom mentioned above. In English, one good deed is rewarded with another, whereas in French, handsome deeds are rewarded with handsome deeds.&lt;br /&gt;
&lt;br /&gt;
Furthermore, we did not come across any idioms in the category mentioned above during translating idioms. To deal with this issue, the translators used the most popular approach, known as a translation by paraphrase, which is short, straightforward, and time-saving. When a match cannot be identified in the target language or when it appears improper to employ idiomatic language in target material due to aesthetic differences between the source and target languages, this is the most typical approach for translating an idiom from source to target language. However, one thing to keep in mind is that a perfect translation is not required is necessary or possible.&lt;br /&gt;
&lt;br /&gt;
Last but not least, to overcome the problem of idiom translation, the translator employs the strategy of translation by omission. This can be defined as an idiom being omitted entirely in the target text with a single word. This is done because the idiom has no close match in the target language; its meaning cannot be easily paraphrased or due to stylistic reasons. &lt;br /&gt;
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3.4 Data analysis Techniques:&lt;br /&gt;
Textual analysis is the method of data analysis in qualitative research that brings forth the hidden and potent message, structure, and function of research in giving text, Alan Mckee (defines textual analysis as whenever we perform textual analysis on the text, we make an educated guess at some time of the most likely interpretations that might be made of that text (Alan Mckee 2001, 3)&lt;br /&gt;
Analysis of the translation of short stories in light of Mona baker's theory &amp;quot;khol do and license&amp;quot; are short stories written by Sadat Hassan Manto and translated by many translators from Urdu into English. During translation, the translator adopted many strategies for translating idiomatic expression, sometimes by Paraphrasing, sometimes by omission, sometimes using similar idioms of form and meaning while sometimes using different words and the same form, the whole.&lt;br /&gt;
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===Discussion and Analysis===&lt;br /&gt;
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The chapter analyzes and discusses all the data collected by the author/researcher from different sources. All the examples of idioms are first identified, then translated into the target text, and back-translated for the sole purpose of exploring the strategies being used by the translator. A separate section is given to every strategy with its related example. Moreover, the idiomatic expression, the target work for finding, is highlighted through the bold letter.&lt;br /&gt;
&lt;br /&gt;
4.1	Translation by Paraphrasing:&lt;br /&gt;
&lt;br /&gt;
Based on our findings, the most often used strategy was &amp;quot;translation by paraphrasing.&amp;quot; An inspection also reveals that Aatish Taseer preferred this strategy. Here are some examples applied by the translators, and in the following section, the logic behind their preference towards this strategy is elaborate. The following are examples from two short stories of Sadat Husain Manto's &amp;quot;khol do&amp;quot; and &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 1: &lt;br /&gt;
&lt;br /&gt;
ST: Sirajuddin ne subah das baji anki kholi to logo ka ail mutalatam samandar deka.&lt;br /&gt;
&lt;br /&gt;
TT: Ten a.m., Siraj Uddin opens his eyes on the cold floor of the camp, seeing the swelling sea of men.&lt;br /&gt;
&lt;br /&gt;
BT: sub ke das baji jab Sirajuddin ne apni anki koli to logo ka aik ublaha howa samandar ka nizara dekni laga.&lt;br /&gt;
&lt;br /&gt;
So, the above idioms are literal idioms being translated with the help of Paraphrasing because there is no perfect equivalent of mutalatam words in English languages. A similar look at another idiom from short stories &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&lt;br /&gt;
ST: Khuda tomahra bala kari.&lt;br /&gt;
&lt;br /&gt;
TT: Your God will reward&lt;br /&gt;
&lt;br /&gt;
BT: Is ka badla khoda tomahi di.&lt;br /&gt;
&lt;br /&gt;
Here, the word reward is being used for Bala Kari, an example of transitional by Paraphrasing.&lt;br /&gt;
Let  take another example from &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
&lt;br /&gt;
ST: unkho nai Jan khateli pa rak kar sakena ko donda.&lt;br /&gt;
&lt;br /&gt;
TT: even putting their lives online, they search sakina &lt;br /&gt;
&lt;br /&gt;
BT: apni zindagio ko khatri me dal kar unkho nai sakina ko dond nekala.&lt;br /&gt;
&lt;br /&gt;
The above idioms are examples of pure idiom translated from Urdu into English with the help of paraphrases strategies. However, under the same strategies, the idioms of another short story of Manto,s &amp;quot;license,&amp;quot; are translated by Aatish Taseer. Some of the examples are given below.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
ST: Abu kochwan bara cheel jabela ta. It is the binomial type of idioms taken from the first sentence of the short story &amp;quot;license&amp;quot; by Sadat &lt;br /&gt;
Hasan Manto &lt;br /&gt;
&lt;br /&gt;
TT: Abu kochwan is stylish man.&lt;br /&gt;
&lt;br /&gt;
BT: Abu kochwan aik wazahdar admi ta.&lt;br /&gt;
&lt;br /&gt;
From the above idiom, it is clear that there is no perfect equivalence of cheela chabela idiom in English; that is, the translator goes &lt;br /&gt;
through paraphrasing strategies. Look at another example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
ST: Lein har waqat bank bani rekhi ka usi be had showk ta&lt;br /&gt;
&lt;br /&gt;
TT: He had a weakness for style and fashion.&lt;br /&gt;
&lt;br /&gt;
BT: Dan saj ke rekhna uski kamzori me sai ik ta.&lt;br /&gt;
&lt;br /&gt;
So all of the above examples, which are analyzed one by one, are examples of idioms being translated through paraphrasing strategies. (De Beaugrande and Dressler 1981, 50) define paraphrases as &amp;quot;approximate conceptual equivalence among outwardly different material.&amp;quot; Similarly, in this regard, Hirst defines paraphrases as &amp;quot;talk(ing) about the same situation in a different way.&amp;quot; Munday declared that &amp;quot;equivalence is particularly useful in translating idioms and proverbs” For instance, if the English idiom like a bear with a sore head is rendered into Persian as (mesle borje zahremar), meaning like a tower of snake venom, the strategy of equivalence has been applied. &lt;br /&gt;
&lt;br /&gt;
According to Leonardi, &amp;quot;Equivalence can be said to be the central issue in translation.&amp;quot; In this regard, house believes that &amp;quot;a translation text should match not only its source text in function but also employ equivalent situational-dimensional means to achieve that function&amp;quot; (Baker 2002, 49).  who shares this approach, states that equivalence is used &amp;quot;for the sake of convenience—because most translators are used to it rather than because it has any theoretical status&amp;quot; (Kenny 1998, 77). &lt;br /&gt;
&lt;br /&gt;
Despite different attitudes to the concept of equivalence, most specialists pay much attention to its meaning in the theory of translation. The translation is a form of communication, and that is why it is vital to establish equivalence between the source text and the target text. Although Vinay and Darbelnet believe that equivalence is used differently than in modern translation theory, it is evident that equivalence is one of the basic concepts of translation that cannot be neglected. Consequently, based on the Above mentioned studies using Paraphrasing in translation stands as the core concept in the process of translation, and still, most of the translators cling to it for producing a more comprehensible and explicable text. These language ideas and translation models are ideal constructs, presented abstractly in order to be differentiated precisely. They may exist in an uneasy combination in actual theories and practices, resulting in logical tensions or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation. Theories and actions must be contextualized in historical settings. They've been utilized as analytical tools to describe various topics in section introductions. Theoretical writings and current events these language notions and translation models are ideal constructs expressed in an abstract manner in order to be distinguished precisely in real-life hypotheses they may exist in an uncomfortable mix, resulting in logical conflicts or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
4.2	Using an idiom of Similar Meaning and Form &lt;br /&gt;
&lt;br /&gt;
As mentioned earlier, this strategy type is being used by Aatish Taseer during their translated work of Manto's short stories &amp;quot;khol do&amp;quot; and&amp;quot; license&amp;quot; on an occasional basis. Some examples are mention below.&lt;br /&gt;
&lt;br /&gt;
From khol do.&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
ST: Larki ka rang zard hogaya.&lt;br /&gt;
&lt;br /&gt;
TT: The girl's face became fail&lt;br /&gt;
&lt;br /&gt;
BT: larki ka rang zar hogya.&lt;br /&gt;
&lt;br /&gt;
Similarly, another example from the license is&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: Abu our us ke mat beer hogaie&lt;br /&gt;
&lt;br /&gt;
TT: They fall in love with each other.&lt;br /&gt;
&lt;br /&gt;
BT: WO ik dosri ke mokhbat me geriftar hogaie&lt;br /&gt;
&lt;br /&gt;
The above idioms are pure ones and are being translated with the help of similar meanings and similar forms.&lt;br /&gt;
&lt;br /&gt;
The procedures: transposition, modulation, equivalence, and adaptation, and when it comes to defining the term Equivalence, (Vinay and Darbelnet 2000, 90) propose that it consists in rendering &amp;quot;the same situation … by two texts using completely different stylistic and structural methods&amp;quot;, and when it comes to translating idiomatic expressions like &amp;quot;Il pleut à seaux&amp;quot; it can be translated as &amp;quot;It is raining cats and dogs&amp;quot; using the idiom of similar form and meaning in the target language.&lt;br /&gt;
&lt;br /&gt;
As (Baker 1992, 12) states, this strategy involves using an idiom in the TL which conveys roughly the same meaning as that of the source language idiom and, in addition, consists of identical lexical items. The salient point is that this kind of match can only occasionally be achieved, which cannot be picked up more often by translators. Accordingly, both translators mentioned in the current study had quite a slim chance of using this strategy type. &lt;br /&gt;
&lt;br /&gt;
4.3 Using an idiom of similar meaning but different form:&lt;br /&gt;
&lt;br /&gt;
During translating Manto short stories, &amp;quot;khol do&amp;quot; and &amp;quot;license,&amp;quot; some of the idioms are translated with the help of this strategy. Some of the examples are given below from two different short stories.&lt;br /&gt;
&lt;br /&gt;
Example number one is from the short story &amp;quot;khol do&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
ST: Aur bolwai gos ayai thee?&lt;br /&gt;
&lt;br /&gt;
TT: The roitors come abroad.&lt;br /&gt;
&lt;br /&gt;
BT: pasadi bahar agai hai.&lt;br /&gt;
&lt;br /&gt;
The above idiom is a pure type of idiom being translated with the help of above mention strategy. The word rioter is being used for bolwai, which is not a perfect word for bolwai. In Urdu bolwai, people believe in violence when minorities or the low population of any country want some rights. These people stop them by using violence, burn down their properties, rapes women, and do things like that. Another example from the license is below.&lt;br /&gt;
&lt;br /&gt;
Example 9:&lt;br /&gt;
&lt;br /&gt;
ST: Dosri kotwal abu ko dek kar jal ban ho jati.&lt;br /&gt;
&lt;br /&gt;
TT: The other coachman burn with envy.&lt;br /&gt;
&lt;br /&gt;
BT: Abu ke kamyabi dek kar aur kotwal abu sai khasad karni lagi’&lt;br /&gt;
&lt;br /&gt;
The above idioms are a pure idiom that reflects the effect of jealousy between competitors to achieve equivalency. Aatish Taseer uses envy word for jal ban instead of other which have similar meaning but different form. Look at the other example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: Dino lat vo lagal se kam karni laga.&lt;br /&gt;
&lt;br /&gt;
TT: Dino came with an excuse.&lt;br /&gt;
&lt;br /&gt;
BT: Dino abb bahi tarashni laga.&lt;br /&gt;
	&lt;br /&gt;
The above idioms are types of binomial idioms translated with the help of idioms with similar meanings and different forms. (Newmark 1988, 81) mentions the difference between translation methods and translation procedures. He writes that &amp;quot;[w]hile translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language&amp;quot; (Newmark 1988, 81). Idiomatic translation in his definition reproduces the 'message' of the original. However, it distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original, leading to using an idiom of similar meaning but a different form. Besides, it is often possible to find an idiom or fixed expression in the target language with a meaning similar to that of the source idiom or expression but which consists of different lexical items (Baker 1992, 12). Therefore, translators discover idiomatic expressions in the target language with different forms than in the source language. In the current study, the translators approached this strategy merely for 9% of the total times, which means the frequency of Iranian and English idioms with the same meaning and different forms is not considered high. &lt;br /&gt;
&lt;br /&gt;
4.4 Translation by omission:&lt;br /&gt;
&lt;br /&gt;
A translator is less using these strategies, and we did not find any clue on this type of strategy in an area under consideration.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:48, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== Findings===&lt;br /&gt;
&lt;br /&gt;
(Mandelbit 1995) believed that idioms with different cognitive mapping in the target language would be more challenging to translate. After conducting study and data analysis of collected data, the result revealed that the translator frequently used three out of four strategies of the Mona Baker model during the translation process, which is a translation by Paraphrasing, translation by similar meaning and similar form, translation by similar meaning and different form. In contrast, translation by omission does not found in his work.&lt;br /&gt;
After detail and careful analysis of data, more than half of idioms like &amp;quot;swelling sea of man,” my lord break his arrogance, “weakness for style and fashion.&amp;quot; As I mentioned earlier, many more are translated under the umbrella of Paraphrasing, which is considered the most common method used for translating idioms.&lt;br /&gt;
&lt;br /&gt;
Similarly, we also reflect strategies like similar meaning and different form and similar meaning and similar form. The idiom &amp;quot;rioter came abroad,” burn with envy,” The girl's face became pale, &amp;quot; They fall in love with each other&amp;quot; are translated with the help of two mention strategies, respectively.&lt;br /&gt;
&lt;br /&gt;
Although translation by omission is a strategy used on rare occasions because of its meaning, its meaning cannot be easily paraphrased or stylistic reason. Here, the researcher also did not find any idiom translated with the help of the omission strategy.&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
Go through detailed discussion and analysis of data collected from my source. We finally concluded that the idioms present in two short stories, &amp;quot;khol do&amp;quot; and &amp;quot;License,&amp;quot; are translated under the frame of Mona Baker's idiomatic model. Translation by Paraphrasing is mainly used while idioms of similar meaning and form and idioms of similar meaning and different forms are used occasionally. The researcher discusses all the strategies with related examples in the order of maximum used to minimum used. The strategy by omission did not find it works. All the data are collected from different sources and analyzed with the help of different researcher tools, and the result is written in light of the finding. Different from previous studies, the writer presents the strategies to translate idioms by each type of idiomatic expression found in the story. From the result, it is considered the translation of idiomatic expressions in the story is quite accurate. As the number of accurate data is more the data which is not related to the translation. We take conclusion from the translation through idiomatic expression and paraphrasing is the best way to translate a novel or a story however it is very difficult job to do because it needs more accurate and precise knowledge about the source language and an inspiring method to express ideas in the target language. However, translation is thing through which we can connect the world with each other and also we can study and observe diverse cultures.            &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abu-Saydeh, A. F. (2004). Translation of English idioms into Arabic. Babel, 114-131.&lt;br /&gt;
&lt;br /&gt;
Ahsan, S. (2020). A comparative study of two translations of manto's short story &amp;quot;Toba Tek&amp;quot;. International Journal of English Language Studies, 12-27.&lt;br /&gt;
&lt;br /&gt;
Alexander, R. J. (1987). Mimeograph. In R. J. Alexander (Ed.) Collocation and Culture. Trier: University of Trier, West Germany.&lt;br /&gt;
&lt;br /&gt;
Al-Qinai, J. (2000). Translation quality assessment. strategies, parameters and procedures. Translator's Journal, 497-519.&lt;br /&gt;
&lt;br /&gt;
Bayashi, J. (2020). Japanese-English translation: An advanced guide. Oxfordshire: Routledge.&lt;br /&gt;
&lt;br /&gt;
Das, V. &amp;amp;. (1995). Critical events: An anthropological perspective on contemporary India. New Delhi: Oxford Printing Press.&lt;br /&gt;
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Mufti, A. (2007). The Language of English India. In I. &amp;amp;. End (Ed.) Enlightenment in the Colony. Princeton University Press.&lt;br /&gt;
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Waka Xia, L. (2019). A discourse analysis of news translation in China. Syydney: Routledge.&lt;br /&gt;
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= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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===Key words ===&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
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===Ambiguity===&lt;br /&gt;
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===Lexical and Structural Mismatches===&lt;br /&gt;
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===Multiword units: Idioms and Collocations===&lt;br /&gt;
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===Summary===&lt;br /&gt;
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===Further Reading===&lt;/div&gt;</summary>
		<author><name>Atta Ur Rahman</name></author>
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	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=131238</id>
		<title>Translation types, strategies, styles, methods</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=131238"/>
		<updated>2021-12-12T09:45:34Z</updated>

		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* Key words */&lt;/p&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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==Abstract==&lt;br /&gt;
''Legend of Zhen Huan'', as an excellent Chinese TV series, has successfully entered the American market. However, the American version of Legend of Zhen Huan still has some shortcomings in translation. By comparing and analyzing the subtitle texts of the ''Legend of Zhen Huan'' in China and the United States, this paper aims to discuss the problems existing in the overseas translation of the ''legend of Zhen Huan'' and the translation strategies and methods adopted in the subtitle translation of the American version, so as to provide some enlightenment for Chinese costume dramas to reach the world in the future.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
Translation strategy and translation methods; ''Legend of Zhen Huan''; Subtitle translation&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
The TV series ''Legend of Zhen Huan'' is Imperial-harem competing play produced by the Beijing Television Arts Center in 2011. This play is adapted from a novel of the same name written by Liu Lianzi, which mainly tells the story of the young girl Zhen Huan growing up from an unsophisticated young girl to an empress dowager who is good at politics. Since its debut in China in 2012, ''the Legend of Zhen Huan'' has been a hit among Chinese audiences, with its ratings rising and even forming “Zhen Huan craze” for a time. The reason why the play has received so much praise, on the one hand, is that the film and television script is well-produced; on the other hand, it is because the plots and dialogues of the characters in the play cover a wealth of historical and cultural knowledge, embodying the profundity of Chinese culture.&lt;br /&gt;
Due to its great success in the domestic market, the series finally attracted the attention of foreign producers: the American team adapted the original ''Legend of Zhen Huan'', cutting the 76-episode original drama into six episodes,which was officially launched on Netflix’s paid website in the United States on March 15, 2015. It is the first Chinese TV series to be broadcast on mainstream TV stations in the United States. &lt;br /&gt;
However, the American version of the ''Legend of Zhen Huan'' failed to be sought after by audiences in the US, with most viewers abandoning the show after only one or two episodes.The English lines of the ''Legend of Zhen Huan''’s have ever been criticized by some Chinese audiences. After a deep study of the reason, in addition to the lack of content caused by a large amount of deletion and cutting, another important reason is the insufficiency of subtitle translation. This paper attempts to explore the translation strategies of the subtitle of ''Legend of Zhen Huan'', hoping to provide some inspiration for the subtitle translation of domestic film and television works of the same type.&lt;br /&gt;
&lt;br /&gt;
==Literature Review==&lt;br /&gt;
&lt;br /&gt;
===Previous studies in Subtitle Tranlation abroad===&lt;br /&gt;
In the early 1970s, Doller Up (1974) published a paper entitled “On Subtitle in TV Programs” on Babel, an authoritative journal of the International Association of Translators, which was the first time that scholars paid special attention to subtitle translation. In addition, he creatively pointed out the great value of TV subtitles to foreign language teaching, and then made contributions to the cause of education.&lt;br /&gt;
&lt;br /&gt;
In 1976, Istvan Fodor published a book called Film Dubbing: Aspects of Phonology, Semiotic Aesthetics, and Psychology, which centered on film dubbing from an acoustic perspective. Fodor argues that because each country’s language and culture are unique and irreplaceable, it is almost impossible to achieve perfect “synchronization” in all aspects of the translation of film(Fodor 1976:82).&lt;br /&gt;
&lt;br /&gt;
In 1982, Christopher Titford first proposed the concept of “restricted translation” in his article “Subtitling: Restricted Translation”. He believes that the limitations of film and television as a medium themselves are the main cause of problems encountered by translators in practice (Titford 1982:113).&lt;br /&gt;
&lt;br /&gt;
In 1992, Ivarsson, a Swedish subtitling translation scholar, published his book Subtitling for Media: A Handout of Art, which can be said to be the first comprehensive study of subtitling translation works in Europe. In this book, Ivarsson introduces the development of subtitle translation technology in detail. The most representative subtitle translation scholars are Gambill and Gottlieb, who are two translation theorists. Yves Gambill, a Finnish translator, is a very important expert in the field of film and television translation. Gambill has a wide range of research fields, he has compiled a large number of academic monographs, such as language transfer and Audiovisual Communication: bibliography, which discusses the classification of translation patterns, translation strategies, translation audience and so on (Gambill 1997).&lt;br /&gt;
&lt;br /&gt;
===Previous studies on Subtitle translation at home===&lt;br /&gt;
The research on subtitle translation in China mainly focuses on the English translation of Chinese films, and a large number of such papers and articles have been published, which are also the most representative research results of subtitle translation in China. In addition, with more and more domestic films moving toward the international stage, some attention has been paid to the study of Chinese subtitles.&lt;br /&gt;
&lt;br /&gt;
The study on Chinese and English subtitle translation can be divided into several fields, including film and television language characteristics, subtitle translation methods, subtitle translation history and so on.&lt;br /&gt;
&lt;br /&gt;
Subtitle translation methods can be broadly divided into two categories. One category refers to some practical translation methods and skills summed up by translators based on their years of translation experience, such as the seven kinds of experiences of film and television translation proposed by Qian Shaochang (2000), which stresses the importance of “translation” in the output of films and TV plays. The other is related to domestic MA papers. They usually start with some translation theories, such as German functional translation theory, Eugene Nida’s functional equivalence theory, relevance theory, and Susan Basnett’s cultural translation theory, and finally conclude translation methods such as domestication, foreignization, literal translation, free translation, omission and so on.&lt;br /&gt;
&lt;br /&gt;
In recent years, with the increasing popularity of American TV series in China, the phenomenon of online subtitle translation has begun to attract attention from all sides. As time went by, subtitle translation goes beyond the simple purpose of satisfying the entertainment needs of movie fans, and begin to be applied to teaching practice and students’ self-learning process. This phenomenon is bound to attract academic attention. For example, Wang Hui (2005) discussed this issue in his article “The Impact of Subtitling on Vocabulary Acquisition”. This paper draws some conclusions which are beneficial to foreign language teaching.&lt;br /&gt;
&lt;br /&gt;
However, there are still many deficiencies in the study on subtitle translation. The only literature we can refer to is few books on the translation of film and television subtitle. In other words, subtitle translation is not discussed in detail.&lt;br /&gt;
&lt;br /&gt;
==Subtitle translation features==&lt;br /&gt;
&lt;br /&gt;
===Subtitle translation needs to be brief and comprehensive===&lt;br /&gt;
Subtitle translation should not be lengthy for two reasons: First, because the screen keeps switching, each screen stay can not be very long, the scene with the character’s dialogue switches over more quickly, in a matter of seconds, which is fleeting. Second, whether it is the large screen in the cinema or the small screen in the home, due to space constraints, if the subtitle translation is not simple enough, it will lead to an increase in the number of words in the target language, not to mention the English words that take up more space than Chinese phrases. English words take up more space than Chinese phrases.&lt;br /&gt;
&lt;br /&gt;
Take the Chinese phrase “Computer”for example, the English equivalent word is computer. The Chinese verb “来”corresponds to the English word “Come”. In general, English words have more characters than their Chinese counterparts, except in rare cases. Since the length of the word can not be artificially controlled, subtitle translation will put a higher demand on the number of words. In a typical presentation, Chinese and English subtitles are displayed simultaneously at the bottom of the screen, up to two lines of Chinese and two lines of English.&lt;br /&gt;
&lt;br /&gt;
If there are too many words, the limited space can not accommodate in a few seconds, the audience will have a dazzling feeling as well. Therefore, one of the distinctive features of subtitle translation is its concise use of words.&lt;br /&gt;
&lt;br /&gt;
===Subtitling translation requires natural equivalence===&lt;br /&gt;
The subtitling of the target language should be as natural as the subtitling of the source language. The subtitle translation discussed in this paper is mainly about the dialogue of the characters in the play. On the one hand, the style of dialogue is colloquial, in this sense,It is important   for the translator to pay attention to whether the subtitle translation that the target language audience can hear and see is in line with their daily speaking style.If the original spoken language is translated formally and rigidly, the audience of the target language will feel less natural and fluent, and their movie-watching experience can not be comparable with that of the source language audience. On the other hand, the spoken language features of the characters can clearly shape the characters in the play. If the translator does not grasp the spoken features of the characters, the target audience can not understand the character’s connotation as well as the source audience.&lt;br /&gt;
&lt;br /&gt;
Therefore,if a character needs to say something filthy, or even taboo, to make the character stand out, the subtitle translator must also translate the same filthy and taboo.These taboos should inevitably appear in the subtitle translation, and we should not mince words about them. The same is true of English to Chinese subtitle translation and Chinese to English translation. Because these taboo words are the extension of the role connotation, improper handling will affect the target audience's understanding of the connotation of the role.&lt;br /&gt;
&lt;br /&gt;
===Subtitle translation needs to be easy to understand===&lt;br /&gt;
The film and Television Play is the Popular Entertainment Program, so subtitle translation should be clear at a glance. There are thousands of people watching TV dramas, and their knowledge and cultural level vary widely, and their appreciation level is naturally mixed.Film and TV series have such a wide audience, which requires subtitle translation to take care of the needs of the majority of the audience whether from the perspective of box office and Audience Rating, or from the perspective of cultural communication.&lt;br /&gt;
&lt;br /&gt;
==Theory of Domestication and Foreignization==&lt;br /&gt;
In the process of translation, the translator should determine the general direction of translation, cultivate a good sense of culture, and fully understand that translation is an important feature of information exchange across different languages and cultures. But how to achieve that? There are two opposite strategies in translation: foreignization and domestication. The terms of domestication and foreignization were put forward by Laurence Venutti in his book Translators’ invisibility in 1995:&lt;br /&gt;
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===Domestication===&lt;br /&gt;
The domestication strategy is to localize the source language, take the target language or target readers as the destination, and convey the content of the original text in the way that the target language readers are accustomed to.Domestication requires the translator to be closer to the target language reader, and the translator must speak like the native author.This translation strategy will often make the translation transparent, smooth, relaxed and natural, close to the reader to the greatest extent, so as to dilute the strangeness brought by the original text.In film and television subtitle translation, domestication is often used in order to make the audience understand the film smoothly.&lt;br /&gt;
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===Foreignization===&lt;br /&gt;
The foreignization strategy is completely opposite to the domestication strategy, which is oriented by the source language culture and that &amp;quot;the translator should not disturb the author as much as possible to make the reader close to the author&amp;quot;.Foreignization advocates believe that the main purpose of translation is cultural communication, so the translation should try its best to preserve the language and cultural information contained in the source language.Only in this way can the exchange and fusion of source and target cultures be achieved through translation. In addition, they believe that the translator should believe the reader’s imagination and intelligence to the utmost, and believe that when reading the translated version, the reader should not only understand the simple words, but also understand the foreign culture through the words, and they have the capacity to understand the culture. &lt;br /&gt;
&lt;br /&gt;
Of course, as two translation strategies, domestication and foreignization are the unity of opposites and they complement each other. Absolute domestication and absolute foreignization do not exist.&lt;br /&gt;
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==Case Study==&lt;br /&gt;
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===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
The essence of “foreignization”is “the tendency toward the original author”, that is, the translator tries to be close to the original author in his translation (Xiong Bing, 2014). In the words of the Friedrich Schleiermacher, this means that the translator“Tries not to disturb the original author, but to take the reader to the original author”(Robinson, 2006:229) . Specifically in Translation, the translator tries to retain the original language, literariness, cultural characteristics and exotic customs (Xiong Bing, 2014) . Therefore, the nature of foreignization strategy is mainly in favor of the original author, and its defects are mainly reflected in the readability of the translation. In other words, the translation may be blunt and not well received and understood by the audience. Therefore, the translation effect is not ideal for the target audience.&lt;br /&gt;
&lt;br /&gt;
====Literal Translation====&lt;br /&gt;
Literal translation means keeping both the content and the form of the original text in the translation when the language conditions permit, especially the metaphor, image, national and local color of the original text.The vast majority of subtitle translation of the Us version of ''Legend of Zhen Huan'' adopts literal translation. Look at the following example:&lt;br /&gt;
&lt;br /&gt;
Example 1&lt;br /&gt;
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Chinese version：嬛嬛一袅楚宫腰。&lt;br /&gt;
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American version：the slim waist of the concubines of the Chu palace.&lt;br /&gt;
&lt;br /&gt;
For the word “Huan”in the name of Zhen Huan, the American version uses the Foreignization method, which is translated literally as the slim waist of the concubines of the Chu palace.Western audiences may be confused by the subtitles,Western audiences may be confused by the subtitles, because Zhen Huan is clearly a woman from the Qing Dynasty, how come another Chu Palace? In terms of accuracy and the conveying of cultural context, this translation is well-done, but it creates a barrier for the audience to understand. Therefore, the translation can throw out on its real meaning, such as translated into As my name, Huan, means graceful women with slim waist, &amp;quot;Chu palace&amp;quot; here means can be omitted.&lt;br /&gt;
&lt;br /&gt;
Example 2&lt;br /&gt;
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Chinese version：一片冰心在玉壶&lt;br /&gt;
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American version：A jade vessel is the symbol of a pure heart.&lt;br /&gt;
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“Jade Vessel”in Chinese has a unique associative meaning, while the meaning of these words in English is vacant. Western audiences just think that Dr. Wen is evaluating his character, but they can’t hear his pure love for Zhen Huan, so on the basis of foreignization, it’s better to add some domestication translation to make it easier for the audience to understand.&lt;br /&gt;
&lt;br /&gt;
The American versions of examples 1 and 2 are very literal and concise translations, because the original subtitles have no hidden meaning.However, due to the wrong choice of translation methods, a small number of translated subtitles are just like translation cavities.If the cultural significance of the original text is lost, the translation may be regarded as a failure.In a sense, actors’ performances and lines are the &amp;quot;booster&amp;quot; of the plot development of the TV series.However, if the audience can not understand the original meaning, the story will be much less attractive in the eyes of the audience.For example:&lt;br /&gt;
&lt;br /&gt;
Example 3&lt;br /&gt;
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Chinese version：“赏你一丈红”&lt;br /&gt;
&lt;br /&gt;
American version：Then I will award Attendant Xia the Scarlet Red.&lt;br /&gt;
&lt;br /&gt;
In the original subtitle of example 3, “一丈红” (yi zhang hong,  literally “two-meter-long red”) is used to punish a palace maid or a  concubine who had done something wrong in China’s ancient imperial palace. The specific content of the penalty goes as follows: a two-meter-long and two-inch-thick board was used by the performer to give the guilty palace maid or concubine a good beating on their waist or the place below it until their bones were broken and the blood gushed out.   Looking from the distance, you will see that the blood covered a long distance. Thus, it is called “一丈红”. &lt;br /&gt;
&lt;br /&gt;
In the American version of Legend of Zhen Huan, it is translated into “the Scarlet Red”. the word Scarlet itself means “Lewd and sinful,”as in the Scarlet letter. It is very appropriate to translate &amp;quot;red&amp;quot; with scarlet. However, this partial literal translation runs counter to the American audience’s way of thinking, which they think it as nothing more than a horror show. In this way, the specific penalty content will be lost, and the target audience can't feel that the harem struggle is everywhere in the court, and can't get the equal effect for them.&lt;br /&gt;
&lt;br /&gt;
In this way, the specific content of the penalty will be lost, the target audience can not feel the Harem struggle existed everywhere in the imperial court and the equivalent effects cannot be obtained for them.&lt;br /&gt;
&lt;br /&gt;
====Zero Translation====&lt;br /&gt;
The so-called &amp;quot;zero translation&amp;quot; means that some elements of the source language are directly introduced into the target language without the ready-made words in the target language (Xiong Bing, 2014). This translation method is mainly used to translate the names of people and officials in the English version of the ''Legend of Zhen Huan''. That’s because in ancient China, there was a very strict patriarchal system with the ideas of three cardinal guides and the five constant virtues.&lt;br /&gt;
&lt;br /&gt;
In the eyes of the Chinese people, the distinction between the titles of concubines and concubines is clear at a glance, but it is difficult for foreigners to see these things, because medieval European monarchs were nominally allowed only one wife, there is no such complicated hierarchy of appellation among women. Therefore, such titles as &amp;quot;贵妃&amp;quot;, &amp;quot;妃&amp;quot;, &amp;quot;嫔&amp;quot;, &amp;quot;贵人&amp;quot;, &amp;quot;常在&amp;quot; and &amp;quot;答应&amp;quot; are presented in a dynamic equivalent way (words with similar functions in the source language), for example:&lt;br /&gt;
&lt;br /&gt;
Example 4&lt;br /&gt;
&lt;br /&gt;
熹贵妃——Noble Consort Xi    华妃——Consort Hua&lt;br /&gt;
&lt;br /&gt;
莞嫔 ——Concubine Huan       沈贵人——Lady Shen&lt;br /&gt;
&lt;br /&gt;
夏常在——Attendant Xia       小主——Young Mistress&lt;br /&gt;
&lt;br /&gt;
敦亲王：Prince Dun            舒太妃：Consort Dowager Shu&lt;br /&gt;
&lt;br /&gt;
Example 4 only shows a few official titles of the characters in the ''Legend of Zhen Huan''. However, the translation subtitles in this example reveal a subtitle rule that the American version of the ''Legend of Zhen Huan'' Uses Zero Translation for personal names and free translation for official titles. And we can clearly see the efforts of translators to represent this hierarchical culture in ancient China. However, this method of translation can not meet the needs of the current audience, because the ancient Chinese culture is broad and profound, and the official titles of emperors and concubines in the play conform to the traditional Chinese culture&lt;br /&gt;
&lt;br /&gt;
However, the cultural ideologies of the American people and the Chinese people are very different. Traditional translation can not convey the characteristics of the characters and the intensification of their contradictions. The American people have not experienced the five thousand years of slavery and feudalism in China, nor do English dictionaries or translation related books have Chinese cultural vocabulary. In addition, the current subtitle translation does not advocate the use of a large number of notes, which will have a negative impact on the effect of watching the drama.&lt;br /&gt;
&lt;br /&gt;
Therefore, notes are usually used only for the first appearance of a character, in order to provide the necessary introduction in enough subtitling space.When they appear a second time, the introduction will be omitted.As for the conflicts between the characters and the progress of the plot, it is difficult for the target audience unfamiliar with Chinese History to adapt to the culture and conflict in the play. Therefore, it is hard to arouse their interest in watching this drama.&lt;br /&gt;
&lt;br /&gt;
===Translation Methods under Domesticating Strategy===&lt;br /&gt;
Opposite to the foreignizing strategy, domestication is characterized by the “tendency toward the target recipients” (Xiong Bing, 2014). In other words, the translator tries to be as close to the target recipients in the translation as possible. In Schleiermacher’s words, it means that translators “try not to disturb the reader, but to bring the original author to the reader” (Robinson, 2006: 229). Specifically speaking, in the translation, the translator uses the language, literary devices, cultural elements that the target language readers love to replace the language, literary devices and cultural elements of the original language as much as possible, and abides by the language, literary devices and cultural norms of the original language (Xiong Bing, 2014). &lt;br /&gt;
&lt;br /&gt;
The domesticating strategy is a translation strategy just opposite to the foreignizing strategy. Its advantage is that the translation can be fluent, easy to understand, and easily accepted by the target recipients; or it tries to meet the specific needs of the target audience. However, the domesticating strategy also has some shortcomings. The first weakness of it is the loss of the language, literariness, culture and other important elements of the source text, so that the target audience cannot appreciate the exotic authentic language and cultural practices. This cannot help the cultural exchange and dissemination between different ethnic groups. The second weakness is that the domesticating strategy of the translated text may lead to semantic loss and semantic ambiguity in translated texts.&lt;br /&gt;
&lt;br /&gt;
====Omission====&lt;br /&gt;
Omission is a very important method in domestication strategy.The Syntactic structure of English emphasizes &amp;quot;hypotaxis&amp;quot;, and there are appropriate connecting elements between each component of a sentence to express their mutual relations, which emphasizes the consistency and coordination of grammatical relations.The structure of Chinese sentences is &amp;quot;parataxis&amp;quot;, and the relationship between each component of the sentence depends more on the intention, and less on the linking component. The structure form is relatively relaxed, and the words and sentences are relatively simple.Therefore, Omission is one of the most common methods in Chinese text translation.Word reduction means that in translation, the translator must grasp the differences between Chinese and English, omit the unnecessary linking elements in Chinese, make the translation smooth, avoid stiff and cumbersome, and eliminate unnecessary words and words as far as possible.There are many examples of reducing words in the translation of Legend of Zhen Huan.&lt;br /&gt;
&lt;br /&gt;
Example 1&lt;br /&gt;
&lt;br /&gt;
Chinese version:“先敬罗衣后敬人。” &lt;br /&gt;
&lt;br /&gt;
American version: “The clothing completes the person.”&lt;br /&gt;
&lt;br /&gt;
This Chinese idiom means that people will first look at the clothes they are wearing and judge their social status according to the clothes. There is a derogatory element in it.However, in the translation of this sentence, the translator adopted the word reduction method and did not translate every word.The word &amp;quot;complete&amp;quot; expresses the idea that &amp;quot;clothes make the man&amp;quot;, but fails to express the meaning intended in the original text.Therefore, the author thinks that can continue to use the Omission here, will change its translated into “According to clothing to estimate people’s status.”&lt;br /&gt;
&lt;br /&gt;
Example 2&lt;br /&gt;
&lt;br /&gt;
Chinese version: “花开堪折直须折，莫待无花空折枝。” &lt;br /&gt;
&lt;br /&gt;
American version: One must pick a flower at the prime of its bloom, Do not wait until the blossom fade and falls.&lt;br /&gt;
&lt;br /&gt;
There are three Chinese characters for &amp;quot;折&amp;quot; in this sentence, but the translator did not show any of them in the Process of English translation.Shall we say that he did not translate the Chinese meaning?Of course not. The translator must have noticed these three &amp;quot;fold&amp;quot; characters in the process of translation. If one of them is translated out, the sentence will appear too long-winded and not in line with the characteristics of subtitle translation.Therefore, the translator starts from the meaning of the original text to persuade people to cherish, and cleverly leaves out the word &amp;quot;折&amp;quot;, which not only avoids repetition, but also conveys the meaning of the original text.This reflects the three principles of Skopos theory: &amp;quot;Based on the source language, pay attention to the culture in the target language, the intention of translation activities and the acceptance state of the American audience&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
====Addition====&lt;br /&gt;
Addition is also an important translation method in domestication strategy.Augmentation refers to the use of structural and semantic augmentation to compensate for linguistic and cultural deficiencies in the target text.Structural supplement refers to the addition of omitted words or replaced words to make the content of translation more complete.Semantic supplement refers to the translator's addition of nouns, verbs, summative words, explanatory words and conjunctions to compensate for the lack of language and culture in the target text so that readers can understand the original text.&lt;br /&gt;
&lt;br /&gt;
Example 1&lt;br /&gt;
&lt;br /&gt;
Chinese version:“他不忍叫你明珠暗投。”  &lt;br /&gt;
&lt;br /&gt;
American version:&amp;quot;You will not be granted an ordinary life when you can live an extraordinary one.&lt;br /&gt;
&lt;br /&gt;
In this example, the translator adopted Addition method to make a explanatory translation for &amp;quot;明珠暗投&amp;quot; , the translation of &amp;quot;be granted an ordinary life when you can live an extraordinary one.&amp;quot;As we know, Chinese idioms are one of the wonders of The Han culture, and they often show rich implicit meanings in condensed four-character sentences.In the translation of this sentence, it is easy for us to understand the meaning of &amp;quot; 明珠暗投&amp;quot;&amp;quot;, but how to make the American audience understand, the translator needs to make an explanation, so that the American audience can understand the implicit meaning of the original text, so as to reduce the cultural burden.&lt;br /&gt;
&lt;br /&gt;
Example 2&lt;br /&gt;
&lt;br /&gt;
Chinese version：“臣妾一与社稷无功，二与龙脉无助。” &lt;br /&gt;
&lt;br /&gt;
American version:“Firstly, I have made no contribution to the nation. Secondly, I have begotten no heirs.&lt;br /&gt;
&lt;br /&gt;
In example 2, the translator interprets &amp;quot;社稷&amp;quot; as &amp;quot;nation&amp;quot; for readers to understand.&amp;quot;社稷&amp;quot; has always been a synonym for &amp;quot;nation&amp;quot; in Chinese, just as &amp;quot;White House&amp;quot; is a synonym for &amp;quot;America&amp;quot;. In addition, there is no English equivalent for &amp;quot;nation&amp;quot;, so it is appropriate for the translator to use &amp;quot;nation&amp;quot;.Heirs to dragon vein, a Feng shui concept meaning undulating mountains, succeed.Later, the royal family regarded it as the lifeblood of the country, so they would call the royal blood &amp;quot;dragon vein&amp;quot;.Heirs to dragon Vein, which in this case means heirs to the emperor's children, succeed in translating it into Heirs to the emperor.It's less common and more advanced than the word &amp;quot;children&amp;quot;, which is often thrown around.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
The subtitle translation strategy of Legend of Zhen Huan generally focuses on domestication, and tends to transform implicit meaning into explicit meaning.When the meaning of the source language is complex and difficult to be understood by the target language audience, the translation strategy of domestication is usually adopted, and the expressions used in the target language are adopted.If there is an equivalent or similar expression between the target language and the source language, alienation should be considered, and a concise explanation should be added if conditions permit, so that the cultural essence of the source language can be preserved and the audience can experience the charm and national characteristics of traditional Chinese culture.&lt;br /&gt;
&lt;br /&gt;
As a translation strategy, absolute domestication and absolute foreignization do not exist in translation practice.The task of the translator is to make the best use of the two strategies in practice according to the specific language characteristics, the purpose, the language characteristics of the source language and the target language, and the national culture, so as to bridge the cultural differences between the two countries.&lt;br /&gt;
&lt;br /&gt;
==Reference==&lt;br /&gt;
[１]Dollerup, Cay. On Subtitles in Television Programs[J]. Babel, 1974, (20): 197-202. &lt;br /&gt;
&lt;br /&gt;
[２]Ivstor, Fordor. Film Dubbing: Phonetic Semiotic, Esthetic and Psychological Aspects[C]. John Benjamins, 1976. &lt;br /&gt;
&lt;br /&gt;
[３]Schleiermacher, F. On the Different Methods of Translation[A]. In Robinson, D.(ed.). Western Translation Theory: From Herodotus to Nietzsche[C]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
&lt;br /&gt;
[４]Titford, Christopher.Subtitling: Constrained Translation[J]. Lebende Sprachen, 1982, 27(3):113-116.  &lt;br /&gt;
&lt;br /&gt;
[５]钱绍昌. 影视翻译──翻译园地中愈来愈重要的领域[J]. 中国翻译, 2000(1):61-65.&lt;br /&gt;
&lt;br /&gt;
[６]汪徽.字幕对伴随性词汇习得的影响[J].外语电化教学,2005(2):47-52. &lt;br /&gt;
&lt;br /&gt;
[７]熊兵. 翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J]. 中国翻译, 2014(3):82-88.&lt;br /&gt;
&lt;br /&gt;
=2 刘晓 The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
[[Trans_Type_EN_2]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
With the rapid growth of economy, people's pursuit of life quality is gradually increasing. Travelling abroad has become a hot topic nowadays. The rapid development of overseas travel has increased the market demand for tourism translation, and more stringent requirements for tourism translators. How to deal with the translation problems caused by the cultural differences between Chinese and English during the translation process is of great importance to improve the quality of tourism translation. The communicative translation strategy in Newmark's translation theory focuses on the effect that the translation brings to the target language readers, which is of certain guiding significance to the E-C translation of tourism texts. Therefore, this paper takes ''Everglades National Park, Florida (Excerpt)'' as an example to analyze the specific translation strategies and methods in the application of Newmark's translation theory in tourism texts, so as to provide reference for other translators.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Translation strategy and translation methods; Peter Newmark; Tourism texts&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
This paper is based on the English-Chinese translation of ''Everglades National Park, Florida (Excerpt)''. By analyzing the application of Peter Newmark's communicative transaltion in the translation, the author proposes some translation methods, which can be provided for future references.  This chapter mainly introduces the background information and significance of the report, and the domestic research status.&lt;br /&gt;
&lt;br /&gt;
====Research background====&lt;br /&gt;
&lt;br /&gt;
With the development of the world, various kinds of tourism appear in people’s life, and has unprecedentedly, extremely widely spread a variety of culture and lifestyle. Tourism has become a rising sunrise industry in modern society (Jin Huikang, 2007). To a foreign country to enjoy the beautiful scenery can make people know the colorful world and further know what they want. And this activity also has made tourism translation a reality and a thriving discipline.&lt;br /&gt;
&lt;br /&gt;
However, due to the different geographical environments, cultural differences and historical backgrounds in different countries, many translators often ignore the disadvantages brought by differences in language and cultural habits in the process of translation, so that the original meaning of the original text will be lost in the process of transmission, which may cause confusion for tourists and cannot achieve the purpose of offering them accurate information and stimulating their interest.&lt;br /&gt;
&lt;br /&gt;
Therefore, in order to make it more convenient for domestic citizens to travel abroad, translators should choose appropriate translation strategies and methods according to the cultural differences between China and foreign countries in the process of tourism English translation, so that tourists can form an objective and correct understanding of scenic spots. The semantic translation and communicative translation strategies in Peter Newmark’s Theories respectively focus on whether the meaning of the original text is exactly reproduced and the effect and influence that the translation brings to the target language readers, which are of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
&lt;br /&gt;
====Research significance====&lt;br /&gt;
&lt;br /&gt;
In theory, based on Peter Newmark’s translation theories, this paper chooses the semantic translation strategy and puts forward appropriate translation methods for the English-Chinese translation of tourist text -- the ''Everglades National Park, Florida (Excerpt)'', which is of certain guiding significance for English - Chinese translation of tourist texts.&lt;br /&gt;
Based on the practice of the ''Everglades National Park, Florida (Excerpt)'' English - Chinese translation and the analysis of Newmark’s communicative translation strategy’s application, this paper sums up some translation methods, such as voice change, objective and personal subject changing, adding conjunctions, etc. And these methods can be provided for future references in the translation study and practice of others, which has a certain practical significance.&lt;br /&gt;
&lt;br /&gt;
'''correction：'''&lt;br /&gt;
&lt;br /&gt;
In terms of theory, based on Peter Newmark's translation theory, this paper selects a semantic translation strategy and proposes a corresponding translation method for the English-Chinese translation of the tourism text, Florida Everglades National Park (excerpt), which has certain guiding significance for the English-Chinese translation of the tourism text. Based on the practice of English-Chinese translation of Florida's Everglades National Park (excerpt) and the analysis of the application of Newmark's communicative translation strategies, this paper summarises some translation methods, such as phonetic conversion, objective and personal subject conversion, and the addition of conjunctions. And these methods can provide references for the future translation research and practice of others, and have certain practical significance.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 08:02, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
====Literature review====&lt;br /&gt;
&lt;br /&gt;
Through the analysis of Newmark’s communicative translation in recent years, it can be found that there are many references for the guidance of communicative translation on tourism translation texts. He Xueyun (2005) proposes that the public notices and signs should belong to the vocative functional text and focus on the reader-centered communicative translation, which can give foreigners a better environment for travel, study and work in China. For such a style, the communicative translation theory should be chosen, the target readers put in the first place and always in mind, and their culture and receptivity taken into account. Jin Huikang (2006) believes that tour guide words must have a specific expected function, which are a kind of texts that integrate informative, expressive and vocative functions. Therefore, tourism translation should aim at effective attraction for overseas tourists, and the translator should grasp the group characteristics of overseas tourists and audiences when carrying out tourism propaganda or translating tourism materials. Ma Chen (2010) points out that the tourism text is a kind of article mainly based on vocative function, and the core of which is to accurately convey information for readers. Liu Anhong (2013) proposes tourism text as a kind of publicity material, aiming to stimulate tourists’ interest in visiting. According to the division of Newmark, the tourism text should belong to the text with the vocative function as its main function and the informative function as its secondary function. Therefore, the translation of tourism text should effectively achieve the effects similar to the original text.&lt;br /&gt;
&lt;br /&gt;
From the combing of previous literatures, it can be found that there are many studies on the translation of tourism texts guided by Newmark’s communicative translation strategy. However, at present, there are few studies on the translation of tourism texts from English to Chinese, and more studies focus on the Chinese- English translation. For this reason, this paper is based on the translation practice of ''Everglades National Park, Florida (Excerpt)'' to provide some reference for future English – Chinese translation of tourism.&lt;br /&gt;
&lt;br /&gt;
===Tourism Texts===&lt;br /&gt;
&lt;br /&gt;
====General Introduction====&lt;br /&gt;
&lt;br /&gt;
Tourism text is an important carrier for readers to obtain scenic spot information, and Tourism text is to stimulate readers' desire to travel by introducing tourist attractions and resources, and its ultimate purpose is to meet readers' expectations and arouse readers' enthusiasm by delivering tourism information. In other words, the dominant function of tourism text is vocative function. At the same time, tourism texts also provide readers with information they like, from which people can acquire relevant knowledge such as culture and customs, natural geography, etc. Therefore, informative function is also its important feature. It can be seen that the two most important functions of tourism texts are respectively informative and vocative one, whose premise is to provide information and purpose is to attract tourists. &lt;br /&gt;
&lt;br /&gt;
In addition, we should realize that translation of tourism texts is a professional translation of tourist attractions and resources for target readers, and its essence is a communicative behavior. If the translator fails to properly deal with the differences between cultures, it will often fail to achieve the expected results. Therefore, during the translation process, more attention should be paid to the accuracy and effectiveness of the information, so as to make the translation conform to the target readers’ reading habits and aesthetic expectation (Li Daosheng, 2000). This requires the translator to put the reader's acceptance first in the process of translation. That is, tourism text translation should not only realize the conversion from one language to another, but also take language barriers and cultural differences into account. Therefore, in order to achieve the goal of successful communication, translators should flexibly apply various translation strategies and adopt appropriate translation methods according to the text types of tourism texts.&lt;br /&gt;
&lt;br /&gt;
====Introduction to the ''Everglades National Park, Florida (Excerpt)''====&lt;br /&gt;
&lt;br /&gt;
Established in 1974, Everglades National Park covers 2,354 square miles, or 6,097 square kilometers (1.4 million acres). Located at the tip of southern Florida, it is the largest subtropical wildlife sanctuary in the continental United States. Everglades National Park protects an unparalleled landscape which provides important habitat for numerous rare and endangered species such as the manatee, American crocodile, and the elusive Florida panther.&lt;br /&gt;
&lt;br /&gt;
''Everglades National Park, Florida (Excerpt)'' is excerpted from a notice from U.S. National Park Service about the phased reopening of the park, including alerts of the reopening, activities, safety and accessibility. It can also be regarded as a travel guide, which describes the journey towards people and offers help to the tourists who want to go there, and which often includes the description of the best travel time, transportation, accommodation, scenic spots and matters needing attention. As a practical text, its main purpose is to introduce and promote tourist scenic spots, that is the Everglades National Park in Florida. Its vocative and informative function are very prominent, and it has the characteristics of reader-orientation, the effectiveness of information transmission and timeliness.&lt;br /&gt;
&lt;br /&gt;
===Newmark's Translation Theory===&lt;br /&gt;
&lt;br /&gt;
====General introduction of Peter Newmark's translation theories====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark, a well-known translation theorist, is one of the main figures in the founding of translation studies in the English-speaking world in 20th century. Newmark devoted himself to studying the past and present of Western translation, and put forward his own views on this basis. Newmark’s translation theories mainly include three parts, that is, the classification of text types, translation approaches, and the lately correlative theory of translation.&lt;br /&gt;
&lt;br /&gt;
According to Karl Buhler’s knowledge of language features and Jacobson’s classification of them, Newmark proposed six functions of language informative function, expressive function, vocative function, phatic function, aesthetic function, and lastly metalingual function. (Hou Yingying, 2020) Then Newmark divided text types into three: expressive-functional texts, informative-functional texts, vocative-functional texts.&lt;br /&gt;
&lt;br /&gt;
After putting forward these three text types, Peter Newmark suggested eight translation approaches or strategies. Firstly, from the perspective of focusing on the source language, he suggested word-for-word translation, literal translation, faithful translation and semantic translation; Secondly, from the perspective of focusing on the target language, he suggested adaptation, free translation, idiomatic translation and communicative translation (Newmark, 2001:45).&lt;br /&gt;
&lt;br /&gt;
In 2007, Newmark came up with a new theory, that is, correlative theory of translation, which means that “The more serious and important the language of the original or source text, the more closely it should be translated.” (Newmark, 2007)&lt;br /&gt;
&lt;br /&gt;
In conclusion, Peter Newmark has proposed many significant theories and made extensive discussion on those concepts, which will have a great influence on the translation practice.&lt;br /&gt;
&lt;br /&gt;
====Semantic translation and communicative translation====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark divided text genres into “expressive text”, “informative text” and “vocative text” in his classic work ''Approaches to Translation''. Imaginative literary works, such as poems, songs, novels and dramas, authoritative statements, autobiographies, essays and personal correspondence, etc. are expressive texts. All the formatted texts with science and technology, industry and commerce, and economy as themes belong to informative texts. And vocative text refers to all texts that can infect readers and make them “get information”.&lt;br /&gt;
&lt;br /&gt;
With reference to these three kinds of texts, Newmark further creatively proposed the concepts of semantic translation and communicative translation: “communicative translation” means that the effect of the target text on the reader of the target language is as much as the effect of the original text on the reader of the source language; “semantic translation” refers to the reproduction of the context of the source text as accurately as possible under the premise of the semantic and syntactic structure of the target language. He believed that only communicative translation and semantic translation can achieve the two major goals of translation: being accurate, and being economic (effective).&lt;br /&gt;
&lt;br /&gt;
In ''About Translation'', Newmark made a detailed comparison of the characteristics of semantic translation and communicative translation from different aspects, and pointed out that the fundamental difference between them lies in that when the information and the effect are in conflict, communicative translation lays more emphasis on effect than content, while semantic translation lays more emphasis on content than effect. Communicative translation can give the translator full freedom, the translator can reorganize the syntax, eliminate the original obscure places in the source language, and make the language conform to the standard of the target language. However, semantic translation emphasizes the content of the information itself, tries to make the form of the target text similar to the form of the original text, and retains the language characteristics and expressive style of the original author. Therefore, compared with semantic translation, communicative translation is more subjective and can better reflect the translator’s creativity and it attaches great importance to the communicative effect of translation, the key to which is to convey information, make readers of the target language think, act and feel, and play an inductive role in making the translation natural and smooth, and more readable. &lt;br /&gt;
&lt;br /&gt;
Newmark pointed out that the translation of expressive texts should employ semantic translation, while informative and vocative texts communicative translation which is reader-centered. The most direct purpose of tourism texts translation is to convey information to readers on the premise of attracting readers’ attention and leaving readers with deep memories, so that readers can take actions -- to visit tourist attractions and pay attention to matters that should be paid attention to. Thus, it can be seen that the tourism text belongs to the vocative text and the communicative translation should be applied. &lt;br /&gt;
&lt;br /&gt;
To sum up, Newmark’s communicative translation focus on the effect that the translation brings to the target language readers, which is of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
&lt;br /&gt;
===Case Study===&lt;br /&gt;
&lt;br /&gt;
The purpose of communicative translation is to try to make the translation have the same effect on the target reader as the original does on the source reader. That is to say, the key point of communicative translation is to be loyal to the target language and the target text reader, that is, the source language is required to obey the target language and culture, leaving no doubt or obscurity to the reader, and eliminating difficulties and obstacles in reading or communication for the reader as far as possible.&lt;br /&gt;
&lt;br /&gt;
Because the translator wants to achieve a certain communicative purpose, emphasizes the effect and has a specific target audience, the translation has inevitably broken the restrictions of the original text, pursuing smoothness, clarity, directness and conformity with conventions. In this part, the author analyzes the specific application of communicative translation in the translation practice of the ''Everglades National Park, Florida (Excerpt)'' from three aspects: lexical, syntactic and textual analysis.&lt;br /&gt;
&lt;br /&gt;
====At Lexical Level====&lt;br /&gt;
&lt;br /&gt;
Generally speaking, there is partial equivalence between English and Chinese, that is, similar expressions in Chinese can replace the meaning of English words or phrases (Liu Junping, 2009). In the following, two translation methods used in lexical translation will be introduced: conversion of part of speech and the translation of public signs.&lt;br /&gt;
&lt;br /&gt;
1)Conversion of part of speech&lt;br /&gt;
&lt;br /&gt;
Example 1:&lt;br /&gt;
&lt;br /&gt;
ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors.''&lt;br /&gt;
&lt;br /&gt;
TT: 个人、团体或家庭都能在这找到适合的户外活动。&lt;br /&gt;
&lt;br /&gt;
Analysis: As we all know, English belongs to the Indo-European language family, while Chinese the Sino-Tibetan language family. Many differences exist between English and Chinese in terms of vocabulary and grammatical structure. Therefore, in the process of translating English into Chinese, due to the different ways of expression between English and Chinese some sentences can be translated word by word, while most sentences cannot. In order to make the Chinese translation smooth and natural, some words in the original text need to be converted into different parts of speech in the target text without sticking to the surface structure of the original text. In other words, some words in the original text can be converted into other parts of speech in Chinese on the premise of being faithful to the original meaning and retaining the original effect. &lt;br /&gt;
&lt;br /&gt;
The original sentence uses a nominal phrase “no shortage of” to express the meaning that no matter how many people come together for outdoor activities, there are always options. The translator translates it into a verbal phrase, that is, everyone can find a suitable outdoor activity here, so that the meaning gets across and the whole sentence flows naturally.&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&lt;br /&gt;
ST: ''Accessibility: No immediate trails.''&lt;br /&gt;
&lt;br /&gt;
TT: 如何前往：没有路径可直接到达。&lt;br /&gt;
&lt;br /&gt;
Analysis: As English tends to use more nouns with static narratives, while Chinese tends to use more verbs with dynamic ones. The static tendency of English mainly comes from nominalization, a common phenomenon in English. Nominalization mainly refers to the use of nouns (phrases) to express the information originally expressed by verbs (phrases), such as the use of abstract nouns to express actions, behaviors, changes, states, etc (Lian Shuneng, 1993). For example, “accessibility” in Example 2 is an abstract noun, which is used to show the way to one place. Chinese, on the other hand, tends to use verbs. So, in order to better convey the effect and let the reader read without any doubt or discomfort, the translator converted the noun into a verb phrase, that is “如何前往”. Likewise, in the noun phrase “no immediate trails”, the author wants to say that there is no direct way (to arrive at the destination). When translating, if it is directly translated into a noun phrase “没有直达路”, the reader may feel difficult to read. So, if it is translated into “there is no direct path can reach that place”, the sentence will be more smoothly and convey the original information and the effect is also retained.&lt;br /&gt;
&lt;br /&gt;
2)Public signs&lt;br /&gt;
&lt;br /&gt;
Example 3 &amp;amp; 4:&lt;br /&gt;
&lt;br /&gt;
ST: ''Things To Do'' &lt;br /&gt;
&lt;br /&gt;
TT: 活动介绍&lt;br /&gt;
&lt;br /&gt;
ST: ''What you can do''&lt;br /&gt;
&lt;br /&gt;
TT: 解决措施&lt;br /&gt;
&lt;br /&gt;
Analysis: As mentioned in the theoretical framework above, tourism text belongs to vocative text. As a kind of tourism text, public signs are a special style for specific people to achieve a certain communicative purpose. Its application scope is very wide, almost involved in every aspect of our daily life, such as street signs, billboards, road signs, shop signs, warnings, propaganda, travel briefs and so on. As a communicative tool, it conveys necessary and useful information to the public by means of a few words, simple and easy to understand icons or the combination of both (He Xueyun, 2006). Therefore, it can be seen that public signs feature lots of nouns, verbs, phrases and abbreviations and more often, fixed expression, which means in translation, only concise and idiomatic expression can fully convey the effect of the original text.&lt;br /&gt;
&lt;br /&gt;
Just as the example 3, once the original text is translated literally, that is “要做的事情”, it sounds rather awkward, which not only does not convey the meaning of the source text that was intended as an introduction to the activities that can be done, but also may lead the reader to believe that this section is about what is required. However, if it is translated into “活动介绍”, readers can clearly know the main content of this part and can find out the activities they are interested in. This expression is very concise and also in line with the Chinese language habits. The same is true of example 4.&lt;br /&gt;
&lt;br /&gt;
Example 5 &amp;amp; 6:&lt;br /&gt;
&lt;br /&gt;
ST: ''Alligators and crocodiles - Crocodilians are one of the reasons people visit the park, however, these are wild animals that can be dangerous to humans.''&lt;br /&gt;
&lt;br /&gt;
TT: 小心短吻鳄和鳄鱼——鳄鱼是人们参观公园的原因之一，然而，这些野生动物对人类会很危险。&lt;br /&gt;
&lt;br /&gt;
ST: ''Poisonous plants - The park’s ecosystems support a variety of plant life including some that cause reactions to human skin.''&lt;br /&gt;
&lt;br /&gt;
TT: 警惕有毒植物——公园的生态系统支持多种植物的生长，包括一些会对是人类皮肤过敏的植物。&lt;br /&gt;
&lt;br /&gt;
Analysis: Tourist texts belong to the vocative text, emphasizing the transfer of the effect of the information and the empathy of the reader. This requires the translator to pay attention to the internal logic of the text, modify the translated text to make it clear in the process of tourism translation without sticking to the original form and give full consideration to the core position of readers. &lt;br /&gt;
Examples 5 and 6 are in the same sentence structure -- firstly species are given, and then that the species could be in some danger is pointed out. If it is translated in accordance with the original text word by word, then the front part is just posing out that species. However, if such warning words as “小心” or “警惕” are added, it can let the reader know before he continues reading that this species may be dangerous when visiting, and then with reading below, the reader will know why it is dangerous. This will prepare the reader mentally, and the reading will be smoother.&lt;br /&gt;
&lt;br /&gt;
====At Syntactical Level====&lt;br /&gt;
&lt;br /&gt;
Two aspects are included in syntactic analysis, which are change of subjects and passive voice, and the punctuation.&lt;br /&gt;
&lt;br /&gt;
1)Change of subjects and passive voice&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: ''Wading birds, cormorants, Purple Gallinules, and nesting Anhingas may be found along the path anytime of the day during the winter (dry) season.''&lt;br /&gt;
&lt;br /&gt;
TT: 在冬季（旱季），任何时候您都可以在沿路发现涉水鸟类、鸬鹚、紫雀和筑巢的美洲蛇鸟。&lt;br /&gt;
&lt;br /&gt;
Analysis: English tends to use more impersonal subjects, which means it rarely uses the personal subject to describe but expresses how objective things act on people’s perception to things appear in an objective tone. So, the structure is often like this: inanimate subject + animate subject (Lian Shuneng, 2010). Chinese pays more attention to subjective thinking, and often describes objective things from the point of view of oneself, or tends to describe people and their behavior or state, so the personal subject is often used. When the personal subject is clear, Chinese often implies or omits it.&lt;br /&gt;
Passive voice is a common grammatical phenomenon in English. In some styles, the use of passive sentences has almost become a habit of expression. Passive sentences give rise to the tendency of using impersonal subjects, and vice versa. Chinese uses fewer passive forms. The main reason for this difference is that the use of passive forms in Chinese is limited, and the mark of the passive voice, such as “让”, “给”, “受”, mostly expresses displeasure.&lt;br /&gt;
&lt;br /&gt;
Therefore, in example 7, the translator transformed the passive voice into the active voice and the impersonal subjects “Wading birds, cormorants, Purple Gallinules, and nesting Anhingas” into the personal subjects “您”. What’s more, as this tourism text is written for readers, the use of the second person subject can shorten the distance. &lt;br /&gt;
&lt;br /&gt;
Example 8 &amp;amp; 9: &lt;br /&gt;
&lt;br /&gt;
ST: ''Wading birds, American Coots, Osprey, White-crowned Pigeons, warblers, Red-shouldered Hawks, Anhingas, rails, Painted Buntings and other transients are best viewed here in the morning.''&lt;br /&gt;
&lt;br /&gt;
TT: 早晨在这里观赏涉禽、美洲骨顶鸡、鱼鹰、白头鸽、莺、赤肩鹫、美洲蛇鸟、秧鸡、彩绘鹀和其他过路的鸟类的效果最好。&lt;br /&gt;
&lt;br /&gt;
ST: ''In the summer, fewer programs are offered.''&lt;br /&gt;
&lt;br /&gt;
TT: 夏季提供的项目较少。&lt;br /&gt;
&lt;br /&gt;
Analysis: Just as what has been said above, English has a tendency to use impersonal subjects and passive voice, while Chinese is exactly the opposite. And when the subject is clear, Chinese often implies or omits it, which is just like example 8 the personal subject “you” is omitted. &lt;br /&gt;
In example 9, the omitted subject is the national park, and the temporal adverbial phrase “in the summer” becomes the subject in form, which is a common expression in Chinese. That is because subjects in Chinese are not only in various forms, but also dispensable: it can denote giving, receiving, time, place.&lt;br /&gt;
 &lt;br /&gt;
2)Punctuation&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: ''Connecting trails through the Pinelands run 7 miles (11 km) west from the Long Pine Key campground to Pine Glades Lake along the main park road.''&lt;br /&gt;
&lt;br /&gt;
TT: 这些小道从长松岛营地向西延伸7英里（11公里），穿过一片松林地，连通公园主路边松林湖。&lt;br /&gt;
&lt;br /&gt;
Analysis: English sentences are complicated, and subordination is one of the most important characteristics of modern English, which features right-branching, sentences long and complex, made in “architecture style”. Conversely, Chinese sentences are relatively short, and commonly use scattered sentences, loose sentences, tight sentences or composite sentences with parallel structure. Chinese features left-branching, and sentences are made in “chronicle style”, using clauses to streamline the thoughts. &lt;br /&gt;
&lt;br /&gt;
So, when there are many prepositional phrases in the original English sentence, the translator can divide the long sentence into several short sentences and recognize those by adding comma, which can help readers to sort out the logic of the original text and get the main information. By using communicative translation, the translator divided the original sentence into three sentences. The logical sequence is that “The trails run seven miles (11 kilometers) west from the Long Pine Key campground. Passing through the Pinelands, they lead to Pine Glades Lake along the main park road.”, which shows the location of both the Long Pine Key campground, the Pinelands and Pine Glades Lake correctly, leaving no doubt to readers of the target language.&lt;br /&gt;
&lt;br /&gt;
Example 11:&lt;br /&gt;
&lt;br /&gt;
ST: ''In keeping with Monroe County’s closure order for beaches, North Nest Key and all waters within 100 yards from the shore will be closed for protection of park resources during the holiday weekend. The closure will begin on Friday, July 3 at 6 a.m.''&lt;br /&gt;
&lt;br /&gt;
TT: 根据门罗县对海滩的关闭安排，为保护公园资源，北巢岛和离海岸100码以内的所有水域将自7月3日星期五早上6点起暂停对外开放。&lt;br /&gt;
&lt;br /&gt;
Analysis: In the original text there are two sentences, which can be combined to make the meaning complete and language pithy in the target language. And it can be taken into consideration to reconstruct them by replacing full stop with comma. By considering communicative translation, the translator put two prepositional phrases in advance as adverbials, which are “in keeping with Monroe County’s closure order for beaches” and “for protection of park resources during the holiday weekend”, and then turned the second sentence into a temporal adverbial phrase and put it in the main clause as an adverbial. So, the whole structure is “In keeping with Monroe County’s closure order for beaches and for protection of park resources during the holiday weekend, North Nest Key and all waters within 100 yards from the shore will be closed from Friday, July 3 at 6 a.m.” By doing so, the information is concisely conveyed, and Chinese readers can well understand it.&lt;br /&gt;
&lt;br /&gt;
====At Textual Level====&lt;br /&gt;
&lt;br /&gt;
Discourse refers to the actual language unit used and is the whole language constituted by a series of consecutive paragraphs or sentences in the communication process. In general, a text consists of words, phrases, sentences and sentence cluster (Lan Lingyan, 2020), among which the components were cohesion in form and coherence in semantics.&lt;br /&gt;
&lt;br /&gt;
Example 12:&lt;br /&gt;
&lt;br /&gt;
ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors. The diverse habitats allow for enjoyable activities ranging from hiking, canoeing, kayaking, biking, fresh and saltwater fishing, and camping in the ultimate wilderness.''&lt;br /&gt;
&lt;br /&gt;
TT: 个人、团体或家庭都能在这找到适合的户外活动。无论是步行、乘坐独木舟、划皮划艇、骑自行车，还是在淡水或海水钓鱼、在终极荒野地露营，您都可以饱览多样的自然环境、尽享快乐。&lt;br /&gt;
&lt;br /&gt;
Analysis: Coherence in a piece of writing refers to the principle that all paragraphs, sentences or ideas are combined so well that they form a united whole. Coherent translation has smooth structural, grammatical, and logical movement from one sentence or idea to the next and the reader does not have to pause and guess at the meaning caused by gaps in development between ideas, sentences and paragraphs. &lt;br /&gt;
&lt;br /&gt;
In example 12, the last topic of the fist sentence in the original sentence is outdoor activities, while the subject of the second sentence is the diverse habitats. This is a shift in the topic, which may make the readers pause and guess at the logical relation between them. Therefore, in translation, guided by communicative translation, the translator needs to mind the text coherence and to make proper adjustments. Out of this, the translator put the activities in the second sentences as the subject of the second sentence in the target text, so that the first sentence can pass through smoothly to the next one, so does the understanding of readers.&lt;br /&gt;
&lt;br /&gt;
Example 13:&lt;br /&gt;
&lt;br /&gt;
ST: ''Everglades National Park is a popular spot for saltwater and freshwater sport fishing. Boats can be chartered at Flamingo. Be sure to check a visitor center for park fishing regulations and closed areas.''&lt;br /&gt;
&lt;br /&gt;
TT: 大沼泽地国家公园是一个很受欢迎的钓海水鱼和淡水鱼的地方。在弗拉明戈可以租船。在钓鱼之前，一定要阅读游客中心的公园捕鱼规定和封闭区域。&lt;br /&gt;
&lt;br /&gt;
Analysis: Cohesion can be thought of as all the grammatical and lexical links that link one part of a text to another. This includes the use of synonyms, lexical sets, pronouns, verb tenses, time references, grammatical reference, etc. For example, ‘it’, ‘neither’ and ‘this’ all refer to an idea previously mentioned.&lt;br /&gt;
&lt;br /&gt;
In example 13, this paragraph mainly talks about fishing in the Everglades National Park, with a topic sentence and two explanatory sentences: one introducing the place for chartering and the other cautions. There are no grammatical or lexical links within these three sentences, and the logic is connected by semantics. Considering well understanding of readers in the target language, the translator added one lexical link “before fishing” between the last two sentences, to make the reader understand that he or she should read the rules and precautions of fishing before going fishing. Also, with repeating the key word “fishing”, the central idea of this whole paragraph is prominent, and the sentences are logically and smoothly linked to express the intended meaning, thus making this paragraph a cohesive group.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
====Major findings====&lt;br /&gt;
For the text, the tourism text belongs to the vocative text, which focuses on conveying the information and effect, so the communicative translation theory should be adopted to this kind of translation. As for this original text, the first part that introduces the outdoor activities belongs to the tourism advertisements, which are descriptive with vivid words. Tourism advertising is infective, with short and concise words, full of creativity, lively and concise sentence structure, and strong attraction. While the announcement that informs of the operating status of the park is a quite different style. The wording is formal, standard, accurate and stylized. Secondly, the source text involves a wide range of knowledge and large vocabulary. For example, “hardwood hammock” for “硬木吊床” and “Geocaching” for “寻宝”. &lt;br /&gt;
&lt;br /&gt;
Based on the analysis of examples from lexical, syntactic and textual levels, some translation methods can be proposed. On one hand, when translating, some words in the target text can be converted into different parts of speech in the original text to make the language natural and idiomatic. On the other hand, when doing English – Chinese translation, in most cases, passive voice should be changed into active voice, personal subject is favored in Chinese, and subjects can also be omitted sometimes. Lastly, as English and Chinese have lots of differences in sentences, the translator should change the order of the sentences sometimes to make them smooth and fluent, and some words can be added to make the meaning coherent.&lt;br /&gt;
&lt;br /&gt;
====Limitations====&lt;br /&gt;
&lt;br /&gt;
Besides some major findings, there are also many limitations in this translation practice. Firstly, communicative translation focuses on the effect conveyed by the translation rather than the information, which can easily make the translator ignore some original. So, in the translation, other available translation theories should also be taken into account to achieve best translation. &lt;br /&gt;
&lt;br /&gt;
Then, when translating a text, whether it is a tourism text or a literary works, they cannot be translated immediately. Relevant information and background should be collected in advance, and otherwise some mistakes which should be avoided will be made. For example, “Snail Kite (蜗鸢)” might be translated as “蜗牛风筝” if the translator does not look it up in advance.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
[1] Newmark, Peter. About Translation[M]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
&lt;br /&gt;
[2] Newmark. Approaches to translation[M]. Shanghai Foreign Language Education Press, 2001. &lt;br /&gt;
&lt;br /&gt;
[3] Newmark, Peter. A New Theory of Translation[J]. Sborník Prací Filozofické Fakulty Brněnské Univerzity, 2007(13)&lt;br /&gt;
&lt;br /&gt;
[4] Newmark, Peter. A Textbook of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2001:39-42. &lt;br /&gt;
&lt;br /&gt;
[5] 贺学耘.汉英公示语翻译的现状及其交际翻译策略[J].外语与外语教学, 2006(03):57-59.&lt;br /&gt;
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[6] 侯莹莹.凯瑟琳娜·莱斯与彼得·纽马克文本类型翻译理论之比较研究[J].海外英语, 2020(22):49-50+60. &lt;br /&gt;
&lt;br /&gt;
[7] 金惠康.跨文化旅游翻译探讨[J].上海翻译, 2007(01):31-34.&lt;br /&gt;
&lt;br /&gt;
[8] 兰灵艳.交际翻译理论指导下《家庭生活》（节选）汉译实践报告[D].南昌大学, 2020.&lt;br /&gt;
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[9] 李道胜. 汉英语义对比分析[J]. 语言教育, 2000(4):4-5.&lt;br /&gt;
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[10] 连淑能.《英汉对比研究》[M]. 北京：高等教育出版社, 1993.&lt;br /&gt;
&lt;br /&gt;
[11] 刘安洪.跨文化交际视角下的旅游文本翻译策略研究[J].中华文化论坛, 2013(10):160-163. &lt;br /&gt;
&lt;br /&gt;
[12] 刘军平，西方翻译理论通史[M]. 武汉：武汉大学出版社, 2009.&lt;br /&gt;
&lt;br /&gt;
[13] 马忱.交际翻译策略对汉英旅游翻译的启示[J].郑州航空工业管理学院学报(社会科学版), 2010,29(06):119-121.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''correction：'''&lt;br /&gt;
&lt;br /&gt;
[1] Newmark, Peter. About Translation[M]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
&lt;br /&gt;
[2] Newmark. Approaches to translation[M]. Shanghai Foreign Language Education Press, 2001. &lt;br /&gt;
&lt;br /&gt;
[3] Newmark, Peter. A New Theory of Translation[J]. Sborník Prací Filozofické Fakulty Brněnské Univerzity, 2007(13)&lt;br /&gt;
&lt;br /&gt;
[4] Newmark, Peter. A Textbook of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2001:39-42. &lt;br /&gt;
&lt;br /&gt;
[5] He Xue Cao. The current situation of Chinese-English public language translation and its communicative translation strategy[J]. Foreign Language and Foreign Language Teaching, 2006(03):57-59.&lt;br /&gt;
&lt;br /&gt;
[6] Hou Yingying. A comparative study of Katherina Rice and Peter Newmark's translation theory of text types[J]. English Abroad, 2020(22):49-50+60.&lt;br /&gt;
&lt;br /&gt;
[7] Jin Huikang. Exploring cross-cultural tourism translation [J]. Shanghai Translation, 2007(01):31-34.&lt;br /&gt;
&lt;br /&gt;
[8] Lan Lingyan. A practical report on Chinese translation of Family Life (excerpt) under the guidance of communicative translation theory[D]. Nanchang University, 2020.&lt;br /&gt;
&lt;br /&gt;
[9] Li Daosheng. A comparative analysis of Chinese-English semantics [J]. Language Education, 2000(4):4-5.&lt;br /&gt;
&lt;br /&gt;
[10] Lian Shouneng. A Comparative Study of English and Chinese [M]. Beijing: Higher Education Press, 1993.&lt;br /&gt;
&lt;br /&gt;
[11] Liu Anhong. Research on translation strategies of tourism texts in the perspective of cross-cultural communication [J]. Chinese Culture Forum, 2013(10):160-163.&lt;br /&gt;
&lt;br /&gt;
[12] Liu Junping, General History of Western Translation Theory [M]. Wuhan: Wuhan University Press, 2009.&lt;br /&gt;
&lt;br /&gt;
[13] Ma Chen. Implications of communicative translation strategies for Chinese-English tourism translation [J]. Journal of Zhengzhou Institute of Aviation Industry Management (Social Science Edition),2010,29(06):119-121.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:34, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=3 刘越 Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
[[Trans_Type_EN_3]]&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
&lt;br /&gt;
There are many translation practices under the guidance of communicative translation theory, but there are not many translation practices in Korean novels. Through this translation practice, we hope to summarize the translation methods and strategies adopted in the translation of novel subject matter under the guidance of communicative translation theory in terms of vocabulary, sentence and rhetoric. In this paper, under the guidance of communicative translation theory of Korean novels &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; to analyze translation strategies and translation methods, let us hope that through the work of human changes in temperature to realize that the most warm affection and the most simple human feelings, seems to be the fact that more and more far from us, let us together to explore the history of the &amp;quot;family&amp;quot; gradually forgotten by us and meaning, Wake up our sense of affection, cause our emotional resonance.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] There are many translation practices guided by communicative translation theory, but not many in Korean novel translation. Therefore, it is of great significance to analyze the translation of Korean novels under the guidance of communicative translation theory. With the communicative translation theory as the theoretical foundation, this paper will take the Chinese translation of two novels &amp;quot;The Innocents&amp;quot; and &amp;quot;The Goat Family&amp;quot; excerpted from the Korean novel collection ''Eun-ju's Movie'' as examples, and analyze the translation methods and translation strategies in lexical, syntactic and rhetorical respects, so as to provide better understanding of Korean novels and more effective guidance for the Korean novel translation practice. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
==Keywords==&lt;br /&gt;
&lt;br /&gt;
Communicative translation theory; Korean novels; Translation methods and strategies&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
&lt;br /&gt;
[[Correction(addition of a transitional paragraph):]] This section will briefly introduce the emergence and development of communicative translation, and the applicability of communicative translation theory to the translation of popular novels. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
===Emergence and Development of Communicative Translation===&lt;br /&gt;
&lt;br /&gt;
According to the function of language, i.e. the purpose for which it is used, Newmark proposes the following three text types: expressive text, informative text, and vocative text.&lt;br /&gt;
&lt;br /&gt;
At the heart of the expressive function is the use of words by the speaker or author to express his or her thoughts and feelings. The author's unique form of language is as important as the content.Expressive function texts emphasise the authority of the original author, and translations should follow the principle of &amp;quot;original author first&amp;quot;, faithful to both the content of the ideas expressed by the original author and the language style of the original author, without regard to the reaction of the target reader. The core of the information function is the external context, i.e. all the information about a topic, or the unspeakable reality. At the heart of the information text is the &amp;quot;authenticity&amp;quot; of the content; the author's language is secondary. Translation should be based on the principle of &amp;quot;authenticity first&amp;quot;. The call to action is reader-centred and aims to &amp;quot;call the reader to action, to think, to feel&amp;quot;. The translation should follow the principle of 'reader first', putting the reader of the target language first. The translator can make full use of the advantages of the incoming language, without adhering to the expressions of the original, so that the translated language can achieve the same effect as the original.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] The first type is the expressive text. Its core is the expression of feelings and the conveyance of ideas. In this kind of text, the original author's unique language form and content are equally important. Consequently, with regard to the translation of expressive texts, the translator should follow the &amp;quot;author-first&amp;quot; principle, faithful to the original author's ideas and language form, without considering the target-language readers' reaction. The expressive texts include literary works, personal letters, autobiographies and prose. The second type is the informative text. The core of this kind of text is the external context, i.e. all the information about a topic, or the unspeakable reality. Concerning the informative text, the emphasis is placed on authenticity and the reality outside the language, so the translator should follow the &amp;quot;authenticity-first&amp;quot; principle in translation, with the original author's language in the secondary position. The informative texts include the non-literary works, textbooks, academic papers, newspapers and magazines, etc. The third type is the vocative text. This type has the readers-centered feature, calling on the readers to act, think and feel. Therefore, the translator should follow the &amp;quot;readers-first&amp;quot; principle, making full use of the advantages of the target language, and not confined to the original expressions, so that the translated text can produce the same effect as the source text. The vocative texts include product instructions, brochures, advertisements, etc. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
On this basis, two translation concepts, communicative translation and semantic translation, are proposed. Newmark believes that the theory of communicative translation focuses on the understanding and reaction of the recipient, the reader of the translation, and more on the effect rather than the content of the translated expression. The translator can give full play to the advantages of the translated language and introduce foreign elements into the culture of the translated language, with the advantages of naturalisation, Italian translation and idiomatic translation. Semantic translation attaches importance to the original text, focuses on its semantic content and strives to preserve the culture of the original text, and has the advantages of word-for-word, word-for-word and faithful translation. Communicative translation is suitable for informative and attractive texts such as autobiographies, personal emotional declarations, important political statements (or other statements), most non-literary texts, news, intellectual articles and books, textbooks, reports, scientific and technical literature, official correspondence, promotional material, advertisements, announcements, popular fiction. (Yang 1989:68-71)# His communicative and semantic translations have largely enriched the study of translation theory and influenced the field of translation.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] On this basis, the two translation concepts, communicative translation and semantic translation, are proposed. Newmark believes that the communicative translation theory emphasizes the recipients' or readers' understanding and reaction, and focuses more on the effect that the translation generates than its content. With communicative translation, the translator can give full play to the advantages of the target language, and introduce foreign elements into the target-language culture through domestication and idiomatic translation. At the same time, semantic translation attaches importance to the original text, keeps an eye on its semantic content and strives to preserve the source-language culture, featuring the advantages of literal translation and faithful translation. Communicative translation is suitably applied in informative and attractive texts such as autobiographies, personal emotional declarations, important statements, most non-literary texts, news, intellectual articles and books, textbooks, reports, scientific and technical literature, official correspondence, promotional materials, advertisements, announcements, as well as popular fiction. (Yang 1989: 68-71) Newmark's communicative and semantic translations have largely enriched the study of translation theory and influenced translation field. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
===Applicability of Communicative Translation Theory to the Translation of Popular Novels===&lt;br /&gt;
&lt;br /&gt;
First of all, the core content of communicative translation theory is that on the basis of being faithful to the content of the original text, it focuses on the readers' understanding ability and feelings, and pays more attention to the expression effect of the target text than the content. For the translator, the translator can give full play to the advantages of the target language and get rid of the constraints of the language structure of the original text. If the original text is illogical, ambiguous, and there are redundant words and ambiguities in the sentence, as well as dialects, coarse slang and other phenomena in the article, the translator has the right to reorganize the syntax and improve it by using collocation and common sentence patterns in accordance with the habits of the target language, so as to make the language more standardized. Translators also have the right to correct errors and omissions in the original text.( Shuang 1999(05):840）&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] First of all, communicative translation theory accentuates the core that the translation, based on its faithfulness to the content of the original text, lays stress on the readers' understanding ability and feelings, and pays more attention to the expressive effect of the target-language text than its content. The translator can take advantage of the target language and get rid of the constraints of the language structure of the original text. If the original text is illogical and ambiguous with redundant words and ambiguities in the sentences, as well as dialects, coarse slang and other peculiar language phenomena, the translator has the right to reorganize the syntactic structure,  and use collocations as well as common sentence patterns in accordance with the habits of the target language, so as to render the language more standardized and natural and to improve the quality of translation. And the translator is also entitled to correct the errors and omissions in the original text. (Shuang 1999 (05): 840) (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
Secondly, according to Newmark's text type, communicative translation theory is applicable to vocative texts, which focus on the inspiring effect and take the target readers as the center. The purpose of translation is to elicit the desired response, including popular books and best-selling novels. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. The novel is mainly composed of characters, plots and descriptions of the environment to reflect the social reality. Novel is a literary genre that conveys thoughts and feelings and arouses readers' resonance. It belongs to appeal text, so communicative translation theory is suitable for novel translation.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] Secondly, according to Newmark's classification of text types, communicative translation theory is applicable to vocative texts, which stress their inspirational effect and take the target-language readers as the center. The purpose of translation is to elicit the expected response, which also resides in the translation of popular books and best-selling novels. The common goal of communicative translation and the vocative text is to enable readers to think and resonate emotionally. Additionally, the novel, consisting mainly of characters, plots and environmental descriptions, often reflects the social reality. And it is a literary genre that conveys thoughts and feelings and arouses readers' empathy, hence the novel falls into vocative text, and communicative translation theory is available to novel translation. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
The most important thing in novel translation is to convey the content of the original text and the author's thoughts and feelings to the readers, and to arouse the readers' deep thinking and empathy. When translating a novel, the translator should describe the plot of the original text and try to get close to the literary image depicted by the original author and the literary artistic conception created in the novel.&lt;br /&gt;
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If only follow the content style and text structure of the original text, it will violate the original intention of translation, making the translation obscure and unclear. Under the guidance of communicative translation theory, the translator can give full play to the advantages of the target language, modify and polish the original text, adjust the logic of expression, eliminate the differences between the original text and the target text, and get a smooth translation. At the same time, the translator can also pay more attention to the target readers, fully consider the reading habits and thinking mode of the target readers, and use easy to understand language vocabulary to convey the information of the source text and the thoughts and feelings of the source text author to the readers, so that the target text readers and the source text readers get the same effect.&lt;br /&gt;
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[[Correction:]] Only limited to the content and textual structure of the original text, the translators will violate the initial intention of translation, making the translation obscure and unclear. Under the guidance of communicative translation theory, the translators can bring the advantages of the target language to full play, modify and polish the original text, adjust the logic of expression, eliminate the differences between the original text and the target text, so that the translation can be more smooth. Meanwhile, the translators can also pay more attention to the target-language readers, take their reading habits and thinking mode into full consideration, and employ easy-to-understand language to convey the information of the source text and the original author's thoughts and feelings, attempting to produce on its readers an effect as close as possible to that obtained on the readers of the original. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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==Case Study under the Guidance of Communicative Translation Theory==&lt;br /&gt;
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Guided by Peter Newmark's communicative translation theory, the author carries out translation practice on two short stories &amp;quot;The Innocent Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. Under the guidance of communicative translation theory, this section adopts the strategies of translation modification and meaning extension to solve the problems of ambiguous and implicit sentences in novels. At the sentence level, the strategy of paraphrase, syntactic and translation is adopted. In the aspect of rhetoric, this paper adopts the translation strategies of addition and repetition, and makes a case study to explore and summarize the translation methods and strategies applicable to novel subject matter under the guidance of communicative translation theory.&lt;br /&gt;
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[[Correction:]] Guided by Peter Newmark's communicative translation theory, the paper will carry out analysis of translation strategies in two short stories &amp;quot;The Innocent Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. &lt;br /&gt;
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===Translation Strategies and Methods under Communicative Translation Theory at Lexical Level===&lt;br /&gt;
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[[Correction(addition of a transitional paragraph):]] This section, under the guidance of communicative translation theory, will elucidate the application of translation strategies in Korean novel at the lexical level, such as conversion and extension. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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====Conversion====&lt;br /&gt;
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The translation method refers to the conversion of parts of speech in the original text, such as changing nouns into verbs, adjectives into verbs, etc., so as to make the translation conform to the expression habits of the target language. Different languages have different linguistic phenomena and cultural backgrounds. In order to make the translation more in line with the language expression habits of The Chinese people and convey the correct meaning of the original text to The Chinese readers, every word in the Korean sentence cannot be translated dead, and some parts of speech in The Korean language have to be changed in translation.(Chen 1994)# The following is a case study of translating a part of speech in the original text into another part of speech in Chinese.&lt;br /&gt;
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[[Correction:]] Conversion at the lexical level refers to the change of parts of speech in the original text, such as the conversion of nouns into verbs, adjectives into verbs, etc., so as to make the translation conform to the target-language expression habits. As a result of the fact that different languages have different linguistic phenomena and cultural backgrounds, in order to make the translation more in line with the expression habits of Chinese language and convey the correct meaning of the original text to the Chinese readers, the words word in the Korean sentences cannot be translated too rigidly, and sometimes the word class in the original text should be changed when translating. (Chen 1994) For example, (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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Eg.1 그럴 때의 아이는 이제 노인이 아니라 소년가장 같았다.&lt;br /&gt;
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First translation：那一刻我觉得孩子不像老人，而像少年家长。 &lt;br /&gt;
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Retranslation：那一刻我觉得他不像一个历经沧桑的老人，而像一个饱经世故的孩子。&lt;br /&gt;
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&amp;quot;소 년 가 장&amp;quot; is a noun, the author looked up Chinese dictionary, found &amp;quot;소 년 가 장&amp;quot; in Korean means &amp;quot;가 정 의 생 계 를 실 질 적 으 로 책 임 지 고, 어 렵 게 생 계 를 유 지 하 는 소 년&amp;quot;, at the beginning of translation, in accordance with the original literal translation is &amp;quot;young parents&amp;quot;, but is not in conformity with the Chinese expression habit, it is not easy to let Chinese readers understand, The author in the guidance of communicative translation theory, through the network search and found the dictionary lookup &amp;quot;소 년 가 장&amp;quot; and Chinese proverb &amp;quot;the poor children early master&amp;quot; has the same effect, but here can make statements impassability, in order not to cause the reader to understand the problems, the author give full play to the advantages of the Chinese, the author by using the method of adaptation, Phrases collocation and considering the Chinese habit, the term &amp;quot;소 년 가 장&amp;quot; divided &amp;quot;소 년&amp;quot; and &amp;quot;가 장&amp;quot; two nouns, and the term &amp;quot;가 장&amp;quot; translated into adjectives &amp;quot;world&amp;quot;, the &amp;quot;소 년&amp;quot; translated into &amp;quot;children&amp;quot;, both to convey the meaning of the original, and can make readers easily understand the content.&lt;br /&gt;
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Eg.2：거기에 아이가 자신을 만나려 하지 않기 때문에 돈을 주지 않는 것이라는 비난의 말이 반복해서 쓰여 있었기 때문이다. &lt;br /&gt;
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Translation ：文件上反复指责说孩子不想认他这个父亲，所以不给抚养费。&lt;br /&gt;
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In the original text 비 난&amp;quot; is a noun, the author according to the original text in translation translated into &amp;quot;document and is accused of child, father didn't want to see him the accused, so not to support&amp;quot;, at the same time with the two accused, groundwork or at the back of the verb &amp;quot;blame&amp;quot;, also make the repetitive, so the author under the guidance of communicative translation theory, When translated again, the noun &amp;quot;비 project-oriented&amp;quot; is translated into the verb &amp;quot;blame&amp;quot;, so that the translation is easy to understand.&lt;br /&gt;
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====Extension====&lt;br /&gt;
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Extension translation method is refers to according to the specific context of contact and words in the original context, starting from the basic meaning of Korean original words, through the letter of the word or phrase in the sentence, its excellent implied meaning appropriately, use some conforms to the Chinese expression habit of character words, the content of the original essence of accurate expression. &lt;br /&gt;
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[[Correction:]] Extension refers to the translation method by which the essence of the original text can be accurately expressed through the use of some expression methods in line with the expression habits of Chinese and the selection of exact and idiomatic Chinese words, according to the internal coherence of the context. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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Eg.3：①텔레비전을 쳐다보던 아이가 대뜸 내밷었다. ②동식이 집을 나서자마자 엄마는 휴이히히히, 하는 기괴한 한숨을 길게 내뱉었다.&lt;br /&gt;
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Translation：①正在看电视的儿子突然吐槽道：“妈，你快看，电视里那个人真像我爸”。 ②母亲就“唉！”长长地叹了一口气。&lt;br /&gt;
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The author by looking up the dictionary, in the original &amp;quot;내 밷 다&amp;quot; has two meanings: (1) 입 안 에 있 던 것 을 입 밖 으 로 뱉 어 내 보 내 다. (2) 마 음 에 내 키 지 아 니 하 거 나 못 마 땅 한 어 조 로 불 쑥 말 하 다. &lt;br /&gt;
Chinese meaning is &amp;quot;vomit, and said,&amp;quot; the author under the guidance of communicative translation theory, reader's expressions and words in Chinese habit as the center, contact the original context and context, considering the words collocation, adopt the method of the extension, the &amp;quot;내 밷 다&amp;quot; translated into &amp;quot;fun&amp;quot; and &amp;quot;sigh&amp;quot;, not only conforms to the present context, and in accordance with the Chinese language habits.&lt;br /&gt;
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Eg.4: ①그러니까 엄마는 내가 돈 얘기 할 것을 미리 알고서 지금 차단막을 치는 것이리라. ②형이 옆구리를 툭 치며. ③까지는 살큼 익혀서 찬지름 치고 조선간장으로 조물조물 무쳐노면 고기반찬보다 낫드라. &lt;br /&gt;
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Translation：①但母亲好像早已看透了我的心思，先堵住了我的口。 ②大哥用胳膊肘戳了我一下。 ③蒸个七八分熟的时候撒上香油好好拌一下就行了，这样比那些荤食都好吃。&lt;br /&gt;
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The verb &amp;quot;치&amp;quot; would give many different meanings with different words, such as ①&amp;quot;beating, beating, beating, playing&amp;quot;.② take, base, wrap, erect, ③ feed, feed, etc. On the basis of communicative translation theory, and fully understand the original meaning, context, and considering Chinese words collocation is used, depending on the context, the extension method was adopted, will &amp;quot;치 다&amp;quot; translated into &amp;quot;blocking&amp;quot;, &amp;quot;stamp&amp;quot;, &amp;quot;and&amp;quot; verb, such as to conform to the Chinese habits of expression.&lt;br /&gt;
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===Translation Strategies and Methods under Communicative Translation Theory at Syntactic Level===&lt;br /&gt;
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Communicative translation theory is pointed out that to the readers, the translator should give full play to the advantages of the target language, to make the translation conform to the target language expression of habit, not to leave any arcane to readers, while Korean and Chinese belong to different language families, there are differences in expression habit, this summary is mainly under the guidance of communicative translation theory, This paper analyzes the translation of sentences in The Pure Man and The Goat Family by means of paraphrase, syntactic and combined translation.&lt;br /&gt;
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[[Correction:]] Communicative translation theory points out that the translator should give full play to the advantages of the target language and enable the translation to conform to the expression habit of the target language, leaving no arcane to readers. Since Korean and Chinese belong to different language families, there are distinctions in their expression habits. This part, with communicative translation theory as the theoretical basis, will analyze the translation methods at syntactic level in two short stories &amp;quot;The Pure Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. The three methods that will be mainly discussed are interpretation method or paraphrase, demolition syntax or deconstruction, and cotranslation. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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====Interpretation Method====&lt;br /&gt;
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Hermeneutic method is also an interpretative translation method. Because Chinese and Korean have different expression habits, in the process of translation, we can use the paraphrase method to explain some ambiguous sentences, which can not only make the translation clear, but also accurately convey the original purpose.&lt;br /&gt;
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[[Correction:]] Interpretation method is also known as hermeneutic method or paraphrase. Considering the differences in expressions habits between Chinese and Korean, in the process of translation, paraphrase method can be used to diminish some ambiguities in sentences, which can not only clarify the sentences in the translation, but also accurately convey the original author's purpose. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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Eg.5：어느날, 아이가 눈에 보이는 사물들을 가리켜 얼마짜리냐고 물었을 때, 어떤 행위를 가리켜 얼마 받느냐고 물었을 때, 나는 어린것이 별걸다 궁금해한다고 면박을 줬다. 면박을 주는 것으로 마음에 이는 민망함을 무마시켰다. 아이의 입에서 처음 돈 얘기가 나왔을 때, 그때 나는 이미 알아챘어야 했는지도 모른다.&lt;br /&gt;
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First Translation: 当某一天，孩子们指着各种东西问花了多少钱，挣了多少钱时，我当面斥责说“小孩子家家的，真是什么都好奇”。我以这种当面驳斥的方式来掩饰心中的尴尬。当我第一次从孩子嘴里听到关于钱的话题时,我可能就已经觉察到了些什么。&lt;br /&gt;
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Retranslation: 当某一天，孩子们指着各种东西问价格时，我当面斥责说‘小孩子家的，问这个做什么’，以此来掩饰我内心的尴尬。当我第一次从孩子嘴里听到关于钱的话题时，我可能已经觉察到时代变了，我那‘不知钱为何物’的时代过去了。&lt;br /&gt;
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The author at the beginning of the translation of &amp;quot;그 때 나 는 이 미 알 아 챘 어 야 했 는 지 도 모 른 다&amp;quot;, literal translation is &amp;quot;I may already have noticed what&amp;quot;, but the specific perceive what is not clear, causing distress to Chinese readers, by contacting the above learned that the &amp;quot;I&amp;quot; as a child is the hairpin, objects such as pottery fragments, But now the child is the &amp;quot;money&amp;quot;, the author under the guidance of communicative translation theory, to the readers, adopting the tactics of interpretation method, interpreted &amp;quot;I perceived that the&amp;quot; content &amp;quot;I might have been aware of The Times have changed, I that 'I don't know the money was the era of the past&amp;quot;, thus the author want to convey the original concept of the era of the change of the clear expression come out.&lt;br /&gt;
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Eg.6：영호야, 명절 때만이라도 꼭 아빠한데 가봐, 가기 싫으면 연락이라도 드리고.아빠가 아무리 네 맘에 안 들더라도 너는 네 할 도리를 해야 떳떳한 사람이 되는 거야,알았지?&lt;br /&gt;
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First Translation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。只有做了自已应该做的才能做一个光明磊落的人，知道吗？&lt;br /&gt;
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Retranslation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。为人处事和忠孝贤良是亘古不变的，要想做一个光明磊落的人，就要做好自己的分内之事，知道吗？阿姨的话要记住哦。&lt;br /&gt;
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Early in the translation of &amp;quot;너 는 네 할 도 리 를 해 야 떳 떳 한 사 람 이 되 는 거 야&amp;quot;, the corresponding Chinese literal translation is &amp;quot;only do oneself should do can do a aboveboard person&amp;quot;, but &amp;quot;할 도 리&amp;quot; what, did not explain clearly in the original, need the reader to consider, in order not to leave readers obscure place, The author puts the advantage of Chinese into full play and interprets &amp;quot;up 도 wish to be good&amp;quot; into English by means of context and translation theory. At the same time, I also think that this is the advice of adults. It is necessary to tell him this truth in a soft and powerful tone. After this sentence, &amp;quot;Remember what aunt said&amp;quot; is added to make the original meaning clearly conveyed to readers, so that readers can better understand the original content.&lt;br /&gt;
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====Demolition Syntax====&lt;br /&gt;
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Deconstruction is the breaking down of a long sentence into several shorter sentences. As Korean and Chinese belong to different language families, there are many differences in syntax. The word order of Korean sentences is the structure of SOV, and narration is the main body and focus of the sentence, and there are a large number of long sentences, which rely on word endings to express various grammatical meanings. No amount of sentence elements will cause meaning confusion.&lt;br /&gt;
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However, the word order of Chinese sentences is the SVO structure, which depends on vocabulary, function words and word order to distinguish sentence components, so the sentence structure is simple, mainly short sentences. The translation of Korean long sentences into Chinese sentence groups can make the translation logical, smooth and accurate.&lt;br /&gt;
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Eg.7：동식의 이혼에 책임이 없다고 할 수는 없는 형제들이 돈을 모아 동식에게 새집을 지어줬는데 집안 새것이면 뭐 하냐고 동식이 폭력을 휘두를 조짐을 보이자 그 팔아 종류의 폭력을 아버지에게 당해본 엄마는 지레 겁을 먹고 소를 팔아 동식에게 새장가 갈 자금을 쥐여줄 수밖에 없었다.&lt;br /&gt;
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First Translation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子。挨过父亲打的母亲因为对东植这种动不动就挥拳头打人的行为心有余悸，并觉得只有新房子没用，就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
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Retranslation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子，母亲因为挨过父亲的打，所以对东植这种动不动就挥拳头打人的行为心有余悸，觉得只有新房子无济于事，改不了他的暴力行为，索性就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
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The original text Is a long sentence, &amp;quot;는 데&amp;quot; is a long attributive clause, behind the author under the guidance of communicative translation theory, using the translation, in the resolution of a sentence, adjust the structure of the sentence, but his father mother &amp;quot;dragged&amp;quot; compared to read man translationese is too heavy, have the taste of Korean Chinese, is not in conformity with the Chinese expression habit, the author on the basis of this, The translation has been revised and polished to make it smooth and smooth.&lt;br /&gt;
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====Cotranslation====&lt;br /&gt;
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Cotranslation refers to the combined translation of two or more sentences in the original text. Using the combined translation method to translate, will reduce the long winded translation, obtain a smooth and smooth translation.&lt;br /&gt;
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[[Correction:]] Cotranslation, also known as combination, refers to the translation method by which two or more sentences in the original text are combined into a single sentence in the target-language text. The use of combined translation can reduce long-windedness and redundancies in translation, obtaining a smooth, natural and lucid translation. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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Eg.8 ：나는 큰오빠와 작은오빠가 아버지가 남긴 논을 가져간 것을 알고 있었다. 큰언니, 작은언니가 결혼할 때 밭을 가져 갔다는 것도. 동식은 제 몫이 논도 밭도 아닌 집인 것에 불만을 품고 쓰러져가는 슬레이트집에 불을 질렀다.&lt;br /&gt;
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First Translation：我知道大哥和二哥结婚时分走了家里的水田，大姐和二姐结婚时分走了家里的旱地，东植因为分到的不是田和地，而是即将坍塌的的石板屋，一气之下就在屋里放了火。&lt;br /&gt;
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Retranslation：哥哥姐姐们结婚时把家里的水田和旱地都分走了。而东植分到的是即将坍塌的的石板屋，他对此很不满，一气之下就放火烧了房子。&lt;br /&gt;
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Are two sentences in the original, the author first translation, according to the original text translated into two other subject-predicate bin structure of the sentence, but &amp;quot;big sister&amp;quot; &amp;quot;big brother&amp;quot; &amp;quot;sister&amp;quot; &amp;quot;second brother&amp;quot; will be read repetitive, so the author under the guidance of communicative translation theory, adopt the method of r the appellation of original elements became the &amp;quot;brothers and sisters&amp;quot;, and the two sentence elements into a simple sentence, Reduce redundant redundant.&lt;br /&gt;
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===Translation Strategies and Methods under Communicative Translation Theory at Rhetorical Level===&lt;br /&gt;
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Communicative translation theory points out that should take the readers as heavy, compared to convey to the readers the article content, pay more attention to the expression effect, good expression effect can cause the resonance of the readers, caused the reader's thinking, and good expression effect depends on the use of rhetoric, this summary is mainly under the guidance of communicative translation theory, adopt different translation strategies, The rhetorical translation in The Innocent Man and The Goat Family is analyzed.&lt;br /&gt;
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[[Correction:]] In view of communicative translation theory, the translator should take the readers to heart, and pay more attention to the expression effect compared to the conveyance of the content. The excellent expression effect that can engender the readers’ resonance and lead them to think majorly resorts to the use of rhetoric. This section, guided by communicative translation theory, will enunciate the translation methods at the rhetoric level employed in the Chinese translation of the two Korean short stories. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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====Addition====&lt;br /&gt;
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Addition is a translation method that adds content to the target text in order to accurately express the meaning of the source text, meet the needs of the target text readers and make the target text conform to the expression habits of the target language. Since Chinese and Korean have different pragmatic ways and expressive habits, some words or sentences should be added in the translation to make the translation more consistent with the Chinese context, the reader's expressive habits and the exact meaning of the original text.&lt;br /&gt;
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[[Correction:]] Addition is a translation method by which some items should be added to the target-language text in order to accurately express the meaning of the source text, make the translation correspond with the expression habits of the target language and meet the the target-text readers' needs. Since Chinese and Korean have different pragmatic ways and expressive modes, some specific words or sentences should be added in the translation to render the translation more consistent with the Chinese context, the readers' reading habits and the concrete meaning of the original text. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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Eg.9：나는 아이 아빠의 돈을 ‘그깟 돈’이라고 표현했다.&lt;br /&gt;
&lt;br /&gt;
First Translation：我把孩子爸爸的钱称为“那么点儿钱”。&lt;br /&gt;
&lt;br /&gt;
Retranslation：我把孩子爸爸给的钱称为“塞牙缝的钱”。&lt;br /&gt;
&lt;br /&gt;
&amp;quot;그깟&amp;quot; is a contraction of &amp;quot;그까짓&amp;quot;. It means so little, so little. The amount of money given by the father of the child is very small. The author under the guidance of communicative translation theory, give full play to the advantages of target language, adopt the method of thickening of translation, the use of metaphor, the &amp;quot;그 깟 돈&amp;quot; translated into accord with the readers expression habit &amp;quot;for all of the money&amp;quot;, making it easy to understand, more intuitive said the little amount, so as to impress the reader.&lt;br /&gt;
&lt;br /&gt;
====Repetition====&lt;br /&gt;
&lt;br /&gt;
Repetition refers to the translation technique of appropriately repeating a part of words or sentences in translation. The repetition method can make the meaning of the translation more clear, further strengthen the appeal of the article, highlight the thoughts and feelings of the article, and achieve a good rhetorical effect.&lt;br /&gt;
&lt;br /&gt;
Eg.10：아비를 한번도 찾지 않다가 돈 달라고, 그것도 법정에서 애 얼굴을 봐야 하는 아비 된 자의 참담한 심정을 당신들이 아느냐고.&lt;br /&gt;
&lt;br /&gt;
First Translation：孩子一次也没来看过我这个父亲，却开口要钱？而且只有上了法院，我才好不容易看孩子一眼，你们理解我这个做父亲的心情和处境吗！&lt;br /&gt;
&lt;br /&gt;
Retranslation：孩子一次也没来看过我就跟我开口要钱，只有上了法院，我才好不容易看孩子一眼，我这个做父亲的苦楚，悲凉的的心情，你们理解吗！理解吗！&lt;br /&gt;
&lt;br /&gt;
The author by contacting the specific context, as a father, no contact for many years but children themselves to court, the state of mind should be both angry and sad, based on the theory of communicative translation, using the skill of verb repetition, to &amp;quot;알 다&amp;quot; repeated translation, to emphasize my angry tone, in order to make the article more vivid and accurate meaning.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
&lt;br /&gt;
This paper selected the south Korean writer Kong Shanyu stories &amp;quot;well bead film&amp;quot; in the two novel &amp;quot;pure people&amp;quot; and &amp;quot;the goat family&amp;quot; has carried on the translation practice, the two novels are using the simple nature of language and a small amount of dialect vocabulary, shape lifelike characters, are described by family members of the past, let the past and reality contrast, It reflects the social reality that with the development of society, people have become selfish and indifferent, and the most simple family and human feelings seem to be more and more far away from us, so as to explore the history and significance of the &amp;quot;family&amp;quot; and the simple social atmosphere, which are gradually forgotten by Koreans.&lt;br /&gt;
&lt;br /&gt;
The core of Peter Newmark's communicative translation theory is that on the basis of being faithful to the content of the original text, the translator can give full play to the advantages of the target language, get rid of the constraints of the language structure of the original text, and pay attention to the effect of the expression of the target text. According to Newmark's text type, communicative translation theory applies to appeal texts, which focus on the target reader and aim to elicit the desired response, including popular books, popular novels and so on. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. Under the guidance of Peter Newmark's communicative translation theory, the author analyzes and discusses the translation strategies in the Pure Man and The Goat Family, which are complicated sentences, ambiguous meanings and implicit expressions.&lt;br /&gt;
&lt;br /&gt;
From the lexical level analysis, the author mainly combined with the context, to Chinese readers as the center, to comply with the Chinese expression and language habits, consider the reader's understanding ability, on the basis of Chinese used to translation and translation methods of extension, so as to satisfy the to the original readers and the translation of the original dual need of the readers have the same effect, At the same time, it also ensures the accuracy and flexibility of the translation words, so as to conform to the translator's lexical habits. From the statement level analysis, &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; appeared in the text of the long sentence and attributive clause, at the same time, some relatively obscure sentences substance, so the author adopted the method of interpretation, syntax and translation of translation strategies, to explain the sentence, split, reorganization, thus reducing the sentence's mad outages and ideographic unclear, The translation is in line with the habits of Chinese readers and effectively conveys the essence of the original text. From the rhetoric analysis, communicative translation theory points out that compared with the content, should attach great importance to the expression of the translation effect, good expression effect depends on the use of rhetoric, so the author USES the translation strategy of work and repetition, has carried on the modification to the original and polishing, to strengthen the artistic effect and influence of the translation, make readers for the characters vivid impression, Arouse readers' reflection and emotional resonance.&lt;br /&gt;
&lt;br /&gt;
Therefore, the results of this study indicate that the communicative translation theory is of guiding significance to the Chinese translation of Korean novels and can provide a reference for similar translation practices. Communicative translation theory is pointed out that to the reader as the center, the translator can get rid of the original text, giving full play to the advantages of target language to adjust the structure and logic, to make the translation easy to understand, but there may be lack of scattering situation, so the translator should properly our subjective initiative, to insure the effect of readers in at the same time, also used to avoid the above situation. In addition, there are also shortcomings in the translation, but the author still hopes that this translation practice can provide reference for the future Korean-Chinese translation practice. At the same time, through this translation practice, the author has realized his own shortcomings. In the future, the author will continue to learn, accumulate practical experience, and strive to improve his literary accomplishment and language foundation, and improve his translation level.&lt;br /&gt;
&lt;br /&gt;
[[Correction of Conclusion:]] &lt;br /&gt;
&lt;br /&gt;
This paper selects the south Korean writer Kong Shanyu's two short stories &amp;quot;The Innocents&amp;quot; and &amp;quot;The Goat Family&amp;quot; excerpted from the novel collection ''Eun-ju's Movie'', and interprets translation strategies and methods at lexical, syntactic and rhetorical levels in their Chinese translations, under the guidance of Peter Newmark's communicative translation theory. The two stories both boast the simple and natural language as well as a small amount of Korean dialects, along with the lifelike characterization, describing family members of the past and making a contrast between the past and the present reality. The two short novels reflect the social reality that with the development of society, people have become selfish and indifferent, and the family warmth and human feelings seem to be more distant from the individuals, so as to explore the history and significance of the &amp;quot;family&amp;quot; as well as the simple and harmonious social atmosphere, which are gradually forgotten by Koreans.&lt;br /&gt;
&lt;br /&gt;
According to Peter Newmark's communicative translation theory, translation should be faithful to the source text, and the translator can give full play to the advantages of the target language, get rid of the constraints of the source-language structure, and focus on the expressive effect that the target-language text produces. What's more, in the light of the text types categorized by Newmark, communicative translation theory applies to appeal or vocative texts, which keep a close eye on the target-language readers and intend to elicit the desired response, and popular books and novels fall into this text type. Besides, the common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. In a word, the interpretation of translation strategies and methods in Chinese translation of Korean novels guided by communicative translation theory is feasible.&lt;br /&gt;
&lt;br /&gt;
From the analysis in the lexical aspect, this paper demonstrates that the translation techniques --- conversion and extension --- are used in Chinese translation of these two Korean short stories. Such Chinese translation, fully considering the context and taking Chinese readers as the center, complies with the Chinese expression and language habits. Given the readers' understanding capability, the translator employs conversion of word class and extension of lexical meaning, so as to satisfy the needs of both the original readers and the target-language readers. Meanwhile, the use of conversion and extension also ensures the accuracy and flexibility of the translated vocabulary. At the syntactic level, the original two stories embrace a lot of long sentences and attributive clauses, as well as some sentences with relatively obscure substances. Thus, the adoption of paraphrase, deconstruction and combination, which re-explain, split, reorganize the sentences, reduces ideographic unclarity as well as long-wined sentences and diversify the sentence patterns, rendering the translation close to the target-language readers. In the rhetorical respect, communicative translation theory attaches greater importance to the expressive effect of the translation compared with the delivery of the content, and the use of rhetoric can result in exceptional expression effect. Consequently, the application of addition and repetition modifies and polishes the original text, so that the artistic charm of the translation can be enhanced, the desirable impression can be deepened, and the readers' reflection and emotional resonance can be aroused.&lt;br /&gt;
&lt;br /&gt;
To sum up, it can be seen that Peter Newmark's communicative translation theory is of guiding significance to the Chinese translation of Korean novels and can provide a reference for future translation practices. With communicative translation theory, the translator who adheres to the &amp;quot;readers-first&amp;quot; principle can get rid of the limitation of the original text, give full play to the advantages of the target language, and adjust the sentence structure and textual logic, so as to further improve the quality of translation.&lt;br /&gt;
&lt;br /&gt;
However, owing to the confined conditions and limited academic capacity, there are also shortcomings in this paper: firstly, the paper takes only two pieces of Korean short stories as examples in case study, so it lacks strong persuasiveness and representativeness; secondly, since there are few researchers on Chinese translation of Korean novels at home and abroad, this paper resorts to insufficient literature guidance and reference. As a consequence, it is expected that researchers in this field can cooperate well to build up a system to minimize the possible errors and create more thorough and holistic works to elaborate on and improve Chinese translation of Korean novels. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
&lt;br /&gt;
'''English Literature:'''&lt;br /&gt;
&lt;br /&gt;
[1]. GAO Chang. The Application of Peter Newmark's Communicative Translation Theory to the Translation of Chinese Historical Allusions [J]. Overseas English, 2013(11).&lt;br /&gt;
&lt;br /&gt;
[2]. JIAN Fang. Newmark's Translation Theory and Film Names [J]. Overseas English, 2010(08).&lt;br /&gt;
&lt;br /&gt;
[3]. LI Xin, ZHANG Zhe. On Peter Newmark’s Semanic Translation &amp;amp; Communicative Translation[J]. Overseas English, 2015（03）.&lt;br /&gt;
&lt;br /&gt;
'''Korean literature:'''&lt;br /&gt;
&lt;br /&gt;
[4]. Gong Seon-ok. In the 1980s, my literature Gwangju, and my life's hardship [J]. History of Criticism, 1995 (08).&lt;br /&gt;
&lt;br /&gt;
[5]. Kang Young-mi. Preliminary review of the singing movement in the 1970s and 1980s [J]. Mental Culture Research 41(3), 2018.(09).&lt;br /&gt;
&lt;br /&gt;
[6]. Kim Young Hee. Modern and Alternative Experience and Women--Park Wan-seo, Kim In-sook, and Gong Sun-ok's novel [J]. Creation and Criticism 23(3), 1995(09).&lt;br /&gt;
&lt;br /&gt;
[7]. Osunbang. A study of the translation of novels in modern China and the two-way translation of Sino-Korean novels[J]. Seoul: Sungsil University Press, 2008.&lt;br /&gt;
&lt;br /&gt;
'''Chinese Literature:'''&lt;br /&gt;
&lt;br /&gt;
[8]. Chen Lin. A comparison of Eugene A. Naida and Peter Newmark's translation theories [J]. Journal of Xiangtan University (Social Science Edition), 1994,(08): 87-91.&lt;br /&gt;
&lt;br /&gt;
[9]. Si Jitao and Yan Honglan. The translation of split sentences and combined sentences in English-Chinese translation[J]. Journal of Guangxi Right River Nationalities Teachers College,2005(02):21&lt;br /&gt;
&lt;br /&gt;
[10]. Chen Lin. A comparison of Eugene A. Naida and Peter Newmark's translation theory [J]. Journal of Xiangtan University (Social Science Edition), 1994, (08).&lt;br /&gt;
&lt;br /&gt;
[11]. Yang Shi-Zhuo. A brief analysis of Newmark's theory of semantic and communicative translation[J]. Fujian Foreign Language, 1989:68-71.&lt;br /&gt;
&lt;br /&gt;
corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=毛雅文On Translation Strategies and Methods in Chinese Translation of English Prose --- Chinese Translation of Robert Lynd’s &amp;quot;Pleasures of Ignorance&amp;quot; as an example=&lt;br /&gt;
&lt;br /&gt;
'''浅析英语散文汉译中的翻译策略——以罗伯特·林德《无知的乐趣》汉译本为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_4]]&lt;br /&gt;
&lt;br /&gt;
毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
&lt;br /&gt;
Prose, together with poetry, novel and drama, is a kind of literary form. It is not limited to rhythm, plot and characters, flexible in form, real and natural. English prose has a long history and various types, so it becomes an important object in translation practice and research. In China, the most famous English prose writers are Francis Bacon and Charles Lamb, hence, their works can be regarded as the focus of studies on Chinese translation of English prose. In fact, Chinese translation of English prose draws less attention in translation circle of China, compared with that of English poetry and drama. With English prose as the starting point, this paper will introduce the characteristics of English prose and the domestic studies on its Chinese translation, and take the Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, the representative work of English modern prose writer Robert Lynd, as an example to analyze its translation strategies and methods.&lt;br /&gt;
&lt;br /&gt;
==摘要==&lt;br /&gt;
&lt;br /&gt;
散文是与诗歌、小说、戏剧并称的一种文体，不拘泥于韵律、情节、人物，形式灵活，真实自然。英语散文历史悠久，类型多样，是翻译实践与研究中的重要研究对象。在我国，最著名的英语散文家是弗朗西斯·培根和查尔斯·兰姆，他们的作品也因此成为英语散文汉译的重点。而事实上，我国翻译界更加重视的是诗歌与小说的汉译，英语散文汉译的研究相较之下比较滞后。本文将以英语散文为切入点，介绍英语散文的特点及其在我国的汉译研究，并以英国现代散文家罗伯特·林德的代表作《无知的乐趣》汉译本为例，主要分析其中的策略及方法。&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Pleasures of Ignorance&amp;quot;; Chinese translation of English prose; translation strategies; translation methods; translation techniques&lt;br /&gt;
&lt;br /&gt;
==关键词==&lt;br /&gt;
&lt;br /&gt;
《无知的乐趣》；英语散文汉译；翻译策略；翻译方法；翻译技巧&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
&lt;br /&gt;
This chapter will point to the research background and its significance, and briefly set forth the structure of this paper and the methods used.&lt;br /&gt;
&lt;br /&gt;
===Research Background and Significance===&lt;br /&gt;
&lt;br /&gt;
In recent years, with the deepening of the reform and opening-up, the channels of international cultural exchange have become increasingly unblocked, and China's translation industry has also flourished. The studies on translation theory, drawing lesson from western translation studies, have yielded fruitful results, and more noteworthily, remarkable achievements have been made in studies on literary translation for all to see. (Hou Qiang 2014: 1)&lt;br /&gt;
&lt;br /&gt;
Prose is a basic literary form in written or spoken language that typically exhibits a natural flow of speech and grammatical structure. A large number of works in philosophy, history, economics, journalism, etc, are examples of works written in prose. It can be seen that prose, which is widely used for creation, occupies an important position in literature. However, there are few researchers majoring in prose translation, still fewer ones who specialize in Chinese translation of English prose. In view of the above, this paper, based on previous studies, will study the Chinese translation of English prose, and take the Chinese translation by Liu Bingshan of ''The Pleasures of Ignorance'' created by the English prose writer Robert Lynd, exploring its characteristics in translation strategies and methods, so as to provide better understanding and some reference for the appreciation and translation of English prose. (He Xiuqin 2018: 6) (Song Jie 2018: 1)&lt;br /&gt;
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===Methodology and Structure===&lt;br /&gt;
&lt;br /&gt;
This paper will employ the methods of literature research and case analysis. The paper consists of three parts. The first section is literature review, explicating the distinctive properties and linguistic features of English prose, and the prose translation with its principles, as well as introducing the previous studies on Chinese translation of English prose at home. The second part, the core of this paper, will take Liu Bingshan's Chinese translation version of Robert Lynd's prose work &amp;quot;Pleasures of Ignorance&amp;quot; as an example, carry out the interpretation of this translation in terms of its types, styles as well as strategies and methods employed. Lastly, the conclusion will point to the findings in this study and the weaknesses in the paper.&lt;br /&gt;
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==Literature Review==&lt;br /&gt;
&lt;br /&gt;
This part will draw into the domestic previous studies on Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
With regard to Chinese translation of English prose, at present, there are few domestic scholars dedicated to its systematic research. According to the different perspectives, the relevant researches at home can be roughly divided into three categories.&lt;br /&gt;
&lt;br /&gt;
First, concerning research on the theory of Chinese translation of English prose into Chinese, there are relatively small number of studies in this direction. One of the most fruitful works is ''The Study and Translation of British and American Prose'' co-authored by Zhao Xiuming and Zhao Zhangjin (2010), which makes a detailed investigation of the literary characteristics, historical evolution and style evolution of British and American prose. The work also discusses the basic principles of English prose translation in terms of pre-translation text analysis, historical and cultural context, artistic principles, and styles, etc., which can offer a reference for the further study of the theories and practices of English prose translation. (Hou Qiang 2014: 4)&lt;br /&gt;
&lt;br /&gt;
Second, regarding research on the famous translators of English and American prose with their translation styles and skills, Xia Ying explored the style of Professor Cao's translation of Francis Bacon with the essay titled &amp;quot;Research on Professor Cao Minglunss Chinese translation of bacon prose&amp;quot;. (Xia Ying, 2012:165-166) Some others probed into Liu Bingshanss and Li Shicong's thoughts on prose translation which have guiding significance for prose translation practice. (Hou Qiang 2014: 4)&lt;br /&gt;
&lt;br /&gt;
Third, as regards research on the practice of Chinese translation English prose based on translation theory, Huang Jianling (2021) analyzed the Chinese translation of Bacon's essays from the perspective of translation aesthetics. Hu Hongyun (2013) translates and elaborates on the British prose Farewell in vocabulary, semantics, style and cultural transmission, on the basis of Eugene Nida's Functional Equivalence theory. (Hou Qiang 2014: 5)&lt;br /&gt;
&lt;br /&gt;
These researches and investigations have laid a solid foundation for future studies and the analysis in this paper.&lt;br /&gt;
&lt;br /&gt;
==Overview of English Prose==&lt;br /&gt;
&lt;br /&gt;
Prose can be defined in broad sense and in narrow sense. In broad sense, prose refers to all the written and oral works in a loose form free from parallelism; and in narrow sense, it specifically means the writings with certain literary qualities, such as essays, and a literary genre juxtaposed with poetry, novel, drama and movie-television literature.&lt;br /&gt;
&lt;br /&gt;
This section will clarify the distinctive characteristics and linguistic features of English prose, as well as its translation principles.&lt;br /&gt;
&lt;br /&gt;
===Distinctive Features of English Prose===&lt;br /&gt;
&lt;br /&gt;
As an independent literary genre, English prose has its own distinctive characteristics.&lt;br /&gt;
&lt;br /&gt;
The first characteristic is its expression of sincere feeling. Prose mostly depicts the real people, things and scenery, and is generated based on record and recollection of life. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. So in this sense, prose can be considered as an earnest conversation between the author and the readers. (Zhang Baohong 2011: 28)&lt;br /&gt;
&lt;br /&gt;
Secondly, English prose is characterized by the wide material selection. In English prose, one detail, episode and facet of life can be used to display the author's specific emotions and circumstances, and all materials related to the theme can also be employed. It places no emphasis on rhythm and rhyme, like poetry, as well as to plot and characters, like drama. (Zhang Baohong 2011: 29)&lt;br /&gt;
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Besides, English prose features the free and loose structure. The structure of prose writings is free and flexible. Prose is elastic and natural and boasts descriptive, argumentative and lyrical qualities, thereof constituting its most distinctive advantage. There are no strict restrictions and fixed patterns in the prose structure, but its flexibility and randomness is not tantamount to disorder and scatter, and its choice of theme and expression of feelings should be closely centered on one main line. (Zhang Baohong 2011: 29)&lt;br /&gt;
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===Linguistic Features of English Prose===&lt;br /&gt;
&lt;br /&gt;
Compared with other literary forms, prose has no more skills to resort to. Therefore, as regards the form of artistic expression, English prose mainly has recourse to its own language features.&lt;br /&gt;
&lt;br /&gt;
First and foremost, succinctness and fluency characterize English prose language. The concise prose language not only fully delivers the content that the author intends to convey, but effectively shows the author's emotions and attitude towards persons and things. This is not the result of the author's deliberate elaboration, but the natural overflow of his or her plain and pure emotion. The fluency of prose language refers to both the informal use of words and phrases, and the author's sound expression of feelings. (Zhang Baohong 2011: 29)&lt;br /&gt;
&lt;br /&gt;
Meanwhile, colloquial style and literary grace are characteristic of prose language. As prose mainly focuses on description of the author's personal stories and sentiments, thus, he speaks or writes with his own posture, style and tone, as if he is confiding to the readers, so as to highlight the agreeable conversation style and unique colloquial style. Colloquial prose language is natural due to its simplicity, friendly owing to its ease of communication, and true thanks to its individuality. (Zhang Baohong 2011: 30)&lt;br /&gt;
&lt;br /&gt;
Furthermore, another linguistic feature of English prose is the smooth rhythm and reading. The rhythmic beauty of prose language is reflected in phonetic respect and in sentence patterns. The prose reading is catchy, with no obstacles and awkwardness, and its rhythm is in line with the natural law of oral breathing pauses as well as with the ups and downs of feelings. (Zhang Baohong 2011: 30)&lt;br /&gt;
&lt;br /&gt;
===Principles of English Prose Translation===&lt;br /&gt;
&lt;br /&gt;
The beauty of prose lies in its language and artistic conception, the two permeating each other and jointly creating the artistic charm of prose. In prose translation practice, the following principles can be observed to reproduce the artistic appeal.&lt;br /&gt;
&lt;br /&gt;
Keep an eye on sound and rhythm. Despite that the sound and rhythm of prose are often internal, not as obvious, regular and musical as that of poetry, they are not disordered with no aesthetic purpose. On the contrary, they effectively represent the variation of emotion in the prose, and are consistent with its unique aesthetic interest. This illustrates that in prose translation, on the one hand, the translators should recognize the great value and significance of prose sound and rhythm; on the other hand, with the intention of reproducing the linguistic subtleties of the original text, the translators can fully touch its aesthetic interest from the cadence between the lines, and perceive its inner rhythm from sentence length and speech speed. (Zhang Baohong 2011: 30)&lt;br /&gt;
&lt;br /&gt;
Pay attention to personalized mode of discourse. Different writers with various discourse modes bring about manifold writing styles. Not only is the personalized mode of discourse reflected in the author's choice of words and sentences as well as layout of the prose, but also in his thoughts and aesthetic interest. As a result, the translators can start with analyzing the original writer's one classic work and then his anthology and even look closely at the literary features of his age, in order to grasping the writer's personalized discourse mode, which is of particular importance to reproduce his artistic personality and the characteristics of his emotional expression in translation practice. (Zhang Baohong 2011: 31)&lt;br /&gt;
&lt;br /&gt;
Place a premium on the unity of scene and emotion. The unity of scene and interest in prose is embodied in diverse ways of language expression and structure, as well as the images or settings created by the author. In translation practice, based on the unity of scene and interest in the prose, it is beneficial to preserve and reproduce the overall aesthetic orientation of the original text through aesthetic reconstruction in word selection and layout, so that the translated text can obtain the aesthetic taste similar to the original prose.(Zhang Baohong 2011: 31)&lt;br /&gt;
&lt;br /&gt;
All in all, a general understanding of English prose can facilitate the study of its Chinese translation.&lt;br /&gt;
&lt;br /&gt;
==Case Study of Chinese Translation of &amp;quot;Pleasures of Ignorance&amp;quot;==&lt;br /&gt;
&lt;br /&gt;
The selected source text is &amp;quot;The Pleasures of Ignorance&amp;quot;, written by Robert Lynd. &lt;br /&gt;
&lt;br /&gt;
Robert Lynd (1879-1949), born in Belfast, Northern Ireland, was a modern critic and prose writer. He, together with E. V. Lucas, was a pioneer in reviving the tradition of Charles Lamb's prose. And The Pleasures of Ignorance is one of his notable prose works.&lt;br /&gt;
&lt;br /&gt;
This prose points out that it is because ignorance that people are interested in the nature and the world and their pursue knowledge, and the process of seeking knowledge is full of pleasure, by which the author emphasizes the importance of learning more and gaining insight. The article reveals somewhat erudition and aesthetic sensibility, as well as love for nature and and passion for life. From his leisurely writing, the author's maturity of thought and capability in usage of words is unveiled. Though the tone of the original text makes the readers feel that the author is chatting with them, giving people familiarity and closeness, it is not particularly colloquial. On the contrary, there is a kind of exactness and elegance of the learned between the lines, thus it can be seen that the case text is a typical scholar prose. (Zhu Mingju 2007: 326)&lt;br /&gt;
&lt;br /&gt;
The translator Professor Liu Bingshan firmly grasps these features of the original text and conveys the original style by carefully choosing words and sentences, with the principles of faithfulness, smoothness and expressiveness. His Chinese translation of &amp;quot;The Pleasures of Ignorance&amp;quot; will be analyzed in terms of translation strategies and methods. (Zhu Mingju 2007: 326)&lt;br /&gt;
&lt;br /&gt;
There is the natural connection between translation strategies and translation methods, but the two concepts are often confused. It is generally believed that translation strategies (such as foreignization and domestication) are at the cultural level, while the translation methods (such as literal translation and free translation) are at the textual level. Translation methods are the approaches, steps and techniques used to achieve a specific translation purpose based on a certain translation strategy in translation activities, whereas translation strategies are a collection of principles and methods. Consequently, this paper will enunciate the translation text on the basis of translation methods under foreignization strategy and domestication strategy respectively. (Xiong Bing 2014: 84)&lt;br /&gt;
&lt;br /&gt;
===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
&lt;br /&gt;
Foreignization is a strategy in which a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. This strategy is &amp;quot;an ethnodeviant pressure on target-language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad&amp;quot; to have alien reading experience. The translation methods under foreignization employed in Professor Liu's target text include literal translation, zero-translation and transliteration. (Venuti, 2004: 20) (Lian Shuneng 2006: 13)&lt;br /&gt;
&lt;br /&gt;
====Literal Translation====&lt;br /&gt;
&lt;br /&gt;
Literal translation is in fact looser renditions that replace individual source language words with individual target language wors wherever possible, and cling as closely as possible to the source language word order in the target language. (Lian Shuneng 2006: 12)&lt;br /&gt;
&lt;br /&gt;
Specifically, in the case translation text, the translator faithfully retains some personal pronouns and demonstrative pronouns in the original text. For example, &lt;br /&gt;
&lt;br /&gt;
(1)It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance.&lt;br /&gt;
&lt;br /&gt;
同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
&lt;br /&gt;
(2)This ignorance, however, is not altogether miserable.&lt;br /&gt;
&lt;br /&gt;
不过，这种无知也并非全然不幸。&lt;br /&gt;
&lt;br /&gt;
(3)But your and my ignorance is not confined to cuckoos.&lt;br /&gt;
&lt;br /&gt;
但是，你我的无知并不仅限于杜鹃这一方面。&lt;br /&gt;
&lt;br /&gt;
(4)A contemporary English novelist was once asked by a foreigner what was the most important crop in England.&lt;br /&gt;
&lt;br /&gt;
一个外国人问一位当代英国小说家，英国最重要的农作物是什么。&lt;br /&gt;
&lt;br /&gt;
The translation of these sentences, though properly altering the word order and voice with the adherence to the target-language syntactic norms, does not adopt the usage of transferred meaning in dealing with lexical sense.&lt;br /&gt;
&lt;br /&gt;
The use of literal translation, especially the retaining of the personal pronouns, like &amp;quot;we&amp;quot; and &amp;quot;you and I&amp;quot;, conveys the style of the original text, showing friendliness and intimacy.&lt;br /&gt;
&lt;br /&gt;
====Zero-Translation====&lt;br /&gt;
&lt;br /&gt;
Zero translation refers to the translation in which the translators do not use the ready-made words in the target language to translate the source language words. This translation phenomenon occurs when adjustments must be made due to the differences in the syntactic structures of the two languages. For example, some articles and personal pronouns are not translated in E-C translation. (Fang Mengzhi 2011: 108)&lt;br /&gt;
&lt;br /&gt;
In Professor Liu's Translation, zero-translation is particularly displayed by omission, a translation technique. For instance,&lt;br /&gt;
&lt;br /&gt;
Omission of the expletives ''It'' and ''There'':&lt;br /&gt;
&lt;br /&gt;
(5)''It'' is impossible to take a walk in the country oneself without being amazed at the vast continent of one's own ignorance.&lt;br /&gt;
&lt;br /&gt;
任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
&lt;br /&gt;
(6)''There'' are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy.&lt;br /&gt;
&lt;br /&gt;
这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。&lt;br /&gt;
&lt;br /&gt;
Omission of English articles:&lt;br /&gt;
&lt;br /&gt;
(7)Thousands of men and women live and die without knowing the difference between ''a'' beech and ''an'' elm, between ''the'' song of ''a'' thrush and ''the'' song of ''a'' blackbird.&lt;br /&gt;
&lt;br /&gt;
成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
&lt;br /&gt;
Omission of pronouns:&lt;br /&gt;
&lt;br /&gt;
(8)... as she (the cuckoo) lays ''her'' egg on the ground and takes it in ''her'' bill to the nest in which it is destined to breed infanticide.&lt;br /&gt;
&lt;br /&gt;
把蛋下到地面上，然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。&lt;br /&gt;
&lt;br /&gt;
The application of zero-translation can render the translation text concise, neat and fluent, and make the rhythm of the prose more natural and flexible, conforming to the principle of prose translation.&lt;br /&gt;
&lt;br /&gt;
====Transliteration====&lt;br /&gt;
&lt;br /&gt;
Proper names such as the names of persons and places of foreign countries, are, as a rule, to be transliterated, i.e., to be translated by using Chinese characters to represent the sound in articulating these names. (Lian Shuneng 2006: 344)&lt;br /&gt;
&lt;br /&gt;
In transliteration, the translators should follow the original pronunciation of proper names, in Liu's translation, for example,&lt;br /&gt;
&lt;br /&gt;
(9)Hamlet 哈姆雷特 Pickwick 匹克威克 (both transliterated from English)&lt;br /&gt;
&lt;br /&gt;
Besides, in transliteration, the translators sometimes should also use the standard pronunciation of the Chinese characters. One of the difficulties in transliterating a foreign name in Chinese characters lies in the lack of many foreign sounds in Chinese, and the variation in the pronunciation of the Chinese characters causes confusion. The remedy is to fix certain Chinese characters for a certain syllable of foreign names. And many long-standing translated names, though not named after the original sounds, have been recognized by the world and are generally invariable. (Lian Shuneng 2006: 346)&lt;br /&gt;
&lt;br /&gt;
For example, in the translation in case study. For example, in the translation in case study,&lt;br /&gt;
&lt;br /&gt;
(10)Montaigne 蒙田 (not 蒙泰涅)&lt;br /&gt;
&lt;br /&gt;
Transliteration plays a crucial role in translation of proper nouns and technical terms, which ensures the correct conveyance of information.&lt;br /&gt;
&lt;br /&gt;
The translation methods under foreignization are able to make the translation process more visible, by means of showing how translators are deeply involved in the construction of culture and ideology. The use of these methods can retain the foreignness of the source text and produce on the target-language readers an effect as close as possible to that obtained on the readers of the original, through which the readers can further understand the foreign expressions and cultures, realizing the differences between the two countries.&lt;br /&gt;
&lt;br /&gt;
===Translation Methods under Domesticating Strategy===&lt;br /&gt;
&lt;br /&gt;
Domestication is a strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for target language readers. This strategy is &amp;quot;an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home&amp;quot;. In other words, as regards the use of domesticating strategy, the translators are required to make target-language readers feel familiar and close through conveying the content of the original text with the expressions to which TL readers are accustomed. And in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, free translation method and imitation method under domestication are used and displayed in several translation techniques. (Venuti 2004: 20) (Lian Shuneng 2006: 14)&lt;br /&gt;
&lt;br /&gt;
====Free Translation====&lt;br /&gt;
&lt;br /&gt;
Free translation, also known as sense-for-sense translation, emphasizes transfer of the meaning or &amp;quot;spirit&amp;quot; of a source text over accurate reproduction of the original wording. The purpose of this method is to accommodate the needs of the target-language readers by producing a text which conforms to the linguistic and textual norms of the target language and culture which does not therefore sound &amp;quot;foreign&amp;quot;. (Shuttleworth &amp;amp; Cowie, 2014: 59)(Lian Shuneng 2006: 12)&lt;br /&gt;
&lt;br /&gt;
Such a method, in this case study, is specifically embodied in the choice of words packed with Chinese characteristics, that is, diction, also a translation technique. For example,&lt;br /&gt;
&lt;br /&gt;
(11)Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is ''the exception''.&lt;br /&gt;
&lt;br /&gt;
在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是''凤毛麟角''。&lt;br /&gt;
&lt;br /&gt;
(12)It is not that we have not seen the birds. It is simply that we ''have not noticed'' them.&lt;br /&gt;
&lt;br /&gt;
所以如此，并不是因为这些鸟我们没有见过，而只是因为我们''习焉不察''。&lt;br /&gt;
&lt;br /&gt;
(13)When in the oak’s green arms the cuckoo ''sings'', &lt;br /&gt;
&lt;br /&gt;
And first delights men in the ''lovely springs''.&lt;br /&gt;
&lt;br /&gt;
杜鹃在橡树的绿色怀抱里''啭啼''，&lt;br /&gt;
&lt;br /&gt;
第一个为人们带来''欢欣、美好的春意''。&lt;br /&gt;
&lt;br /&gt;
In translating these sentences, the translator transfers some words into vocabulary or phrases with conspicuously Chinese features. For instance, the transfer of &amp;quot;the exception&amp;quot; and &amp;quot;have not noticed&amp;quot; to Chinese idioms &amp;quot;凤毛麟角&amp;quot; (that describes rare and precious items) and &amp;quot;习焉不察&amp;quot; (which means that one is too accustomed to something to call it in questions), respectively, exemplifies the typical Chinese four-character structure. Moreover, the verb &amp;quot;sings&amp;quot; is transferred to &amp;quot;啭啼&amp;quot; (that describes birds' melodious chirp), a Chinese term composed of two words with the same left side, which is one of common and special linguistic phenomena in Chinese language. Meanwhile, &amp;quot;the lovely springs&amp;quot; is transferred to &amp;quot;欢欣、美好的春意&amp;quot; (a joyful and wonderful feeling brought by the spring) through abstraction.&lt;br /&gt;
Thus, it can be seen that the application of free translation can reproduce the sense of the original text more smoothly and idiomatically. And the wide adoption of the four-character structures enhance the academic atmosphere of the translation version.&lt;br /&gt;
&lt;br /&gt;
====Imitation====&lt;br /&gt;
&lt;br /&gt;
With regard to the use of imitation, the translators do not stick to the meaning details of the original text, let alone its vocabulary and syntactic structure, but take the original text as a reference model, either by deleting and condensing to only translate its gist and key information, or by adding and expanding to deliver more information than that in the original text. For instance, (Xiong Bing 2014: 85)&lt;br /&gt;
&lt;br /&gt;
(14)Thousands of ''men and women'' ''live and die'' ''without knowing'' the difference between a beech and an elm, between the song of a thrush and the song of a blackbird.&lt;br /&gt;
 &lt;br /&gt;
成千上万的''男男女女''，''从生到死''，''一辈子''也''说不出''山毛榉和榆树有什么区别，''听不出''画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
&lt;br /&gt;
In the translation of this sentence, a variety of translation techniques are employed. &lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
The translator uses conversion to alter the syntactic structure of the original sentence. &lt;br /&gt;
&lt;br /&gt;
The predicate &amp;quot;live and die&amp;quot; is converted into the preposition phrase &amp;quot;从生到死&amp;quot; as the adverbial in Chinese.&lt;br /&gt;
&lt;br /&gt;
And the adverbial preposition phrase in the source text &amp;quot;without knowing&amp;quot; is converted into the predicate in Chinese translation.&lt;br /&gt;
&lt;br /&gt;
②　Division:&lt;br /&gt;
&lt;br /&gt;
In accordance with the need of Chinese expression, &amp;quot;without knowing&amp;quot; is divided into two verb phrases &amp;quot;说不出&amp;quot; and &amp;quot;听不出&amp;quot; in Chinese as the predicate.&lt;br /&gt;
&lt;br /&gt;
③　Addition:&lt;br /&gt;
&lt;br /&gt;
With the addition of the expression &amp;quot;一辈子&amp;quot;, the translator highlights the long time between life and death.&lt;br /&gt;
&lt;br /&gt;
④　Repetition:&lt;br /&gt;
&lt;br /&gt;
The plural form &amp;quot;men and women&amp;quot; is translated into the reiterative locution &amp;quot;男男女女&amp;quot; by repetition. &lt;br /&gt;
&lt;br /&gt;
The change of sentence structure via techniques such as conversion and division as well as of vocabulary via repetition and addition render the translation natural and smooth, showing the translator’s superb handling of the original text.&lt;br /&gt;
&lt;br /&gt;
(15)...we are all the ''more'' delighted ''at the spectacle of'' its ''runaway flight'' as it (the cuckoo) ''hurries'' from wood to wood conscious of its crimes ...&lt;br /&gt;
&lt;br /&gt;
一日''看见''它（杜鹃）因为自己犯了罪而''煌惶不安地''从这个林子飞''逃''向那个林子 ... 我们才会觉得''大大''开心。&lt;br /&gt;
&lt;br /&gt;
In this example, there are also various translation techniques used.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
Firstly, the preposition phrase &amp;quot;at the spectacle of&amp;quot; is converted into the verb &amp;quot;看见&amp;quot; in Chinese. &lt;br /&gt;
&lt;br /&gt;
Secondly, the noun phrase &amp;quot;runaway flight&amp;quot; is converted into Chinese verbs &amp;quot;飞&amp;quot; (fly) and &amp;quot;逃&amp;quot; (escape). &lt;br /&gt;
&lt;br /&gt;
Besides, the verb &amp;quot;hurries&amp;quot; (that means to move quickly in a particular direction) is converted into &amp;quot;惶惶不安地&amp;quot; (which means to feel panic, afraid and utterly uneasy), a Chinese adverb to modify the verbs &amp;quot;飞&amp;quot; and &amp;quot;逃&amp;quot;, which endows the subject cuckoo with somewhat human characteristic.&lt;br /&gt;
&lt;br /&gt;
②　Repetition:&lt;br /&gt;
&lt;br /&gt;
The adjective &amp;quot;more&amp;quot; is translated into the reiterative locution &amp;quot;大大&amp;quot;, a Chinese adverb equivalent to &amp;quot;very&amp;quot; or &amp;quot;extremely&amp;quot; in English to modify the adjective &amp;quot;delighted&amp;quot;. &lt;br /&gt;
&lt;br /&gt;
In this example, the adjustment of the sentence order and conversion of parts of speech make the translation more consistent with the word sequence in Chinese. Meanwhile, the choice of words such as the Chinese four-character structure &amp;quot;惶惶不安&amp;quot; conveys the romantic charm beyond the original text. And there are also indicators of use of repetition embodied in the typical Chinese reiterative locutions like &amp;quot;惶惶&amp;quot; and &amp;quot;大大&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
(16)I have myself a ''capricious'' and ''leaking'' memory.&lt;br /&gt;
&lt;br /&gt;
我自己的记忆力也是''漏洞百出''、''不听使唤''。&lt;br /&gt;
&lt;br /&gt;
Although this is a short sentence, it still contains the flexible use of translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
At first, the original object &amp;quot;memory&amp;quot; is converted to the subject in the Chinese translation.&lt;br /&gt;
And then, the subject &amp;quot;I&amp;quot; with its appositive &amp;quot;myself&amp;quot; is converted into the attribute &amp;quot;我自己的&amp;quot; to modify the subject in the translation &amp;quot;记忆&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
On account of the conversion of the subject and the verb, the original predicate &amp;quot;have&amp;quot; is inappropriate. The addition of &amp;quot;也是&amp;quot; that is equivalent to the verb &amp;quot;be&amp;quot; in English enforces the completeness of sentence structure. And this is a structural addition mainly due to the structural difference between Chinese and English.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The two vivid adjective &amp;quot;capricious&amp;quot; and &amp;quot;leaking&amp;quot; are translated as &amp;quot;不听使唤&amp;quot; and &amp;quot;漏洞百出&amp;quot; respectively which are typical Chinese four-character structures. The Chinese adjective &amp;quot;漏洞百出(的)&amp;quot; means that the loopholes appear one after another, which is often used to describe that one's writing or speech is untenable because of lack of sufficient reasons and grounds. And here, this word shows the author's weak memory with which he forgets things time and again. And the other adjective &amp;quot;不听使唤(的)&amp;quot; generally depicts that someone loses control and is not obedient to the rules or instructions. Here, the word properly demonstrates that the author cannot manipulate his memory well and also cannot preclude it from being weaker. The use of these two words conforms to the choice of affective and stylistic meanings.&lt;br /&gt;
&lt;br /&gt;
In this example, the conversion of the subject and object as well as the change of the predicate enable the translation to be more closely accord with the Chinese sentential structure. Moreover, the two figurative adjectives packed with personified traits not only fully  convey the author's intention, but also enhance literariness of the translation and even display a lively mood beyond the original text.&lt;br /&gt;
&lt;br /&gt;
(17)We know, again, that, the blossom precedes and ''not succeeds'' the fruit of the apple-tree, but ''this does not lessen our amazement at'' the beautiful holiday of a May orchard.&lt;br /&gt;
&lt;br /&gt;
另外，我们知道苹果树''先''开花，''后''结果，可是五月''一旦''到来，果园里一片欢闹的花海。''我们不是仍然惊为奇观吗？''&lt;br /&gt;
&lt;br /&gt;
This is a typical example of the imitation method embodied in the use of diverse translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
Regarding the conversion of word classes, the noun &amp;quot;blossom&amp;quot; is converted into the Chinese verb &amp;quot;开花&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Concerning the conversion of sentence members, the object in the clause &amp;quot;apple-tree&amp;quot; is converted into the subject &amp;quot;苹果树&amp;quot; in the Chinese translation. And the attribute &amp;quot;May&amp;quot; is converted into the adverbial in Chinese as &amp;quot;五月一旦到来&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Considering the conversion of sentence patterns, the negative sentence &amp;quot;this does not lessen our amazement at...&amp;quot; is converted into a interrogative sentence &amp;quot;我们不是仍然惊为奇观吗？&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Negation:&lt;br /&gt;
&lt;br /&gt;
The negative form &amp;quot;not succeeds&amp;quot; in English is translated into the affirmative form &amp;quot;后结果&amp;quot; in Chinese, intensifying a positive tone on which Chinese language often places emphasis.&lt;br /&gt;
&lt;br /&gt;
③　Division:&lt;br /&gt;
&lt;br /&gt;
The original complicated sentence in English is divided into several simplex clauses and phrases in Chinese, which underlines the &amp;quot;chronicle style&amp;quot; of Chinese language with frequent use of shorter or composite structures.&lt;br /&gt;
&lt;br /&gt;
④　Addition:&lt;br /&gt;
&lt;br /&gt;
Now that the original sentence is divided into smaller components, it is necessary to supply connectors for better cohesion. The addition of the logical connectors in Chinese such as &amp;quot;先&amp;quot;, &amp;quot;后&amp;quot;, &amp;quot;一旦&amp;quot; and &amp;quot;仍然&amp;quot; render the translation more smooth and expressive.&lt;br /&gt;
&lt;br /&gt;
In this instance, the translator flexibly takes advantage of the techniques such as conversion, negation and division, not only contributing to the diversity of sentence patterns but also adding sense of warmth and vividness of the translation. Additionally, the semantic addition of logical connectors render the translation more cohesive and coherent.&lt;br /&gt;
&lt;br /&gt;
(18)Once more I shall ''see'' the world as a garden through ''the eyes'' of a stranger, ''my breath taken away with surprise by the painted fields''.&lt;br /&gt;
&lt;br /&gt;
那时，我像一个陌生者进人大花园，''放眼四望''，''五色缤纷''的原野再一次使我''目不暇接''，''心迷神醉''。&lt;br /&gt;
&lt;br /&gt;
As regards this example, the translator enriches the meaning of the original text and creates a more balmy atmosphere by employing various translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Division:&lt;br /&gt;
&lt;br /&gt;
The long complex sentence, composed of two clauses, is divided into several separated clauses in arranged in a certain order, which renders the translation rhythmic and highlights the focus of expression.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
The addition of the Chinese set phrase &amp;quot;目不暇接&amp;quot; (which means that so many wonderful things and so swift change of scenery come into sight that the eyes are kept fully occupied) makes the context more coherent, as it echoes &amp;quot;see&amp;quot; and &amp;quot;the eyes&amp;quot; in the preceding and connects the &amp;quot;painted fields&amp;quot; in the following that greet the author's eyes and take his breath away.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The verb &amp;quot;see&amp;quot; is translated into &amp;quot;放眼四望&amp;quot; (to look around), the noun phrase &amp;quot;breath taken away with surprise&amp;quot; into &amp;quot;心醉神迷&amp;quot; (to be thrown into ecstasies), and the adjective &amp;quot;painted&amp;quot; into &amp;quot;五彩缤纷&amp;quot; (colorful). These recurring four-character structures in translation are loaded with positive meanings, and proper to depict the attractive scenery and to be used in scholar prose.&lt;br /&gt;
&lt;br /&gt;
④　Conversion:&lt;br /&gt;
&lt;br /&gt;
The original clause &amp;quot;my breath taken away with surprise by the painted fields&amp;quot; is in passive voice, and is converted into the active voice in Chinese translation &amp;quot;五色缤纷的原野再一次使我目不暇接，心迷神醉&amp;quot;. This kind of conversion is due to the fact that the Chinese passive form marked by &amp;quot;被&amp;quot; is traditionally felt to be an &amp;quot;inflictive voice&amp;quot;, mainly expressing things unpleasant or undesirable, contrasted with the cheerful aura overflowing the original text. &lt;br /&gt;
&lt;br /&gt;
The translator employs short clauses separated from the original complex sentence to bestow smoothness and naturalness on the translation and strengthen its artistic appeal. Furthermore, the translator selects the words that tally with the affective, contextual and stylistic meanings of the original. And the opportune addition of words and change of voice also polish the translation.    &lt;br /&gt;
&lt;br /&gt;
The reasonable use of the imitation translation method can make the translation more idiomatic and vivid, and even enable the translation overshadow the original text in terms of showcasing the artistic and aesthetic charm.&lt;br /&gt;
&lt;br /&gt;
In a word, translation methods under domesticating strategy will involve he careful selection of texts which lend themselves to being translated in this manner, the conscious adoption of a fluent, natural-sounding target language style, the adaptation of target text to conform to target discourse types, the interpolation of explanatory material, the removal of source language REALIA and the general harmonization of target text with target language preconceptions and preferences. These methods can render the translation highly literary, aesthetic and readable, and also can to some extent optimize the source text. The appropriate application of domesticating translation is able to even become a sublimation of the original.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
&lt;br /&gt;
This paper makes an analysis of translation strategies and translation methods in English prose, with translator Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot; created by Robert Lynd as an example. With translation strategies and methods as the starting point, this paper considers Chinese translation of English prose as the research subject. The paper first introduces English prose along with its distinctive properties, linguistics features and principles of its translation. And then this paper carries out the interpretation of translation strategies and methods in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot; in which the application of translation methods as well as techniques under foreignizing and domesticating strategies are elaborated, and the concrete effects they exert are also elucidated.&lt;br /&gt;
&lt;br /&gt;
===Major Findings===&lt;br /&gt;
&lt;br /&gt;
Based on the above study of translation strategies and methods employed in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, the features or common ground of Chinese translation of English prose in terms of translation strategies and methods can be generally summarized.&lt;br /&gt;
&lt;br /&gt;
In Chinese translation of English prose, foreignization strategy and domestication strategy are both used in the light of the style, linguistic features, and syntactic structures of the source text.&lt;br /&gt;
&lt;br /&gt;
But, on the whole, the domesticating translation strategy which includes translation methods such as free translation and imitation is applied more frequently compared with foreignization. This is because that prose translation actually falls into literary translation that is special on the grounds of the unique characteristics of the original literary works. In literary works, or specifically, in English prose, some words are not used with their literal meanings but their connotative or extension meanings, so literal translation under foreignization may not correctly convey the real significance of the original text. Meanwhile, in English prose, there are complex syntactic structures whose translation cannot be carried out with no proper conversion and alteration. Additionally, multiple rhetoric devices such as metaphor, metonymy and allusion are used in English literary works, and the literal translation of these figures of speech may elude the target-language readers because of the cultural differences and the obscurity of the translation. However, the appropriate adoption of translation methods under domestication strategy, to some extent, can give the target-language readers a sense of closeness and deliver the aesthetic charm with the premise that the real meaning of the original text can be ensured.&lt;br /&gt;
&lt;br /&gt;
In terms of translation methods under foreignizing strategy, literal translation is used when the lexical meaning of the source text is lucid and the syntactic structures in it are relatively simple and clear, so the translators need not find a new path in the mode of expression in order to be faithful to the source text. And the use of literal translation can convey the information more objectively and avoid the interference of translators' subjective factors. Meanwhile, in Chinese translation of English prose, the use of zero-translation is frequent but imperceptible, with the omission of some words peculiar to English, such as expletives it and there, English articles and pronouns, but sometimes the English pronouns can also be retained to show a sense of closeness and friendliness. Besides, transliteration is used for the translation of proper nouns and technical terms not only in English prose but also in almost all text types, with conforming to the principles of being named after the original sound and of the translated names accepted through common practice. In a word, translation methods under foreignization can ensure the objective conveyance of information of the original text and preserve its foreignness and unique cultural values that can enrich the target-language readers' knowledge and their languages.&lt;br /&gt;
&lt;br /&gt;
With regard to translation methods under domesticating strategy, in Chinese translation English prose, free translation and imitation method are oftentimes employed. English prose, as one of the English literary genres, boasts distinctive features of literature, such as aesthetic value, language with hidden meanings and the usual use of figures of speech as well as culturally loaded images, which may not be shown vividly and be easily understood by target-language readers via literal or word-for-word translation. Thus, translation methods under domestication, with careful choice of words, proper adjustment of syntactic structures and sentence sequence, and appropriate sublimation of the original text, can express the original author's feelings more lively, render the translation more fluent, idiomatic and expressive, and display the aesthetic charm of the source text.&lt;br /&gt;
&lt;br /&gt;
At the lexical level, in Chinese translation of English prose, the translation techniques --- diction, addition, conversion and repetition --- are usually used. The typical Chinese four-character structures appear time from time in Chinese translation, and the translators choose the words in line with the affectionate, contextual and stylistic meanings of the original prose, which intensify literariness and satisfy the characteristics of scholar prose. Moreover, the addition of Chinese conjunctive words and logical connectors by which sentences in translation are connected into a text can create better cohesion. Furthermore, the conversion of word classes in translation is based on the contrastive studies of English and Chinese, viz., English with its nominal style is static whereas Chinese with its verbal style is dynamic. Besides, it is one of the peculiarities of Chinese to reduplicate characters or words in word-formation and to repeat the similar or same word or expression in a discourse for expressiveness and parallelism, which can render translation more appealing to Chinese readers and produce rhetorical and grammatical effect.&lt;br /&gt;
&lt;br /&gt;
At the syntactic level, the translation techniques --- conversion and division--- are often employed in Chinese translation of English prose. To start with, conversion in the syntactic respect involves conversions of sentence members, sentence patterns and the voice. The conversion of word classes often results in the conversion of sentence members, and the alteration of sentences patterns like the inter-conversion between assertive or negative sentences and question sentences can variegate sentence types in translation. The conversion of passive voice in English prose into active voice in Chinese translation is due to the preference for active forms that can produce positive effect in Chinese language. What's more, part of sentences in English prose are longer and complicated because of subordination, a fundamental feature of English, and it may be hard to reproduce the original thought with following the original sentence structure in translation, hence the division of complex English sentences into word-groups, clauses or simplex sentences in Chinese can endow Chinese translation of English prose with more naturalness, fluency and sense of rhythm.&lt;br /&gt;
&lt;br /&gt;
The research on the features of translation strategies and methods in Chinese translation of English prose, theoretically can offer a deeper insight into English prose and its translation, and practically can help to some extent improve the quality of Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
===Limitations and Suggestions===&lt;br /&gt;
&lt;br /&gt;
There are drawbacks in this paper: firstly, the paper takes only one piece of English prose as an example in case study, so it lacks strong persuasiveness; secondly, since there are few researchers on prose translation at home and abroad, especially those specializing in Chinese translation of English prose, this paper resorts to insufficient literature guidance and reference; thirdly, owing to the confined conditions and narrow academic capacity, this paper is devoid of enough depth and breadth as well as favorable insight and acuity, thus the theoretical support and practical assistance it provides are bound to be limited. As a consequence, it is expected that researchers in this field can cooperate well to build up a system to minimize the possible errors and create more thorough and holistic works to enunciate and improve Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
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[1] Lawrence Venuti. Rethinking Translation: Discourse, Subjectivity, Ideology [C]. London and New York: Routledge, 1992: 5-20.&lt;br /&gt;
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==Appendix==&lt;br /&gt;
&lt;br /&gt;
(The original text:)&lt;br /&gt;
&lt;br /&gt;
The Pleasures of Ignorance&lt;br /&gt;
&lt;br /&gt;
By Robert Lynd&lt;br /&gt;
&lt;br /&gt;
It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance. It is impossible to take a walk in the country oneself without being amazed at the vast continent of one’s own ignorance. Thousands of men and women live and die without knowing the difference between a beech and an elm, between the song of a thrush and the song of a blackbird. Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is the exception. It is not that we have not seen the birds. It is simply that we have not noticed them. We have been surrounded by birds all our lives, yet so feeble is our observation that many of us could not tell whether or not the chaffinch sings, or the colour of the cuckoo. We argue like small boys as to whether the cuckoo always sings as he flies or sometimes in the branches of a tree-whether Chapman drew on his fancy or his knowledge of nature in the lines:&lt;br /&gt;
&lt;br /&gt;
When in the oak's green arms the cuckoo sings, &lt;br /&gt;
&lt;br /&gt;
And first delights men in the lovely springs.&lt;br /&gt;
&lt;br /&gt;
This ignorance, however, is not altogether miserable. Out of it we get the constant pleasure of discovery. Every fact of nature comes to us each spring, if only we are sufficiently ignorant, with the dew still on it. If we have lived half a lifetime without having ever seen a cuckoo, and know it only as a wandering voice, we are all the more delighted at the spectacle of its runaway flight as it hurries from wood to wood conscious of its crimes and at the way in which it halts hawk-like in the wind, its long tail quivering, before it dares descend on a hillside of fir-trees where avenging presences may lurk. It would be absurd to pretend that the naturalist does not also find pleasure in observing the life of the birds, but his is a steady pleasure, almost a sober and plodding occupation, compared to the morning enthusiasm of the man who sees a cuckoo for the first time, and, behold, the world is made new.&lt;br /&gt;
&lt;br /&gt;
And, as to that, the happiness even of the naturalist depends in some measure upon his ignorance,which still leaves him new worlds of this kind to conquer. He may have reached the very Z of knowledge in the books, but he still feels half ignorant until he has confirmed each bright particular with his eyes. He wishes with his own eyes to see the female cuckoo—rare spectacle!—as she lays her egg on the ground and takes it in her bill to the nest in which it is destined to breed infanticide. He would sit day after day with a field-glass against his eyes in order personally to endorse or refute the evidence suggesting that the cuckoo does lay on the ground and not in a nest.And, if he is so far fortunate as to discover this most secretive of birds in the very act of laying, there still remain for him other fields to conquer in a multitude of such disputed questions as whether the cuckoo’s egg is always of the same colour as the other eggs in the nest in which she abandons it. Assuredly the men of science have no reason as yet to weep over their lost ignorance. If they seem to know everything, it is only because you and I know almost nothing. There will always be a fortune of ignorance waiting for them under every fact they turn up. They will never know what song the Sirens sang to Ulysses any more than Sir Thomas Browne did.&lt;br /&gt;
&lt;br /&gt;
If I have called in the cuckoo to illustrate the ordinary man's ignorance, it is not because I can speak with authority on that bird. It is simply because, passing the spring in a parish that seemed to have been invaded by all the cuckoos of Africa, I realized how exceedingly little I, or anybody else I met, knew about them. But your and my ignorance is not confined to cuckoos. It dabbles in all created things, from the sun and moon down to the names of the flowers. I once heard a clever lady asking whether the new moon always appears on the same day of the week. She added that perhaps it is better not to know, because, if one does not know when or in what part of the sky to expect it,its appearance is always a pleasant surprise. I fancy, however, the new moon always comes as a surprise even to those who are familiar with her time-tables. And it is the same with the coming-in of spring and the waves of the flowers. We are not the less delighted to find an early primrose because we are sufficiently learned in the services of the year to look for it in March or April rather than in October. We know, again, that, the blossom precedes and not succeeds the fruit of the apple-tree, but this does not lessen our amazement at the beautiful holiday of a May orchard.&lt;br /&gt;
&lt;br /&gt;
At the same time there is, perhaps, a special pleasure in relearning the names of many of the flowers every spring. It is like rereading a book that one has almost forgotten. Montaigne tells us that he had so bad a memory that he could always read an old book as though he had never read it before. I have myself a capricious and leaking memory. I can read Hamlet itself and The Pickwick Papers as though they were the work of new authors and had come wet from the press, so much of them fades between one reading and another. There are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy. But this is only when life has an object beyond entertainment. In respect of mere luxury, it may be doubted whether there is not as much to be said for a bad memory as for a good one. With a bad memory one can go on reading Plutarch and The Arabian Nights all one's life. Little shreds and tags, it is probable, will stick even in the worst memory, just as a succession of sheep cannot leap through a gap in a hedge without leaving a few wisps of wool on the thorns. But the sheep themselves escape,and the great authors leap in the same way out of an idle memory and leave little enough behind.&lt;br /&gt;
&lt;br /&gt;
And, if we can forget books, it is as easy to forget the months and what they showed us, when once they are gone. Just for a moment I tell myself that I know May like the multiplication table and could pass an examination on its flowers, their appearance and their order. Today I can affirm confidently that the buttercup has five petals. (Or is it Six? I knew for certain last week.) But next year I shall probably have forgotten my arithmetic, and may have to learn once more not to confuse the buttercup with the celandine. Once more I shall see the world as a garden through the eyes of a stranger, my breath taken away with surprise by the painted fields. I shall find myself wondering whether it is science or ignorance which affirms that the swift (that black exaggeration of the swallow and yet a kinsman of the humming-bird) never settles even on a nest, but disappears at night into the heights of the air. I shall learn with fresh astonishment that it is the male, and not the female,cuckoo that sings. I may have to learn again not to call the champion a wild geranium, and to rediscover whether the ash comes early or late in the etiquette of the trees. A contemporary English novelist was once asked by a foreigner what was the most important crop in England. He answered without a moment's hesitation: &amp;quot;Rye&amp;quot;. Ignorance so complete as this seems to me to be touched with magnificence; but the ignorance even of illiterate persons is enormous. The average man who uses a telephone could not explain how a telephone works. He takes for granted the telephone, the railway train, the linotype, the aeroplane, as our grandfathers took for granted the miracles of the gospels. He neither questions nor understands them. It is as though each of us investigated and made his own only a tiny circle of facts. Knowledge outside the day's work is regarded by most men as a gewgaw. Still we are constantly in reaction against our ignorance. We rouse ourselves at intervals and speculate. We revel in speculations about anything at all—about life after death or about such questions as that which is said to have puzzled Aristotle, &amp;quot;why sneezing from noon to midnight was good, but from night to noon unlucky.&amp;quot; One of the greatest joys known to man is to take such a flight into ignorance in search of knowledge. The great pleasure of ignorance is, after all, the pleasure of asking questions. The man who has lost this pleasure or exchanged it for the pleasure of dogma, which is the pleasure of answering, is already beginning to stiffen. One envies so inquisitive a man as Jowett, who sat down to the study of physiology in his sixties. Most of us have lost the sense of our ignorance long before that age. We even become vain of our squirrel’s hoard of knowledge and regard increasing age itself as a school of omniscience. We forget that Socrates was famed for wisdom not because he was omniscient but because he realized at the age of seventy that he still knew nothing. (Zhu Mingju 2007: 319-322)&lt;br /&gt;
 &lt;br /&gt;
(Liu Bingshan's Chinese translation:)&lt;br /&gt;
&lt;br /&gt;
无知常乐&lt;br /&gt;
&lt;br /&gt;
刘炳善 译&lt;br /&gt;
&lt;br /&gt;
同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是凤毛麟角。所以如此，并不是因为这些鸟我们没有见过，而只是因为我们习焉不察。在我们一生中，鸟类始终就在我们周围，然而我们对于它们的观察总是那样马马虎虎，所以我们当中许多人都说不清花鸡到底会不会知，也不知道杜鹃究竟是什么颜色。对于有些问题、我们像小孩子一样争论不休、譬如说，杜鹃在飞着或栖身于树枝间的时候，是否一直不停地鸣，而查普曼下面两行诗的灵感究竟是来自他的想像还是来自他的自然知识∶&lt;br /&gt;
&lt;br /&gt;
杜鹃在橡树的绿色怀抱里啭啼，&lt;br /&gt;
&lt;br /&gt;
第一个为人们带来欢欣、美好的春意。&lt;br /&gt;
&lt;br /&gt;
不过，这种无知也并非全然不幸，因为正是由于它，我们才能不断尝到发现的乐趣。只要我们是的的确确地无知，那么每年大地春回，自然界的每一种事物都会带着它那清新的露珠重新出现在我们面前。如果我们活了半辈子，对于杜鹃除了听过它那飘忽不定的叫声，从来没有见过它是什么模样，那么，一日看见它因为自己犯了罪而煌惶不安地从这个林子飞逃向那个林子。或是看见它顶着风、像老鹰似的停留在半空中，它那长长的尾巴颤动着，不敢落下来，生怕有什么鸟儿藏在那山坡上的枞树林里等着要找它报仇。我们才会觉得大大开心。有人想着，博物学家整天观察鸟类，大概就不会觉得有什么趣儿了吧？其实大谬不然--他那持续不断的乐趣几平已经变成一种安详的职业习惯了，不像有人某天早晨突然第一次看见一只杜鹃，不胜雀跃之至，于是，看哪，天地也为之焕然一新了。&lt;br /&gt;
&lt;br /&gt;
说到这儿，甚至连博物学家的快乐在一定程度上也有赖于自己的无知；只有如此。才能给他留出一些新的领域有待他去征服。即使他已经攀登了书本知识的顶峰，他仍会感到自己不过是半通不通，每一个引人注目的细节还必须用自己的亲眼观察来加以一一证实。他盼着能亲眼看到雌杜鹃（这可是个稀罕物儿！）把蛋下到地面上。然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。因此，博物学家就要戴上望远镜，日复一日地坐在那里等待着亲眼证实或者否定那种认为杜鹃确实是在地面上而非在窠里下蛋的说法。而日，即使他很幸运，能够发现杜鹃下蛋实况，这个在鸟类来说算是极大的秘密，其他一大批有争议的问题还依然存在。就像新的领土有待他去开拓，例如，杜鹃的蛋跟它占用的窠里其他鸟的蛋是否总是一样颜色？自然，科学家没有理由为了自己失去无知而哭泣。如果他们看起来似乎是精通一切的话，那也不过因为你我差不多是一无所知罢了。实际上，当他们要把一件事实的盖子揭开的时候，某种命定的无知就在等待着他们。海妖们向尤利塞斯唱的究竟是什么歌儿？——他们永远不可能知道，正像托马斯·勃朗爵士也不知道一样。&lt;br /&gt;
&lt;br /&gt;
我请杜鹃来做例子以说明普通人的无知，并不是因为我有什么权威可以对这种鸟儿发发议论。不过，我曾在某个教区暂住，而那年春天从非洲飞来的杜鹃似乎全集合在那个地方，因此我也就有机会了解到我自己以及我所碰见的每一个人对于这种鸟儿的知识是如何地微不足道。但是，你我的无知并不仅限于杜鹃这一方面。它涉及到宇宙万物，从太阳、月亮一直到花卉的名字。有一天，我听见一位聪明伶俐的太太提出了这样一个问题∶新月是不是总在星期几露面？她接着又说：不知道倒好，正因为人不知道在什么时候、在天空的哪一带能看见它，新月一出现才给人带来一场惊喜。然而我想、哪怕入把月亮盈亏时间表记得再熟。看见新月出现还是不免又惊又喜，春回大地，花开花落，也莫不如此。尽管我们对一年四季草本节令了如指掌，知道樱草开花在三月四月而不在十月，不过看见一株早开花的樱草，我们还是照样地高兴。另外，我们知道苹果树先开花，后结果，可是五月一旦到来，果园里一片欢闹的花海。我们不是仍然惊为奇观吗？&lt;br /&gt;
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倘在每年春天，把许多花卉之名重温一遍，还另有一番风味。那就像把一本差不多忘得干干净净的书再重新念一遍。蒙田说过，他的记忆力很坏，所以他随时都能拿起一本旧书，像从未读过的新书一样地念。我自己的记忆力也是漏洞百出、不听使唤。我甚至能拿起《哈姆雷特》和《匹克威克外传》，当作是初登文坛的新作家刚刚印成白纸黑字的作品来念，因为自从上回念过以后，这两部书在我脑子里的印象已经模模糊糊了。这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。不过，在这种时候，人不仅想得到娱乐，还追求着什么目的。如果只讲享受的话，记忆力坏比记忆力好究竟差到哪里去，还真是大可怀疑哩。记忆力坏的人可以一辈子不断地念普卢塔克的《英雄传》和《天方夜谭》，而永远感到新鲜。很可能，最坏的记忆力也难免粘粘连连地留下一星半点的印象，恰如一只只绵羊从篱笆洞里接连通过，总不免在那刺条上留下一丝半缕的羊毛。然而，绵羊终归逃出去了，正像伟大的作家从我们不争气的记忆中消失。所留下的东西简直微不足道。&lt;br /&gt;
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既然读过的书我们可以忘得一干二净，那么一年十二个月以及每个月的风物，一旦时过境迁。我们同样可以轻而易举地把它们忘在脑后。在某个短暂时刻，我可以说自己对于五月就像对于乘法表那样熟悉，关于五月里的花木、开花时间乃至前后次序，我能通过考试。今天，我就敢肯定金凤花有五瓣。（难道是六瓣吗？上个礼拜我还记得清清楚楚来着。）可是，到了明年，我也许连算术也忘个干干净净;我得从头学起，以免把金凤花误认成白屈菜。那时，我像一个陌生者进人大花园，放眼四望，五色缤纷的原野再一次使我目不暇接，心迷神醉。那时，我也许要对这么一个问题拿不定注意，就是; 认为雨燕（那种简直像大号小燕子、又和蜂鸟沾点儿亲戚的黑鸟儿）从来不在窠里歇着，一到夜里就飞向高高的天空，到底是一种科学论断，还是一种无知妄说？当我知道了会唱歌的并不是雌杜鹃，而是雄杜鹃。我还要再次感到惊讶。我得重新学习，以免把剪秋罗当作野大竺葵；还要去重新发现白杨在树木生长的习惯法中究章算是早成材还是晚成材。某天。一个外国人问一位当代英国小说家，英国最重要的农作物是什么。他毫不犹豫地回答：“稞麦。”在我看来，这是一种堂而皇之派头的彻头彻尾的无知；不过，大大无知的也包括那些没有文化的人。普通人只会使用电话，却无法解释电话的工作原理。他把电话、火车、铸造排字机、飞机都看作当然之事，就像我们的祖父一代把福音书里的奇迹故事视为理所当然一样。对于这些事，他既不去怀疑，也不去了解。我们每个人似乎只对很小范围内的某几件事才真正下工夫去了解、弄清楚。大部分人把日常工作以外的一切知识统统当作花哨无用的玩意儿。然面，对于我们的无知，我们还是时时抗拒着，我们}有时振作起来，进行思索。我们随便找一个什么题目，对之思考，甚至入迷——关于死后的生命，或者关于某些据说亚里士多德也感到大惑不解的问题，例如“打喷嚏，从中午到子夜则吉，从夜晚至中午则凶，其故安在？”为求知识而陷入无知，这是人类所欣赏的最大乐事之一。归根结底，无知的极大乐趣即在于提出问题。一个人，如果失去了这种提问的乐趣，或者把它换成了教条的答案，并且以此为乐，那么，他的头脑已经开始僵化了。我们羡慕像裘伊特这样勤学好问之人，他到了六十多岁居然还能坐下来研究生理学。我们多数人不到他这么大的岁数就早已丧失了自己无知的感觉了。我们甚全像松鼠似的对自己小小的知识储存感到沾沾自喜，把与日俱增的年龄看作是培养无所不知的天然学堂。我们忘记了∶苏格拉底之所以以智慧名垂后世，并非因为他无所不知，而是因为他到了七十高龄还能明白自己仍然一无所知。 (Zhu Mingju 2007: 322-325)&lt;br /&gt;
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=毛优Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
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毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
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=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
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从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。	&lt;br /&gt;
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Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
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Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
翻译风格，巴黎的忧郁，郭宏安，亚丁&lt;br /&gt;
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==Introduction==&lt;br /&gt;
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The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
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Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations. Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
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==Liu Miqing’s theory of translation style==&lt;br /&gt;
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Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
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Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.&lt;br /&gt;
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In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
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==Form Markers==&lt;br /&gt;
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According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
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===Register Markers===&lt;br /&gt;
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“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
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The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
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Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
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Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
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Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
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This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
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===Lexical Markers===&lt;br /&gt;
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Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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'''Eg. (b)'''&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence, translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
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==Non-formal Markers==&lt;br /&gt;
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The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
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Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
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According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
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Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
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The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
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The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
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Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
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Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.&lt;br /&gt;
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==References==&lt;br /&gt;
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[1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[3] 刘宓庆 Liu Mingqing. 新编当代翻译理论[M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp;amp; Publishing Corporation, 2005.&lt;br /&gt;
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[4] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.&lt;br /&gt;
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[5] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.&lt;br /&gt;
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=秦建安 A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
[[Trans_Type_EN_7]]&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Lu Xun, chief commander of China's modern cultural revolution, is not only a great thinker and political commentator but the founder of modern Chinese literature. Kong I-Chi is one of the masterpieces of Lu Xun's novels. Although the total number of characters is less than 3,000 words, Lu Xun exposes the nature of feudal ethics and its negative influence through his character portrayal, which is loved by many readers home and aboard. The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but so as close as possible to the original text in terms of syntactic structure and wording. Therefore, his translations once became the authoritative version of Lu Xun's novels. From the perspective of Nida’s functional equivalence theory, this thesis conducts translation research on the English translation of the famous writer Yang Xianyi, analyzing whether the translation is functionally equivalent to the original text and construe the English translation of prose from the lexical, syntactic, and semantic level to try to explore the translation strategies, styles and methods of Kong I-Chi which aims to explain the functional equivalents in Lu Xun's short novel translation.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Functional Equivalence Theory; Lu Xun; Kong I-Chi;translation method&lt;br /&gt;
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===Introduction===&lt;br /&gt;
This chapter will be expanded with respect to the research background, its significance and the methodology. The literature review will also be included which describes the previous studies on the Functional Equivalence Theory and previous translation versions of ''Kong I-Chi''.&lt;br /&gt;
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'''Research Background and Significance'''&lt;br /&gt;
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As the most famous writer in modern China, Lu Xun has a decisive bearing on the modern history of Chinese literature. Lu Xun settled in a period of transformation in Chinese literature. His short stories are different from modern short stories in terms of text and expression. ''Kong I-Chi'' was written in 1918 when there was a turmoil in China. At that time, although the imperial examination system had been abolished, the education system had not changed, and many scholars had not shaken off the shackles of feudal tenets. &lt;br /&gt;
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''Kong I-Chi'' enjoys high reputation at home and abroad and has been translated into English, Japanese, French, Russian and other languages. Compared with other language versions, the English versions enjoy a wider spread and have deeper influence. In 1954, the couple Yang and Dai translated it into English and published Selected Stories of Lu Xun in which ''Kong I-Chi'' was included. Yang Xianyi and his wife Gladys Yang are great translator beyond all doubt. They are knowledgeable and familiar with Chinese and Western cultures also have devoted their life to translating excellent Chinese and Western literary works. Through their translation, we can better master the author's own novel intentions.&lt;br /&gt;
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'''Methodology'''&lt;br /&gt;
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In recent years, the translation of traditional Chinese literary works was attached great significance by both Chinese and foreign scholars. As an important part of ancient Chinese culture, though, it is a common genre in Chinese and foreign literature, the short novels cannot be neglected. For translators, how to deal with the modern and balance Chinese and Western cultural differences has become a salient problem. It is not only necessary to understand the characteristics of modern Chinese literature, but also to be very familiar with Chinese and Western cultures for the translator. Functional Equivalence Theory is put forward by American linguists Eugene Nida. According to him, two different languages represent two different cultures which will never be the same, but translation is a kind of communication between the two cultures and translators should try their best to achieve functional equivalence between the two languages rather than seek for rigid correspondence when making translation, which can accurately reproduce the source culture in the target language and eliminate cultural differences. It puts forward a new attitude to treat different languages and cultures, promoting language communication and mutual understandings among people. Thus, taking Nida’s theory as guidance, this research is meaningful not only for translation studies, but also for cultural exchanges.&lt;br /&gt;
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'''Literature Review'''&lt;br /&gt;
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As one of Nida’s major contribution to contemporary translation studies, Functional Equivalence Theory has brought about heated discussion among scholars at home and abroad since its birth. Many momentous works of Nida also have been translated and introduced into China, such as Nida on Translation edited and translated by Tan Zaixi (1999) and Language and Translation translated by Cai Yi (1985) which of them aroused great repercussions in Chinese translation field. As the prototypical member of Functional Equivalence Theory, receptor’s response theory draws scholars’ attention. Zhang Xiujuan (2015) points out that “receptor’s response theory breaks the tradition of Chinese translation that translators pay much attention to the text but may ignore the response of readers, and provides a new perspective for Chinese scholars to make studies on translation theories”.&lt;br /&gt;
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Kong I-Chi, as the most typical character in Lu Xun's novels in the teaching textbooks of Chinese junior high school students, has left an indelible impression in the hearts of Chinese people. The most recognized translators of ''Kong I-Chi'' include Yang and Dai, Lyle William and Edgar Snow. The translation of Lu Xun's novels during the period of Yang and Dai reach its heyday. For a long time, domestic and foreign publishing houses have published works translated by the couple. Since Edgar Snow lived in the same age as Lu Xun, his translation is closer to Lu Xun's life background. It wasn't until 1990 that the American scholar William Lyell's new American translation was published, and the new stage of the English translation of Lu Xun's novels began. The British English version translated by Yang and Dai is elegant and idiomatic, giving readers the good impression of pure British English.&lt;br /&gt;
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=== Theoretical Framework: Nida’s Functional Equivalence Theory ===&lt;br /&gt;
==== Introduction of Functional Equivalence Theory ==== &lt;br /&gt;
===== The Original of Functional Equivalence Theory  =====&lt;br /&gt;
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Nida's main academic activities unfold around the translation of the Bible. In the process of &amp;quot;Bible&amp;quot; translation, Nida started from reality and developed a set of his own translation theory, which eventually became one of the classics in translation studies. In 1964, Nida (1964) put forward “dynamic equivalence” in ''Toward a Science of Translating'', and gave it specific definition in ''The Theory and Practice of Translation'' (1969). In the mid-1980s, “dynamic equivalence” was replaced by “functional equivalence” to avoid misunderstandings on the term “dynamic”, which was the origin of Functional Equivalence Theory.&lt;br /&gt;
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=====The Development of Functional Equivalence Theory  =====&lt;br /&gt;
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The most important and the most intractable part in Functional Equivalence Theory is the disposal of message. The theory requires that the message in receptor’s language must be consistent with the source language. In such a translation, translators should strive to “reproduce as literally and meaningfully as possible the form and content of the original” (Nida 1964:159). Later he successfully applied the research results of modern linguistics to translation theory which also reciprocally pushed his theory forward. There are three stages in the development of Functional Equivalence Theory.&lt;br /&gt;
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The first stage is that starting from the essence of language; he used semantic theory to make an objective and accurate analysis of the referent and associative meaning of words. In Nida's point of view, various language structures have great similarities, and the deep structure is far more common than the surface structure. Therefore, the translation of the deep structure between languages can ensure the fidelity of the translation to the greatest extent. At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensue smoothness of the translation as much as possible. The faithful and fluent translation presupposes conditions for the equivalence of receptor’s response, which makes it possible to realize functional equivalence.&lt;br /&gt;
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The second stage is that the theory was prone to lay its foundation on information theory. Nida held the view that translation is the activity of converting information expressed in one language into information in another language, which is, converting information of one code into information of another code. The translation plays a communicative role in transmitting information. Only when the target reader obtains the same amount of information as the original reader can the relationship between the target language recipient and the target language information be basically the same as the relationship between the original language recipient and the original source information. Nida noticed that there is a receptive gap between the original reader and target reader especially when the original language and the target language belong to different language families and different cultures. Thus, in order to improve the amount of the receptor’s information as much as the original reader’s, Nida emphasizes the translator can moderately change the form of the original text to provide a better understanding for receptors.&lt;br /&gt;
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On third stage, Nida tended to embellish his theory from the perspective of social semiotics. Nida insisted that the translation means translation meaning, and semiotics is the most comprehensive system for analyzing meaning. In the book &amp;quot;''Language, Culture, and Translation''&amp;quot;, Nida pointed out that social semiotics studies all codes and codes of human society, and its focus is on the most comprehensive and complex symbol system used by mankind-Language. Therefore, in terms of decoding and encoding, no translation method is as comprehensive as the social semiotic translation method.&lt;br /&gt;
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Nida also recognized that there would never be complete equivalence and it was just a quaesitum. With further development of Functional Equivalence Theory, he thought that it has different degrees of adequacy and on that basis he put forward two levels of functional equivalence — the maximal level and the minimal level of equivalence. The former refers to “the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did” (Nida 1993:118), but this is just an ideal state which cannot be achieved especially when there are huge cultural and aesthetic differences between the two languages. While the latter means “the readers of a translated text should be able to comprehend it to point that they can conceive of how the original readers of the text must have understood and appreciated it” (Nida 1993: 118), and translation below this level can never be accepted. According to Nida, if a translation is between these two levels, it can be regarded as a good one.&lt;br /&gt;
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==== Basics of Functional Equivalence Theory  ==== &lt;br /&gt;
=====Receptor’s Response  =====&lt;br /&gt;
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In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s responce. When translators are working on translation, they are increasingly unable to ignore the reader's feedback on the translation. From the perspective of reception aesthetics, translation theorist Nida said that only when the reader accepts the translation can the translation be truly completed. Therefore, when translating, the translator cannot ignore the acceptability of the translation. The translator builds a bridge between the original author and the reader of the target language through translation, and it is the translation that can clearly reflect this bridge role.&lt;br /&gt;
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Receptor’s Response Theory draws attention to the reader and the reading process, rather than the author or the text. Pat Mora and James Welch define it as: &amp;quot;The theory emphasizes the importance of the reader's role in text understanding.&amp;quot; The same description also appears in many of Nida’s works in which the importance of “receptor’s response” is emphasized repeatedly. &lt;br /&gt;
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There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which was pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information need to be filled in by the reader himself. Such uncertainty occupies another very important position in this theory. This concept includes those vague factors, such as gaps and blanks. This kind of uncertainty encourages readers to add their own ideas when reading, so there is usually more than one understanding of a literal work. The third point is implicit reader also proposed by Isel, as opposed to the actual reader, which refers to the intended reader set by the writer himself who can concretize the text. Isel points out that the implicit reader is not the actual reader, but a reader that the author expects to design in the creative process, that is, the implicit recipient. It is a certain character that the artist conceives and pre-sets based on his experience or hobbies. The forth part is the identity theme. In other words, the work itself has no fixed objective meaning; only when the reader reshapes the work out of his own identity theme and the reader replicates his own fantasies during the reading process, the work can be given meaning. The last point is the interpretative group which was put forward by Stanley Fish. It refers to people who share the same interpretation strategy as we have. In a known context or reader group, the interpretation of the work meaning is the product from the group.&lt;br /&gt;
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===== Principles for Producing Functional Equivalence  =====&lt;br /&gt;
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To achieve the closest natural equivalence between the source language and target language, Nida put forward six principles as the guidance of different kinds and degrees of adjustments:&lt;br /&gt;
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1.	When the translation that strictly keeps the form of the source text makes receptors misunderstand the designative meaning, changes need to be made in the translated text, or a footnote should be added for further explanation if literal translation is still be selected.&lt;br /&gt;
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2.	When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aim to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.&lt;br /&gt;
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3.	When the translation that strictly keeps the form of the source text is so semantically and syntactically difficult that average readers may give up the attempt to understand it, changes should be made in the translated text and the nature of the changes needs to be indicated in the introduction or footnote.&lt;br /&gt;
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4.	When the translation that strictly keeps the form of the source text causes significant misconceptions on the associative meanings of the source text or huge loss in the appreciation for the stylistic values of the source text, changes should be made to reflect the associative meanings of the source text.&lt;br /&gt;
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5.	The way that a translation is to be used (such as a drama to be read or acted on the stage) is of great significance to the extent to which changes are to be made.&lt;br /&gt;
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6.	A source text that must be translated together with accompanying codes (such as songs and operas) generally requires numerous adjustments in all aspects, including phonology, lexicon, syntax, and discourse. (Nida 1993: 125-128).&lt;br /&gt;
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=== Introduction to Lu Xun and ''Kong I-Ch''i  === &lt;br /&gt;
==== Lu Xun and the values of ''Kong I-Chi'' ====&lt;br /&gt;
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To read and translate Kong I-Chi, you must first understand its author-Lu Xun.&lt;br /&gt;
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Lu Xun is a great writer. Mentioning classical literary works, no matter what innovative methods are adopted, whether realistic, romantic, or magical, the content should be close to life, reflect the reality of times and speak for the people. In terms of form, literary works should conform to the inherent rules of literary creation-forming a unique artistic style and achieving the perfect unity of truth, goodness, and beauty. Lu Xun's works fully meet the above requirements. &lt;br /&gt;
Lu Xun is also a famous thinker. Indeed, Lu Xun did not specifically study thinking or modes of thinking, nor did he have advanced theoretical monographs, but he, like thinkers in ancient and modern times, both at home and abroad, used suspicion and criticism as spiritual swords to explore truth and reveal. He held the view that it was his duty to awaken the sleeping souls of the Chinese people with literary works of various genres. The depth and breadth of his thinking is even higher than that of some contemporary thinkers. This is well reflected in his work Kong I-Chi.&lt;br /&gt;
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Lu Xun, who is a revolutionary, has a precious characteristic, that is, the purity of his revolutionary original intention. Lu Xun leaned towards socialism under the white horror of the low ebb of the Chinese revolution. What's more commendable is that as a sober realist, Lu Xun never conceives any romantic illusions about the revolution. No matter what difficulties the revolution encounters, Lu Xun always has an optimistic belief in the prospects of the revolution.&lt;br /&gt;
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From a general perspective, Lunatic's Diary is more macro and image specific than Kong I-Chi, while Kong I-Chi starts from the micro level, depicting the poor people at the bottom of society who was bullied and oppressed and lost their dignity as human beings. In addition, there are many opinions in the critics. For example, Mr. Lu Xun's Kong I-Chi was written to criticize the feudal imperial examination system, and some people think that it was sent out to criticize the “dark” old society. The famous critic Lin Zhihao believes that this novel is not only to assail at the corruption of the feudal imperial examination system, but also to reveal the persecution of people’s spiritual and ideology by the feudal education system in the dark old society. The social reality was that most scholars had been ruthlessly “eaten” up by the environment. When the shackles of thinking have been broken, we can dig into the deep meaning under the surface of Kong I-Chi, that is, the process of literati's loss of personality and the process of redemption under the background of the dark society of feudalism. Although the tragedy is redemptive, the process is also accompanied by a fall.&lt;br /&gt;
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==== Study on the Translation of ''Kong I-Chi''  ====&lt;br /&gt;
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''Kong I-Chi'' is a masterpiece of Lu Xun. The novel was created in the winter of 1918, published in the sixth volume of &amp;quot;''Italic text''New Youth&amp;quot; in April 1919. (刘家鸣1992: 15). ''Kong I-Chi'' is Lu Xun's most satisfying work (孙伏园等2000: 58), and it is also one of Lu Xun's novels that English translators are vying to translate resulting in an amount of English translation. &lt;br /&gt;
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So far, there are eight translations of ''Kong I-Chi'': 1)A British man E.H.F.Mills translated ''Con Y Ki'' from Jing Yinyu's French translation (Mills 1930: 42-50), included in ''The Tragedy of Ah Q and Other Contemporary Chinese Short Stories'' published by George Rutridge Bookstore in London in 1930; 2) The English translation of ''K’ung I-chi'' by the American Jin Shouzhuo (G.A.Kennedy 1932: 14-15), which was later included in ''Isaacs'' (Isaacs 1974: 25-32) edited by Yi Luosheng; 3) ''K’ung I-chi'' translated by Lin Jijin (Lin 1935:3-4); 4) Unsigned version of The Tragedy of ''K'ung I-Chi'' (Anonymous 1936: 2-3); 5) ''K’ung I-chi'' was co-translated by American journalists Edgar Snow and Yao Xinnong; 6) later comes to Yang Xianyi and Gladys's translation ''K'ung I-chi'' (hereinafter referred to as &amp;quot;Yang Translation&amp;quot;) (Yang &amp;amp; Gladys 1960: 40-46); 7)Then, famous American sinologist William Lyell translated ''Kong Yiji'' (Lyell 1990: 42-48); 8) other translation of ''Kong Yiji'' was produced by British sinologist Lan Shiling ( Lovell 2009: 32-36).&lt;br /&gt;
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This article focuses on Yang's translation, trying to explore Yang and Dai's translation strategies, styles and methods of ''Kong I-Chi'' from the lexical, syntactic and semantic levels, and aims to explain the functional equivalence in the English translation of Lu Xun's short stories.&lt;br /&gt;
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=== Analysis of the Translation of ''Kong I-Chi'' from the Perspective of Functional Equivalence  === &lt;br /&gt;
==== Lexical Analysis ====&lt;br /&gt;
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There are many cultural-loaded words in the original Kong I-Chi text, such as this. Culture-loaded words are deeply imprinted by the region and era of a certain language society which express things and concepts peculiar to a certain culture. Such words as “进学” and “秀才” not only carry rich cultural connotations, but also exist only in a certain culture which may be blank in another culture. It is this characteristic which is “I have and you do not have” that often becomes an obstacle to cross-cultural communication and translation. From the perspective of Functional Equivalence, this thesis will analyze how these words are handled in Yang's translation.&lt;br /&gt;
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In the sentence “幸亏荐头的情面大，辞退不得”, the word “荐头” was translated into “someone influential” by Yang and Dai. “荐头” is the person who introduces works to other people in ancient China. Such person is absolutely influential. But for reader, such influential people may be a nobleman or someone who is very authoritative in the area which may result in discrimination. The job introducers also can be regarded as common people instead of the influential. From the perspective of Functional Equivalence, Yang’s translation explicitly showed the deep meaning with loss of cultural characteristic.&lt;br /&gt;
The phrase “之乎者也” was translated into “archaisms” which stands for the use of an archaic expression. In Chinese, the original meaning of “之乎者也” is four auxiliary words commonly used in classical Chinese. Therefore, the word &amp;quot;之乎&amp;quot; also refers to the basic abilities that a scholar should possess. Later, it is used to ridicule the scholar who only knows how to analyze words while cannot solve practical problems. Functional equivalence theory requires efforts to create translations that not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. The word “archaisms” corresponds exactly to the description of Kong I-Chi in Lu Xun’s story who is a nerd.&lt;br /&gt;
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Other prototypical cultural-loaded word is “进学”. Yang translated it into “pass the official examination”. As a link in the imperial examination system in ancient China, “进学” means that the children of the Qing dynasties who can pass the examination will be admitted to the prefectural and county schools. Such system is unique to China. To achieve functional equivalence, that is, to allow non-native readers to understand this special cultural mark, the translator must explain this cultural phenomenon as much as possible or find a corresponding expression in the foreign language culture. The same in the word “秀才” on this sentence “你怎的连半个秀才也捞不到呢?” “秀才” also belong to the imperial system. “秀才” is a subject for selecting officials in ancient China, and it was once used as a special name for school students. Yang translated it into “passed the lowest official examination”. As the minimum requirement of the ancient imperial examination system, those who passed the selection examination were called  “秀才”. According to Nida’s theory, it perfectly expresses the ancient Chinese imperial examination system, and at the same time allows foreign language readers to understand Kong I-Chi’s knowledge background.&lt;br /&gt;
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==== Syntax Analysis ====&lt;br /&gt;
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In terms of syntax, the differences in sentence patterns between English and Chinese are the most salient. English emphasizes hypothesis while Chinese emphasizes parataxis, which leads to the conversion of sentence patterns in the process of translation. According to Nida's Functional Equivalence Theory, if the change in form is still insufficient to express the meaning and culture of the original text, the translation technique of &amp;quot;reconstruction&amp;quot; can be used to resolve cultural differences and make the source language and the target language equal in meaning. &amp;quot;Reconstruction&amp;quot; refers to the conversion of the deep structure of the source language into the surface structure of the target language (郭建中,2000 , P67), that is, the cultural connotation of the source language article is explained by the vocabulary of the target language.&lt;br /&gt;
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In ''Kong I-Chi'', when Kong I-Chi took our his money and ordered some food, other people started to sneer at his revenue sources and said “你一定又偷了人家东西了!” The exclamatory sentence in the original text showed others' affirmation of Kong I-Chi's theft. Yang translated it into “You must have been stealing again!” Here we can notice the tense of the two sentences. Lu Xun used the past tense in original text, which expresses that Kong I-Chi's stealing is an established fact. However, Yang used the present perfect continuous tense when translating. In English, the present perfect continuous tense manifests that something the subject has done in the past is still being done, and may continue in the future, expressing the continuation of an action. There is no need to add any other additional descriptions, just from this tense, readers can realize everyone's thoughts on Kong I-Chi's theft. Such reconstruction of tense verifies the application of Functional Equivalence Theory in turn.&lt;br /&gt;
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Afterwards, these people who deprecated him refuted Kong I-Chi's maintenance of himself, saying: “什么清白?” In Yang's translation, it is translated as “Pooh, good name indeed!” In the original text, it is originally an interrogative sentence, but Yang transformed it into an exclamation sentence, added English slang “pooh” in it and translated “清白” into good name. If the interrogative sentence in the original text is literally translated into &amp;quot;what’s the innocence&amp;quot;, the comic effect, that is, everyone's disdain for Kong I-Chi in the exclamatory sentence will not be achieved. The sentiment contained in the original text is successfully conveyed through the conversion of sentence patterns.&lt;br /&gt;
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When describing Kong I-Chi’s knowledge background, the original text mentioned: “幸而写得一笔好字，便替人家钞钞书”. In Yang’s translation, he didn’t directly translate it into a verb phrase instead of into a noun phrase which was “Happily, he was a good calligrapher.” Knowing the characteristics of English and Chinese languages, he metonymically recreated dynamic Chinese verb clauses into static noun clauses.&lt;br /&gt;
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==== Semantic Analysis ====&lt;br /&gt;
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How to eliminate cultural differences as much as possible so that the semantics of the original language can be perfectly embodied? From the perspective of Functional Equivalence Theory, the translator needs to transform the deep structure of the source language into the surface structure of the target language which requires translator to use the corresponding vocabulary in the target language to directly explain the connotation of the original text, so that the target readers can accept the translation more easily. For example, in the original text, the sentence “因为他姓孔，别人便从描红纸上的 ‘上大人孔乙己’这半懂不懂的话里，替他取下一个绰号，叫作孔乙己” includes an allusion: 上大人孔乙己 which refers to a character in the card game popular in ancient China. In such card game, the characters always are drawn in a red paper. For children in ancient China, the card game was easy to play and was a childhood memory.&lt;br /&gt;
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In Yang’s translation, he translated it into “As his surname was Kung, he was nicknamed ‘Kung I-chi’, the first three characters in a children's copybook.” Such translation omits a lot of information from the original text, such as “描红纸上” and “半懂不懂”. But Yang gave a substitute for the omission: he explained the game allusion about children which can be regarded as a strategy that helps foreign readers better understand how Kong I-Chi comes. &lt;br /&gt;
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Another illustration is the translation of this sentence: “孔乙己，你当真认识字么？” It seems fairly easy for common people to translate it with “Kong I-Chi, do you really know words?” , while Yang gave a different version: “Kung I-chi, do you really know how to read?” In our cognitive concepts, if a man knows how to read a word, then he must know this word. But if he knows the word, he may not only know how to read it, but even know how to write it. Such special mechanism is called conceptual metonymy. Yang metonymically narrowed the scope of the meaning of the word “认识”and accurately positioned the meaning of this understanding according to the context. The translator abandons the equivalence of form and achieves the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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This article selects Yang’s translation of &amp;quot;''Kong I-Chi''&amp;quot; as the study case, and analyzes the translation effect from three aspects: lexicon, syntax and semantics, combined with Nida’s Functional Equivalence Theory. It is believed that the translator flexibly uses a variety of translation methods to deal with the differences between English and Chinese languages, and the translation has realized functional equivalence as a whole.&lt;br /&gt;
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At the lexical level, the translator adopts the naturalization method when translating the proper nouns of &amp;quot; ''Kong I-Chi'' &amp;quot;, adding notes to individual words. The translation perfectly conveys the meaning of the original vocabulary. &lt;br /&gt;
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At the syntactic level, when there are differences in the expression of English and Chinese sentences, the translator will split the sentence, adjust the subject and object of the sentence, change the sentence structure and the sentence order to make the translation conform to the expression of the target language where the translation is smooth and natural. When translating the allusions of &amp;quot; ''Kong I-Chi'' &amp;quot;, the translator adopts literal translation and annotations. &lt;br /&gt;
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In terms of semantics, the translator uses the mechanism of conceptual metaphors to accurately show the original flavor.&lt;br /&gt;
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This article believes that the success of Yang’s English translation of &amp;quot;''Kong I-Chi''&amp;quot; lies in its fluent, natural language and exotic flavor. The author and translator of &amp;quot; ''Kong I-Chi'' &amp;quot; are both famous artists. The translation case from the English translation of &amp;quot;''Kong I-Chi''&amp;quot; reflects the practical application of the Functional Equivalence Theory in Lu Xun's novels. The writer also hopes that this thesis can provide ideas and inspirations for the English translation of other Lu Xun's novels.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Nida E.A. ''Language and Culture: Contexts in translating''. Shanghai: Shanghai Foreign Language Education Press.2001. &lt;br /&gt;
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[2]Nida, Eugene A.1964. Towardsa ''Science of Translating'', Leiden: E.J.Brill. &lt;br /&gt;
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[3]Nida, Eugene A.&amp;amp;Charles R.Taber, 1969, ''The Theory and Practice of Translation'', Leiden: E.J.Brill&lt;br /&gt;
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[4]鲁迅Lu Xun.鲁迅全集(第一卷)Selected Work of Lu Xun(volume Ⅰ）[M].北京Beijing:人民文学出版社People's Literature Publishing House ,1982.&lt;br /&gt;
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[5]谭载喜Tan Zaixi．新编奈达论翻译New Nida's Translation[M]．北京Beijing：中国对外翻译出版公司China Translation &amp;amp; Publishing Corporation，1999.&lt;br /&gt;
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[6]杨坚定Yang Jianding，孙鸿仁Sun Hongren．鲁迅小说英译版本综述A Summary of the English Versions of Lu Xun's Novels[J]．鲁迅研究月刊Lu Xun Research Monthly，2021(4)．&lt;br /&gt;
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[7]伊塞尔Iser.本文中的读者 Readers in this article[A]．二十世纪西方美学名著选（下）Selected Works of Western Aesthetics in the Twentieth Century (Part 2)[C]．上海Shanghai：复旦大学出版社Fudan University press,1998.&lt;br /&gt;
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[8]杨宪益.Yang Xianyi,戴乃迭 Dai Naidie译.鲁迅选集英文版(一) Selected Works of Lu Xun (1)[M].北京:外文出版社 Beijing: Foreign Languages Press,1980.&lt;br /&gt;
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[9]https://baike.baidu.com/item/%E5%8A%9F%E8%83%BD%E5%AF%B9%E7%AD%89%E7%90%86%E8%AE%BA/3373397?fr=aladdin&lt;br /&gt;
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[10]https://www.zhihu.com/question/29965932&lt;br /&gt;
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=颜子涵 Translation methods and strategies applicable to the style of biographical literature -- Taking Incidents in Life of Slave Girl (excerpt) as an example=&lt;br /&gt;
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[[Trans_Type_EN_8]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
The translated text of this article is a part of the English biography Incidents in Life of Slave Gir. The author of this work is Harriet Jacobs. This translation mainly takes the translation functional equivalence theory of American linguist Eugene A.Nida as the theoretical framework, adopts some translation skills in translation practice, and discusses the translation skills and Strategies of Chinese translation of such texts by analyzing the stylistic characteristics of biographical literature, especially African American autobiography. Through the Chinese translation of this autobiography, we can have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Autobiographical Literature; Black female slaves; Translation methods and Strategies&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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This paper is divided into four parts. The first part is an overview of the translation project, which mainly introduces the relevant situation of the translation project, the author and works of the translated text; The second part is the preliminary preparation of translation, including project text analysis and translation plan formulation; The third part, translation theory and case analysis, including functional equivalence theory, translation strategies and case analysis; The fourth part is the summary of the project, mainly on the problems encountered in translation, the experience and inspiration gained in the process of translation.&lt;br /&gt;
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This work belongs to the category of biographical literature. Biographical literature is a literary genre in which the author reproduces the characters' life stories and experiences, shows the characters' spiritual outlook and values, and depicts the characters' distinct love and hate and vivid personality through documentary writing and a variety of literary and artistic techniques. There are more than 50 characters involved in the biography. In the author's works, these characters are very vivid, such as the forbearance of a strong grandmother to the slave owner, the loyalty of a hard-working aunt to the slave owner, the oppression of female slaves by a crafty and sinister doctor, and the wit of Linda Brent, the heroine who pursues freedom and courage. In particular, the author's description of the heroine's seven years spent in a &amp;quot;cage&amp;quot; like cabin before she fled to the North more ruthlessly castigates the evil of slavery. The heroine's experience deeply moved her relatives and friends, including white slave owners. With the help of her relatives and friends, the heroine was able to escape to the north.&lt;br /&gt;
Taking the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework, this paper adopts the following translation skills in the process of translation: 1. The translation methods of foreignization and domestication are used to achieve partial functional equivalence between the source language and the target language, so as to reduce the lack of culture after translation. 2. According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to make the translation conform to the expression habits of the target language. 3. The methods of addition and subtraction are adopted to make the translation consistent with the original in grammar and language form, as well as in cultural background and word association. 4. The Conversion Transformation is adopted to make the translation more acceptable to the target language readers. By analyzing the stylistic characteristics of biographical literature, especially African American autobiography, the author discusses the translation skills and Strategies of Chinese translation of such texts.&lt;br /&gt;
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=== Text background===&lt;br /&gt;
From the beginning of the British northern colony to the early 20th century, blacks were brutally exploited and oppressed by the slavery system. In particular, female slaves not only had to bear heavy labor, but also suffered the destruction and abuse of supervisors. Since the publication of the first Autobiography of black slaves in 1760, some advanced elements in black slaves denounced and denounced the evils of slavery with their own experience, and made outstanding contributions to the abolition movement. The author of this work is Harriet Jacobs, whose pseudonym is Linda Brent. Born in a slave family, she fought tirelessly because she could not bear the persecution of slave owners on her and her children. After fleeing to the north, the author wrote a biography of his personal experience of being enslaved, exploited, persecuted, fleeing to the north and realizing freedom, which was published in 1861. Through the Chinese translation of this autobiography, more people have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves.&lt;br /&gt;
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===Research Purpose and Significance===&lt;br /&gt;
This autobiography of black women starts from the experience of childhood from the perspectives of black slaves and women. In the process of growing up, the author experienced different masters of good and evil. When she was a child, her hostess let the author learn to read and write. Later, she died of illness. Then the new owner, Dr. flint and his wife tortured and framed her. Later, for the freedom of her children, the author resolutely decided to flee to the north and enjoy the right to freedom with her children. In the process of pursuing freedom, he went through escape, pursuit, hiding until he went north by boat. The author selects simple but typical examples in daily life, through the description of characters' psychology and language, the contradictory struggle between the interests of opposite classes, the criminal complaint of slave trafficking, and the process of slaves fleeing to the north, reveals the slave owner's naked exploitation and fraud of slaves, and reveals the slave's sincerity, courage and longing for freedom. The simple language and narrative techniques of the work fully shape the tenacity, courage, intelligence and clear love and hate of the female slave Linda Brent, and show the readers the misfortune and suffering of many slaves.&lt;br /&gt;
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=== Translation theory and case analysis===&lt;br /&gt;
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3.1 functional equivalence theory&lt;br /&gt;
This translation practice report takes the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework. Eugene Nida is an American linguist and a famous translation theorist. From the perspective of etymology, according to the essence of translation, he put forward the famous dynamic equivalence translation theory, namely &amp;quot;functional equivalence&amp;quot;. In this theory, he pointed out that &amp;quot;translation is to reproduce the information of the source language from semantics to style in the most appropriate, natural and equivalent language&amp;quot;. He believes that translation is not only the equivalence of lexical meaning, but also the equivalence of semantic style and style. The information conveyed by translation includes both surface lexical information and deep cultural information. Equivalence in dynamic equivalence includes lexical equivalence, syntactic equivalence, textual equivalence and stylistic equivalence. Nida pointed out that the translation should be functionally equivalent to the original text. Judging whether the translation is equivalent to the original text should be based on the psychological response of the readers, that is, the translator should not only stay in the equivalence of structure and semantics, but strive to make the target readers produce the functions and effects that the original author wants to achieve through his works, so as to make the target readers after reading the translation, Get the same feelings as the original readers, and make translation really become a converter of thoughts, feelings and cultural information. Therefore, in literary translation, according to Nida's theory, the translator should take the four aspects of dynamic equivalence as the translation principle to accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
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The core of Nida's functional equivalence theory is &amp;quot;content is greater than form&amp;quot;, which emphasizes that when there is a conflict between content and form, content must precede form (Nida, 2004:203). Due to the differences between Chinese and Western ways of thinking and logical habits, in order to make the translation conform to the habits of readers in the target country and make it easier for readers in the target country to accept, the author has adopted different translation methods and strategies. According to the specific content of Nida theory, this paper intends to analyze its application in English-Chinese translation practice from four aspects. 1、 According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to achieve lexical semantic equivalence between the source language and the target language; second, addition and subtraction and part of speech conversion are used to make the translation conform to the expression habits of target slogans in grammar and language form and consistent with the original text in terms of cultural background and word association; third, forward and reverse translation is used to reproduce the original text Fourth, for the long and difficult sentences of the original text, the translation methods such as reorganization, sentence splitting and merging are adopted to make the language expression forms of the translation more rich and diverse, and more easily accepted by the target language readers.&lt;br /&gt;
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3.2 translation skills and case analysis&lt;br /&gt;
When translating vocabulary, the author mostly adopts the literal translation method to convey the information of the original text more accurately. If the meaning of the translation is not accurate enough or does not conform to the Chinese expression habits after the literal translation, the author adopts the free translation method, while for the long and difficult sentences with complex structure, the translational translation method and split method are adopted to make them conform to the Chinese expression habits and more acceptable to the readers.&lt;br /&gt;
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=== Translation skills, methods and case studies===&lt;br /&gt;
Case 1: literal translation and free translation to achieve semantic equivalence in vocabularyIn the process of translation, it is the basic quality of every translator to correctly express the source language in the target language. In order to achieve this goal, the translator must start with the smallest unit of the source language—vocabulary. In project translation, the author follows the functional translation theory and pursues semantic equivalence. First, we must ensure the equivalence of lexical meaning. The author mainly discusses the semantic equivalence of words from two aspects: literal translation and free translation.&lt;br /&gt;
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1. Literal translation  &lt;br /&gt;
Literal translation emphasizes the consistency between the original text and the translation in form and content, which helps to maintain the style of the original text. Literal translation is not a dead translation, a hard translation, or a literal translation. Literal translation emphasizes retaining its form and reaching its meaning.&lt;br /&gt;
The example 1:&lt;br /&gt;
“Nothing could please her better than to see me humbled and trampled upon” is literally translated as ”没有什么比看到我恭顺谦卑、任人践踏更让她快活啦。”&lt;br /&gt;
Analysis: in this sentence, humbled and trampled upon is used to express the due psychology and living state of slaves in the eyes of slave owners. Here, it can be translated into obedience, humility and trampling, which can reflect the coldness of slave owners and the misery of slaves.&lt;br /&gt;
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2. Free translation&lt;br /&gt;
Paraphrase emphasizes divine similarity. When the original text is quite different from the translation in terms of lexical meaning, syntactic structure and style, it can not be confined to the original text. Free translation should be adopted to explain the form of the original language in another language form, so as to correctly express the ideological thrust of the original text. Free translation should conform to the grammatical norms and expression habits of the target language, so as to make the translation more fluent and natural. Free translation is not arbitrary addition and deletion, nor random translation. Free translation emphasizes &amp;quot;preaching its spirit&amp;quot; rather than &amp;quot;retaining its shape&amp;quot;. The work belongs to biographical literature. There are great differences between the source language culture and the target language culture. The translator can not adhere to literal translation from beginning to end, but should carry out free translation according to needs, so as to achieve better translation effect.&lt;br /&gt;
The example 2:&lt;br /&gt;
I resolved to give him no cause to accuse me of being too much of a lady, so far as work was concerned.&lt;br /&gt;
literal translation: 就工作而言，我决心让他找不到口实指责我过分淑女。&lt;br /&gt;
free translation: 就工作而言，我决心让他找不到口实指责我养尊处优。&lt;br /&gt;
Analysis: a lady originally means 女士或优雅的女子. Too much of a lady is often understood as 十分优雅. Because the author could read and write and looked dignified, he had not done heavy work like other slaves before, &amp;quot;I&amp;quot; guessed that the young master was disgusted with it. Here, too much of a lady is translated by free translation, which reflects the inner contempt of the young master for &amp;quot;me&amp;quot;.&lt;br /&gt;
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Case 2: addition, subtraction and part of speech conversion make the translation achieve sentence meaning equivalence, which is in line with the expression habit of the target language.&lt;br /&gt;
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3. Additional translation&lt;br /&gt;
The example 4:&lt;br /&gt;
One day, she sat under the window where I was at work, crying that weary cry which makes a mother's heart bleed. &lt;br /&gt;
&lt;br /&gt;
一天，她就坐在我干活的那个房间的窗户外哭，哭得声嘶力竭让任何一个做母亲的心里流血。&lt;br /&gt;
Analysis: A mother literally means &amp;quot;一个母亲&amp;quot;, but the following clause is translated into &amp;quot;哭得声嘶力竭让一个母亲的心里流血&amp;quot;. The emotion of the translation is weak. In this article, &amp;quot;I&amp;quot; as a slave must work and can't take into account children and family affection, because in the slave owner's view, slaves are low animals and don't deserve feelings. Although I heard my daughter crying, I couldn't get over it. Any mother would be distressed to hear her daughter's cry. In order to make up for the lack of emotion in literal translation, the method of additional translation should be adopted here, which is translated as &amp;quot;任何一个母亲&amp;quot;&lt;br /&gt;
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4. Omission &lt;br /&gt;
The example 5:&lt;br /&gt;
The doctor stamped his foot at him in a rage, and exclaimed, &amp;quot;Get out of the way, you little damned rascal! If you don't, I'll cut off your head.&amp;quot;&lt;br /&gt;
translated text：医生愤怒地跺了他一脚，厉声说道：“滚开!他妈的小坏蛋，如果不听话，我把你的头砍下来!”&lt;br /&gt;
&lt;br /&gt;
Analysis: Dr. flint twice went to the north to pursue the fugitive slave &amp;quot;I&amp;quot; without success. He spent a lot of money and was full of anger. At this time, my son asked him if he had brought his mother back. Dr. flint stamped his feet angrily, scolded and threatened the child. Through the vivid description of Dr. Flint's body movements and language, his angry image jumped onto the paper,In order to achieve the same effect and achieve the equivalence of language style, the author uses even verbs according to the original &amp;quot;stamped his foot at him in a rage, and exclaimed&amp;quot; and translates it into &amp;quot;stamp his foot angrily and say&amp;quot; you little damned rascal!!! &amp;quot;It is also a typical strong adult's words towards weak children. In order to be concise and powerful, the author omits &amp;quot;you&amp;quot; and translates it into &amp;quot;他妈的小坏蛋&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
The example 6:&lt;br /&gt;
But when winter came, the cold penetrated through the thin shingle roof, and I was dreadfully chilled.&lt;br /&gt;
translated text：上次遭遇蛇咬，现在我对蛇更惧怕了，踏上这个藏身的地方，我不由心惊胆颤。&lt;br /&gt;
&lt;br /&gt;
Analysis: My fear of snakes is literally translated as &amp;quot;我对蛇的恐惧&amp;quot;, and the subject of the following clause is &amp;quot;我&amp;quot;. In order to give the target readers a unified reading perspective, my fear of snakes had been increased is translated as: 我对蛇更惧怕了. By transforming the noun of fear into a verb, the translation is more concise and more in line with Chinese expression habits than literal translation.&lt;br /&gt;
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Case 3: The stylistic style of the original text is reproduced by positive and negative translation.&lt;br /&gt;
5.The Positive and Negative Translation&lt;br /&gt;
The example 7:Nobody respects a mother who forsakes her children; and if you leave them, you will never have a happy moment.&lt;br /&gt;
translated text 1：没有人尊重抛弃孩子的母亲，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
translated text 2：抛弃孩子的母亲会遭人唾弃，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
&lt;br /&gt;
Analysis: This sentence contains a negative indefinite pronoun—nobody. In translation text 1, the first half of the original text (Nobody respects a mother who forsakes her children) is translated into &amp;quot;没有人尊重抛弃孩子的母亲&amp;quot;. Although the meaning is translated, the expression is not authentic. Translation text 2 uses the positive and negative translation method to change negative into positive, and “Nobody respects” into &amp;quot;being despised&amp;quot; can better express the speaker's (my grandmother's) eagerness to oppose &amp;quot;I&amp;quot; to escape.&lt;br /&gt;
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Case 4:The translation methods of reorganization, sentence splitting and merging are adopted to make the translation conform to the expression habits of the target language&lt;br /&gt;
There are great differences between English and Chinese syntactic structures. English is a linear language. Its syntax takes the subject predicate structure as the central axis, while other components form branch lines in the form of branches and connect with the main axis through connectives. The logical relationship between sentences tends to be explicit,; Chinese is more parataxis, and the combination between the components in a sentence or between sentences mostly depends on the connection of semantics and uses fewer connectives. Chinese sentences are arranged under the command of theme, that is, the structure of &amp;quot;topic description&amp;quot; has various forms and free combination. The logical relationship between sentences is more implicit (Yang Lin, 2007: Preface). There are few logical relational words between clauses and between sentences. Therefore, the author adopts the reorganization method, combining syntax and disassembling syntax to realize the semantic equivalence of sentences, and studies the influence of sentence structure on the translation. The significance is to better guide the translation practice.&lt;br /&gt;
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5.Recasting&lt;br /&gt;
The example 7: This was the good old lady who paid fifty dollars for my grandmother, for the purpose of making her free, when she stood on the auction block.&lt;br /&gt;
translated text：这个老太太是个好人，当年外祖母站在拍卖台上，为了让外祖母获得自由她花五十美元买下了我的外祖母。&lt;br /&gt;
&lt;br /&gt;
Analysis: The original text contains two compound structures, one is an attributive clause, the other is a time adverbial clause. Because Chinese sentences are constructed according to the law of logical order, the word order is arranged according to the actual sequence and event order, which is divided into sequence in time, and pay attention to the causality in logic. The author adjusts the time adverbial clause to the front, first explain the time, then explain the reason, and finally the result. This reorganized translation plays an important role in shaping the relationship between sentences, which is in line with the characteristics of Chinese sentence structure.&lt;br /&gt;
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6.Sentence-combining&lt;br /&gt;
The example 8: There was joy and there was sadness in the sound. It made my tears flow.&lt;br /&gt;
translated text：无论是哭声还是笑声都会让我泪流满面。&lt;br /&gt;
&lt;br /&gt;
Analysis: The original text is two sentences. Considering the close causal relationship between the two sentences, the author adopts the translation method of combined sentence to translate it into one sentence, so that the target language readers can read it more naturally.&lt;br /&gt;
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&lt;br /&gt;
7.Dismantle the syntactic&lt;br /&gt;
The example 9: My hope was that the doctor would get discouraged, and, for fear of losing my value, and also of subsequently finding my children among the missing, he would consent to sell us; and I knew somebody would buy us.&lt;br /&gt;
translated text：损失一个女奴，再赔上我的两个孩子，这正是弗林特医生所担心的。他会泄气并同意卖掉我们，我知道有人会买下我们，而这正是我所希望的！  &lt;br /&gt;
&lt;br /&gt;
Analysis: When dealing with long English sentences, the method of splitting is generally used to divide the original sentence into several parts and combine them according to their internal logical relationship. The adverbial clause after the subject of “My hope” consists of three parallel sentences, the second of which has a more complex cause adverbial. The author first takes apart the subject clause, first translates the clause, and then presents the subject at the end, which is in line with the characteristics of Chinese presentation before topic.&lt;br /&gt;
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Case 5: Stylistic equivalence&lt;br /&gt;
The basic task of translation is to faithfully present the original text, so it is necessary for the translator to pursue the style of the original text. To achieve stylistic equivalence, the translator needs to analyze and identify the stylistic markers in the original. The original text contains national language characteristics, historical allusions and religious beliefs, so it has cultural differences. In translation, it should reflect the style of the original text and optimize it accordingly, so as to realize the re creation of style and adapt to the communication of the target language.&lt;br /&gt;
The original text has strong religious and cultural content, simple and pious faith, and shows their enthusiasm and passion for them. In translation, we should not only show the feeling of religious belief and culture, but also optimize the sentence style and deal with alienation appropriately, so that readers can feel the piety and understand the author's writing intention.&lt;br /&gt;
The key to shaping the problem role lies in its adaptability to the style of the original language. Only by adopting appropriate translation methods, deeply understanding the cultural background of the original text and skillfully changing the style of the original text, can the style meaning of the original text be reproduced in the target language and better reflect its charm and artistic conception.&lt;br /&gt;
In a word, a biographical text should be well expressed first to make it conform to the expression habits of the target language. First, we should deeply understand the creative intention of the original author and think of what we think from the perspective of the original author, so as to realize the central idea of the original text. The premise of translation is that the translator should have profound language and cultural skills and deeply understand the particularity of different background cultures, Have a good command of the target language, and then use it flexibly.&lt;br /&gt;
&lt;br /&gt;
The example 10: She hasn't so much feeling for her children as a cow has for its calf. If she had, she would have come back long ago, to get them out of jail, and save all this expense and trouble. &lt;br /&gt;
translated text：她对孩子的感情还不如母牛呢，母牛还知道护犊子。如果她有感情，她很久以前就会回来把他们救出去了，也就没有这些代价和麻烦了。&lt;br /&gt;
&lt;br /&gt;
Analysis: This sentence is a complaint made by Dr. Flint's wife—my mistress, about my escape. Considering that cows in Chinese culture also have the image of caring for their cubs, The author translates call “feeling for her children as a cow has for its calf” as：“母牛还知道护犊子”, This not only achieves cultural equivalence, but also sounds colloquial. On the other hand, it is in line with the speaker's identity as a mean slave owner.[He was &amp;quot;a chip of the old block.&amp;quot; If he found any slave out after nine o'clock, he could whip him as much as he liked; and that was a privilege to be coveted.如果他发现任何人九点后（宵禁时刻）跑出去，他就会抓住并鞭打此人，直到他满意为止。这是别人垂涎三尺的特权。]&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
&lt;br /&gt;
Through the development of this project, the author believes that the translation of biographical works needs to have a full understanding of the differences between Chinese and English languages and cultures, thinking habits and expression methods. Only after having an accurate understanding and grasp of the language characteristics and contents of the original text, can words and sentences be carefully selected and constantly modified and polished in the process of translation, Make it an excellent translation. The author summarizes the following points in the whole translation process:&lt;br /&gt;
The translation method of biographical text. Biographical text has both information function and expression function (Zhang Meifang, 2006). Therefore, in translation, the translator should not only correctly express the information of the original text, but also reflect the literariness of biographical literature. In view of the differences in thinking and logic between Chinese and English, different translation methods should be adopted in the translation process. For example, literal translation can be used in terms of vocabulary, so as to simply, clearly and accurately convey the meaning of the original text. If literal translation is not possible, free translation, addition or subtraction, positive and negative translation, such transformation and other methods should be adopted to strive to achieve literal semantic equivalence. In terms of sentences, according to the respective characteristics of Chinese and English sentence structures, translation skills such as reorganization, disassembly and combination of syntax are adopted in order to meet the reading habits of target language readers. Experience the language style of biographical literature. In this project, the author's narrative language is simple and simple, and do a good job in the analysis of the characteristics of biographical literature materials. For a translator, the types of material translation can be diverse, literary or scientific, so the translator must do a good job in the analysis of text materials when he gets a relatively unfamiliar translated text, Only after analyzing the materials thoroughly and finding out the characteristics can the preparatory work be done adequately. This project adopts biographical text, which is characterized by many names and place names and strong local cultural characteristics. Therefore, in order to improve the accuracy of translation, the author has made a lot of preparations before translation, including finding the author's relevant background information, relevant historical facts, as well as the folk customs at that time. With reference to the new English Chinese dictionary, the names of people and places in the text are translated uniformly. Due to sufficient preparation, these problems encountered in translation have been solved.&lt;br /&gt;
The author has two experiences in maintaining problem awareness in the translation process. &lt;br /&gt;
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First, if you encounter an uncertain word and sentence in the translation process, you should consult the relevant reference books in time or use the Internet. &lt;br /&gt;
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Second, when dealing with cultural problems, I often ask my classmates or experts in this field for advice, so as to solve the problems in time.&lt;br /&gt;
At the same time, there are some problems in the process: My translation experience is still shallow and the cultural knowledge reserve is insufficient. There are some disadvantages in this project.Because my Chinese level needs to be further improved, the translated language is still immature and not concise enough. Second, the lack of relevant knowledge leads to the fact that the unique things of foreign culture can only be translated directly and hard in translation, resulting in the stiff and rigid translation. Such as a box, covered with sheepskin, is called the gumbo box. A dozen beat on this, while other strike triangles and jawbones, to which bands of dancers keep time.&lt;br /&gt;
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Third, in translation, we should not only maintain the meaning of the original text, but also reflect the style of the original text. We can't have both fish and bear's paw—鱼和熊掌不可兼得。Therefore, I believe that only through a lot of translation practice and summing up experience can we improve our translation level.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Beardslee, Karen E. Through Slave Culture's Lens Comes the Abundant Source: Harriet A. Jacobs's Incidents in the Life of a Slave Girl.&amp;quot; MELUS 24 (1999): 37-58.&lt;br /&gt;
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[2]Jacobs Incidents in the life of a Slave Girl: Written by herself.&amp;quot; Languages &amp;amp;Literature 15(2001):314-336.&lt;br /&gt;
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[3]Incidents in Life of a Slave Girl chapters 16 to 30&lt;br /&gt;
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[4]李小春. (2016). 浅析英语翻译技巧及方法的应用. 读天下(20), 1.&lt;br /&gt;
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[5]李亚云.《一名女奴的人生际遇》之黑人女性身份建构[J].文学教育(上),2015(07):30-31.p&lt;br /&gt;
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[6]李亚云. 《一名女奴的人生际遇》之黑人母性分析[D].中央民族大学,2016.&lt;br /&gt;
&lt;br /&gt;
[7]付娟. 英汉翻译中拆句法和合并法的有机结合探析[J]. 好家长, 2016(38):1.&lt;br /&gt;
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=邝艳丽 On the Translation Strategies of English Version of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hong-Ming and Xu Yuanchong=&lt;br /&gt;
[[Trans_Type_EN_9]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
''Lun Yu'', one of Chinese classics, records behavior and thoughts of Confucius and his disciples. ''Lun Yu'', intensively reflecting Chinese Confucianism, plays a significant role in Chinese culture. Dating from 1809, there are about sixty translations of ''Lun Yu'' during the two hundred years. This paper will study the two English versions of ''Lun Yu'' by Ku Hung-ming and Xu Yuanchong from the the theory of Horizon Fusion proposed by Hans-Georg Gadamer, mainly the core conceptual words in ''Lun Yu''. Besides, the paper will explore the translation strategies adopted by the two translators from different visions such as the horizons of the original text, the translator and the target culture. The better translation of core conceptual words will come to a conclusion through the contrastive analysis.&lt;br /&gt;
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===Keywords===&lt;br /&gt;
Fusion of horizons; Ku Hong-Ming; ''Lun Yu''; Xu Yuanchong&lt;br /&gt;
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===Introduction===&lt;br /&gt;
&lt;br /&gt;
''Lun Yu'', as a carrier of Confucianism, has profound influence on the culture all over the world. Confucianism has largely influenced the development of European philosophy, which provide new theoretical basis for European Enlightenment in the eighteenth century (Li Zongzheng 2016: 112-116). In Voltaire’s opinion, the discovery of Chinese culture is important to the process of European society, just as what what has been discovered by Vasco da Dagama and Magellan to the nature (Bao Xiankuo 2001: 62-67). With the continuing development of China in the recent years, China exerts more and more significant influence on the world. In the meanwhile, more and more people would like to learn Chinese language and cultures. When it comes to Chinese culture, all the people, Chinese and foreigners, nearly think of Confucianism, which is generally regarded as the important components of Chinese traditional culture, as well as the mainstream of the spirit of national modern culture. Moreover, Confucianism is intensively embodied in the ancient work called ''Lun Yu'', which records the behaviors and thoughts of Confucius and his disciples mainly in the form of dialogues. ''Lun Yu'' involves so many aspects such as politics, education and so on. The wide and profound influence of Confucianism on the world attributes the success to the development of translations of ''Lun Yu'' by Chinese or foreign translators.&lt;br /&gt;
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''Lun Yu'' is a classic work. The reason why classics remains classics is that it can be translated and re-translated. The language itself of ''Lun Yu'' is difficult to be understood, and what are reflected by ''Lun Yu'' such as history, thoughts, culture and culture is also hard to be understood. Therefore, translators in different times produce different translations of ''Lun Yu'' due to different constrictions of subjective or objective factors. Derrida, holding the point of hermeneutics, considers that the understanding of works is open and that the understanding of text by the readers is always unfinished and uncertain for reading is the process of creation. ''Lun Yu'', acclaimed as one of the leading classics in the course of Chinese literature’s development, is always given new life by the scholars. Therefore, every translation version of classics deserves to be studiedin the different times. Moreover, the employment of fusion of horizons may not only be a reference for English translation of ancient Chinese classics, but also be beneficial foe the spread of traditional culture. &lt;br /&gt;
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This paper chooses two English translation versions of ''Lun Yu'', one by Ku Hung-ming, the other one by Xu Yuanchong. The paper mainly makes a contrastive study of different translation strategies adopted by the two translators from the perspective of fusion of horizons. In order to make an in-depth study, the thesis will focus on the analysis of the translation of core conceptual words of ''Lun Yu'', and aim to present a more appropriate translation to both fully express the content of Chinese culture and make western readers easier to understand.&lt;br /&gt;
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===Overview on the Theory of Fusion of Horizons===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====Fusion of Hrizons====&lt;br /&gt;
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Hans-Georg Gadamer is the greatest thinker in 20th century when his academic work ''Truth and Method'' was published. The publishment brought about widespread attention in the world and helped him reach the immortal status in the field of philosophy. Actually, the theory used in this paper is originated from ''Truth and Method''. “Horizon” was first proposed by Edmund Husserl, a great German philosopher. For the concept of “Horizon”, Husserl believed that “everything worldly giving is given under the horizon. Finally, everything given by the world itself has the horizon of the world, and it is only for this reason that it is realized as the world.” (Wei Fangyuan 2013: 134-136)&lt;br /&gt;
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It can be seen that “Horizon” in Husserl’s eye is related to consciousness. Husserl’s “Horizon” includes two ones, internal horizon and external horizon. Internal horizon refers to what previous knowledge people have grasped or not. External horizon refers to grasp or experience of another open horizon when people have internal horizon. Martin Heidegger, from the respective of Ontology, believed that “Horizon” is something real which has been known by human and exists previously. This becomes precondition of our understanding. Inspired by Martin Heidegger and Edmund Husserl, Hans-Georg Gadamer affirmed the importance of “Horizon”. In his Hermeneutic, “Horizon” refers to the process of understanding from a specific standpoint. And “Fusion of Horizons” means that the process of understanding in nature is open without fixed pattern and answer. “Fusion of Horizon is not onlly diachronic, but also synchronic. History and present, object and subject, self and other, all form an infinite unified entirety. (Wei Fangyuan 2013: 134-136 ) &lt;br /&gt;
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Gadamer thinks that, both the translator and the object which is explained by the translator have their own horizons. The object-- history, classics, personal life, philosophy or work of art—has its own historical horizons. When we understand historical classical works, philosophy or certain culture with the horizons given by the history, the conflict of two different horizons and historical background will inevitably happen. Translation neither demands the translator to totally give up his own horizon in order to get into the text’s horizons, nor allows the interpreter simply includes the text into his own horizons. Translator, starting from his original horizons, ceaselessly test his own “prejudice” and open his own horizons, in the contact with the object which is interpreted by the interpreter, then two different horizons forming a new horizon. This process is called “fusion of horizons”. The reason why it is possible to interpret historical text is the fusion of horizons of the readers and writers of the original text.&lt;br /&gt;
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====Fusion of Horizons in translation study====&lt;br /&gt;
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In the view of Hans-Georg Gadamer, any understandings is carried out in the stream of history for any interpreter and reader lives in the history in his or her own way. Historicity is the basic fact of human existence. People’s historical particularity and limitations cannot be eliminated and avoided. Both subject and object exist in historicity. History determines that people cannot get rid of historicity. Such question faced by Hermeneutics is not what we carry out but what caused on us by something beyond our willing and behavior. In the research of translation Gadamer’s “Fusion of Horizons” can be borrowed and reformed into views or perspective available to the translation study. (Li Ge 2020:50-63)&lt;br /&gt;
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To achieve such a horizon, means that we learn to see something beyond its restricted horizon. However, the reason why we do this is for watching the things in a more correct angle and in a bigger unity, rather than for avoid seeing it.(Gadamer, H. G. 2004: 304) We need to study translation from a higher point and in a more overall angle. Only in this way can we “full see” the parts of the integrity, which is the enlightenment brought by “fusion of horizons”. The precondition of translation is that the translator and the original text have the common horizons. If the translator does not know medicine, he cannot interpret some books about medicine, and vice versa. The translator need to understand the original text’s meanings at first, which means that he will get into the horizon of the original text, and overcome the difference to form a new horizon. This is the first fusion of horizons. The second one is that the translator gets into the horizons of the target readers. Then the third fusion of horizons, the final interpretation of the translator, is the fusion of the two texts after the first two fusions. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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During the process of translation, the horizons are produced in the history rather than in isolation. In the fusion of horizons, the past and the present, the subject and the object, form a unity. Everything exists in the point of history, and all the interpretation cannot be finished for good. The original text itself is historical. The language, content, thoughts and etc. in it are marked by characteristics of the times. The translator is also historical. He will be influenced by his identity, status and tradition. There does not exist “perfectness” and “standard” in the translation. It will vary with different historical period. So the study of translation also goes on. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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===Overview on the Translations of ''Lun Yu''===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====The history of translations of ''Lun Yu====&lt;br /&gt;
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''Lun Yu'' is as important to Chinese is the Bible is to Westerners. So ''Lun Yu''’s translation is hot in western countries. ''Lun Yu'', whose translation can be traced back as early as the end of 16th century, has been translated by lots of missionary, sinologist, philosopher, litterateur and other scholars. There have been more than 40 translation versions of ''Lun Yu'' so far. Its English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. In 1861 James Legge’s The Confucian Analects became the mark of the English translation of ''Lun Yu''. A Companion for Chinese Translators makes comments on the translation version that James Legge can roughly understand the meaning of the original text and that his enormous notes can show his serious and careful attitude to the translation of our Chinese classics. (Wang Hui 2003: 39-43) &lt;br /&gt;
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In 1898, Ku Hong-ming’s translation of Lun Yu was published in Shanghai. The reason why he retranslated Lun Yu is that he was not content with James Legge’s. Ku Hong-ming use the strategy of foreignization, trying to translate Lun Yu in the same way an educated British express his thoughts. And Ku thought the Chinese proper nouns should be omitted and some European writers’ saying in order to remove the feeling of strangeness of British readers. In 1938, Arthur Waley’s version of Lun Yu was published. Waley wrote long-winded introduction for the translation, which was accompanied by detailed notes for readers and was followed by the footnotes for in-depth discussion on the text. Cui Yonglu thought that Waley’s translation, retaining the original text’s meaning and culture and paying attention to the detail, is beneficial to scholars. In 1998, Roger Ames’ translation of Lun Yu was published. His retranslation, which is based on a philosophical perspective, exerted great influence in the world of translation at home and abroad. In 2005, Xu Yuanchong’s Thus Spoke the Master was published. The book’s title borrowed the name of well-known philosophical translation called Thus Spoke Zarathustra, which shows Chinese translators’ creative spirits. In addition, there are still so many translators, such as Ezra Pound, James Ware, Din Cheuk Lau, Lin Yu tang and so on. (Wang Hui 2003: 39-43) &lt;br /&gt;
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====Different angles of the study on the translations of ''Lun Yu''====&lt;br /&gt;
In the nearly 30 years, the study of ''Lun Yu''’s translation has become hot in the translation studies. Scholars have made lot of studies of ''Lun Yu''’s translation from different angles and theories. From the linguistic point of view, scholars focus on the equivalence of lexicon, syntax, text and style. Professor Liu Chongde wrote “A research into Waley’s English version of The Analects—And some comments on its English versions by Legge and D. C. Lau”. Professor Liu summarized the language features and style of the two translations by Waley and Legge. Besides, he compared James Legge’s version and D. C. Lau’s, and made a conclusion that the former one preferred the written English, complicated sentences and archaic words which were quite similar to the style of the original, while the latter one preferred using spoken English and simple sentences.(Liu Chongde 2001:15-17) &lt;br /&gt;
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From the cultural point of view, Yao Shun in Southwest Jiaotong University did “On English translation of Confucius notions from the perspective of Skopos theory—A case study on Legge’s and Waley’s Translation of ''Lun Yu''”. Yao concluded that translation cannot be measured only by the equivalence with the source text, other elements such as translators’ purposes and expectation of target readers should be taken allowance for and that amongst these factors, the intention of the target text ranks the first.(Yao Shun 2014: 42-43)&lt;br /&gt;
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From the sociological point of view, Zhang Xin in Jiangnan University did “A study on Xu Yuanchong’s English Translation of ''Lun Yu'' from the Sociological Perspective of Bourdieu”.   Zhang draw some tentative conclusions. Firstly, the original text must be valuable and unique with an international reputation to facilitate its dissemination in the world. Secondly, translators should pay full attention to the readability and acceptability of target readers to meet their anticipation. Thirdly, the success of a work is the combination of various social factors.(Zhang Xi 2020:80-89)&lt;br /&gt;
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=== The Translation of ''Lun Yu'' from Fusion of Horizons===&lt;br /&gt;
''Lun Yu'' has always been translated or retranslated into many languages. Before interpretation, interpreters are supposed to try to totally understand ''Lun Yu'' in the first step. However, in the matter of fact, the language of a text is really hard for translators to totally understand. Different cultural background and different translators may produce different translation version.&lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》） [8]”. In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. &lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
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Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》）”.In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. (Yao Sshun 2014:42-43) &lt;br /&gt;
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====Horizon of the translator====&lt;br /&gt;
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Ku Hung-ming (1857-1928) is not only a famous literary figure in modern China, but also a great translator. He became an influential scholar at the turn of the 20th century because of his works that advocated Confucianism. Ku’s traslated works, including Lun Yu and Zhong Yong, played a significant role in spreading traditional Chinese culture to the western world. Ku, well-versed in both Chinese and Western cultures, has a good command of nine languages such as English, French, Germany and so on. He is the first one was proficient in Western science and language in the late Qing Dynasty. Special background of growth and education makes his thoughts combine advantages between Chinese and Western cultures. He tried to translate Lun Yu as a work written by a educated English man in order to promote Chinese traditional culture to spread in Western countries. At the meanwhile, he added his thinking and understanding of Confucianism in order to express the truth and spirit of Confucian classics and Chinese belief system. In order to make Western readers accept to the most extent the Confucian culture, Ku adopted some special methods, such as using extreme translation strategy of Domestication to translate Chinese special expression; borrowing the expression in Western literature to translate some words; applying the strategy of combination of omission and addition.(Niu Xiyu 2021: 89-90)&lt;br /&gt;
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When translating Lun Yu, Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. Western readers are not familiar with Confucian core words whose total equivalence can not be found in the Wesern culture. Ku did not translate the core words according to the literal meaning, but according to his deep understanding of Confucian classics he adopted flexible methods to translate the words in different situation. Besides, in order to make the translation of Lun Yu more readable to Western readers, Ku adopted the stratedy of domestication to interprete Confucian thoughts in Western way of mind. On the one hand, Ku used Western terms to translate those Confucian concept words which is difficult to Western readers. For example, he translates “天” as “God”. On the other hand, he quoted those well-known writers and thinkers who are familiar to Western readers, such as Johann Wolfgang von Goethe, Ralph Waldo Emersonand so on. Ku tries to make the content and form of the translation to accord with the way of thinking and cognitive structure of Western people. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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Xu Yuanchong, professor in Peking University, has been devoting himself in Literature translation study. He accomplished numerous classical translations and proposed many translation theories. He makes contribution to the development of Chinese traditional career.In 1921, Xu Yuanchong was born in Jiangxi Province in China. Since he was a child, Xu Yuanchong had been deeply influenced by his families. His mother was well educated and his uncle worked as a translator. All of these inspired his passion of enjoying literature and going after beauty, as we can see the three-beauty-concept-concept proposed in his later books. His uncle succeeded in translating the play called Wang Baochuan into English, which caused a sensation when it was performed in England. Later on the British dramatist George Bernard Shaw interviewed his uncle, which inspired the great interests of Xu Yuanchong in learning English well. In 1938, he was admitted to the Foreign Languages Department of National Southwest United University with the seventh place. In 1939, he translated the book “别丢掉” written by Lin Huiyin at the first time in order to express his love for a girl. Then he fell in love with translation ever after. Although suffering a lot, he still insisted to be himself. Xu made a great contribution to the development of Chinese translation. Xu introduces the three-beauty-concept to translation theory. The theory of three beauty advocates that a translation should be as beautiful as the original in sense, in sound and in font. These three aspects call also be respectively called Beauty of Sense, Beauty of Sound, and Beauty of Form. Beauty of Sense, emphasizing the deeper meaning, is of the first-rate importance. Beauty of Sound, emphasizing rhyme and rhythm, is of the second-importance. Beauty of Form, emphasizing length, is of the third-rate importance. All of these have great influence on his translation. (Li Mi 2004: 83-84)&lt;br /&gt;
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====Horizon of the target language culture====&lt;br /&gt;
The purpose of translation is to be read by the target readers. However, the target individual is different. They differ from historical background, education, knowledge, and so on. Some foreign readers read Lun Yu just for broaden his vision and know Chinese culture, some study the translation just for doing academic researches. The ages of target readers also influence the translation. Some young readers with less knowledge need translation which can be easily understood. For those aged readers the sophisticated translations are needed. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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===Contrastive Analysis===&lt;br /&gt;
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As Confucian classics recording the words and deeds between Confucius and his disciples, Lun Yu deeply influences generations of Chinese people. Lun Yu combines Chinese rich culture from thousands of years and gathers immortal spirit of Eastern philosophy. Therefore, a number of scholars at home or abroad want to translate Lun Yu. Especially, the various academic conference that has taken place in the recent years attract many scholars to absorb Confucian wisdom and explore Chinese wisdom from the old classics.&lt;br /&gt;
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====Description of key conceptual words====&lt;br /&gt;
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''Lun Yu''’s English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. Since that many other scholars have thrown themselves in the wave of translation of ''Lun Yu''. The scholars at home and abroad attempt to know more about the Chinese society, language, and Chinese culture through ''Lun Yu''. However, in order to really understand and interpret ''Lun Yu'', we must be clear about the meaning of the core conceptual words in ''Lun Yu''. Whether the translation of the core conceptual words is right or not has something to do with whether the readers abroad can understand the real meaning of the classics ''Lun Yu''. The translation of core conceptual words is so critical that has drawn many scholars’ attention. However, in the present situation of translation, one core conceptual word has so many Chinese translation, and some translation is not very accurate, which will cause trouble for foreigner readers to understand the original meaning and its cultural meaning. For those core words concerning Chinese culture, if wrongly translated, will not cause foreigners’ misunderstanding Chinese traditional culture, but also influence the improvement of national cultural soft power. Thus, the discussion of the translation of ''Lun Yu'', especially that of the core words, is very important to the circles of translation and culture. There are lots of core conceptual words in Lun Yu, but This thesis will mainly discuss the five core words: “''ren''”, “''li''”, and “''junzi''”. &lt;br /&gt;
“''Ren''” is the supreme state of moral ideal advocated by Confucius, and the spirit and centre of Confucian theory. Xu Shen in the Eastern Han Dynasty made an explanation of the word “''ren''” in “Shuo-wen chieh-tzu”. He thought “''ren''” is combined by “''ren''”(man) and “er”(number 2), and that “''ren''” does not express the quantitative relation but the interpersonal relationship, more accurately the interpersonal relationship close to friendship. (Xu Shen 2013: 1458) According to The Notes of ''Lun Yu'' by Yang Bojun, “''ren''” appears 109 times in ''Lun Yu'' . (Yang Bojun, 2009)&lt;br /&gt;
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“''Li''” is another important concept in ''Lun Yu'' after “''ren''”. According to The Notes of ''Lun Yu'' by Yang Bojun, “''li''” appears 74 times. Obviously, “''li''” is one of main ideas repeated by Confucius. Its connotation has become one of the objects the scholars of every dynasty attempt to study and understand since the ''Lun Yu'' came out. Both “''ren''” and “''li''” work as the centre of Confucianism. They complement and perfect each other. Just as the saying in Lun Yu, “To Subdue Oneself and Return to the Proprieties is Perfect Virtue”. “Li” refers to external behavior, while “ren” refers to internal morality. “''Li''” is a general term the rules and regulation according to the moral demanding. “''Li''” can restrict personal behavior, improve interpersonal relationship and help building a harmony and orderly society. However, Confucius does not give an accurate explanation of “''li''”, but its meanings can be analyzed from the concrete sentences concerning “''li''”. (Yang Bojun 2009: 23)&lt;br /&gt;
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“''Junzi''”, first found in The Book of Songs, was roughly referred to noble man. Thereafter, “''junzi''” was widely used in many ancient classics such as The Book of Changes, Shangshu and so on. Based on the original meaning “the noble man”, “''junzi''”’s meaning was extended and expanded. In Lun Yu, the word “''junzi''” got extended meaning of morality. The core conceptual word “''junzi''” mainly placed emphasis on moral deeds, then developed into the important cultural icon in Confucianism. According to The Notes of ''Lun Yu'' by Yang Bojun, “''junzi''” appears 107 times in ''Lun Yu'' .(Yang Bojun 2009: 11)&lt;br /&gt;
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====Different translations of key conceptual words====&lt;br /&gt;
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Different translators will have different translation. &lt;br /&gt;
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“Ren” has rich meanings. Its translation will to the certain degree influence the understanding of Lun Yu and Chinese traditional culture. For example:&lt;br /&gt;
子曰：“巧言令色，鲜矣仁！”《学而》&lt;br /&gt;
Ku: Confucius remarked, “With plausible speech and fine manners will seldom be found moral character.” &lt;br /&gt;
Xu: A good man, said the Master, would rarely say what he does not believe, or pretend to appear better than he is.&lt;br /&gt;
From the translation above, it is seen that Ku adopts free translation, and the English sentence is in formal grammer and syntax which accords with Western readers’ language habits. While Xu’s translation is not in the form of direct speech and he changes the order of the target text and use the parenthesis so as to conform to the habits of target language readers. It can be easily seen that Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. And Xu employs free translation to make target readers better understand the meanings. For the translation of “ren”, Ku translated it into “moral character”. He thought “ren” is refers to all the morality, and that “ren” is the highest realm of life. The translation “moral character” is more in line with Western language habits. While Xu interpreted it into “a good person”, of which “good” has broad meanings just like “ren” which is a kind of moral category of extremely broad meanings in ancient China. By comparison, “mental character” is better translation for “ren”. (Yang Bojun 2009: 23) (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Li” is generally thought to have three main meanings. The first one is worshiping the God. The second one refers to a ceremony held to show respect or solemnity. The third one refers to the social and moral norms of the aristocratic hierarchy in slave society of feudal society. For example, &lt;br /&gt;
道之以道，齐之以礼，有耻且格 。（《为政》）&lt;br /&gt;
Ku: If, on the other hand, in government you depend upon the moral sentiment, and maintain order by encouragung education and good manners, the people will have a sense of shame for wrong – doing and, moreover, wil emulate what is good. &lt;br /&gt;
Xu: If they are led by virtue and order is kept by the rites, they would be conscientious and act in agreement with what is right. &lt;br /&gt;
Generally, “li” is rendered as “rites,” “customs,” “propriety,” “ritual,” “moral,” “rules of proper behavior,” and “worship.” However, Ku did not literally translated “li” but to fully understand its original meaning in such concrete situation to translated it into “education and good manners”. While Xu translated it into “rites”. In the Oxford dictionary, “rite” means a ceremony performed by a particular group, often for religious purpose. In Spring and Autumn and Warring States periods of China, the social order was in chaos. Actually, “rite” is a proper word full of Chinese speciality, which is really hard for Western readers to understand. Therefore, Ku’s translation “education and good manners” is better one. It not only convey Confucian thoughts but also make it readable to Western readers. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Junzi” is Confucian ideal character standard. Then what is “junzi”? In Confucian point of view, “junzi” should be erudite, which is an important standard of being “junzi”. First and the most, “junzi” should be a benevolent man. In addition, “junzi” and “xiaoren” form contrast. For example,&lt;br /&gt;
人不知，而不愠，不亦君子乎？（《学而》）&lt;br /&gt;
Ku: But he is truly a wise and good man who fees no discomposure even when he is not noticed of men.&lt;br /&gt;
Xu: Is he not an intelligentleman, who is careless alike of being known or unknown?&lt;br /&gt;
According to Oxford dictionary, the term “exemplary” refers to providing a good example for people to copy. Ku adopted free translation to interprete one word “junzi” into several words “wide and good man”, which is easy for Western peple to understand what “junzi” is. It can be seen that Ku had a thoroungh understanding of Confucian thoughts as well as well-versed in English. While, Xu translated it into “intelligentleman”, which cannot be found in dictionaries. It is a new word created by Xu. “Interlligentleman” is combined by “intelligent” and “gentleman”. In the Oxford dictionary, the term “intelligent” means good at learning, understanding and thinking in a logical way about things. “gentleman” refers to a man who is polite and well educated and who has excellent manners and always behaves well. “Intelligentlemen” seemly attempt to achieve formal equivalence with “junzi”. However, it is unfamiliar to Wetern readers. So Ku’s translation “a wise and goood man”. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
In this paper, we have talked over two translation versions of ''Lun Yu'' written by Ku Hung-ming and Xu Yuanchong, especially the core conceptual words in ''Lun Y''u. In the matter of fact, both of them had good command of Chinese and western cultures. But their interpretation of Lun Yu were quite different from each other. Here we use Gadamer’s “fusion of horizons” to explain why they had different understandings of Lun Yu. Understanding is regarded as the fusion of horizons between translator and the text in the hermeneutics, however, besides, the target readers should also be taken into consideration. Thus, in the paper, the horizons of the original text, two translators and target readers are expounded in detail. Under the contrast between the two translation versions, we could find out that Ku Hung-ming’s translation is better one which can more convey the meaning of original text and can be easier for the readers of the target culture from the perspective of the fusion of horizons. &lt;br /&gt;
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However, this paper could not give an in-depth research on the transaltion of ''Lun Yu'' because of the author’s limited knowledge and not thorough understanding of the theory of “fusion of horizons”. In addition, Confucianism has got more and more important influence on the world in the recent years. However, the study of translation of ''Lun Yu'' has not gone far enough. Though lots of scholars have achieved a lot in the field, there is still much work to do in the future. Written by --[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 03:41, 9 December 2021 (UTC)&lt;br /&gt;
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Ku Hungming 辜鸿铭.(2011)《辜鸿铭英译&amp;lt;论语&amp;gt;》[M]. [The Discourses And Sayings of Confucius] 2011&lt;br /&gt;
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Yuanchong, Xu. (2013) Thus Spoke the Master[M]. Beijing: Dolphin Books, 2013: 12, 18.&lt;br /&gt;
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=杨柳青 Bian Zhilin's Literary Translation Theories and Practice  ——Take His Translation of Romantic Poems as examples=&lt;br /&gt;
[[Trans_Type_EN_10]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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Bian Zhilin is a famous Chinese translator and poet. He absorbed traditional translation theories dialectically and created translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; from the perspective of literary translation. Specifically, &amp;quot;Replacing foot with dun&amp;quot; is his poetry translation strategy. This paper will analyze Bian Zhilin translations of some romantic poems and shows some critical thinking about his literary translation theories.&lt;br /&gt;
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===Key words===&lt;br /&gt;
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&amp;quot;Faithfulness, Similarity and Translation&amp;quot;; &amp;quot;Replacing Foot with Dun&amp;quot;; Romantic Poetry&lt;br /&gt;
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===题目===&lt;br /&gt;
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卞之琳文学翻译理论和实践 ——以其浪漫主义诗歌译作为例&lt;br /&gt;
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===摘要===&lt;br /&gt;
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卞之林是著名的中国翻译家、诗人。他辩证地吸收传统翻译理论，从文学翻译的角度创立了“信、似、译”的翻译理论。 具体而言，“以顿代步”是他的诗歌翻译策略。本文将对卞之琳的浪漫主义诗歌译作进行分析，并对其文学翻译理论提出一些批判性性思考。&lt;br /&gt;
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===关键词===&lt;br /&gt;
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“信、似、译”；“以顿代步”；浪漫主义诗歌&lt;br /&gt;
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===Chapter 1 Introduction of Bian Zhilin and Romanticism===&lt;br /&gt;
====Introduction of Bian Zhilin====&lt;br /&gt;
Bian Zhilin is a representative of Chinese modernist poetry, a famous literary critic and literary translator. He translated foreign literature especially poetry and Shakespeare's plays. He has devoted his whole life to the literature and cultural exchanges between China and foreign countries. He is known as &amp;quot;the master of Poetry and the leading scholar in translation in China&amp;quot;. He dialectically absorbed previous translation theories and formed his unique translation thoughts. His famous works include ''Leaves of Three Autumns'' which is his first volume of Poetry and contains verses filled with the melancholy and despair, ''Fish Eyes Collection'', ''The Han Garden Collection'' and ''Poems of a Decade'' and so on.&lt;br /&gt;
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====Introduction of Romanticism====&lt;br /&gt;
Romanticism is a reaction against the Enlightenment and rationalism in 18th century, and a rejection of the precepts of order, calm, harmony, balance, idealization, and rationality that typified in classicism and neoclassicism. English Romanticism is generally defined to begin in 1798 with the publication of William Wordsworth and Samuel Taylor Coleridge's Lyrical Ballads and end in 1832 with Walter Scott's death. Romanticists place the individual at the center of art and make literature most valuable as an expression of his or her unique feelings and particular attitudes and make its accuracy a portraying the individual's experience. &lt;br /&gt;
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Romanticism is a period of poetry. During this period, many poets created plenty of wonderful poems which vividly show the beauty of nature and humanistic thoughts. English romantic poets contain the elder generation and the younger generation. The elder generation, also called &amp;quot;lake poets&amp;quot; includes William Wordsworth, Samuel Taylor Coleridge and Robert Southey and so on. The younger generation includes George Gordon Byron, Percy Bysshe Shelley and John Keats and so on. Besides, William Blake also deserves attention. He is a pre-romanticist and a forerunner of the romantic poetry of the 19th century. In this paper, I will analyze poems of William Blake, William Wordsworth and Percy Bysshe Shelly to show Bian Zhilin's translation theories.&lt;br /&gt;
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===Chapter 2 Bian Zhilin's Literary Translation Theories===&lt;br /&gt;
====&amp;quot;Faithfulness, Similarity and Translation&amp;quot;====&lt;br /&gt;
Bian Zhilin is a famous poet, translator and literary researcher in China. For decades, he not only made remarkable achievements in the field of poetry and Chinese and foreign literature studies, but also left a valuable fortune in literary translation, especially in poetry translation. Bian Zhilin has formed clear and instructive translation thoughts and theoretical views through her long-term translation practice. These translation thoughts and theoretical views influenced his translation behavior and effect, formed his exquisite translation art, and also had a great influence in the field of translation. He broke through the traditional translation theories and put forward the translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot; which is based on dialectically absorbing and reasonably sublating the traditional translation theories.&lt;br /&gt;
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=====Faithfulness=====&lt;br /&gt;
It is well-known that &amp;quot;faithfulness, expressiveness and elegance&amp;quot; created by a modern Chinese translator Yan Fu has become the most widely spread and popular translation standards in history of modern Chinese translation. And it has always been in the mainstream in the field of translation in China. There has been a long debate in Chinese translation field around &amp;quot;faithfulness, expressive and elegance&amp;quot;. However, &amp;quot;faithfulness&amp;quot; put forward by Bian Zhilin has achieved the transcendence and unification of this debate. &lt;br /&gt;
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======Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
According to Yan Fu, &amp;quot;faithfulness&amp;quot; means a translation should be faithful to the content of the original which is the first requirement of translation. &amp;quot;Expressiveness&amp;quot; means a translation should be fluent and articulate. &amp;quot;Elegance&amp;quot; means a translation should use elegant words so as to make the translation literary (Luo Xinzhang 136). Yan Fu believed that only elegant words can express the essence of original text. And he advocated translator used classical Chinese before Han Dynasty, namely, pre-Qin period. In fact, Yan Fu translated a lot of works in accordance with this criterion. &lt;br /&gt;
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======Debates around Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
Many speakers thought highly of Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, and this criterion once became the only standard for evaluating the quality of translation. Many literary translators like Liang Qichao, Lu Xun praised this criterion.&lt;br /&gt;
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Though &amp;quot;Faithfulness, expressiveness and elegance&amp;quot; has been widely accepted, there were still many doubts about this criterion. Most translators acknowledged Yan Fu's &amp;quot;faithfulness,expressiveness and elegance&amp;quot;, but they doubted &amp;quot;elegance&amp;quot;. For example, Chen Xiying, a famous Chinese female translator, opposed &amp;quot;elegance&amp;quot; because she thought &amp;quot;faithfulness and expressiveness&amp;quot; is quite enough for non-literary works and &amp;quot;elegance&amp;quot; is not necessary. Even for literary works, &amp;quot;elegance&amp;quot; is not necessary since some characters in literary works are from countryside and their speeches apparently couldn't be elegant (Luo Xinzhang 401-402). &lt;br /&gt;
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However, though these opinions are different they have one thing in common: all these opinions divide &amp;quot;faithfulness, expressiveness and elegance&amp;quot; up and judge them separately. &lt;br /&gt;
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======Bian Zhilin's &amp;quot;faithfulness&amp;quot;======&lt;br /&gt;
Unlike most translators, Bian Zhilin has his own unique view. Bian Zhilin believes there is only one advisable standard in &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, that is &amp;quot;faithfulness&amp;quot;. According to Bian Zhilin, &amp;quot;faithfulness&amp;quot; means being loyal to the original text comprehensively, not only to the content of the original text, but also to the form (Bian Zhilin 503). It seems that there is no apparent difference between Yan Fu's faithfulness and Bian Zhilin's faithfulness. But that's not the case. &lt;br /&gt;
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Firstly, Bian Zhilin doesn't totally deny the value of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. His faithfulness is mainly for literary translation which aims to highlight the artistic features of literary translation. Bian Zhilin believes that literary translation is an artistic and creative activity which not only includes language conversion but also involves the knowledge of literature, aesthetics, literature and art. He thinks &amp;quot;faithfulness, expressiveness and elegance&amp;quot; lays too much emphasis on the content and form of language which is not suitable for literary translation. &lt;br /&gt;
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Secondly, Bian Zhilin opposed the artificial separation of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. He thinks this separation is a kind of false perception which may cause the emphasis of one aspect and the neglect of the others. He thinks that artistic translation standard, strictly speaking, is only &amp;quot;faithfulness&amp;quot; which means the full fidelity to content and form. Actually, Bian Zhilin doesn't deny the existence value of expressiveness and elegance; instead, he seems &amp;quot;faithfulness, expressiveness and elegance&amp;quot; as a whole and &amp;quot;faithfulness&amp;quot; includes &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot;. Therefore, his faithfulness is comprehensive: both &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot; are internalized in &amp;quot;faithfulness&amp;quot;.&lt;br /&gt;
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Thirdly, Bian Zhilin believes &amp;quot;faithfulness&amp;quot; in literary translation means translation should be loyal to original text both in content and form. In others words, it's not desirable that translation be better or worse than the original. Besides, he holds that &amp;quot;faithfulness&amp;quot; in translation is not absolute but relative and it needs artistic creation of translators(Li Changshuan 57). What's more, literary translators should have the confidence in translating the &amp;quot;spirit&amp;quot; of the original so as to make translation vivid and expressive.&lt;br /&gt;
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All in all, Bian Zhilin believes the content and form of literary works are unified and indivisible, so is &amp;quot;faithfulness, expressiveness and elegance&amp;quot;.  At the same time, he admits &amp;quot;faithfulness&amp;quot; is relative rather than absolute considering difference between language and culture. Therefore, Bian Zhilin's faithfulness is inheritance and innovation of traditional translation theory and has important theoretical value.&lt;br /&gt;
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=====Similarity=====&lt;br /&gt;
======Formal Similarity and Spiritual Similarity======&lt;br /&gt;
Formal similarity means translation preserves the linguistic form of the original which includes words, grammar, sentence structure, figures of speech and types or forms of literature and so on. Any two languages have something both common and different. Those common features are the bases of formal similarity of translation. &lt;br /&gt;
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Spiritual similarity, on the contrary to formal similarity, means getting rid of the bondage of language form such as words, grammar when it is necessary. And translators should use authentic translation to convey the artistic features of the original. Spiritual similarity was first put forward by Mao Dun and was further advocated and practiced by Fu Lei. It has become one of the dominant theories in Chinese translation theories.&lt;br /&gt;
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======Debates around Formal Similarity and Spiritual Similarity======&lt;br /&gt;
In the field of Chinese translation, translators debated a lot around formal translation and spiritual translation. Many translators believe formal translation is more advisable than spirit translation. But others think differently. For instance, Chen Xiying believed there were three kinds of &amp;quot;faithfulness&amp;quot;, namely spiritual similarity, meaning similarity and formal similarity, among which spiritual similarity is superior, meaning similarity is the second and formal similarity is inferior. Chen Xiying held that formal similarity ignores the writing style of the original though it conveys the meaning of the original completely. Meaning translation is better than formal translation because it focuses on not only what the original writer says but also how he says it. But meaning translation is much more like imitation which cannot grasp the &amp;quot;spirit&amp;quot; of the original. Spirit translation, however, is the exact way to convey the &amp;quot;spirit&amp;quot; of the original. Besides, Yan Fu is another representative who pays more attention to spirit similarity than to formal similarity (Luo Xinzhang 694).&lt;br /&gt;
======Bian Zhilin's &amp;quot;Similarity&amp;quot;======&lt;br /&gt;
Bian Zhilin took a stand against the long-standing debate around formal similarity and spiritual similarity. In his opinion, there is only one word between formal similarity and spiritual similarity that is advisable——&amp;quot;Similarity&amp;quot;. Bian Zhilin holds that literary work is a unity of content and form; &amp;quot;form&amp;quot; and &amp;quot;spirit&amp;quot; in literary translation is complementary. On the one hand, &amp;quot;form&amp;quot; is the basis of &amp;quot;spirit&amp;quot; which means without concrete form, the spirit and artistic value of literary works can only be empty talk. On the other hand, &amp;quot;spirit&amp;quot; is the life of &amp;quot;form&amp;quot; which means literary works without &amp;quot;spirit&amp;quot; likes people without soul, which can only be empty body and meaningless form (Bian Zhilin 551).&lt;br /&gt;
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&amp;quot;Similarity&amp;quot; which was put forward by Bian Zhilin, actually contains the similarity both in formal similarity and spiritual similarity. In other words, ideal literary translation should achieve the unity of form and spirit. Bian Zhilin thinks literary translation can only achieve similarity with the original but not sameness (Bian Zhilin 8-9), which not only recognizes the difference between the original and the translation, but also acknowledges translators' creative efforts.&lt;br /&gt;
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=====Translation=====&lt;br /&gt;
======Literal Translation and Free Translation======&lt;br /&gt;
Literal Translation means expression forms and syntactic structure of the translated text should be as consistent as possible with the original when translators convey the meaning of the original text. Free translation, however, means translators should break the linguistic form of the original text and express the meaning of the original by using the customary expressions of the target language.&lt;br /&gt;
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======Debates around Literal Translation and Free Translation======&lt;br /&gt;
The debates between literal translation and free translation in the history of western translation can be date back to Cicero (106BC-43BC). Cicero opposed &amp;quot;word for word translation&amp;quot; (literal translation) which was deemed as &amp;quot;interpreter's translation&amp;quot; and advocated &amp;quot;sense for sense translation&amp;quot; (free translation) which was deemed as &amp;quot;orator's translation&amp;quot;(Tan Zaixi 24). Cicero's distinction about translation paved the way for following translators. For example, John Dryden published his views on literal translation and free translation. Dryden made distinction between metaphrase, phrase and imitation which was an extension of literal translation and free translation. What's more, Newmark thinks literal translation is preferred when the effect is the same (Newmark 39). And Nabokov holds that literal translation is true translation because it can convey the exact contextual meaning of the text as accurately as possible (Nabokov viii).&lt;br /&gt;
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======Bian Zhilin's Translation======&lt;br /&gt;
Bian Zhilin thinks only &amp;quot;translation&amp;quot; is advisable over the long-standing dispute over literal translation and free translation. Translation contains following meanings (Bian Zhilin 8).&lt;br /&gt;
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Firstly, literal translation and free translation are not contradictory but complementary. Too much emphasis on either side will only have a bad effect on literary translation. Bian Zhilin also criticizes translations that put too much emphasis on the source language or the target language.&lt;br /&gt;
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Secondly, translation cannot be creation. Translation should be based on the original text, not personal creation. But Bian Zhilin doesn't deny the creativity in translation and thinks the creativity is the life of translation as long as it is based on the original.&lt;br /&gt;
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====Bian Zhilin's Poetry Translation Strategies====&lt;br /&gt;
Absorbed thoughts from former and contemporary poets, Bian Zhilin created his poetry translation strategies. That is to translate English poetry in a poetical and metrical way and replace foot with dun. These strategies not only consider the western poetry patterns, but also considers the characteristics of Chinese, which has strong feasibility. Bian Zhilin's poetry translation strategies are closely related with his literary translation theory of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
=====Translating Poetry in A Poetical and Metrical Way=====&lt;br /&gt;
Bian Zhilin thinks that poetry is more a unity of content and form than other literary forms. Therefore, poetry translation includes both translation of poetry content and form. Bian Zhilin thinks poetry translation should be loyal to the original poem not only in content but also in form. Poems should be translated into the form of poem rather than prose. If the original poem is free verse, then translated version also should be free verse. If the original poem is metrical poem, then translation also should be a metrical one. (Bian Zhilin, 319) The coincidence between form and content in poetry translation is an embodiment of translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
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Meter is an important feature of poetry, including rhythm, rhythm and arrangement of words and stanzas. There are many differences in meter among poetry of different languages. And different poets and works use different meters. These become major factors of difficulties in poetry translation. &lt;br /&gt;
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Bian Zhilin thinks translators should preserve the metrical features of the original poems. In other words, translators should translate poetry in a metrical way. Therefore, poems should be translated by using equivalent meter. To be more specific, translators should translate foreign poems by using commonalities between Chinese traditional metrical basis and foreign metrical basis. It's not just simple application of foreign poetry patterns nor of Chinese traditional poetry patterns. Instead, it's the crossover of the two poetry patterns.&lt;br /&gt;
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=====Replacing Foot with Dun=====&lt;br /&gt;
The key to the metrical problem of poetry translation is what is the metrical unit of the line, &amp;quot;word&amp;quot; (a syllable) as a unit or &amp;quot;dun&amp;quot; (syllables) as a unit. Bian Zhilin believes metrical poems should be translated in equivalent &amp;quot;duns&amp;quot; which can replace meters and this kind of translation is without the limit of word numbers. This theory is well thought out and based on rhythmic characteristics of Chinese. As Bian Zhilin analyzed that when we speak Chinese, we usually say two or three Chinese characters as a &amp;quot;dun&amp;quot; in most cases, one character at least as a &amp;quot;dun&amp;quot; and four characters at most as a &amp;quot;dun&amp;quot;. This is the internal rules of Chinese. Chinese poems constitute stanzas, stanzas constitute lines and lines constitutes &amp;quot;duns&amp;quot;. Therefore, &amp;quot;dun&amp;quot; is the natural rhythmic units of Chinese poetry and reveals poems' &amp;quot;inherent music-like rhythm and beat&amp;quot;.&lt;br /&gt;
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However, that &amp;quot;dun&amp;quot; is the basic metrical unit of the Chinese poetry doesn't mean the number of duns in each line is exactly the same. Bian Zhilin advocates dun of two characters and dun of three characters should be arranged alternately and adjusted mutually to meet the needs of poetic expression and produce an effect similar to feet in western poetry.&lt;br /&gt;
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===Chapter 3 Analyses of Bian Zhilin's Translation Practice===&lt;br /&gt;
Bian Zhilin put his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and poetry translation strategies of &amp;quot;replacing foot with dun&amp;quot; into practice. Here are three poem excerpts of romantic poets and Bian Zhilin's translation of them.&lt;br /&gt;
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====William Blake's ''The Tiger'' in ''Songs of Experience''====&lt;br /&gt;
William Blake is a representative of English romantic literature. He was hailed by 20th century critics as &amp;quot;the great prophet&amp;quot; who was a pioneer of romanticism. He broke neoclassical traditions in the 18th century and emphasized instinct, passion and imagination. Besides, Blake is a revolutionary poet and expressed strong revolutionary passion and rebellious spirit in his poem. The Tiger is one of his earliest lyrical poems. It eulogizes the shape and strength of the tiger. Here is an excerpt of it:&lt;br /&gt;
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Tiger! Tiger! Burning bright&lt;br /&gt;
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In the forests of the night,&lt;br /&gt;
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What immortal hand or eye&lt;br /&gt;
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Could frame thy fearful symmetry?&lt;br /&gt;
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'''Bian Zhilin's Translation:'''&lt;br /&gt;
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老虎！|老虎！|火一样的辉煌，&lt;br /&gt;
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烧穿了|黑夜的|森林和|草莽，&lt;br /&gt;
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什么样|非凡的|手和|眼睛&lt;br /&gt;
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能塑造|你一身|惊人的|匀称？&lt;br /&gt;
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(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of dun.)&lt;br /&gt;
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The excerpt shows the praise for the tiger. In the poem, Blake uses symbolization and compares the tiger to a fire that destroys everything. Bian Zhilin represents the perfect creation of the creator with the symmetry of the tiger. &lt;br /&gt;
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Bian Zhilin translates the poem on the guidance of his theory of &amp;quot;faithfulness, similarity and translation&amp;quot;. In the first line of the excerpt, the use of &amp;quot;Tiger&amp;quot; with exclamation marks is a kind of call of the tiger——the king of the forest. Bian Zhilin translates them faithfully into &amp;quot;老虎！老虎！&amp;quot;. The third line is a rhetorical sentence that asks without answering, which reminds readers of the Creator——God, thus making the poetry profound. Bian Zhilin follows the rhythmic characteristics of the original poem and translates it artistically.  &lt;br /&gt;
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Bian Zhilin also makes his translation according to his theory of &amp;quot;replacing foot with dun”. The above stanza consists of four lines of trochaic tetrameter. Therefore, there are four feet in each line. And in translated version, there are four lines of four duns. Each duns contains two or three characters, thus make the structure of the translated poem neat and have a strong rhythm.&lt;br /&gt;
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====William Wordsworth's ''The“Lucy”Series''====&lt;br /&gt;
William Wordsworth is also an important poet in English romanticism. He was made poet laureate and he strongly promoted the innovation of English poetry and the development of the Romantic movement. He believes &amp;quot;Poetry is the spontaneous overflow of powerful feelings&amp;quot;. The following excerpt is taken from his &amp;quot;Lucy&amp;quot; series:&lt;br /&gt;
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A slumber did my spirit seal&lt;br /&gt;
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I had no human fears&lt;br /&gt;
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She seemed a thing that could not feel&lt;br /&gt;
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The touch of earthly years &lt;br /&gt;
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No motion has she now, no force&lt;br /&gt;
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She neither hears nor sees&lt;br /&gt;
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Rolled round in earth's diurnal course&lt;br /&gt;
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With rocks, and stones, and trees.&lt;br /&gt;
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'''Bian Zhilin's translation:'''&lt;br /&gt;
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迷糊|封住了|我的|精神；&lt;br /&gt;
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我没有|人世的|忧惶：&lt;br /&gt;
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她似乎|超然|物外，|不可能&lt;br /&gt;
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感觉到|岁月的|影响。&lt;br /&gt;
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现在|她无力了，|也不能|动弹；&lt;br /&gt;
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她不再|耳闻|目睹；&lt;br /&gt;
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卷在|地球的|日程里|滚转，&lt;br /&gt;
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混同了|岩石、|树木。&lt;br /&gt;
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(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
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The above poem was written when Wordsworth went and stayed in Germany with his sister Dorothy in 1798 and 1799. It uses simple words and the meaning of the poems is quite clear. And Bian Zhilin's translation of the poem is quite faithful and vivid. &amp;quot;Slumber&amp;quot; in the first line of the original is translated into &amp;quot;迷糊&amp;quot; rather than &amp;quot;沉睡&amp;quot;, which gives readers a sense of &amp;quot;lazy charm&amp;quot;. And &amp;quot;fears&amp;quot; in the second line was translated into &amp;quot;忧惶&amp;quot;；it’s quite vivid and pertinent. Besides, the original poem consists of two stanzas with four lines of iambus. In each stanza, the first and the third line have four feet and the second and the fourth line have three feet. The whole poem follows the rhyme scheme of &amp;quot;a-b-a-b, c-d-c-d&amp;quot;. Bian Zhilin replaces feet in the poem with duns. There are fours duns in the first and the third lines and three duns in the second and fourth lines in translation. And the translated version follows the same rhyme scheme with the original. The whole poem is translated and expressed in quite appropriate way.&lt;br /&gt;
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====Percy Bysshe Shelley's ''Song to the Men of England''====&lt;br /&gt;
Percy Bysshe Shelley, as one of the famous romantic poets, pursued freedom and resisted violence in his short life. He encouraged people to stand and fight for a better life and was branded a &amp;quot;complete revolutionary&amp;quot; by Marx. And Song to the Men of England was written by Shelley after &amp;quot;Peterloo incident&amp;quot; in Manchester in 1819 to reveal the cruel nature of reactionary rulers and call on people to revolt bravely. Here is an excerpt of Song to the Men of England:&lt;br /&gt;
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Men of England, wherefore plough&lt;br /&gt;
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For the lords who lay ye low?&lt;br /&gt;
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Wherefore weave with toil and care&lt;br /&gt;
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The rich robes your tyrants wear?&lt;br /&gt;
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Wherefore feed and clothe and save&lt;br /&gt;
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From the cradle to the grave&lt;br /&gt;
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Those ungrateful drones who would&lt;br /&gt;
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Drain your sweat——nay, drink your blood?&lt;br /&gt;
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'''Bian Zhilin's Translation:'''&lt;br /&gt;
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英国的|人民，|为什么|犁地&lt;br /&gt;
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报答|老爷们|踩你们|成泥？&lt;br /&gt;
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为什么|辛勤|劳苦|去织布，&lt;br /&gt;
&lt;br /&gt;
让那些|恶霸|穿华丽|衣服？&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
为什么|你们|从摇篮|到坟冢&lt;br /&gt;
&lt;br /&gt;
尽供给|和保养|那许多|雄峰？&lt;br /&gt;
&lt;br /&gt;
他们|不感激，|还非常|坚决，&lt;br /&gt;
&lt;br /&gt;
要喝干|你们的汗|——再加|血；&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
This excerpt is about the clash between two classes of society, the poor working class and the rich nobles. The major theme of this poem is exploitation. People plow for the sake of the lords, who are like drone bees that do no work but live off of the works of others. The narrator is urging the workers to make a stand as they are being treated unfairly. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin practices his poetry translation strategies of &amp;quot;translating poetry in metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; in this poem. In the original poem, each of two stanzas consists of four lines of iambic tetrameter, rhyming &amp;quot;a-a-b-b, a-a-b-b&amp;quot;. In the translated version, there are also two stanzas composed of four lines. And in each line, there are four duns which replaces the four feet in the original poem. The rhyme scheme in translated version is the same as that in the original.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translate the poem faithfully and vividly. For example, he translates &amp;quot;lay ye low&amp;quot; into &amp;quot;踩你们成泥&amp;quot; which well preserves the images of the original work. And &amp;quot;tyrants&amp;quot; in the fourth line of the first stanza is translated into &amp;quot;恶霸&amp;quot; which is concise and accurate. In the second stanza, &amp;quot;From the cradle to the grave&amp;quot; modifies &amp;quot;the men of England&amp;quot; rather than those &amp;quot;ungrateful drones&amp;quot;, Bian Zhilin understands the linguistic structure of the poem and translates it into &amp;quot;你们从摇篮到坟冢&amp;quot;. &amp;quot;坟冢&amp;quot; is more formal than &amp;quot;坟墓&amp;quot; and it's suitable for poetry, from which we can see the precision of Bian Zhilin's choose of words. In the last line, Bian Zhilin uses a dash and the words &amp;quot;再加&amp;quot; to highlight the brutal nature of the rulers. Actually, this translation is a good practice of his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===Chapter 4 Critical Thinking of Bian Zhilin's Translation Theories===&lt;br /&gt;
There is no doubt that Bian Zhilin's translation theories greatly promoted the development of English poetry translation in China. His &amp;quot;faithfulness, similarity and translation&amp;quot; is the inheritance and innovation of Chinese traditional translation theories. And it indeed provides a new way for poetry translation. Besides, Bian Zhilin thinks poetry should be translated into poetry rather than prose. In other words, translators should translate poetry in a poetical and metrical way. He stresses the importance of the unity between form and content and thinks high quality translation should be a unity of content and artistic style of the original text.&lt;br /&gt;
&lt;br /&gt;
Despite Bian Zhilin's great contribution to literary translation theories, I think there are still some problems existing in Bian Zhilin's translation strategies. In Bian Zhilin's opinion, translators can replace foot with dun thus achieving similar rhythmical effect in Chinese version with the English original. It seems that it is a quite advisable and feasible method. Bur actually, it cannot be practiced widely. In English poetry, each foot consists of two syllables, which is fixed and regular. But things are changed in Chinese. The character numbers in each dun in Chinese are not fixed. There may be one or two or three or four characters in each dun, so different people may have different divisions of duns based on their different understanding of context. Therefore, the division of duns may be disordered and random, which makes &amp;quot;replacing foot with dun&amp;quot; not advisable in many cases.&lt;br /&gt;
&lt;br /&gt;
Another problem in Bian Zhilin's translation theories is the ignorance of metrical patterns of foot. In English poetry, there are different metrical patterns like iambus, trochee, spondee and pyrrhic and so on. But there are no such meters in Chinese. &amp;quot;Replacing foot with dun&amp;quot; only considers the correspondence of foot but ignores the correspondence of metrical patterns of foot, so Bian Zhilin's &amp;quot;translating poetry in metrical way&amp;quot; actually is not adequate. We know Chinese is a kind of tone language which has four tones. We can use four tones to correspond the metrical patterns of foot in English. But it's quite difficult in so far and still needs more exploration.&lt;br /&gt;
&lt;br /&gt;
===Chapter 5 Conclusion===&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. His literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and &amp;quot;translating poems in a poetical and metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; give us a lot of enlightenment in the translation of poems. This paper analyzes Bian Zhilin's translation of romantic poems to show his translation strategies. However, there are still some problems in his theories, for example, the division of duns are disordered and random which are based on the understanding of translators and there is no correspondence in metrical patterns of foot. These are the problems that are needed to be considered and solved.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Blake, William. Songs of Experience[M]. New York: Dover Publications, Inc., 1971.&lt;br /&gt;
&lt;br /&gt;
Durrant, Geoffrey. William Wordsworth [M]. Cambridge: Cambridge University Press, 1979.&lt;br /&gt;
&lt;br /&gt;
Nabokov, Vladimir. &amp;quot;Forward&amp;quot;, A.S.Pushkin, Eugene Onegin, Nabokov, V.trans. London: Routledge &amp;amp; Kegan Paul, 1964/1975, p.viii.&lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. Approaches to Translation. Oxford: Pergamon, 1981, p39.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2002).《卞之琳文集》（中卷）. 安徽教育出版社, p503.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2000).《卞之琳文集》（上卷）. 安徽教育出版社, p8.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(1994).《从&amp;lt;西窗集&amp;gt;到&amp;lt;西窗小书&amp;gt;》.[英] 克里斯托弗·衣修伍德《紫罗兰姑娘》, 卞之琳译. 中国工人出版社, p8-9.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2007).《人与诗：忆旧说新》（增订本）. 安徽教育出版社, p319.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2005). 《英国诗选》. 商务印书馆, p156.&lt;br /&gt;
&lt;br /&gt;
Chen Xiying陈西滢(1984).《论翻译》. 罗新璋编《翻译论集》. 商务印书馆, p401-402.&lt;br /&gt;
&lt;br /&gt;
Fu Lei傅雷(1984).《论文学翻译书》. 罗新璋编《翻译论集》. 商务印书馆, p694.&lt;br /&gt;
&lt;br /&gt;
Li Changshuan李长栓(2004). 《非文学翻译理论与实践》. 中国对外翻译出版公司, p57.&lt;br /&gt;
&lt;br /&gt;
Shen Suru沈苏儒(1998).《论信达雅：严复翻译理论研究》. 商务印书馆, p8.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜(1991).《西方翻译简史》.商务印书馆, p24.&lt;br /&gt;
&lt;br /&gt;
Yan Fu严复(1984).《&amp;lt;天演论&amp;gt;译例言》.罗新璋编《翻译论集》. 商务印书馆, p136.&lt;br /&gt;
&lt;br /&gt;
=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012, 37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær, 2015, 10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005, 9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004, 1. Translation is essential for cultures and languages to exchange information. Newmark (1988) defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects. Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
&lt;br /&gt;
Nida (1964) indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style. Larson (1998) has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context. &lt;br /&gt;
&lt;br /&gt;
Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”.(Snell-Hornby 1988, 33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957, 167. By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
&lt;br /&gt;
The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003, 16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
&lt;br /&gt;
This study is aimed to probe Newmark's (1988) translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988, 81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.&lt;br /&gt;
&lt;br /&gt;
===Translation and Culture===&lt;br /&gt;
&lt;br /&gt;
2. Translation and Culture &lt;br /&gt;
&lt;br /&gt;
Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
&lt;br /&gt;
The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988, 7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988, 5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988, 7).  &lt;br /&gt;
&lt;br /&gt;
In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford (1965) defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language” (Catford 1965, 20). According to Venuti’s translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader” (Venuti 1995, 18). Schjoldager stated that “a translation is a text that expresses what another text has expressed in another language” (Schjoldager 2008, 19). Culture is a complex whole which includes knowledge, belief, art, law, morals, customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan (2014), claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014, 2). Hermanns (1999) contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures. Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014, 2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark (2001), illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001, 328). &lt;br /&gt;
&lt;br /&gt;
Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
&lt;br /&gt;
2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
&lt;br /&gt;
Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora, fauna, food, clothes, housing, work, leisure, politics, law, and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988, 327) Christine Nord names them “culturemes” (Nord 1997, 9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012, 1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Aixela, 1997; Davies, 2003), others choose cultural words (Newmark, 2003) or culture-bound phenomena/concepts (Baker, 1992, Newmark, 2003, Robinson, 2003). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker, 1992, 21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988, 94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988, 95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988, 95).&lt;br /&gt;
&lt;br /&gt;
2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
&lt;br /&gt;
The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85, P. 22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003, 16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.&lt;br /&gt;
&lt;br /&gt;
===Types of Translation ===&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
Newmark (1988) determines 8 types of translation which are: &lt;br /&gt;
 &lt;br /&gt;
3.1 Word-for-Word Translation &lt;br /&gt;
&lt;br /&gt;
This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
&lt;br /&gt;
3.2 Literal translation &lt;br /&gt;
&lt;br /&gt;
In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
&lt;br /&gt;
3.4 Semantic Translation &lt;br /&gt;
&lt;br /&gt;
Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
&lt;br /&gt;
3.5 Adaptation &lt;br /&gt;
&lt;br /&gt;
This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015, 15). &lt;br /&gt;
&lt;br /&gt;
3.6 Free Translation &lt;br /&gt;
&lt;br /&gt;
The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
&lt;br /&gt;
3.7 Idiomatic Translation &lt;br /&gt;
&lt;br /&gt;
This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
&lt;br /&gt;
3.8 Communicative Translation &lt;br /&gt;
&lt;br /&gt;
This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
===Translation Strategies  ===&lt;br /&gt;
&lt;br /&gt;
4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
&lt;br /&gt;
4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela (1996), translators need to choose several strategies based on the source language culture and target culture.  He distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, he tries to command by the level of their intercultural intervention. He divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies). &lt;br /&gt;
&lt;br /&gt;
4.1.1. Conservation: &lt;br /&gt;
In conservation, the less compelling process includes repetition, orthographic adaptation, linguistic translation, extratextual gloss and intratextual gloss. &lt;br /&gt;
&lt;br /&gt;
4.1.1.1 Repetition: In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus, the translator keeps as much as possible the original reference (Aixela, 1996, p. 61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
&lt;br /&gt;
4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
&lt;br /&gt;
4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
&lt;br /&gt;
4.1.1.4 Extra-textual Gloss: Here, the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes, endings, words, ideas, translators in dictionaries, italics and so on. &lt;br /&gt;
&lt;br /&gt;
4.1.1.5 Intra-textual Gloss: It's like the past but the translator feels that he/she can include the globe as an indirect part of the text, not to distract the reader. &lt;br /&gt;
&lt;br /&gt;
4.2.1 Substitution &lt;br /&gt;
In substitution, According (Aixela, 1996) “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here”. &lt;br /&gt;
&lt;br /&gt;
4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
&lt;br /&gt;
4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
&lt;br /&gt;
4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela, 1997, p.63). &lt;br /&gt;
&lt;br /&gt;
4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Shokri, Ketabi, 2015, p.8). &lt;br /&gt;
&lt;br /&gt;
4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela, 1996, p. 64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
&lt;br /&gt;
4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela, 1997). &lt;br /&gt;
&lt;br /&gt;
4.3 Mona Baker’s Translation Strategies &lt;br /&gt;
Baker’s strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation. (Baker, 1992). He suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies, which are the following: &lt;br /&gt;
&lt;br /&gt;
4.3.1 Translation by a more general word: According to Baker, this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
&lt;br /&gt;
4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
&lt;br /&gt;
4.3.3 Translation by cultural substitution: This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
&lt;br /&gt;
4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
&lt;br /&gt;
4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
&lt;br /&gt;
4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
&lt;br /&gt;
4.3.7 Translation by omission: Losing phrases or words that are not vital to text development. &lt;br /&gt;
&lt;br /&gt;
4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view, however, Baker's (1992) translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
&lt;br /&gt;
===Cultural Categories  ===&lt;br /&gt;
5. Cultural categories &lt;br /&gt;
 &lt;br /&gt;
5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
5.1.2 Material culture &lt;br /&gt;
Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.” &lt;br /&gt;
5.1.3 Social culture &lt;br /&gt;
The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
5.1.4 Organisation &lt;br /&gt;
Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
 &lt;br /&gt;
5.2 Newmark Classification CSIs &lt;br /&gt;
Newmark (1988) established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items.&lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
 &lt;br /&gt;
Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
&lt;br /&gt;
2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
&lt;br /&gt;
3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
&lt;br /&gt;
4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
&lt;br /&gt;
5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
&lt;br /&gt;
6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
&lt;br /&gt;
7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
&lt;br /&gt;
8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
&lt;br /&gt;
9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
&lt;br /&gt;
10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
&lt;br /&gt;
11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
&lt;br /&gt;
12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
&lt;br /&gt;
13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
&lt;br /&gt;
14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
&lt;br /&gt;
16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
&lt;br /&gt;
17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
&lt;br /&gt;
18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
&lt;br /&gt;
19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
&lt;br /&gt;
20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
&lt;br /&gt;
21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
&lt;br /&gt;
22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
&lt;br /&gt;
23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
&lt;br /&gt;
24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996, 31), “translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by (Newmark 1988, 81), “translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.” &lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation, then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions. &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity, as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts, the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term, and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part, but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark (1988) has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9. &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark’s strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark (1988) were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However, the translator must be competent in using the translation procedures to provide an accurate translation. &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
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=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims to observe the development of translation studies through its different types, various strategies, styles and particular methods. In this paper, the readers are introduced to some famous translation scholars including their view of translation studies. At the further discussions, this study lets the readers acknowledge the main issues on translation studies, focusing on different styles of variations such as grammar, sentence structure, textual analysis, strategies and methods. This study may help those who are interested to conduct translation researches and help them by giving options of which theories is beneficial to their analysis. Moreover, it aims to explore the clear definition of translation as well as help the readers to understand the basic concept which are used in the field of translation. The present study, therefore, attempts to outline the scope of the discipline of translation studies and more importantly, it is an attempt to outline its activity that required a deep mastering of language, a good source of knowledge and target cultures.&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation, styles of variations, strategies&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
It is undoubtedly right that translation is important to share information. In line with these premise, the number of translation professionals is getting higher. In fact, the result of translation researches tends to help human daily life in term of evaluation, designing translator machines, and cultural studies.	 Therefore, translation means converting written information from one language into another. It is the new discipline appeared in the second half of the 20th century. The term “Translation Studies” was coined by James S. Holmes, an American-Dutch poet and translator of poetry, in his seminal paper “The Name and Nature of Translation Studies”.  Translation enables effective communication between people around the world. It is a courier for the transmission of knowledge, a protector of cultural heritage, and essential to the development of a global economy. Translation helps us to know about the developments in the field of creative arts, education, literature, business, science and politics. It has shifted from the traditional conception of the fixed, stable and unchangeable nature of the text and its meaning to a text with wide scope for variations. Translation also helps in nation building. In this globalised world, the demand for translation and language related services has increased many times. Translation is not only needed for the creation of national identity but has also become an essential tool for keeping pace with the processes of globalization and localization. The activity of translation has a long-standing tradition and has been widely practiced throughout history, but in our rapidly changing world its role has become of paramount importance. Nowadays, knowledge in which cultural exchanges have been widening, has been increasingly expanding and international communication has been intensifying, the phenomenon of translation has become fundamental. Be it for scientific, medical, technological, commercial, legal, cultural or literary purposes, today human communication depends heavily on translation and, consequently, interest in the field is also growing. Accordingly, the discussion, in the present study, proceeds primarily from the perspectives of “Translation Studies” and “Linguistics”. One major goal is to show the interrelationships between linguistics and translation, and how they benefit from each other. Nowadays, translation research has started to take another path, which is more automatic. The invention of the internet, together with the new technological developments in communication and digital materials, has increased cultural exchanges between nations. This leads translators to look for ways to cope with these changes and to look for more practical techniques that enable them to translate more and waste less. They also felt the need to enter the world of cinematographic translation, hence the birth of audiovisual translation. The latter technique, also called screen translation, is concerned with the translation of all kinds of TV programs, including films, series, and documentaries. This field is based on computers and translation software programs, and it is composed of two methods; dubbing and subtitling. In fact, audiovisual translation marks a changing era in the domain of translation.&lt;br /&gt;
In short, translation has very wide and rich history in the West. Since its birth, translation was the subject of a variety of research and conflicts between theorists. Each theorist approaches it according to his viewpoint and field of research, the fact that gives its history a changing quality.&lt;br /&gt;
&lt;br /&gt;
Discussion &lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation. For each type, a selection of examples will be considered for analysis based on translation theories and techniques. We will show that some chunks of text require literal translation, while other requires interpretive method. In addition, this paper will also examine various strategies and its styles of variations based on translational study. The following strategies will be presented in the paper as; &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	They involve text manipulation.&lt;br /&gt;
•	They must be applied to the process.&lt;br /&gt;
•	They are goal-oriented.&lt;br /&gt;
•	They are problem-centered.&lt;br /&gt;
•	They are applied consciously.&lt;br /&gt;
•	They are inter-subjective.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Most theorists agree that strategies are used by translators when they encounter a problem and literal translation is not useful. Different researchers have investigated and described various translation strategies from their different perspectives. It intends to show what translation strategies exist and when and why they are used by professional translators. Different scholars have various perspectives to the aspects of the act of translation, so, they define and describe different types of strategies. Bergen's (n. d.) classification of the strategies includes three categorizations which will be discussed mainly in this paper: &lt;br /&gt;
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•	Comprehension strategies &lt;br /&gt;
•	Transfer strategies&lt;br /&gt;
•	Production strategies&lt;br /&gt;
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An addition to this paper, styles of variations will also be introduced to the readers through different aspects and examples. The concept of style can be defined in terms of the distinctive way an individual or a group uses language, or better still the discourse used to perform distinct functions of language aimed at achieving specific purposes. However, this does not entail that style is simply a matter of form since it is the product of other components such as the genre of discourse, its semantics, syntax and phonology. Indeed, in order to analyze a given stylistic variation one needs an extensive checklist that includes lexical and grammatical categories, allusions, and figures of speech. Style can be understood to refer to the recurring typical features of the source text compared to the typical features of the translated text.  In a quantitative and qualitative analysis, this variation is shown to be influenced by several pragmatic and social factors, and to index the interpreters' stances towards source speakers and towards the immigrant court users who are the recipients of translations from English. It is argued that translation styles have profound consequences for limited English speakers, as the insistence on institutional norms in translating to them is viewed as a gate keeping behavior that may impede their full participation in the proceedings. &lt;br /&gt;
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What is translation? &lt;br /&gt;
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Translation went through various definitions going from a mere linguistics activity during the sixties, a cultural and communicative activity during the seventies reflects the social impacting activity in the latest founding of the literature. &lt;br /&gt;
“Translation is traditionally known as being the replacement of textual material in one language into equivalent textual material in another language”. &lt;br /&gt;
House (2015) mentions that translation is considered as the “replacement” of a text in the source language by a semantically and pragmatically equivalent text in the target language. It is strongly related to a source language and target language cultures. It requires a high level of mastery languages, an awareness of any contextual factors within which the discourse emerges. There is no need to mention how it affected civilizations through different areas of mankind history. For example, An Arab-Islamic civilizations. There have always been different directions on how one should or should not translate. In the Arab tradition, two main methods existed and were in complete divergence namely the literal and the free method. &lt;br /&gt;
On the other hand, in the Western tradition there are various methods currently exist namely, the linguistic, the hermeneutic, the interpretive, the functionalist, the interventionist, the poly-systemic and the text-typologist method.  More so, it may be important to point out that translation has been defined in many ways, and every definition reflects the theoretical approach underpinning it. &lt;br /&gt;
As Shuttlworth and Cowie (1997) observe throughout the history of research into translation, the phenomenon has been variously delimited by formal descriptions, echoing the frameworks of the scholars proposing them. For example, Bell (1991: XV) starts with an informal definition of translation, which runs as follows: the transformation of a text originally in one language into an equivalent text in a different language retaining, as far as is possible, the content of the message and the formal features and functional roles of the original text. &lt;br /&gt;
At the beginning of the ‘scientific’ (Newmark, 1988, p. 2) study of translation, Catford (1965, p. 20) described it in these terms, the replacement of textual material in one language (SL) by the equivalent textual material in another language. &lt;br /&gt;
Thirty years later, in Germany, the concept of translation as a form of ‘equivalence’ is maintained, as we can see from Koller’s definition (1995, p. 196): “The result of a text processing activity, by means of which a source language text is transposed into a target-language text. Between the resultant text in L2 (the target-language text) and the source text in L1 (the source language text) there exists a relationship, which can be designated as a translational, or equivalence relation”. Because complete equivalence (in the sense of synonymy or sameness) cannot take place in any of his categories, Jakobson (1959) declares that all poetic art is, therefore, technically untranslatable. That is, the translator has to take the question of interpretation into account in addition to the problem of selecting a TL phrase which will have a roughly similar meaning. Exact translation is impossible. In this regard, Bassnett (1996) claims that all texts, being part of a literary system descended from and related to other systems are “translations of translation of translations”: every text is unique and at the same time, it is the translation of another text. No text is entirely original because language itself, in its essence, is already a translation: firstly, of the non-verbal world and secondly, since every sign and every phrase is the translation of another sign and another phrase. However, this argument can be turned around without losing any of its validity: all texts are original because every translation is distinctive. Every translation, up to a certain point, is an invention and as such it constitutes a unique text.&lt;br /&gt;
In this analysis of the above definition, Manfredi (2008), points out that the above distinction can be divided into two main perspectives, those that consider translation either as a ‘process’ or a ‘product’. To this twofold categorization, Bell (1991, p. 13) adds a further variable, since he suggests making a distinction between translating (the process), a translation (the product) and translation (i.e., “the abstract concept which encompasses both the process of translating and the product of that process”. Moreover, thanks to advances in new technologies, today we can also incorporate into TS the contribution of corpus linguistics, which allows both theorists and translators analyses of large amounts of electronic texts (Manfredi, 2008). On the other hand, Halliday (1992, p. 15) takes translation to refer to the total process and relationship of equivalence between two languages; we then distinguish, within translation, between “translating” (written text) and “interpreting” (spoken text). Halliday, thus, proposes distinguishing the activity of “translation” (as a process) from the product(s) of “translating”, including both “translation” (concerning written text) and ‘interpreting’ (regarding spoken text.&lt;br /&gt;
“Translation is the production of a functional target text maintaining a relationship with a given source text that is specified according to the intended or demanding function of the target text.&lt;br /&gt;
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Types of Translation&lt;br /&gt;
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Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation.&lt;br /&gt;
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Technical translation &lt;br /&gt;
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Technical translation is a type of specialized translation involving the translation of documents produced by technical writers, or more specifically, texts which relate to technological subject areas or texts which deal with the practical application of scientific and technological information. (Wikipedia) &lt;br /&gt;
Translators' main goal is to accurately translate the technical terminology to match the document and the message of the original content.&lt;br /&gt;
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The benefits of technical translation&lt;br /&gt;
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A professional technical translation service is provided by translators with dual specialties, that is, professionals who are fluent in the language pair, but who are also experts in the field covered by the documents to be translated.&lt;br /&gt;
When you need to have your documents translated by a technical translator, translators who are not experts may not be able to provide the necessary solutions and terminology for a quality translation. If the translator is not an expert in the field, he/she will have to learn the new terminology while working. This means that translation will take longer, have higher chances of inaccuracies, and may result in higher costs. Therefore, the main advantages of hiring an agency specialized in this type of service are as follows:&lt;br /&gt;
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Literary translation&lt;br /&gt;
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Literary translation is the translation of creative and dramatic prose and poetry into other languages. This includes the translation of literature from ancient languages and the translation of modern fiction so that it can reach a wider audience. &lt;br /&gt;
Literary translation is of huge importance. It helps to shape our understanding of the world around us in many ways.                                                     Reading Homer and Sophocles as part of a classical education in school helps to build an understanding of history, politics, philosophy and so much more. Meanwhile, reading contemporary translations provides fascinating insights into life in other cultures and other countries.                                                       In a fast-paced world so rife with misunderstanding and confusion, such efforts to share knowledge and experiences across cultural boundaries should be applauded.&lt;br /&gt;
The translation of literature differs greatly from other forms of translation. The sheer size of the texts involved in literary translation sets it apart.                Tackling a translation that runs to hundreds of thousands of words is not a task for the faint-hearted. Nor is recreating poetry in a new language, without losing the beauty and essence of the original work.&lt;br /&gt;
One of the key challenges of literary translation is the need to balance staying faithful to the original work with the need to create something unique and distinctive that will evoke the same feelings and responses as the original. This can be particularly challenging when it comes to translating poetry.&lt;br /&gt;
Poems are written with incredible attention to detail. Not only are the words and phrases important, but the number of syllables and the entire rhythm of the completed work. It’s a challenging task to complete just in one language, let alone when trying to recreate a poet’s work during a translation. Daniel Hahn, director of the British Centre for Literary Translation, sums up the issue beautifully. &lt;br /&gt;
As literary translators will attest, a single word can be extremely troublesome. The author of a work of fiction has chosen that word for a good reason, so the translator must ensure that it is faithfully delivered in the target language. However, what if no direct translation is available? Or what if several options exist, each with a slightly different nuance? Urdu language translator Fahmida Riaz outlines her approach to such thorny issues.&lt;br /&gt;
For instance, “Every piece you translate comes from the pen of an individual, so you have to give it an individual treatment. I try to retain the ambience of the original culture, rather than the language, as it is reflected in the text.” &lt;br /&gt;
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Pragmatic translation&lt;br /&gt;
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Pragmatic translation is the basic assumption that provided a source language text contains no misstatements of fact, is competently written and has to be fully translated rather than summarized or functionally reorientated; one's purpose in translating it is to be referentially and pragmatically accurate. In this paper, I shall not deal with referential accuracy but concentrate instead on the pragmatic aspects of translation. As the term pragmatic translation may be used in a variety of ways, I should like to state my own definition of pragmatic, which derives from Charles Morris and ultimately from Charles S. Peirce. I am using pragmatic as one of the two factors in translation: pragmatic denotes the reader's or readership's reception of the translation, as opposed to referential, which denotes the relationship between the translation and the extra-linguistic reality it describes. &lt;br /&gt;
Translation is a properly way to a properly communication and pragmatics is how to use language in communication properly. By translation, many things from different languages and cultures can understand to each other. In other words, translation can be stated as a facilitator to make a communication runs well.&lt;br /&gt;
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===An Overview on Translation Studies  ===&lt;br /&gt;
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===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
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=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
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===Conclusion ===&lt;br /&gt;
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=== References ===&lt;br /&gt;
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= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature  --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:45, 12 December 2021 (UTC)&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
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In this chapter, the researcher wants to highlight the different concepts about the fundamental question &amp;quot;what is idiomatic expression&amp;quot; of different critics, theorists and linguistic experts, and prominent scholars of translation studies. Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
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Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
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&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda Corelli 2006, 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984, 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992, 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to (Newmark 1981, 11), “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”&lt;br /&gt;
.	The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to (Corelli 2006, 53), English has a sizeable idiomatic base.&lt;br /&gt;
About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.&lt;br /&gt;
The main issue that idiomatic and fixed expressions pose for translators, according to (Baker 1992, 65), is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.&lt;br /&gt;
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Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.&lt;br /&gt;
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===Literature Review ===&lt;br /&gt;
In this chapter, the author/researcher defines the strategy and its different definitions from the perspective of different subjects and fields. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented. Krings defines it as the content of the project, while Seguinet divided the term into three steps. However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. &lt;br /&gt;
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The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward.&lt;br /&gt;
Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint.&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to (Seguinot 1989, 27) (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.&lt;br /&gt;
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Furthermore, (Loescher 1991, 8) defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot; As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998, 4) claim moreover, (Bell 1998, 188) distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.&lt;br /&gt;
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According to (Venuti 1998, 240), &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot; He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to (Jaaskelainen 2005, 15), product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.&lt;br /&gt;
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Furthermore, (Jaaskelainen 2005, 16) distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making. (Newmark 1988, 221) distinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;&lt;br /&gt;
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Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016, 13).&lt;br /&gt;
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The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010, 15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017, 54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
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Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985, 9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female.&lt;br /&gt;
Several research articles are found on translated work (license and khol do) of Urdu famous short stories writer Sadat Hassan Manto's from a different perspective like psychoanalysis, postcolonial, feminist approaches but to explore the problem of translations strategies face by translator Aatish Taseer during the process of translation has not been mention till date. To summarize this, the research includes a critical, in-depth, comprehensive analysis of issues that previously did not address.&lt;br /&gt;
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=== Theoritical Framework ===&lt;br /&gt;
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Different strategies have been used, like using an idiom of similar meaning and similar form, the idiom of similar meaning and different form, translation by Paraphrasing, translation by omission. The approach of employing idioms of similar meaning and form, according to Mona Baker, entails using an idiom in the target language that can express about the same meaning as the source language idiom, as well as having lexical similarity. On the other hand, this type of matching happens periodically as well as regularly.&lt;br /&gt;
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Similarly, employing idioms with similar meanings but different forms means that it is possible to locate an idiom or fixed expression in the target text language that has a similar meaning to the source idiom or expression but is made up of distinct lexical elements. Consider the case of English and French, both of which use the idiom mentioned above. In English, one good deed is rewarded with another, whereas in French, handsome deeds are rewarded with handsome deeds.&lt;br /&gt;
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Furthermore, we did not come across any idioms in the category mentioned above during translating idioms. To deal with this issue, the translators used the most popular approach, known as a translation by paraphrase, which is short, straightforward, and time-saving. When a match cannot be identified in the target language or when it appears improper to employ idiomatic language in target material due to aesthetic differences between the source and target languages, this is the most typical approach for translating an idiom from source to target language. However, one thing to keep in mind is that a perfect translation is not required is necessary or possible.&lt;br /&gt;
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Last but not least, to overcome the problem of idiom translation, the translator employs the strategy of translation by omission. This can be defined as an idiom being omitted entirely in the target text with a single word. This is done because the idiom has no close match in the target language; its meaning cannot be easily paraphrased or due to stylistic reasons. &lt;br /&gt;
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3.4 Data analysis Techniques:&lt;br /&gt;
Textual analysis is the method of data analysis in qualitative research that brings forth the hidden and potent message, structure, and function of research in giving text, Alan Mckee (defines textual analysis as whenever we perform textual analysis on the text, we make an educated guess at some time of the most likely interpretations that might be made of that text (Alan Mckee 2001, 3)&lt;br /&gt;
Analysis of the translation of short stories in light of Mona baker's theory &amp;quot;khol do and license&amp;quot; are short stories written by Sadat Hassan Manto and translated by many translators from Urdu into English. During translation, the translator adopted many strategies for translating idiomatic expression, sometimes by Paraphrasing, sometimes by omission, sometimes using similar idioms of form and meaning while sometimes using different words and the same form, the whole.&lt;br /&gt;
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===Discussion and Analysis===&lt;br /&gt;
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The chapter analyzes and discusses all the data collected by the author/researcher from different sources. All the examples of idioms are first identified, then translated into the target text, and back-translated for the sole purpose of exploring the strategies being used by the translator. A separate section is given to every strategy with its related example. Moreover, the idiomatic expression, the target work for finding, is highlighted through the bold letter.&lt;br /&gt;
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4.1	Translation by Paraphrasing:&lt;br /&gt;
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Based on our findings, the most often used strategy was &amp;quot;translation by paraphrasing.&amp;quot; An inspection also reveals that Aatish Taseer preferred this strategy. Here are some examples applied by the translators, and in the following section, the logic behind their preference towards this strategy is elaborate. The following are examples from two short stories of Sadat Husain Manto's &amp;quot;khol do&amp;quot; and &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 1: &lt;br /&gt;
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ST: Sirajuddin ne subah das baji anki kholi to logo ka ail mutalatam samandar deka.&lt;br /&gt;
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TT: Ten a.m., Siraj Uddin opens his eyes on the cold floor of the camp, seeing the swelling sea of men.&lt;br /&gt;
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BT: sub ke das baji jab Sirajuddin ne apni anki koli to logo ka aik ublaha howa samandar ka nizara dekni laga.&lt;br /&gt;
&lt;br /&gt;
So, the above idioms are literal idioms being translated with the help of Paraphrasing because there is no perfect equivalent of mutalatam words in English languages. A similar look at another idiom from short stories &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&lt;br /&gt;
ST: Khuda tomahra bala kari.&lt;br /&gt;
&lt;br /&gt;
TT: Your God will reward&lt;br /&gt;
&lt;br /&gt;
BT: Is ka badla khoda tomahi di.&lt;br /&gt;
&lt;br /&gt;
Here, the word reward is being used for Bala Kari, an example of transitional by Paraphrasing.&lt;br /&gt;
Let  take another example from &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
&lt;br /&gt;
ST: unkho nai Jan khateli pa rak kar sakena ko donda.&lt;br /&gt;
&lt;br /&gt;
TT: even putting their lives online, they search sakina &lt;br /&gt;
&lt;br /&gt;
BT: apni zindagio ko khatri me dal kar unkho nai sakina ko dond nekala.&lt;br /&gt;
&lt;br /&gt;
The above idioms are examples of pure idiom translated from Urdu into English with the help of paraphrases strategies. However, under the same strategies, the idioms of another short story of Manto,s &amp;quot;license,&amp;quot; are translated by Aatish Taseer. Some of the examples are given below.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
ST: Abu kochwan bara cheel jabela ta. It is the binomial type of idioms taken from the first sentence of the short story &amp;quot;license&amp;quot; by Sadat &lt;br /&gt;
Hasan Manto &lt;br /&gt;
&lt;br /&gt;
TT: Abu kochwan is stylish man.&lt;br /&gt;
&lt;br /&gt;
BT: Abu kochwan aik wazahdar admi ta.&lt;br /&gt;
&lt;br /&gt;
From the above idiom, it is clear that there is no perfect equivalence of cheela chabela idiom in English; that is, the translator goes &lt;br /&gt;
through paraphrasing strategies. Look at another example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
ST: Lein har waqat bank bani rekhi ka usi be had showk ta&lt;br /&gt;
&lt;br /&gt;
TT: He had a weakness for style and fashion.&lt;br /&gt;
&lt;br /&gt;
BT: Dan saj ke rekhna uski kamzori me sai ik ta.&lt;br /&gt;
&lt;br /&gt;
So all of the above examples, which are analyzed one by one, are examples of idioms being translated through paraphrasing strategies. (De Beaugrande and Dressler 1981, 50) define paraphrases as &amp;quot;approximate conceptual equivalence among outwardly different material.&amp;quot; Similarly, in this regard, Hirst defines paraphrases as &amp;quot;talk(ing) about the same situation in a different way.&amp;quot; Munday declared that &amp;quot;equivalence is particularly useful in translating idioms and proverbs” For instance, if the English idiom like a bear with a sore head is rendered into Persian as (mesle borje zahremar), meaning like a tower of snake venom, the strategy of equivalence has been applied. &lt;br /&gt;
&lt;br /&gt;
According to Leonardi, &amp;quot;Equivalence can be said to be the central issue in translation.&amp;quot; In this regard, house believes that &amp;quot;a translation text should match not only its source text in function but also employ equivalent situational-dimensional means to achieve that function&amp;quot; (Baker 2002, 49).  who shares this approach, states that equivalence is used &amp;quot;for the sake of convenience—because most translators are used to it rather than because it has any theoretical status&amp;quot; (Kenny 1998, 77). &lt;br /&gt;
&lt;br /&gt;
Despite different attitudes to the concept of equivalence, most specialists pay much attention to its meaning in the theory of translation. The translation is a form of communication, and that is why it is vital to establish equivalence between the source text and the target text. Although Vinay and Darbelnet believe that equivalence is used differently than in modern translation theory, it is evident that equivalence is one of the basic concepts of translation that cannot be neglected. Consequently, based on the Above mentioned studies using Paraphrasing in translation stands as the core concept in the process of translation, and still, most of the translators cling to it for producing a more comprehensible and explicable text. These language ideas and translation models are ideal constructs, presented abstractly in order to be differentiated precisely. They may exist in an uneasy combination in actual theories and practices, resulting in logical tensions or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation. Theories and actions must be contextualized in historical settings. They've been utilized as analytical tools to describe various topics in section introductions. Theoretical writings and current events these language notions and translation models are ideal constructs expressed in an abstract manner in order to be distinguished precisely in real-life hypotheses they may exist in an uncomfortable mix, resulting in logical conflicts or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
4.2	Using an idiom of Similar Meaning and Form &lt;br /&gt;
&lt;br /&gt;
As mentioned earlier, this strategy type is being used by Aatish Taseer during their translated work of Manto's short stories &amp;quot;khol do&amp;quot; and&amp;quot; license&amp;quot; on an occasional basis. Some examples are mention below.&lt;br /&gt;
&lt;br /&gt;
From khol do.&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
ST: Larki ka rang zard hogaya.&lt;br /&gt;
&lt;br /&gt;
TT: The girl's face became fail&lt;br /&gt;
&lt;br /&gt;
BT: larki ka rang zar hogya.&lt;br /&gt;
&lt;br /&gt;
Similarly, another example from the license is&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: Abu our us ke mat beer hogaie&lt;br /&gt;
&lt;br /&gt;
TT: They fall in love with each other.&lt;br /&gt;
&lt;br /&gt;
BT: WO ik dosri ke mokhbat me geriftar hogaie&lt;br /&gt;
&lt;br /&gt;
The above idioms are pure ones and are being translated with the help of similar meanings and similar forms.&lt;br /&gt;
&lt;br /&gt;
The procedures: transposition, modulation, equivalence, and adaptation, and when it comes to defining the term Equivalence, (Vinay and Darbelnet 2000, 90) propose that it consists in rendering &amp;quot;the same situation … by two texts using completely different stylistic and structural methods&amp;quot;, and when it comes to translating idiomatic expressions like &amp;quot;Il pleut à seaux&amp;quot; it can be translated as &amp;quot;It is raining cats and dogs&amp;quot; using the idiom of similar form and meaning in the target language.&lt;br /&gt;
&lt;br /&gt;
As (Baker 1992, 12) states, this strategy involves using an idiom in the TL which conveys roughly the same meaning as that of the source language idiom and, in addition, consists of identical lexical items. The salient point is that this kind of match can only occasionally be achieved, which cannot be picked up more often by translators. Accordingly, both translators mentioned in the current study had quite a slim chance of using this strategy type. &lt;br /&gt;
&lt;br /&gt;
4.3 Using an idiom of similar meaning but different form:&lt;br /&gt;
&lt;br /&gt;
During translating Manto short stories, &amp;quot;khol do&amp;quot; and &amp;quot;license,&amp;quot; some of the idioms are translated with the help of this strategy. Some of the examples are given below from two different short stories.&lt;br /&gt;
&lt;br /&gt;
Example number one is from the short story &amp;quot;khol do&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
ST: Aur bolwai gos ayai thee?&lt;br /&gt;
&lt;br /&gt;
TT: The roitors come abroad.&lt;br /&gt;
&lt;br /&gt;
BT: pasadi bahar agai hai.&lt;br /&gt;
&lt;br /&gt;
The above idiom is a pure type of idiom being translated with the help of above mention strategy. The word rioter is being used for bolwai, which is not a perfect word for bolwai. In Urdu bolwai, people believe in violence when minorities or the low population of any country want some rights. These people stop them by using violence, burn down their properties, rapes women, and do things like that. Another example from the license is below.&lt;br /&gt;
&lt;br /&gt;
Example 9:&lt;br /&gt;
&lt;br /&gt;
ST: Dosri kotwal abu ko dek kar jal ban ho jati.&lt;br /&gt;
&lt;br /&gt;
TT: The other coachman burn with envy.&lt;br /&gt;
&lt;br /&gt;
BT: Abu ke kamyabi dek kar aur kotwal abu sai khasad karni lagi’&lt;br /&gt;
&lt;br /&gt;
The above idioms are a pure idiom that reflects the effect of jealousy between competitors to achieve equivalency. Aatish Taseer uses envy word for jal ban instead of other which have similar meaning but different form. Look at the other example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: Dino lat vo lagal se kam karni laga.&lt;br /&gt;
&lt;br /&gt;
TT: Dino came with an excuse.&lt;br /&gt;
&lt;br /&gt;
BT: Dino abb bahi tarashni laga.&lt;br /&gt;
	&lt;br /&gt;
The above idioms are types of binomial idioms translated with the help of idioms with similar meanings and different forms. (Newmark 1988, 81) mentions the difference between translation methods and translation procedures. He writes that &amp;quot;[w]hile translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language&amp;quot; (Newmark 1988, 81). Idiomatic translation in his definition reproduces the 'message' of the original. However, it distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original, leading to using an idiom of similar meaning but a different form. Besides, it is often possible to find an idiom or fixed expression in the target language with a meaning similar to that of the source idiom or expression but which consists of different lexical items (Baker 1992, 12). Therefore, translators discover idiomatic expressions in the target language with different forms than in the source language. In the current study, the translators approached this strategy merely for 9% of the total times, which means the frequency of Iranian and English idioms with the same meaning and different forms is not considered high. &lt;br /&gt;
&lt;br /&gt;
4.4 Translation by omission:&lt;br /&gt;
&lt;br /&gt;
A translator is less using these strategies, and we did not find any clue on this type of strategy in an area under consideration.&lt;br /&gt;
&lt;br /&gt;
=== Findings===&lt;br /&gt;
&lt;br /&gt;
(Mandelbit 1995) believed that idioms with different cognitive mapping in the target language would be more challenging to translate. After conducting study and data analysis of collected data, the result revealed that the translator frequently used three out of four strategies of the Mona Baker model during the translation process, which is a translation by Paraphrasing, translation by similar meaning and similar form, translation by similar meaning and different form. In contrast, translation by omission does not found in his work.&lt;br /&gt;
After detail and careful analysis of data, more than half of idioms like &amp;quot;swelling sea of man,” my lord break his arrogance, “weakness for style and fashion.&amp;quot; As I mentioned earlier, many more are translated under the umbrella of Paraphrasing, which is considered the most common method used for translating idioms.&lt;br /&gt;
&lt;br /&gt;
Similarly, we also reflect strategies like similar meaning and different form and similar meaning and similar form. The idiom &amp;quot;rioter came abroad,” burn with envy,” The girl's face became pale, &amp;quot; They fall in love with each other&amp;quot; are translated with the help of two mention strategies, respectively.&lt;br /&gt;
&lt;br /&gt;
Although translation by omission is a strategy used on rare occasions because of its meaning, its meaning cannot be easily paraphrased or stylistic reason. Here, the researcher also did not find any idiom translated with the help of the omission strategy.&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
Go through detailed discussion and analysis of data collected from my source. We finally concluded that the idioms present in two short stories, &amp;quot;khol do&amp;quot; and &amp;quot;License,&amp;quot; are translated under the frame of Mona Baker's idiomatic model. Translation by Paraphrasing is mainly used while idioms of similar meaning and form and idioms of similar meaning and different forms are used occasionally. The researcher discusses all the strategies with related examples in the order of maximum used to minimum used. The strategy by omission did not find it works. All the data are collected from different sources and analyzed with the help of different researcher tools, and the result is written in light of the finding. Different from previous studies, the writer presents the strategies to translate idioms by each type of idiomatic expression found in the story. From the result, it is considered the translation of idiomatic expressions in the story is quite accurate. As the number of accurate data is more the data which is not related to the translation. We take conclusion from the translation through idiomatic expression and paraphrasing is the best way to translate a novel or a story however it is very difficult job to do because it needs more accurate and precise knowledge about the source language and an inspiring method to express ideas in the target language. However, translation is thing through which we can connect the world with each other and also we can study and observe diverse cultures.            &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abu-Saydeh, A. F. (2004). Translation of English idioms into Arabic. Babel, 114-131.&lt;br /&gt;
&lt;br /&gt;
Ahsan, S. (2020). A comparative study of two translations of manto's short story &amp;quot;Toba Tek&amp;quot;. International Journal of English Language Studies, 12-27.&lt;br /&gt;
&lt;br /&gt;
Alexander, R. J. (1987). Mimeograph. In R. J. Alexander (Ed.) Collocation and Culture. Trier: University of Trier, West Germany.&lt;br /&gt;
&lt;br /&gt;
Al-Qinai, J. (2000). Translation quality assessment. strategies, parameters and procedures. Translator's Journal, 497-519.&lt;br /&gt;
&lt;br /&gt;
Bayashi, J. (2020). Japanese-English translation: An advanced guide. Oxfordshire: Routledge.&lt;br /&gt;
&lt;br /&gt;
Das, V. &amp;amp;. (1995). Critical events: An anthropological perspective on contemporary India. New Delhi: Oxford Printing Press.&lt;br /&gt;
&lt;br /&gt;
Mufti, A. (2007). The Language of English India. In I. &amp;amp;. End (Ed.) Enlightenment in the Colony. Princeton University Press.&lt;br /&gt;
&lt;br /&gt;
Waka Xia, L. (2019). A discourse analysis of news translation in China. Syydney: Routledge.&lt;br /&gt;
&lt;br /&gt;
= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
===Ambiguity===&lt;br /&gt;
&lt;br /&gt;
===Lexical and Structural Mismatches===&lt;br /&gt;
&lt;br /&gt;
===Multiword units: Idioms and Collocations===&lt;br /&gt;
&lt;br /&gt;
===Summary===&lt;br /&gt;
&lt;br /&gt;
===Further Reading===&lt;/div&gt;</summary>
		<author><name>Atta Ur Rahman</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=130908</id>
		<title>Translation types, strategies, styles, methods</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=130908"/>
		<updated>2021-12-10T16:21:05Z</updated>

		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* Translation and Culture */&lt;/p&gt;
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&lt;div&gt;'''Translation types, strategies, styles, methods'''&lt;br /&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_1]]&lt;br /&gt;
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==Abstract==&lt;br /&gt;
''Legend of Zhen Huan'', as an excellent Chinese TV series, has successfully entered the American market. However, the American version of Legend of Zhen Huan still has some shortcomings in translation. By comparing and analyzing the subtitle texts of the ''Legend of Zhen Huan'' in China and the United States, this paper aims to discuss the problems existing in the overseas translation of the ''legend of Zhen Huan'' and the translation strategies and methods adopted in the subtitle translation of the American version, so as to provide some enlightenment for Chinese costume dramas to reach the world in the future.&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
Translation strategy and translation methods; ''Legend of Zhen Huan''; Subtitle translation&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
The TV series ''Legend of Zhen Huan'' is Imperial-harem competing play produced by the Beijing Television Arts Center in 2011. This play is adapted from a novel of the same name written by Liu Lianzi, which mainly tells the story of the young girl Zhen Huan growing up from an unsophisticated young girl to an empress dowager who is good at politics. Since its debut in China in 2012, ''the Legend of Zhen Huan'' has been a hit among Chinese audiences, with its ratings rising and even forming “Zhen Huan craze” for a time. The reason why the play has received so much praise, on the one hand, is that the film and television script is well-produced; on the other hand, it is because the plots and dialogues of the characters in the play cover a wealth of historical and cultural knowledge, embodying the profundity of Chinese culture.&lt;br /&gt;
Due to its great success in the domestic market, the series finally attracted the attention of foreign producers: the American team adapted the original ''Legend of Zhen Huan'', cutting the 76-episode original drama into six episodes,which was officially launched on Netflix’s paid website in the United States on March 15, 2015. It is the first Chinese TV series to be broadcast on mainstream TV stations in the United States. &lt;br /&gt;
However, the American version of the ''Legend of Zhen Huan'' failed to be sought after by audiences in the US, with most viewers abandoning the show after only one or two episodes.The English lines of the ''Legend of Zhen Huan''’s have ever been criticized by some Chinese audiences. After a deep study of the reason, in addition to the lack of content caused by a large amount of deletion and cutting, another important reason is the insufficiency of subtitle translation. This paper attempts to explore the translation strategies of the subtitle of ''Legend of Zhen Huan'', hoping to provide some inspiration for the subtitle translation of domestic film and television works of the same type.&lt;br /&gt;
&lt;br /&gt;
==Literature Review==&lt;br /&gt;
&lt;br /&gt;
===Previous studies in Subtitle Tranlation abroad===&lt;br /&gt;
In the early 1970s, Doller Up (1974) published a paper entitled “On Subtitle in TV Programs” on Babel, an authoritative journal of the International Association of Translators, which was the first time that scholars paid special attention to subtitle translation. In addition, he creatively pointed out the great value of TV subtitles to foreign language teaching, and then made contributions to the cause of education.&lt;br /&gt;
&lt;br /&gt;
In 1976, Istvan Fodor published a book called Film Dubbing: Aspects of Phonology, Semiotic Aesthetics, and Psychology, which centered on film dubbing from an acoustic perspective. Fodor argues that because each country’s language and culture are unique and irreplaceable, it is almost impossible to achieve perfect “synchronization” in all aspects of the translation of film(Fodor 1976:82).&lt;br /&gt;
&lt;br /&gt;
In 1982, Christopher Titford first proposed the concept of “restricted translation” in his article “Subtitling: Restricted Translation”. He believes that the limitations of film and television as a medium themselves are the main cause of problems encountered by translators in practice (Titford 1982:113).&lt;br /&gt;
&lt;br /&gt;
In 1992, Ivarsson, a Swedish subtitling translation scholar, published his book Subtitling for Media: A Handout of Art, which can be said to be the first comprehensive study of subtitling translation works in Europe. In this book, Ivarsson introduces the development of subtitle translation technology in detail. The most representative subtitle translation scholars are Gambill and Gottlieb, who are two translation theorists. Yves Gambill, a Finnish translator, is a very important expert in the field of film and television translation. Gambill has a wide range of research fields, he has compiled a large number of academic monographs, such as language transfer and Audiovisual Communication: bibliography, which discusses the classification of translation patterns, translation strategies, translation audience and so on (Gambill 1997).&lt;br /&gt;
&lt;br /&gt;
===Previous studies on Subtitle translation at home===&lt;br /&gt;
The research on subtitle translation in China mainly focuses on the English translation of Chinese films, and a large number of such papers and articles have been published, which are also the most representative research results of subtitle translation in China. In addition, with more and more domestic films moving toward the international stage, some attention has been paid to the study of Chinese subtitles.&lt;br /&gt;
&lt;br /&gt;
The study on Chinese and English subtitle translation can be divided into several fields, including film and television language characteristics, subtitle translation methods, subtitle translation history and so on.&lt;br /&gt;
&lt;br /&gt;
Subtitle translation methods can be broadly divided into two categories. One category refers to some practical translation methods and skills summed up by translators based on their years of translation experience, such as the seven kinds of experiences of film and television translation proposed by Qian Shaochang (2000), which stresses the importance of “translation” in the output of films and TV plays. The other is related to domestic MA papers. They usually start with some translation theories, such as German functional translation theory, Eugene Nida’s functional equivalence theory, relevance theory, and Susan Basnett’s cultural translation theory, and finally conclude translation methods such as domestication, foreignization, literal translation, free translation, omission and so on.&lt;br /&gt;
&lt;br /&gt;
In recent years, with the increasing popularity of American TV series in China, the phenomenon of online subtitle translation has begun to attract attention from all sides. As time went by, subtitle translation goes beyond the simple purpose of satisfying the entertainment needs of movie fans, and begin to be applied to teaching practice and students’ self-learning process. This phenomenon is bound to attract academic attention. For example, Wang Hui (2005) discussed this issue in his article “The Impact of Subtitling on Vocabulary Acquisition”. This paper draws some conclusions which are beneficial to foreign language teaching.&lt;br /&gt;
&lt;br /&gt;
However, there are still many deficiencies in the study on subtitle translation. The only literature we can refer to is few books on the translation of film and television subtitle. In other words, subtitle translation is not discussed in detail.&lt;br /&gt;
&lt;br /&gt;
==Subtitle translation features==&lt;br /&gt;
&lt;br /&gt;
===Subtitle translation needs to be brief and comprehensive===&lt;br /&gt;
Subtitle translation should not be lengthy for two reasons: First, because the screen keeps switching, each screen stay can not be very long, the scene with the character’s dialogue switches over more quickly, in a matter of seconds, which is fleeting. Second, whether it is the large screen in the cinema or the small screen in the home, due to space constraints, if the subtitle translation is not simple enough, it will lead to an increase in the number of words in the target language, not to mention the English words that take up more space than Chinese phrases. English words take up more space than Chinese phrases.&lt;br /&gt;
&lt;br /&gt;
Take the Chinese phrase “Computer”for example, the English equivalent word is computer. The Chinese verb “来”corresponds to the English word “Come”. In general, English words have more characters than their Chinese counterparts, except in rare cases. Since the length of the word can not be artificially controlled, subtitle translation will put a higher demand on the number of words. In a typical presentation, Chinese and English subtitles are displayed simultaneously at the bottom of the screen, up to two lines of Chinese and two lines of English.&lt;br /&gt;
&lt;br /&gt;
If there are too many words, the limited space can not accommodate in a few seconds, the audience will have a dazzling feeling as well. Therefore, one of the distinctive features of subtitle translation is its concise use of words.&lt;br /&gt;
&lt;br /&gt;
===Subtitling translation requires natural equivalence===&lt;br /&gt;
The subtitling of the target language should be as natural as the subtitling of the source language. The subtitle translation discussed in this paper is mainly about the dialogue of the characters in the play. On the one hand, the style of dialogue is colloquial, in this sense,It is important   for the translator to pay attention to whether the subtitle translation that the target language audience can hear and see is in line with their daily speaking style.If the original spoken language is translated formally and rigidly, the audience of the target language will feel less natural and fluent, and their movie-watching experience can not be comparable with that of the source language audience. On the other hand, the spoken language features of the characters can clearly shape the characters in the play. If the translator does not grasp the spoken features of the characters, the target audience can not understand the character’s connotation as well as the source audience.&lt;br /&gt;
&lt;br /&gt;
Therefore,if a character needs to say something filthy, or even taboo, to make the character stand out, the subtitle translator must also translate the same filthy and taboo.These taboos should inevitably appear in the subtitle translation, and we should not mince words about them. The same is true of English to Chinese subtitle translation and Chinese to English translation. Because these taboo words are the extension of the role connotation, improper handling will affect the target audience's understanding of the connotation of the role.&lt;br /&gt;
&lt;br /&gt;
===Subtitle translation needs to be easy to understand===&lt;br /&gt;
The film and Television Play is the Popular Entertainment Program, so subtitle translation should be clear at a glance. There are thousands of people watching TV dramas, and their knowledge and cultural level vary widely, and their appreciation level is naturally mixed.Film and TV series have such a wide audience, which requires subtitle translation to take care of the needs of the majority of the audience whether from the perspective of box office and Audience Rating, or from the perspective of cultural communication.&lt;br /&gt;
&lt;br /&gt;
==Theory of Domestication and Foreignization==&lt;br /&gt;
In the process of translation, the translator should determine the general direction of translation, cultivate a good sense of culture, and fully understand that translation is an important feature of information exchange across different languages and cultures. But how to achieve that? There are two opposite strategies in translation: foreignization and domestication. The terms of domestication and foreignization were put forward by Laurence Venutti in his book Translators’ invisibility in 1995:&lt;br /&gt;
&lt;br /&gt;
===Domestication===&lt;br /&gt;
The domestication strategy is to localize the source language, take the target language or target readers as the destination, and convey the content of the original text in the way that the target language readers are accustomed to.Domestication requires the translator to be closer to the target language reader, and the translator must speak like the native author.This translation strategy will often make the translation transparent, smooth, relaxed and natural, close to the reader to the greatest extent, so as to dilute the strangeness brought by the original text.In film and television subtitle translation, domestication is often used in order to make the audience understand the film smoothly.&lt;br /&gt;
&lt;br /&gt;
===Foreignization===&lt;br /&gt;
The foreignization strategy is completely opposite to the domestication strategy, which is oriented by the source language culture and that &amp;quot;the translator should not disturb the author as much as possible to make the reader close to the author&amp;quot;.Foreignization advocates believe that the main purpose of translation is cultural communication, so the translation should try its best to preserve the language and cultural information contained in the source language.Only in this way can the exchange and fusion of source and target cultures be achieved through translation. In addition, they believe that the translator should believe the reader’s imagination and intelligence to the utmost, and believe that when reading the translated version, the reader should not only understand the simple words, but also understand the foreign culture through the words, and they have the capacity to understand the culture. &lt;br /&gt;
&lt;br /&gt;
Of course, as two translation strategies, domestication and foreignization are the unity of opposites and they complement each other. Absolute domestication and absolute foreignization do not exist.&lt;br /&gt;
&lt;br /&gt;
==Case Study==&lt;br /&gt;
&lt;br /&gt;
===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
The essence of “foreignization”is “the tendency toward the original author”, that is, the translator tries to be close to the original author in his translation (Xiong Bing, 2014). In the words of the Friedrich Schleiermacher, this means that the translator“Tries not to disturb the original author, but to take the reader to the original author”(Robinson, 2006:229) . Specifically in Translation, the translator tries to retain the original language, literariness, cultural characteristics and exotic customs (Xiong Bing, 2014) . Therefore, the nature of foreignization strategy is mainly in favor of the original author, and its defects are mainly reflected in the readability of the translation. In other words, the translation may be blunt and not well received and understood by the audience. Therefore, the translation effect is not ideal for the target audience.&lt;br /&gt;
&lt;br /&gt;
====Literal Translation====&lt;br /&gt;
Literal translation means keeping both the content and the form of the original text in the translation when the language conditions permit, especially the metaphor, image, national and local color of the original text.The vast majority of subtitle translation of the Us version of ''Legend of Zhen Huan'' adopts literal translation. Look at the following example:&lt;br /&gt;
&lt;br /&gt;
Example 1&lt;br /&gt;
&lt;br /&gt;
Chinese version：嬛嬛一袅楚宫腰。&lt;br /&gt;
&lt;br /&gt;
American version：the slim waist of the concubines of the Chu palace.&lt;br /&gt;
&lt;br /&gt;
For the word “Huan”in the name of Zhen Huan, the American version uses the Foreignization method, which is translated literally as the slim waist of the concubines of the Chu palace.Western audiences may be confused by the subtitles,Western audiences may be confused by the subtitles, because Zhen Huan is clearly a woman from the Qing Dynasty, how come another Chu Palace? In terms of accuracy and the conveying of cultural context, this translation is well-done, but it creates a barrier for the audience to understand. Therefore, the translation can throw out on its real meaning, such as translated into As my name, Huan, means graceful women with slim waist, &amp;quot;Chu palace&amp;quot; here means can be omitted.&lt;br /&gt;
&lt;br /&gt;
Example 2&lt;br /&gt;
&lt;br /&gt;
Chinese version：一片冰心在玉壶&lt;br /&gt;
&lt;br /&gt;
American version：A jade vessel is the symbol of a pure heart.&lt;br /&gt;
&lt;br /&gt;
“Jade Vessel”in Chinese has a unique associative meaning, while the meaning of these words in English is vacant. Western audiences just think that Dr. Wen is evaluating his character, but they can’t hear his pure love for Zhen Huan, so on the basis of foreignization, it’s better to add some domestication translation to make it easier for the audience to understand.&lt;br /&gt;
&lt;br /&gt;
The American versions of examples 1 and 2 are very literal and concise translations, because the original subtitles have no hidden meaning.However, due to the wrong choice of translation methods, a small number of translated subtitles are just like translation cavities.If the cultural significance of the original text is lost, the translation may be regarded as a failure.In a sense, actors’ performances and lines are the &amp;quot;booster&amp;quot; of the plot development of the TV series.However, if the audience can not understand the original meaning, the story will be much less attractive in the eyes of the audience.For example:&lt;br /&gt;
&lt;br /&gt;
Example 3&lt;br /&gt;
&lt;br /&gt;
Chinese version：“赏你一丈红”&lt;br /&gt;
&lt;br /&gt;
American version：Then I will award Attendant Xia the Scarlet Red.&lt;br /&gt;
&lt;br /&gt;
In the original subtitle of example 3, “一丈红” (yi zhang hong,  literally “two-meter-long red”) is used to punish a palace maid or a  concubine who had done something wrong in China’s ancient imperial palace. The specific content of the penalty goes as follows: a two-meter-long and two-inch-thick board was used by the performer to give the guilty palace maid or concubine a good beating on their waist or the place below it until their bones were broken and the blood gushed out.   Looking from the distance, you will see that the blood covered a long distance. Thus, it is called “一丈红”. &lt;br /&gt;
&lt;br /&gt;
In the American version of Legend of Zhen Huan, it is translated into “the Scarlet Red”. the word Scarlet itself means “Lewd and sinful,”as in the Scarlet letter. It is very appropriate to translate &amp;quot;red&amp;quot; with scarlet. However, this partial literal translation runs counter to the American audience’s way of thinking, which they think it as nothing more than a horror show. In this way, the specific penalty content will be lost, and the target audience can't feel that the harem struggle is everywhere in the court, and can't get the equal effect for them.&lt;br /&gt;
&lt;br /&gt;
In this way, the specific content of the penalty will be lost, the target audience can not feel the Harem struggle existed everywhere in the imperial court and the equivalent effects cannot be obtained for them.&lt;br /&gt;
&lt;br /&gt;
====Zero Translation====&lt;br /&gt;
The so-called &amp;quot;zero translation&amp;quot; means that some elements of the source language are directly introduced into the target language without the ready-made words in the target language (Xiong Bing, 2014). This translation method is mainly used to translate the names of people and officials in the English version of the ''Legend of Zhen Huan''. That’s because in ancient China, there was a very strict patriarchal system with the ideas of three cardinal guides and the five constant virtues.&lt;br /&gt;
&lt;br /&gt;
In the eyes of the Chinese people, the distinction between the titles of concubines and concubines is clear at a glance, but it is difficult for foreigners to see these things, because medieval European monarchs were nominally allowed only one wife, there is no such complicated hierarchy of appellation among women. Therefore, such titles as &amp;quot;贵妃&amp;quot;, &amp;quot;妃&amp;quot;, &amp;quot;嫔&amp;quot;, &amp;quot;贵人&amp;quot;, &amp;quot;常在&amp;quot; and &amp;quot;答应&amp;quot; are presented in a dynamic equivalent way (words with similar functions in the source language), for example:&lt;br /&gt;
&lt;br /&gt;
Example 4&lt;br /&gt;
&lt;br /&gt;
熹贵妃——Noble Consort Xi    华妃——Consort Hua&lt;br /&gt;
&lt;br /&gt;
莞嫔 ——Concubine Huan       沈贵人——Lady Shen&lt;br /&gt;
&lt;br /&gt;
夏常在——Attendant Xia       小主——Young Mistress&lt;br /&gt;
&lt;br /&gt;
敦亲王：Prince Dun            舒太妃：Consort Dowager Shu&lt;br /&gt;
&lt;br /&gt;
Example 4 only shows a few official titles of the characters in the ''Legend of Zhen Huan''. However, the translation subtitles in this example reveal a subtitle rule that the American version of the ''Legend of Zhen Huan'' Uses Zero Translation for personal names and free translation for official titles. And we can clearly see the efforts of translators to represent this hierarchical culture in ancient China. However, this method of translation can not meet the needs of the current audience, because the ancient Chinese culture is broad and profound, and the official titles of emperors and concubines in the play conform to the traditional Chinese culture&lt;br /&gt;
&lt;br /&gt;
However, the cultural ideologies of the American people and the Chinese people are very different. Traditional translation can not convey the characteristics of the characters and the intensification of their contradictions. The American people have not experienced the five thousand years of slavery and feudalism in China, nor do English dictionaries or translation related books have Chinese cultural vocabulary. In addition, the current subtitle translation does not advocate the use of a large number of notes, which will have a negative impact on the effect of watching the drama.&lt;br /&gt;
&lt;br /&gt;
Therefore, notes are usually used only for the first appearance of a character, in order to provide the necessary introduction in enough subtitling space.When they appear a second time, the introduction will be omitted.As for the conflicts between the characters and the progress of the plot, it is difficult for the target audience unfamiliar with Chinese History to adapt to the culture and conflict in the play. Therefore, it is hard to arouse their interest in watching this drama.&lt;br /&gt;
&lt;br /&gt;
===Translation Methods under Domesticating Strategy===&lt;br /&gt;
Opposite to the foreignizing strategy, domestication is characterized by the “tendency toward the target recipients” (Xiong Bing, 2014). In other words, the translator tries to be as close to the target recipients in the translation as possible. In Schleiermacher’s words, it means that translators “try not to disturb the reader, but to bring the original author to the reader” (Robinson, 2006: 229). Specifically speaking, in the translation, the translator uses the language, literary devices, cultural elements that the target language readers love to replace the language, literary devices and cultural elements of the original language as much as possible, and abides by the language, literary devices and cultural norms of the original language (Xiong Bing, 2014). &lt;br /&gt;
&lt;br /&gt;
The domesticating strategy is a translation strategy just opposite to the foreignizing strategy. Its advantage is that the translation can be fluent, easy to understand, and easily accepted by the target recipients; or it tries to meet the specific needs of the target audience. However, the domesticating strategy also has some shortcomings. The first weakness of it is the loss of the language, literariness, culture and other important elements of the source text, so that the target audience cannot appreciate the exotic authentic language and cultural practices. This cannot help the cultural exchange and dissemination between different ethnic groups. The second weakness is that the domesticating strategy of the translated text may lead to semantic loss and semantic ambiguity in translated texts.&lt;br /&gt;
&lt;br /&gt;
====Omission====&lt;br /&gt;
Omission is a very important method in domestication strategy.The Syntactic structure of English emphasizes &amp;quot;hypotaxis&amp;quot;, and there are appropriate connecting elements between each component of a sentence to express their mutual relations, which emphasizes the consistency and coordination of grammatical relations.The structure of Chinese sentences is &amp;quot;parataxis&amp;quot;, and the relationship between each component of the sentence depends more on the intention, and less on the linking component. The structure form is relatively relaxed, and the words and sentences are relatively simple.Therefore, Omission is one of the most common methods in Chinese text translation.Word reduction means that in translation, the translator must grasp the differences between Chinese and English, omit the unnecessary linking elements in Chinese, make the translation smooth, avoid stiff and cumbersome, and eliminate unnecessary words and words as far as possible.There are many examples of reducing words in the translation of Legend of Zhen Huan.&lt;br /&gt;
&lt;br /&gt;
Example 1&lt;br /&gt;
&lt;br /&gt;
Chinese version:“先敬罗衣后敬人。” &lt;br /&gt;
&lt;br /&gt;
American version: “The clothing completes the person.”&lt;br /&gt;
&lt;br /&gt;
This Chinese idiom means that people will first look at the clothes they are wearing and judge their social status according to the clothes. There is a derogatory element in it.However, in the translation of this sentence, the translator adopted the word reduction method and did not translate every word.The word &amp;quot;complete&amp;quot; expresses the idea that &amp;quot;clothes make the man&amp;quot;, but fails to express the meaning intended in the original text.Therefore, the author thinks that can continue to use the Omission here, will change its translated into “According to clothing to estimate people’s status.”&lt;br /&gt;
&lt;br /&gt;
Example 2&lt;br /&gt;
&lt;br /&gt;
Chinese version: “花开堪折直须折，莫待无花空折枝。” &lt;br /&gt;
&lt;br /&gt;
American version: One must pick a flower at the prime of its bloom, Do not wait until the blossom fade and falls.&lt;br /&gt;
&lt;br /&gt;
There are three Chinese characters for &amp;quot;折&amp;quot; in this sentence, but the translator did not show any of them in the Process of English translation.Shall we say that he did not translate the Chinese meaning?Of course not. The translator must have noticed these three &amp;quot;fold&amp;quot; characters in the process of translation. If one of them is translated out, the sentence will appear too long-winded and not in line with the characteristics of subtitle translation.Therefore, the translator starts from the meaning of the original text to persuade people to cherish, and cleverly leaves out the word &amp;quot;折&amp;quot;, which not only avoids repetition, but also conveys the meaning of the original text.This reflects the three principles of Skopos theory: &amp;quot;Based on the source language, pay attention to the culture in the target language, the intention of translation activities and the acceptance state of the American audience&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
====Addition====&lt;br /&gt;
Addition is also an important translation method in domestication strategy.Augmentation refers to the use of structural and semantic augmentation to compensate for linguistic and cultural deficiencies in the target text.Structural supplement refers to the addition of omitted words or replaced words to make the content of translation more complete.Semantic supplement refers to the translator's addition of nouns, verbs, summative words, explanatory words and conjunctions to compensate for the lack of language and culture in the target text so that readers can understand the original text.&lt;br /&gt;
&lt;br /&gt;
Example 1&lt;br /&gt;
&lt;br /&gt;
Chinese version:“他不忍叫你明珠暗投。”  &lt;br /&gt;
&lt;br /&gt;
American version:&amp;quot;You will not be granted an ordinary life when you can live an extraordinary one.&lt;br /&gt;
&lt;br /&gt;
In this example, the translator adopted Addition method to make a explanatory translation for &amp;quot;明珠暗投&amp;quot; , the translation of &amp;quot;be granted an ordinary life when you can live an extraordinary one.&amp;quot;As we know, Chinese idioms are one of the wonders of The Han culture, and they often show rich implicit meanings in condensed four-character sentences.In the translation of this sentence, it is easy for us to understand the meaning of &amp;quot; 明珠暗投&amp;quot;&amp;quot;, but how to make the American audience understand, the translator needs to make an explanation, so that the American audience can understand the implicit meaning of the original text, so as to reduce the cultural burden.&lt;br /&gt;
&lt;br /&gt;
Example 2&lt;br /&gt;
&lt;br /&gt;
Chinese version：“臣妾一与社稷无功，二与龙脉无助。” &lt;br /&gt;
&lt;br /&gt;
American version:“Firstly, I have made no contribution to the nation. Secondly, I have begotten no heirs.&lt;br /&gt;
&lt;br /&gt;
In example 2, the translator interprets &amp;quot;社稷&amp;quot; as &amp;quot;nation&amp;quot; for readers to understand.&amp;quot;社稷&amp;quot; has always been a synonym for &amp;quot;nation&amp;quot; in Chinese, just as &amp;quot;White House&amp;quot; is a synonym for &amp;quot;America&amp;quot;. In addition, there is no English equivalent for &amp;quot;nation&amp;quot;, so it is appropriate for the translator to use &amp;quot;nation&amp;quot;.Heirs to dragon vein, a Feng shui concept meaning undulating mountains, succeed.Later, the royal family regarded it as the lifeblood of the country, so they would call the royal blood &amp;quot;dragon vein&amp;quot;.Heirs to dragon Vein, which in this case means heirs to the emperor's children, succeed in translating it into Heirs to the emperor.It's less common and more advanced than the word &amp;quot;children&amp;quot;, which is often thrown around.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
The subtitle translation strategy of Legend of Zhen Huan generally focuses on domestication, and tends to transform implicit meaning into explicit meaning.When the meaning of the source language is complex and difficult to be understood by the target language audience, the translation strategy of domestication is usually adopted, and the expressions used in the target language are adopted.If there is an equivalent or similar expression between the target language and the source language, alienation should be considered, and a concise explanation should be added if conditions permit, so that the cultural essence of the source language can be preserved and the audience can experience the charm and national characteristics of traditional Chinese culture.&lt;br /&gt;
&lt;br /&gt;
As a translation strategy, absolute domestication and absolute foreignization do not exist in translation practice.The task of the translator is to make the best use of the two strategies in practice according to the specific language characteristics, the purpose, the language characteristics of the source language and the target language, and the national culture, so as to bridge the cultural differences between the two countries.&lt;br /&gt;
&lt;br /&gt;
==Reference==&lt;br /&gt;
[１]Dollerup, Cay. On Subtitles in Television Programs[J]. Babel, 1974, (20): 197-202. &lt;br /&gt;
&lt;br /&gt;
[２]Ivstor, Fordor. Film Dubbing: Phonetic Semiotic, Esthetic and Psychological Aspects[C]. John Benjamins, 1976. &lt;br /&gt;
&lt;br /&gt;
[３]Schleiermacher, F. On the Different Methods of Translation[A]. In Robinson, D.(ed.). Western Translation Theory: From Herodotus to Nietzsche[C]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
&lt;br /&gt;
[４]Titford, Christopher.Subtitling: Constrained Translation[J]. Lebende Sprachen, 1982, 27(3):113-116.  &lt;br /&gt;
&lt;br /&gt;
[５]钱绍昌. 影视翻译──翻译园地中愈来愈重要的领域[J]. 中国翻译, 2000(1):61-65.&lt;br /&gt;
&lt;br /&gt;
[６]汪徽.字幕对伴随性词汇习得的影响[J].外语电化教学,2005(2):47-52. &lt;br /&gt;
&lt;br /&gt;
[７]熊兵. 翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J]. 中国翻译, 2014(3):82-88.&lt;br /&gt;
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=2 刘晓 The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
[[Trans_Type_EN_2]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
With the rapid growth of economy, people's pursuit of life quality is gradually increasing. Travelling abroad has become a hot topic nowadays. The rapid development of overseas travel has increased the market demand for tourism translation, and more stringent requirements for tourism translators. How to deal with the translation problems caused by the cultural differences between Chinese and English during the translation process is of great importance to improve the quality of tourism translation. The communicative translation strategy in Newmark's translation theory focuses on the effect that the translation brings to the target language readers, which is of certain guiding significance to the E-C translation of tourism texts. Therefore, this paper takes ''Everglades National Park, Florida (Excerpt)'' as an example to analyze the specific translation strategies and methods in the application of Newmark's translation theory in tourism texts, so as to provide reference for other translators.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Translation strategy and translation methods; Peter Newmark; Tourism texts&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
This paper is based on the English-Chinese translation of ''Everglades National Park, Florida (Excerpt)''. By analyzing the application of Peter Newmark's communicative transaltion in the translation, the author proposes some translation methods, which can be provided for future references.  This chapter mainly introduces the background information and significance of the report, and the domestic research status.&lt;br /&gt;
&lt;br /&gt;
====Research background====&lt;br /&gt;
&lt;br /&gt;
With the development of the world, various kinds of tourism appear in people’s life, and has unprecedentedly, extremely widely spread a variety of culture and lifestyle. Tourism has become a rising sunrise industry in modern society (Jin Huikang, 2007). To a foreign country to enjoy the beautiful scenery can make people know the colorful world and further know what they want. And this activity also has made tourism translation a reality and a thriving discipline.&lt;br /&gt;
&lt;br /&gt;
However, due to the different geographical environments, cultural differences and historical backgrounds in different countries, many translators often ignore the disadvantages brought by differences in language and cultural habits in the process of translation, so that the original meaning of the original text will be lost in the process of transmission, which may cause confusion for tourists and cannot achieve the purpose of offering them accurate information and stimulating their interest.&lt;br /&gt;
&lt;br /&gt;
Therefore, in order to make it more convenient for domestic citizens to travel abroad, translators should choose appropriate translation strategies and methods according to the cultural differences between China and foreign countries in the process of tourism English translation, so that tourists can form an objective and correct understanding of scenic spots. The semantic translation and communicative translation strategies in Peter Newmark’s Theories respectively focus on whether the meaning of the original text is exactly reproduced and the effect and influence that the translation brings to the target language readers, which are of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
&lt;br /&gt;
====Research significance====&lt;br /&gt;
&lt;br /&gt;
In theory, based on Peter Newmark’s translation theories, this paper chooses the semantic translation strategy and puts forward appropriate translation methods for the English-Chinese translation of tourist text -- the ''Everglades National Park, Florida (Excerpt)'', which is of certain guiding significance for English - Chinese translation of tourist texts.&lt;br /&gt;
Based on the practice of the ''Everglades National Park, Florida (Excerpt)'' English - Chinese translation and the analysis of Newmark’s communicative translation strategy’s application, this paper sums up some translation methods, such as voice change, objective and personal subject changing, adding conjunctions, etc. And these methods can be provided for future references in the translation study and practice of others, which has a certain practical significance.&lt;br /&gt;
&lt;br /&gt;
====Literature review====&lt;br /&gt;
&lt;br /&gt;
Through the analysis of Newmark’s communicative translation in recent years, it can be found that there are many references for the guidance of communicative translation on tourism translation texts. He Xueyun (2005) proposes that the public notices and signs should belong to the vocative functional text and focus on the reader-centered communicative translation, which can give foreigners a better environment for travel, study and work in China. For such a style, the communicative translation theory should be chosen, the target readers put in the first place and always in mind, and their culture and receptivity taken into account. Jin Huikang (2006) believes that tour guide words must have a specific expected function, which are a kind of texts that integrate informative, expressive and vocative functions. Therefore, tourism translation should aim at effective attraction for overseas tourists, and the translator should grasp the group characteristics of overseas tourists and audiences when carrying out tourism propaganda or translating tourism materials. Ma Chen (2010) points out that the tourism text is a kind of article mainly based on vocative function, and the core of which is to accurately convey information for readers. Liu Anhong (2013) proposes tourism text as a kind of publicity material, aiming to stimulate tourists’ interest in visiting. According to the division of Newmark, the tourism text should belong to the text with the vocative function as its main function and the informative function as its secondary function. Therefore, the translation of tourism text should effectively achieve the effects similar to the original text.&lt;br /&gt;
&lt;br /&gt;
From the combing of previous literatures, it can be found that there are many studies on the translation of tourism texts guided by Newmark’s communicative translation strategy. However, at present, there are few studies on the translation of tourism texts from English to Chinese, and more studies focus on the Chinese- English translation. For this reason, this paper is based on the translation practice of ''Everglades National Park, Florida (Excerpt)'' to provide some reference for future English – Chinese translation of tourism.&lt;br /&gt;
&lt;br /&gt;
===Tourism Texts===&lt;br /&gt;
&lt;br /&gt;
====General Introduction====&lt;br /&gt;
&lt;br /&gt;
Tourism text is an important carrier for readers to obtain scenic spot information, and Tourism text is to stimulate readers' desire to travel by introducing tourist attractions and resources, and its ultimate purpose is to meet readers' expectations and arouse readers' enthusiasm by delivering tourism information. In other words, the dominant function of tourism text is vocative function. At the same time, tourism texts also provide readers with information they like, from which people can acquire relevant knowledge such as culture and customs, natural geography, etc. Therefore, informative function is also its important feature. It can be seen that the two most important functions of tourism texts are respectively informative and vocative one, whose premise is to provide information and purpose is to attract tourists. &lt;br /&gt;
&lt;br /&gt;
In addition, we should realize that translation of tourism texts is a professional translation of tourist attractions and resources for target readers, and its essence is a communicative behavior. If the translator fails to properly deal with the differences between cultures, it will often fail to achieve the expected results. Therefore, during the translation process, more attention should be paid to the accuracy and effectiveness of the information, so as to make the translation conform to the target readers’ reading habits and aesthetic expectation (Li Daosheng, 2000). This requires the translator to put the reader's acceptance first in the process of translation. That is, tourism text translation should not only realize the conversion from one language to another, but also take language barriers and cultural differences into account. Therefore, in order to achieve the goal of successful communication, translators should flexibly apply various translation strategies and adopt appropriate translation methods according to the text types of tourism texts.&lt;br /&gt;
&lt;br /&gt;
====Introduction to the ''Everglades National Park, Florida (Excerpt)''====&lt;br /&gt;
&lt;br /&gt;
Established in 1974, Everglades National Park covers 2,354 square miles, or 6,097 square kilometers (1.4 million acres). Located at the tip of southern Florida, it is the largest subtropical wildlife sanctuary in the continental United States. Everglades National Park protects an unparalleled landscape which provides important habitat for numerous rare and endangered species such as the manatee, American crocodile, and the elusive Florida panther.&lt;br /&gt;
&lt;br /&gt;
''Everglades National Park, Florida (Excerpt)'' is excerpted from a notice from U.S. National Park Service about the phased reopening of the park, including alerts of the reopening, activities, safety and accessibility. It can also be regarded as a travel guide, which describes the journey towards people and offers help to the tourists who want to go there, and which often includes the description of the best travel time, transportation, accommodation, scenic spots and matters needing attention. As a practical text, its main purpose is to introduce and promote tourist scenic spots, that is the Everglades National Park in Florida. Its vocative and informative function are very prominent, and it has the characteristics of reader-orientation, the effectiveness of information transmission and timeliness.&lt;br /&gt;
&lt;br /&gt;
===Newmark's Translation Theory===&lt;br /&gt;
&lt;br /&gt;
====General introduction of Peter Newmark's translation theories====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark, a well-known translation theorist, is one of the main figures in the founding of translation studies in the English-speaking world in 20th century. Newmark devoted himself to studying the past and present of Western translation, and put forward his own views on this basis. Newmark’s translation theories mainly include three parts, that is, the classification of text types, translation approaches, and the lately correlative theory of translation.&lt;br /&gt;
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According to Karl Buhler’s knowledge of language features and Jacobson’s classification of them, Newmark proposed six functions of language informative function, expressive function, vocative function, phatic function, aesthetic function, and lastly metalingual function. (Hou Yingying, 2020) Then Newmark divided text types into three: expressive-functional texts, informative-functional texts, vocative-functional texts.&lt;br /&gt;
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After putting forward these three text types, Peter Newmark suggested eight translation approaches or strategies. Firstly, from the perspective of focusing on the source language, he suggested word-for-word translation, literal translation, faithful translation and semantic translation; Secondly, from the perspective of focusing on the target language, he suggested adaptation, free translation, idiomatic translation and communicative translation (Newmark, 2001:45).&lt;br /&gt;
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In 2007, Newmark came up with a new theory, that is, correlative theory of translation, which means that “The more serious and important the language of the original or source text, the more closely it should be translated.” (Newmark, 2007)&lt;br /&gt;
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In conclusion, Peter Newmark has proposed many significant theories and made extensive discussion on those concepts, which will have a great influence on the translation practice.&lt;br /&gt;
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====Semantic translation and communicative translation====&lt;br /&gt;
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Peter Newmark divided text genres into “expressive text”, “informative text” and “vocative text” in his classic work ''Approaches to Translation''. Imaginative literary works, such as poems, songs, novels and dramas, authoritative statements, autobiographies, essays and personal correspondence, etc. are expressive texts. All the formatted texts with science and technology, industry and commerce, and economy as themes belong to informative texts. And vocative text refers to all texts that can infect readers and make them “get information”.&lt;br /&gt;
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With reference to these three kinds of texts, Newmark further creatively proposed the concepts of semantic translation and communicative translation: “communicative translation” means that the effect of the target text on the reader of the target language is as much as the effect of the original text on the reader of the source language; “semantic translation” refers to the reproduction of the context of the source text as accurately as possible under the premise of the semantic and syntactic structure of the target language. He believed that only communicative translation and semantic translation can achieve the two major goals of translation: being accurate, and being economic (effective).&lt;br /&gt;
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In ''About Translation'', Newmark made a detailed comparison of the characteristics of semantic translation and communicative translation from different aspects, and pointed out that the fundamental difference between them lies in that when the information and the effect are in conflict, communicative translation lays more emphasis on effect than content, while semantic translation lays more emphasis on content than effect. Communicative translation can give the translator full freedom, the translator can reorganize the syntax, eliminate the original obscure places in the source language, and make the language conform to the standard of the target language. However, semantic translation emphasizes the content of the information itself, tries to make the form of the target text similar to the form of the original text, and retains the language characteristics and expressive style of the original author. Therefore, compared with semantic translation, communicative translation is more subjective and can better reflect the translator’s creativity and it attaches great importance to the communicative effect of translation, the key to which is to convey information, make readers of the target language think, act and feel, and play an inductive role in making the translation natural and smooth, and more readable. &lt;br /&gt;
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Newmark pointed out that the translation of expressive texts should employ semantic translation, while informative and vocative texts communicative translation which is reader-centered. The most direct purpose of tourism texts translation is to convey information to readers on the premise of attracting readers’ attention and leaving readers with deep memories, so that readers can take actions -- to visit tourist attractions and pay attention to matters that should be paid attention to. Thus, it can be seen that the tourism text belongs to the vocative text and the communicative translation should be applied. &lt;br /&gt;
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To sum up, Newmark’s communicative translation focus on the effect that the translation brings to the target language readers, which is of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
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===Case Study===&lt;br /&gt;
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The purpose of communicative translation is to try to make the translation have the same effect on the target reader as the original does on the source reader. That is to say, the key point of communicative translation is to be loyal to the target language and the target text reader, that is, the source language is required to obey the target language and culture, leaving no doubt or obscurity to the reader, and eliminating difficulties and obstacles in reading or communication for the reader as far as possible.&lt;br /&gt;
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Because the translator wants to achieve a certain communicative purpose, emphasizes the effect and has a specific target audience, the translation has inevitably broken the restrictions of the original text, pursuing smoothness, clarity, directness and conformity with conventions. In this part, the author analyzes the specific application of communicative translation in the translation practice of the ''Everglades National Park, Florida (Excerpt)'' from three aspects: lexical, syntactic and textual analysis.&lt;br /&gt;
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====At Lexical Level====&lt;br /&gt;
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Generally speaking, there is partial equivalence between English and Chinese, that is, similar expressions in Chinese can replace the meaning of English words or phrases (Liu Junping, 2009). In the following, two translation methods used in lexical translation will be introduced: conversion of part of speech and the translation of public signs.&lt;br /&gt;
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1)Conversion of part of speech&lt;br /&gt;
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Example 1:&lt;br /&gt;
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ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors.''&lt;br /&gt;
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TT: 个人、团体或家庭都能在这找到适合的户外活动。&lt;br /&gt;
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Analysis: As we all know, English belongs to the Indo-European language family, while Chinese the Sino-Tibetan language family. Many differences exist between English and Chinese in terms of vocabulary and grammatical structure. Therefore, in the process of translating English into Chinese, due to the different ways of expression between English and Chinese some sentences can be translated word by word, while most sentences cannot. In order to make the Chinese translation smooth and natural, some words in the original text need to be converted into different parts of speech in the target text without sticking to the surface structure of the original text. In other words, some words in the original text can be converted into other parts of speech in Chinese on the premise of being faithful to the original meaning and retaining the original effect. &lt;br /&gt;
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The original sentence uses a nominal phrase “no shortage of” to express the meaning that no matter how many people come together for outdoor activities, there are always options. The translator translates it into a verbal phrase, that is, everyone can find a suitable outdoor activity here, so that the meaning gets across and the whole sentence flows naturally.&lt;br /&gt;
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Example 2:&lt;br /&gt;
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ST: ''Accessibility: No immediate trails.''&lt;br /&gt;
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TT: 如何前往：没有路径可直接到达。&lt;br /&gt;
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Analysis: As English tends to use more nouns with static narratives, while Chinese tends to use more verbs with dynamic ones. The static tendency of English mainly comes from nominalization, a common phenomenon in English. Nominalization mainly refers to the use of nouns (phrases) to express the information originally expressed by verbs (phrases), such as the use of abstract nouns to express actions, behaviors, changes, states, etc (Lian Shuneng, 1993). For example, “accessibility” in Example 2 is an abstract noun, which is used to show the way to one place. Chinese, on the other hand, tends to use verbs. So, in order to better convey the effect and let the reader read without any doubt or discomfort, the translator converted the noun into a verb phrase, that is “如何前往”. Likewise, in the noun phrase “no immediate trails”, the author wants to say that there is no direct way (to arrive at the destination). When translating, if it is directly translated into a noun phrase “没有直达路”, the reader may feel difficult to read. So, if it is translated into “there is no direct path can reach that place”, the sentence will be more smoothly and convey the original information and the effect is also retained.&lt;br /&gt;
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2)Public signs&lt;br /&gt;
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Example 3 &amp;amp; 4:&lt;br /&gt;
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ST: ''Things To Do'' &lt;br /&gt;
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TT: 活动介绍&lt;br /&gt;
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ST: ''What you can do''&lt;br /&gt;
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TT: 解决措施&lt;br /&gt;
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Analysis: As mentioned in the theoretical framework above, tourism text belongs to vocative text. As a kind of tourism text, public signs are a special style for specific people to achieve a certain communicative purpose. Its application scope is very wide, almost involved in every aspect of our daily life, such as street signs, billboards, road signs, shop signs, warnings, propaganda, travel briefs and so on. As a communicative tool, it conveys necessary and useful information to the public by means of a few words, simple and easy to understand icons or the combination of both (He Xueyun, 2006). Therefore, it can be seen that public signs feature lots of nouns, verbs, phrases and abbreviations and more often, fixed expression, which means in translation, only concise and idiomatic expression can fully convey the effect of the original text.&lt;br /&gt;
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Just as the example 3, once the original text is translated literally, that is “要做的事情”, it sounds rather awkward, which not only does not convey the meaning of the source text that was intended as an introduction to the activities that can be done, but also may lead the reader to believe that this section is about what is required. However, if it is translated into “活动介绍”, readers can clearly know the main content of this part and can find out the activities they are interested in. This expression is very concise and also in line with the Chinese language habits. The same is true of example 4.&lt;br /&gt;
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Example 5 &amp;amp; 6:&lt;br /&gt;
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ST: ''Alligators and crocodiles - Crocodilians are one of the reasons people visit the park, however, these are wild animals that can be dangerous to humans.''&lt;br /&gt;
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TT: 小心短吻鳄和鳄鱼——鳄鱼是人们参观公园的原因之一，然而，这些野生动物对人类会很危险。&lt;br /&gt;
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ST: ''Poisonous plants - The park’s ecosystems support a variety of plant life including some that cause reactions to human skin.''&lt;br /&gt;
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TT: 警惕有毒植物——公园的生态系统支持多种植物的生长，包括一些会对是人类皮肤过敏的植物。&lt;br /&gt;
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Analysis: Tourist texts belong to the vocative text, emphasizing the transfer of the effect of the information and the empathy of the reader. This requires the translator to pay attention to the internal logic of the text, modify the translated text to make it clear in the process of tourism translation without sticking to the original form and give full consideration to the core position of readers. &lt;br /&gt;
Examples 5 and 6 are in the same sentence structure -- firstly species are given, and then that the species could be in some danger is pointed out. If it is translated in accordance with the original text word by word, then the front part is just posing out that species. However, if such warning words as “小心” or “警惕” are added, it can let the reader know before he continues reading that this species may be dangerous when visiting, and then with reading below, the reader will know why it is dangerous. This will prepare the reader mentally, and the reading will be smoother.&lt;br /&gt;
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====At Syntactical Level====&lt;br /&gt;
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Two aspects are included in syntactic analysis, which are change of subjects and passive voice, and the punctuation.&lt;br /&gt;
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1)Change of subjects and passive voice&lt;br /&gt;
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Example 7:&lt;br /&gt;
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ST: ''Wading birds, cormorants, Purple Gallinules, and nesting Anhingas may be found along the path anytime of the day during the winter (dry) season.''&lt;br /&gt;
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TT: 在冬季（旱季），任何时候您都可以在沿路发现涉水鸟类、鸬鹚、紫雀和筑巢的美洲蛇鸟。&lt;br /&gt;
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Analysis: English tends to use more impersonal subjects, which means it rarely uses the personal subject to describe but expresses how objective things act on people’s perception to things appear in an objective tone. So, the structure is often like this: inanimate subject + animate subject (Lian Shuneng, 2010). Chinese pays more attention to subjective thinking, and often describes objective things from the point of view of oneself, or tends to describe people and their behavior or state, so the personal subject is often used. When the personal subject is clear, Chinese often implies or omits it.&lt;br /&gt;
Passive voice is a common grammatical phenomenon in English. In some styles, the use of passive sentences has almost become a habit of expression. Passive sentences give rise to the tendency of using impersonal subjects, and vice versa. Chinese uses fewer passive forms. The main reason for this difference is that the use of passive forms in Chinese is limited, and the mark of the passive voice, such as “让”, “给”, “受”, mostly expresses displeasure.&lt;br /&gt;
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Therefore, in example 7, the translator transformed the passive voice into the active voice and the impersonal subjects “Wading birds, cormorants, Purple Gallinules, and nesting Anhingas” into the personal subjects “您”. What’s more, as this tourism text is written for readers, the use of the second person subject can shorten the distance. &lt;br /&gt;
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Example 8 &amp;amp; 9: &lt;br /&gt;
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ST: ''Wading birds, American Coots, Osprey, White-crowned Pigeons, warblers, Red-shouldered Hawks, Anhingas, rails, Painted Buntings and other transients are best viewed here in the morning.''&lt;br /&gt;
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TT: 早晨在这里观赏涉禽、美洲骨顶鸡、鱼鹰、白头鸽、莺、赤肩鹫、美洲蛇鸟、秧鸡、彩绘鹀和其他过路的鸟类的效果最好。&lt;br /&gt;
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ST: ''In the summer, fewer programs are offered.''&lt;br /&gt;
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TT: 夏季提供的项目较少。&lt;br /&gt;
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Analysis: Just as what has been said above, English has a tendency to use impersonal subjects and passive voice, while Chinese is exactly the opposite. And when the subject is clear, Chinese often implies or omits it, which is just like example 8 the personal subject “you” is omitted. &lt;br /&gt;
In example 9, the omitted subject is the national park, and the temporal adverbial phrase “in the summer” becomes the subject in form, which is a common expression in Chinese. That is because subjects in Chinese are not only in various forms, but also dispensable: it can denote giving, receiving, time, place.&lt;br /&gt;
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2)Punctuation&lt;br /&gt;
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Example 10:&lt;br /&gt;
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ST: ''Connecting trails through the Pinelands run 7 miles (11 km) west from the Long Pine Key campground to Pine Glades Lake along the main park road.''&lt;br /&gt;
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TT: 这些小道从长松岛营地向西延伸7英里（11公里），穿过一片松林地，连通公园主路边松林湖。&lt;br /&gt;
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Analysis: English sentences are complicated, and subordination is one of the most important characteristics of modern English, which features right-branching, sentences long and complex, made in “architecture style”. Conversely, Chinese sentences are relatively short, and commonly use scattered sentences, loose sentences, tight sentences or composite sentences with parallel structure. Chinese features left-branching, and sentences are made in “chronicle style”, using clauses to streamline the thoughts. &lt;br /&gt;
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So, when there are many prepositional phrases in the original English sentence, the translator can divide the long sentence into several short sentences and recognize those by adding comma, which can help readers to sort out the logic of the original text and get the main information. By using communicative translation, the translator divided the original sentence into three sentences. The logical sequence is that “The trails run seven miles (11 kilometers) west from the Long Pine Key campground. Passing through the Pinelands, they lead to Pine Glades Lake along the main park road.”, which shows the location of both the Long Pine Key campground, the Pinelands and Pine Glades Lake correctly, leaving no doubt to readers of the target language.&lt;br /&gt;
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Example 11:&lt;br /&gt;
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ST: ''In keeping with Monroe County’s closure order for beaches, North Nest Key and all waters within 100 yards from the shore will be closed for protection of park resources during the holiday weekend. The closure will begin on Friday, July 3 at 6 a.m.''&lt;br /&gt;
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TT: 根据门罗县对海滩的关闭安排，为保护公园资源，北巢岛和离海岸100码以内的所有水域将自7月3日星期五早上6点起暂停对外开放。&lt;br /&gt;
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Analysis: In the original text there are two sentences, which can be combined to make the meaning complete and language pithy in the target language. And it can be taken into consideration to reconstruct them by replacing full stop with comma. By considering communicative translation, the translator put two prepositional phrases in advance as adverbials, which are “in keeping with Monroe County’s closure order for beaches” and “for protection of park resources during the holiday weekend”, and then turned the second sentence into a temporal adverbial phrase and put it in the main clause as an adverbial. So, the whole structure is “In keeping with Monroe County’s closure order for beaches and for protection of park resources during the holiday weekend, North Nest Key and all waters within 100 yards from the shore will be closed from Friday, July 3 at 6 a.m.” By doing so, the information is concisely conveyed, and Chinese readers can well understand it.&lt;br /&gt;
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====At Textual Level====&lt;br /&gt;
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Discourse refers to the actual language unit used and is the whole language constituted by a series of consecutive paragraphs or sentences in the communication process. In general, a text consists of words, phrases, sentences and sentence cluster (Lan Lingyan, 2020), among which the components were cohesion in form and coherence in semantics.&lt;br /&gt;
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Example 12:&lt;br /&gt;
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ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors. The diverse habitats allow for enjoyable activities ranging from hiking, canoeing, kayaking, biking, fresh and saltwater fishing, and camping in the ultimate wilderness.''&lt;br /&gt;
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TT: 个人、团体或家庭都能在这找到适合的户外活动。无论是步行、乘坐独木舟、划皮划艇、骑自行车，还是在淡水或海水钓鱼、在终极荒野地露营，您都可以饱览多样的自然环境、尽享快乐。&lt;br /&gt;
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Analysis: Coherence in a piece of writing refers to the principle that all paragraphs, sentences or ideas are combined so well that they form a united whole. Coherent translation has smooth structural, grammatical, and logical movement from one sentence or idea to the next and the reader does not have to pause and guess at the meaning caused by gaps in development between ideas, sentences and paragraphs. &lt;br /&gt;
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In example 12, the last topic of the fist sentence in the original sentence is outdoor activities, while the subject of the second sentence is the diverse habitats. This is a shift in the topic, which may make the readers pause and guess at the logical relation between them. Therefore, in translation, guided by communicative translation, the translator needs to mind the text coherence and to make proper adjustments. Out of this, the translator put the activities in the second sentences as the subject of the second sentence in the target text, so that the first sentence can pass through smoothly to the next one, so does the understanding of readers.&lt;br /&gt;
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Example 13:&lt;br /&gt;
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ST: ''Everglades National Park is a popular spot for saltwater and freshwater sport fishing. Boats can be chartered at Flamingo. Be sure to check a visitor center for park fishing regulations and closed areas.''&lt;br /&gt;
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TT: 大沼泽地国家公园是一个很受欢迎的钓海水鱼和淡水鱼的地方。在弗拉明戈可以租船。在钓鱼之前，一定要阅读游客中心的公园捕鱼规定和封闭区域。&lt;br /&gt;
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Analysis: Cohesion can be thought of as all the grammatical and lexical links that link one part of a text to another. This includes the use of synonyms, lexical sets, pronouns, verb tenses, time references, grammatical reference, etc. For example, ‘it’, ‘neither’ and ‘this’ all refer to an idea previously mentioned.&lt;br /&gt;
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In example 13, this paragraph mainly talks about fishing in the Everglades National Park, with a topic sentence and two explanatory sentences: one introducing the place for chartering and the other cautions. There are no grammatical or lexical links within these three sentences, and the logic is connected by semantics. Considering well understanding of readers in the target language, the translator added one lexical link “before fishing” between the last two sentences, to make the reader understand that he or she should read the rules and precautions of fishing before going fishing. Also, with repeating the key word “fishing”, the central idea of this whole paragraph is prominent, and the sentences are logically and smoothly linked to express the intended meaning, thus making this paragraph a cohesive group.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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====Major findings====&lt;br /&gt;
For the text, the tourism text belongs to the vocative text, which focuses on conveying the information and effect, so the communicative translation theory should be adopted to this kind of translation. As for this original text, the first part that introduces the outdoor activities belongs to the tourism advertisements, which are descriptive with vivid words. Tourism advertising is infective, with short and concise words, full of creativity, lively and concise sentence structure, and strong attraction. While the announcement that informs of the operating status of the park is a quite different style. The wording is formal, standard, accurate and stylized. Secondly, the source text involves a wide range of knowledge and large vocabulary. For example, “hardwood hammock” for “硬木吊床” and “Geocaching” for “寻宝”. &lt;br /&gt;
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Based on the analysis of examples from lexical, syntactic and textual levels, some translation methods can be proposed. On one hand, when translating, some words in the target text can be converted into different parts of speech in the original text to make the language natural and idiomatic. On the other hand, when doing English – Chinese translation, in most cases, passive voice should be changed into active voice, personal subject is favored in Chinese, and subjects can also be omitted sometimes. Lastly, as English and Chinese have lots of differences in sentences, the translator should change the order of the sentences sometimes to make them smooth and fluent, and some words can be added to make the meaning coherent.&lt;br /&gt;
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====Limitations====&lt;br /&gt;
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Besides some major findings, there are also many limitations in this translation practice. Firstly, communicative translation focuses on the effect conveyed by the translation rather than the information, which can easily make the translator ignore some original. So, in the translation, other available translation theories should also be taken into account to achieve best translation. &lt;br /&gt;
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Then, when translating a text, whether it is a tourism text or a literary works, they cannot be translated immediately. Relevant information and background should be collected in advance, and otherwise some mistakes which should be avoided will be made. For example, “Snail Kite (蜗鸢)” might be translated as “蜗牛风筝” if the translator does not look it up in advance.&lt;br /&gt;
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===References===&lt;br /&gt;
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[1] Newmark, Peter. About Translation[M]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
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[2] Newmark. Approaches to translation[M]. Shanghai Foreign Language Education Press, 2001. &lt;br /&gt;
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[3] Newmark, Peter. A New Theory of Translation[J]. Sborník Prací Filozofické Fakulty Brněnské Univerzity, 2007(13)&lt;br /&gt;
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[4] Newmark, Peter. A Textbook of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2001:39-42. &lt;br /&gt;
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[5] 贺学耘.汉英公示语翻译的现状及其交际翻译策略[J].外语与外语教学, 2006(03):57-59.&lt;br /&gt;
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[6] 侯莹莹.凯瑟琳娜·莱斯与彼得·纽马克文本类型翻译理论之比较研究[J].海外英语, 2020(22):49-50+60. &lt;br /&gt;
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[7] 金惠康.跨文化旅游翻译探讨[J].上海翻译, 2007(01):31-34.&lt;br /&gt;
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[8] 兰灵艳.交际翻译理论指导下《家庭生活》（节选）汉译实践报告[D].南昌大学, 2020.&lt;br /&gt;
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[9] 李道胜. 汉英语义对比分析[J]. 语言教育, 2000(4):4-5.&lt;br /&gt;
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[10] 连淑能.《英汉对比研究》[M]. 北京：高等教育出版社, 1993.&lt;br /&gt;
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[11] 刘安洪.跨文化交际视角下的旅游文本翻译策略研究[J].中华文化论坛, 2013(10):160-163. &lt;br /&gt;
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[12] 刘军平，西方翻译理论通史[M]. 武汉：武汉大学出版社, 2009.&lt;br /&gt;
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[13] 马忱.交际翻译策略对汉英旅游翻译的启示[J].郑州航空工业管理学院学报(社会科学版), 2010,29(06):119-121.&lt;br /&gt;
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=3 刘越 Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
[[Trans_Type_EN_3]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
There are many translation practices under the guidance of communicative translation theory, but there are not many translation practices in Korean novels. Through this translation practice, we hope to summarize the translation methods and strategies adopted in the translation of novel subject matter under the guidance of communicative translation theory in terms of vocabulary, sentence and rhetoric. In this paper, under the guidance of communicative translation theory of Korean novels &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; to analyze translation strategies and translation methods, let us hope that through the work of human changes in temperature to realize that the most warm affection and the most simple human feelings, seems to be the fact that more and more far from us, let us together to explore the history of the &amp;quot;family&amp;quot; gradually forgotten by us and meaning, Wake up our sense of affection, cause our emotional resonance.&lt;br /&gt;
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===Keywords===&lt;br /&gt;
Communicative translation theory; Korean novels; Translation methods and strategies&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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===The emergence and development of communicative translation===&lt;br /&gt;
According to the function of language, i.e. the purpose for which it is used, Newmark proposes the following three text types: expressive function, informative function, and evocative function.&lt;br /&gt;
At the heart of the expressive function is the use of words by the speaker or author to express his or her thoughts and feelings. The author's unique form of language is as important as the content.Expressive function texts emphasise the authority of the original author, and translations should follow the principle of &amp;quot;original author first&amp;quot;, faithful to both the content of the ideas expressed by the original author and the language style of the original author, without regard to the reaction of the target reader. The core of the information function is the external context, i.e. all the information about a topic, or the unspeakable reality. At the heart of the information text is the &amp;quot;authenticity&amp;quot; of the content; the author's language is secondary. Translation should be based on the principle of &amp;quot;authenticity first&amp;quot;. The call to action is reader-centred and aims to &amp;quot;call the reader to action, to think, to feel&amp;quot;. The translation should follow the principle of 'reader first', putting the reader of the target language first. The translator can make full use of the advantages of the incoming language, without adhering to the expressions of the original, so that the translated language can achieve the same effect as the original.&lt;br /&gt;
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On this basis, two translation concepts, communicative translation and semantic translation, are proposed. Newmark believes that the theory of communicative translation focuses on the understanding and reaction of the recipient, the reader of the translation, and more on the effect rather than the content of the translated expression. The translator can give full play to the advantages of the translated language and introduce foreign elements into the culture of the translated language, with the advantages of naturalisation, Italian translation and idiomatic translation. Semantic translation attaches importance to the original text, focuses on its semantic content and strives to preserve the culture of the original text, and has the advantages of word-for-word, word-for-word and faithful translation. Communicative translation is suitable for informative and attractive texts such as autobiographies, personal emotional declarations, important political statements (or other statements), most non-literary texts, news, intellectual articles and books, textbooks, reports, scientific and technical literature, official correspondence, promotional material, advertisements, announcements, popular fiction. ( Yang 1989:68-71)# His communicative and semantic translations have largely enriched the study of translation theory and influenced the field of translation.&lt;br /&gt;
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===The applicability of communicative translation theory to the translation of popular novels===&lt;br /&gt;
First of all, the core content of communicative translation theory is that on the basis of being faithful to the content of the original text, it focuses on the readers' understanding ability and feelings, and pays more attention to the expression effect of the target text than the content. For the translator, the translator can give full play to the advantages of the target language and get rid of the constraints of the language structure of the original text. If the original text is illogical, ambiguous, and there are redundant words and ambiguities in the sentence, as well as dialects, coarse slang and other phenomena in the article, the translator has the right to reorganize the syntax and improve it by using collocation and common sentence patterns in accordance with the habits of the target language, so as to make the language more standardized. Translators also have the right to correct errors and omissions in the original text.( Shuang 1999(05):840）&lt;br /&gt;
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Secondly, according to Newmark's text type, communicative translation theory is applicable to vocative texts, which focus on the inspiring effect and take the target readers as the center. The purpose of translation is to elicit the desired response, including popular books and best-selling novels. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. The novel is mainly composed of characters, plots and descriptions of the environment to reflect the social reality. Novel is a literary genre that conveys thoughts and feelings and arouses readers' resonance. It belongs to appeal text, so communicative translation theory is suitable for novel translation.&lt;br /&gt;
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The most important thing in novel translation is to convey the content of the original text and the author's thoughts and feelings to the readers, and to arouse the readers' deep thinking and empathy. When translating a novel, we should describe the plot of the original text to the readers and try to get close to the literary image described by the author and the literary artistic conception created in the novel.&lt;br /&gt;
If only follow the content style and text structure of the original text, it will violate the original intention of translation, making the translation obscure and unclear. Under the guidance of communicative translation theory, the translator can give full play to the advantages of the target language, modify and polish the original text, adjust the logic of expression, eliminate the differences between the original text and the target text, and get a smooth translation. At the same time, the translator can also pay more attention to the target readers, fully consider the reading habits and thinking mode of the target readers, and use easy to understand language vocabulary to convey the information of the source text and the thoughts and feelings of the source text author to the readers, so that the target text readers and the source text readers get the same effect.&lt;br /&gt;
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=== Case study under the guidance of communicative translation theory===&lt;br /&gt;
Guided by Peter Newmark's communicative translation theory, the author carries out translation practice on two short stories &amp;quot;The Innocent Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. Under the guidance of communicative translation theory, this section adopts the strategies of translation modification and meaning extension to solve the problems of ambiguous and implicit sentences in novels. At the sentence level, the strategy of paraphrase, syntactic and translation is adopted. In the aspect of rhetoric, this paper adopts the translation strategies of addition and repetition, and makes a case study to explore and summarize the translation methods and strategies applicable to novel subject matter under the guidance of communicative translation theory.&lt;br /&gt;
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=== The application of communicative translation theory at lexical level===&lt;br /&gt;
'''Transliteration'''&lt;br /&gt;
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The translation method refers to the conversion of parts of speech in the original text, such as changing nouns into verbs, adjectives into verbs, etc., so as to make the translation conform to the expression habits of the target language. Different languages have different linguistic phenomena and cultural backgrounds. In order to make the translation more in line with the language expression habits of The Chinese people and convey the correct meaning of the original text to The Chinese readers, every word in the Korean sentence cannot be translated dead, and some parts of speech in The Korean language have to be changed in translation.(Chen 1994)# The following is a case study of translating a part of speech in the original text into another part of speech in Chinese.&lt;br /&gt;
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Eg.1 그럴 때의 아이는 이제 노인이 아니라 소년가장 같았다.&lt;br /&gt;
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First translation：那一刻我觉得孩子不像老人，而像少年家长。 &lt;br /&gt;
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Retranslation：那一刻我觉得他不像一个历经沧桑的老人，而像一个饱经世故的孩子。&lt;br /&gt;
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&amp;quot;소 년 가 장&amp;quot; is a noun, the author looked up Chinese dictionary, found &amp;quot;소 년 가 장&amp;quot; in Korean means &amp;quot;가 정 의 생 계 를 실 질 적 으 로 책 임 지 고, 어 렵 게 생 계 를 유 지 하 는 소 년&amp;quot;, at the beginning of translation, in accordance with the original literal translation is &amp;quot;young parents&amp;quot;, but is not in conformity with the Chinese expression habit, it is not easy to let Chinese readers understand, The author in the guidance of communicative translation theory, through the network search and found the dictionary lookup &amp;quot;소 년 가 장&amp;quot; and Chinese proverb &amp;quot;the poor children early master&amp;quot; has the same effect, but here can make statements impassability, in order not to cause the reader to understand the problems, the author give full play to the advantages of the Chinese, the author by using the method of adaptation, Phrases collocation and considering the Chinese habit, the term &amp;quot;소 년 가 장&amp;quot; divided &amp;quot;소 년&amp;quot; and &amp;quot;가 장&amp;quot; two nouns, and the term &amp;quot;가 장&amp;quot; translated into adjectives &amp;quot;world&amp;quot;, the &amp;quot;소 년&amp;quot; translated into &amp;quot;children&amp;quot;, both to convey the meaning of the original, and can make readers easily understand the content.&lt;br /&gt;
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Eg.2：거기에 아이가 자신을 만나려 하지 않기 때문에 돈을 주지 않는 것이라는 비난의 말이 반복해서 쓰여 있었기 때문이다. &lt;br /&gt;
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Translation ：文件上反复指责说孩子不想认他这个父亲，所以不给抚养费。&lt;br /&gt;
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In the original text 비 난&amp;quot; is a noun, the author according to the original text in translation translated into &amp;quot;document and is accused of child, father didn't want to see him the accused, so not to support&amp;quot;, at the same time with the two accused, groundwork or at the back of the verb &amp;quot;blame&amp;quot;, also make the repetitive, so the author under the guidance of communicative translation theory, When translated again, the noun &amp;quot;비 project-oriented&amp;quot; is translated into the verb &amp;quot;blame&amp;quot;, so that the translation is easy to understand.&lt;br /&gt;
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Extension of meaning Extension translation method is refers to according to the specific context of contact and words in the original context, starting from the basic meaning of Korean original words, through the letter of the word or phrase in the sentence, its excellent implied meaning appropriately, use some conforms to the Chinese expression habit of character words, the content of the original essence of accurate expression.&lt;br /&gt;
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Eg.3：①텔레비전을 쳐다보던 아이가 대뜸 내밷었다. ②동식이 집을 나서자마자 엄마는 휴이히히히, 하는 기괴한 한숨을 길게 내뱉었다.&lt;br /&gt;
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Translation：①正在看电视的儿子突然吐槽道：“妈，你快看，电视里那个人真像我爸”。 ②母亲就“唉！”长长地叹了一口气。&lt;br /&gt;
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The author by looking up the dictionary, in the original &amp;quot;내 밷 다&amp;quot; has two meanings: (1) 입 안 에 있 던 것 을 입 밖 으 로 뱉 어 내 보 내 다. (2) 마 음 에 내 키 지 아 니 하 거 나 못 마 땅 한 어 조 로 불 쑥 말 하 다. &lt;br /&gt;
Chinese meaning is &amp;quot;vomit, and said,&amp;quot; the author under the guidance of communicative translation theory, reader's expressions and words in Chinese habit as the center, contact the original context and context, considering the words collocation, adopt the method of the extension, the &amp;quot;내 밷 다&amp;quot; translated into &amp;quot;fun&amp;quot; and &amp;quot;sigh&amp;quot;, not only conforms to the present context, and in accordance with the Chinese language habits.&lt;br /&gt;
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Eg.4: ①그러니까 엄마는 내가 돈 얘기 할 것을 미리 알고서 지금 차단막을 치는 것이리라. ②형이 옆구리를 툭 치며. ③까지는 살큼 익혀서 찬지름 치고 조선간장으로 조물조물 무쳐노면 고기반찬보다 낫드라. &lt;br /&gt;
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Translation：①但母亲好像早已看透了我的心思，先堵住了我的口。 ②大哥用胳膊肘戳了我一下。 ③蒸个七八分熟的时候撒上香油好好拌一下就行了，这样比那些荤食都好吃。&lt;br /&gt;
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The verb &amp;quot;치&amp;quot; would give many different meanings with different words, such as ①&amp;quot;beating, beating, beating, playing&amp;quot;.② take, base, wrap, erect, ③ feed, feed, etc. On the basis of communicative translation theory, and fully understand the original meaning, context, and considering Chinese words collocation is used, depending on the context, the extension method was adopted, will &amp;quot;치 다&amp;quot; translated into &amp;quot;blocking&amp;quot;, &amp;quot;stamp&amp;quot;, &amp;quot;and&amp;quot; verb, such as to conform to the Chinese habits of expression.&lt;br /&gt;
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===The expression of communicative translation theory at the sentence level===&lt;br /&gt;
Communicative translation theory is pointed out that to the readers, the translator should give full play to the advantages of the target language, to make the translation conform to the target language expression of habit, not to leave any arcane to readers, while Korean and Chinese belong to different language families, there are differences in expression habit, this summary is mainly under the guidance of communicative translation theory, This paper analyzes the translation of sentences in The Pure Man and The Goat Family by means of paraphrase, syntactic and combined translation.&lt;br /&gt;
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'''Interpretation method'''&lt;br /&gt;
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Hermeneutic method is also an interpretative translation method. Because Chinese and Korean have different expression habits, in the process of translation, we can use the paraphrase method to explain some ambiguous sentences, which can not only make the translation clear, but also accurately convey the original purpose.&lt;br /&gt;
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Eg.5：어느날, 아이가 눈에 보이는 사물들을 가리켜 얼마짜리냐고 물었을 때, 어떤 행위를 가리켜 얼마 받느냐고 물었을 때, 나는 어린것이 별걸다 궁금해한다고 면박을 줬다. 면박을 주는 것으로 마음에 이는 민망함을 무마시켰다. 아이의 입에서 처음 돈 얘기가 나왔을 때, 그때 나는 이미 알아챘어야 했는지도 모른다.&lt;br /&gt;
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First Translation: 当某一天，孩子们指着各种东西问花了多少钱，挣了多少钱时，我当面斥责说“小孩子家家的，真是什么都好奇”。我以这种当面驳斥的方式来掩饰心中的尴尬。当我第一次从孩子嘴里听到关于钱的话题时,我可能就已经觉察到了些什么。&lt;br /&gt;
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Retranslation: 当某一天，孩子们指着各种东西问价格时，我当面斥责说‘小孩子家的，问这个做什么’，以此来掩饰我内心的尴尬。当我第一次从孩子嘴里听到关于钱的话题时，我可能已经觉察到时代变了，我那‘不知钱为何物’的时代过去了。&lt;br /&gt;
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The author at the beginning of the translation of &amp;quot;그 때 나 는 이 미 알 아 챘 어 야 했 는 지 도 모 른 다&amp;quot;, literal translation is &amp;quot;I may already have noticed what&amp;quot;, but the specific perceive what is not clear, causing distress to Chinese readers, by contacting the above learned that the &amp;quot;I&amp;quot; as a child is the hairpin, objects such as pottery fragments, But now the child is the &amp;quot;money&amp;quot;, the author under the guidance of communicative translation theory, to the readers, adopting the tactics of interpretation method, interpreted &amp;quot;I perceived that the&amp;quot; content &amp;quot;I might have been aware of The Times have changed, I that 'I don't know the money was the era of the past&amp;quot;, thus the author want to convey the original concept of the era of the change of the clear expression come out.&lt;br /&gt;
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Eg.6：영호야, 명절 때만이라도 꼭 아빠한데 가봐, 가기 싫으면 연락이라도 드리고.아빠가 아무리 네 맘에 안 들더라도 너는 네 할 도리를 해야 떳떳한 사람이 되는 거야,알았지?&lt;br /&gt;
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First Translation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。只有做了自已应该做的才能做一个光明磊落的人，知道吗？&lt;br /&gt;
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Retranslation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。为人处事和忠孝贤良是亘古不变的，要想做一个光明磊落的人，就要做好自己的分内之事，知道吗？阿姨的话要记住哦。&lt;br /&gt;
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Early in the translation of &amp;quot;너 는 네 할 도 리 를 해 야 떳 떳 한 사 람 이 되 는 거 야&amp;quot;, the corresponding Chinese literal translation is &amp;quot;only do oneself should do can do a aboveboard person&amp;quot;, but &amp;quot;할 도 리&amp;quot; what, did not explain clearly in the original, need the reader to consider, in order not to leave readers obscure place, The author puts the advantage of Chinese into full play and interprets &amp;quot;up 도 wish to be good&amp;quot; into English by means of context and translation theory. At the same time, I also think that this is the advice of adults. It is necessary to tell him this truth in a soft and powerful tone. After this sentence, &amp;quot;Remember what aunt said&amp;quot; is added to make the original meaning clearly conveyed to readers, so that readers can better understand the original content.&lt;br /&gt;
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'''demolition syntax'''&lt;br /&gt;
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Deconstruction is the breaking down of a long sentence into several shorter sentences. As Korean and Chinese belong to different language families, there are many differences in syntax. The word order of Korean sentences is the structure of SOV, and narration is the main body and focus of the sentence, and there are a large number of long sentences, which rely on word endings to express various grammatical meanings. No amount of sentence elements will cause meaning confusion.&lt;br /&gt;
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However, the word order of Chinese sentences is the SVO structure, which depends on vocabulary, function words and word order to distinguish sentence components, so the sentence structure is simple, mainly short sentences. The translation of Korean long sentences into Chinese sentence groups can make the translation logical, smooth and accurate.&lt;br /&gt;
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Eg.7：동식의 이혼에 책임이 없다고 할 수는 없는 형제들이 돈을 모아 동식에게 새집을 지어줬는데 집안 새것이면 뭐 하냐고 동식이 폭력을 휘두를 조짐을 보이자 그 팔아 종류의 폭력을 아버지에게 당해본 엄마는 지레 겁을 먹고 소를 팔아 동식에게 새장가 갈 자금을 쥐여줄 수밖에 없었다.&lt;br /&gt;
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First Translation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子。挨过父亲打的母亲因为对东植这种动不动就挥拳头打人的行为心有余悸，并觉得只有新房子没用，就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
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Retranslation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子，母亲因为挨过父亲的打，所以对东植这种动不动就挥拳头打人的行为心有余悸，觉得只有新房子无济于事，改不了他的暴力行为，索性就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
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The original text Is a long sentence, &amp;quot;는 데&amp;quot; is a long attributive clause, behind the author under the guidance of communicative translation theory, using the translation, in the resolution of a sentence, adjust the structure of the sentence, but his father mother &amp;quot;dragged&amp;quot; compared to read man translationese is too heavy, have the taste of Korean Chinese, is not in conformity with the Chinese expression habit, the author on the basis of this, The translation has been revised and polished to make it smooth and smooth.&lt;br /&gt;
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'''Cotranslation'''&lt;br /&gt;
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Cotranslation refers to the combined translation of two or more sentences in the original text. Using the combined translation method to translate, will reduce the long winded translation, obtain a smooth and smooth translation.&lt;br /&gt;
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Eg.8 ：나는 큰오빠와 작은오빠가 아버지가 남긴 논을 가져간 것을 알고 있었다. 큰언니, 작은언니가 결혼할 때 밭을 가져 갔다는 것도. 동식은 제 몫이 논도 밭도 아닌 집인 것에 불만을 품고 쓰러져가는 슬레이트집에 불을 질렀다.&lt;br /&gt;
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First Translation：我知道大哥和二哥结婚时分走了家里的水田，大姐和二姐结婚时分走了家里的旱地，东植因为分到的不是田和地，而是即将坍塌的的石板屋，一气之下就在屋里放了火。&lt;br /&gt;
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Retranslation：哥哥姐姐们结婚时把家里的水田和旱地都分走了。而东植分到的是即将坍塌的的石板屋，他对此很不满，一气之下就放火烧了房子。&lt;br /&gt;
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Are two sentences in the original, the author first translation, according to the original text translated into two other subject-predicate bin structure of the sentence, but &amp;quot;big sister&amp;quot; &amp;quot;big brother&amp;quot; &amp;quot;sister&amp;quot; &amp;quot;second brother&amp;quot; will be read repetitive, so the author under the guidance of communicative translation theory, adopt the method of r the appellation of original elements became the &amp;quot;brothers and sisters&amp;quot;, and the two sentence elements into a simple sentence, Reduce redundant redundant.&lt;br /&gt;
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===The embodiment of communicative translation at the rhetorical level===&lt;br /&gt;
Communicative translation theory points out that should take the readers as heavy, compared to convey to the readers the article content, pay more attention to the expression effect, good expression effect can cause the resonance of the readers, caused the reader's thinking, and good expression effect depends on the use of rhetoric, this summary is mainly under the guidance of communicative translation theory, adopt different translation strategies, The rhetorical translation in The Innocent Man and The Goat Family is analyzed.&lt;br /&gt;
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'''Addition'''&lt;br /&gt;
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Addition is a translation method that adds content to the target text in order to accurately express the meaning of the source text, meet the needs of the target text readers and make the target text conform to the expression habits of the target language. Since Chinese and Korean have different pragmatic ways and expressive habits, some words or sentences should be added in the translation to make the translation more consistent with the Chinese context, the reader's expressive habits and the exact meaning of the original text.&lt;br /&gt;
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Eg.9：나는 아이 아빠의 돈을 ‘그깟 돈’이라고 표현했다.&lt;br /&gt;
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First Translation：我把孩子爸爸的钱称为“那么点儿钱”。&lt;br /&gt;
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Retranslation：我把孩子爸爸给的钱称为“塞牙缝的钱”。&lt;br /&gt;
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&amp;quot;그깟&amp;quot; is a contraction of &amp;quot;그까짓&amp;quot;. It means so little, so little. The amount of money given by the father of the child is very small. The author under the guidance of communicative translation theory, give full play to the advantages of target language, adopt the method of thickening of translation, the use of metaphor, the &amp;quot;그 깟 돈&amp;quot; translated into accord with the readers expression habit &amp;quot;for all of the money&amp;quot;, making it easy to understand, more intuitive said the little amount, so as to impress the reader.&lt;br /&gt;
&lt;br /&gt;
'''Repetition'''&lt;br /&gt;
&lt;br /&gt;
Repetition refers to the translation technique of appropriately repeating a part of words or sentences in translation. The repetition method can make the meaning of the translation more clear, further strengthen the appeal of the article, highlight the thoughts and feelings of the article, and achieve a good rhetorical effect.&lt;br /&gt;
&lt;br /&gt;
Eg.10：아비를 한번도 찾지 않다가 돈 달라고, 그것도 법정에서 애 얼굴을 봐야 하는 아비 된 자의 참담한 심정을 당신들이 아느냐고.&lt;br /&gt;
&lt;br /&gt;
First Translation：孩子一次也没来看过我这个父亲，却开口要钱？而且只有上了法院，我才好不容易看孩子一眼，你们理解我这个做父亲的心情和处境吗！&lt;br /&gt;
&lt;br /&gt;
Retranslation：孩子一次也没来看过我就跟我开口要钱，只有上了法院，我才好不容易看孩子一眼，我这个做父亲的苦楚，悲凉的的心情，你们理解吗！理解吗！&lt;br /&gt;
&lt;br /&gt;
The author by contacting the specific context, as a father, no contact for many years but children themselves to court, the state of mind should be both angry and sad, based on the theory of communicative translation, using the skill of verb repetition, to &amp;quot;알 다&amp;quot; repeated translation, to emphasize my angry tone, in order to make the article more vivid and accurate meaning.&lt;br /&gt;
&lt;br /&gt;
=== conclusion===&lt;br /&gt;
This paper selected the south Korean writer Kong Shanyu stories &amp;quot;well bead film&amp;quot; in the two novel &amp;quot;pure people&amp;quot; and &amp;quot;the goat family&amp;quot; has carried on the translation practice, the two novels are using the simple nature of language and a small amount of dialect vocabulary, shape lifelike characters, are described by family members of the past, let the past and reality contrast, It reflects the social reality that with the development of society, people have become selfish and indifferent, and the most simple family and human feelings seem to be more and more far away from us, so as to explore the history and significance of the &amp;quot;family&amp;quot; and the simple social atmosphere, which are gradually forgotten by Koreans.&lt;br /&gt;
&lt;br /&gt;
The core of Peter Newmark's communicative translation theory is that on the basis of being faithful to the content of the original text, the translator can give full play to the advantages of the target language, get rid of the constraints of the language structure of the original text, and pay attention to the effect of the expression of the target text. According to Newmark's text type, communicative translation theory applies to appeal texts, which focus on the target reader and aim to elicit the desired response, including popular books, popular novels and so on. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. Under the guidance of Peter Newmark's communicative translation theory, the author analyzes and discusses the translation strategies in the Pure Man and The Goat Family, which are complicated sentences, ambiguous meanings and implicit expressions.&lt;br /&gt;
&lt;br /&gt;
From the lexical level analysis, the author mainly combined with the context, to Chinese readers as the center, to comply with the Chinese expression and language habits, consider the reader's understanding ability, on the basis of Chinese used to translation and translation methods of extension, so as to satisfy the to the original readers and the translation of the original dual need of the readers have the same effect, At the same time, it also ensures the accuracy and flexibility of the translation words, so as to conform to the translator's lexical habits.&lt;br /&gt;
From the statement level analysis, &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; appeared in the text of the long sentence and attributive clause, at the same time, some relatively obscure sentences substance, so the author adopted the method of interpretation, syntax and translation of translation strategies, to explain the sentence, split, reorganization, thus reducing the sentence's mad outages and ideographic unclear, The translation is in line with the habits of Chinese readers and effectively conveys the essence of the original text. From the rhetoric analysis, communicative translation theory points out that compared with the content, should attach great importance to the expression of the translation effect, good expression effect depends on the use of rhetoric, so the author USES the translation strategy of work and repetition, has carried on the modification to the original and polishing, to strengthen the artistic effect and influence of the translation, make readers for the characters vivid impression, Arouse readers' reflection and emotional resonance.&lt;br /&gt;
&lt;br /&gt;
Therefore, the results of this study indicate that the communicative translation theory is of guiding significance to the Chinese translation of Korean novels and can provide a reference for similar translation practices. Communicative translation theory is pointed out that to the reader as the center, the translator can get rid of the original text, giving full play to the advantages of target language to adjust the structure and logic, to make the translation easy to understand, but there may be lack of scattering situation, so the translator should properly our subjective initiative, to insure the effect of readers in at the same time, also used to avoid the above situation. In addition, there are also shortcomings in the translation, but the author still hopes that this translation practice can provide reference for the future Korean-Chinese translation practice. At the same time, through this translation practice, the author has realized his own shortcomings. In the future, the author will continue to learn, accumulate practical experience, and strive to improve his literary accomplishment and language foundation, and improve his translation level.&lt;br /&gt;
&lt;br /&gt;
===Reference===&lt;br /&gt;
&lt;br /&gt;
'''English Literature:'''&lt;br /&gt;
&lt;br /&gt;
[1]. GAO Chang. The Application of Peter Newmark's Communicative Translation Theory to the Translation of Chinese Historical Allusions [J]. Overseas English, 2013(11).&lt;br /&gt;
&lt;br /&gt;
[2]. JIAN Fang. Newmark's Translation Theory and Film Names [J]. Overseas English, 2010(08).&lt;br /&gt;
&lt;br /&gt;
[3]. LI Xin, ZHANG Zhe. On Peter Newmark’s Semanic Translation &amp;amp; Communicative Translation[J]. Overseas English, 2015（03）.&lt;br /&gt;
&lt;br /&gt;
'''Korean literature:'''&lt;br /&gt;
&lt;br /&gt;
[4]. Gong Seon-ok. In the 1980s, my literature Gwangju, and my life's hardship [J]. History of Criticism, 1995 (08).&lt;br /&gt;
&lt;br /&gt;
[5]. Kang Young-mi. Preliminary review of the singing movement in the 1970s and 1980s [J]. Mental Culture Research 41(3), 2018.(09).&lt;br /&gt;
&lt;br /&gt;
[6]. Kim Young Hee. Modern and Alternative Experience and Women--Park Wan-seo, Kim In-sook, and Gong Sun-ok's novel [J]. Creation and Criticism 23(3), 1995(09).&lt;br /&gt;
&lt;br /&gt;
[7]. Osunbang. A study of the translation of novels in modern China and the two-way translation of Sino-Korean novels[J]. Seoul: Sungsil University Press, 2008.&lt;br /&gt;
&lt;br /&gt;
'''Chinese Literature:'''&lt;br /&gt;
&lt;br /&gt;
[8]. Chen Lin. A comparison of Eugene A. Naida and Peter Newmark's translation theories [J]. Journal of Xiangtan University (Social Science Edition), 1994,(08): 87-91.&lt;br /&gt;
&lt;br /&gt;
[9]. Si Jitao and Yan Honglan. The translation of split sentences and combined sentences in English-Chinese translation[J]. Journal of Guangxi Right River Nationalities Teachers College,2005(02):21&lt;br /&gt;
&lt;br /&gt;
[10]. Chen Lin. A comparison of Eugene A. Naida and Peter Newmark's translation theory [J]. Journal of Xiangtan University (Social Science Edition), 1994, (08).&lt;br /&gt;
&lt;br /&gt;
[11]. Yang Shi-Zhuo. A brief analysis of Newmark's theory of semantic and communicative translation[J]. Fujian Foreign Language, 1989:68-71.&lt;br /&gt;
&lt;br /&gt;
=毛雅文On Translation Strategies and Methods in Chinese Translation of English Prose --- Chinese Translation of Robert Lynd’s &amp;quot;Pleasures of Ignorance&amp;quot; as an example=&lt;br /&gt;
&lt;br /&gt;
'''浅析英语散文汉译中的翻译策略——以罗伯特·林德《无知的乐趣》汉译本为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_4]]&lt;br /&gt;
&lt;br /&gt;
毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
&lt;br /&gt;
Prose, together with poetry, novel and drama, is a kind of literary form. It is not limited to rhythm, plot and characters, flexible in form, real and natural. English prose has a long history and various types, so it becomes an important object in translation practice and research. In China, the most famous English prose writers are Francis Bacon and Charles Lamb, hence, their works can be regarded as the focus of studies on Chinese translation of English prose. In fact, Chinese translation of English prose draws less attention in translation circle of China, compared with that of English poetry and drama. With English prose as the starting point, this paper will introduce the characteristics of English prose and the domestic studies on its Chinese translation, and take the Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, the representative work of English modern prose writer Robert Lynd, as an example to analyze its translation strategies and methods.&lt;br /&gt;
&lt;br /&gt;
==摘要==&lt;br /&gt;
&lt;br /&gt;
散文是与诗歌、小说、戏剧并称的一种文体，不拘泥于韵律、情节、人物，形式灵活，真实自然。英语散文历史悠久，类型多样，是翻译实践与研究中的重要研究对象。在我国，最著名的英语散文家是弗朗西斯·培根和查尔斯·兰姆，他们的作品也因此成为英语散文汉译的重点。而事实上，我国翻译界更加重视的是诗歌与小说的汉译，英语散文汉译的研究相较之下比较滞后。本文将以英语散文为切入点，介绍英语散文的特点及其在我国的汉译研究，并以英国现代散文家罗伯特·林德的代表作《无知的乐趣》汉译本为例，主要分析其中的策略及方法。&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Pleasures of Ignorance&amp;quot;; Chinese translation of English prose; translation strategies; translation methods; translation techniques&lt;br /&gt;
&lt;br /&gt;
==关键词==&lt;br /&gt;
&lt;br /&gt;
《无知的乐趣》；英语散文汉译；翻译策略；翻译方法；翻译技巧&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
&lt;br /&gt;
This chapter will point to the research background and its significance, and briefly set forth the structure of this paper and the methods used.&lt;br /&gt;
&lt;br /&gt;
===Research Background and Significance===&lt;br /&gt;
&lt;br /&gt;
In recent years, with the deepening of the reform and opening-up, the channels of international cultural exchange have become increasingly unblocked, and China's translation industry has also flourished. The studies on translation theory, drawing lesson from western translation studies, have yielded fruitful results, and more noteworthily, remarkable achievements have been made in studies on literary translation for all to see. (Hou Qiang 2014: 1)&lt;br /&gt;
&lt;br /&gt;
Prose is a basic literary form in written or spoken language that typically exhibits a natural flow of speech and grammatical structure. A large number of works in philosophy, history, economics, journalism, etc, are examples of works written in prose. It can be seen that prose, which is widely used for creation, occupies an important position in literature. However, there are few researchers majoring in prose translation, still fewer ones who specialize in Chinese translation of English prose. In view of the above, this paper, based on previous studies, will study the Chinese translation of English prose, and take the Chinese translation by Liu Bingshan of ''The Pleasures of Ignorance'' created by the English prose writer Robert Lynd, exploring its characteristics in translation strategies and methods, so as to provide better understanding and some reference for the appreciation and translation of English prose. (He Xiuqin 2018: 6) (Song Jie 2018: 1)&lt;br /&gt;
&lt;br /&gt;
===Methodology and Structure===&lt;br /&gt;
&lt;br /&gt;
This paper will employ the methods of literature research and case analysis. The paper consists of three parts. The first section is literature review, explicating the distinctive properties and linguistic features of English prose, and the prose translation with its principles, as well as introducing the previous studies on Chinese translation of English prose at home. The second part, the core of this paper, will take Liu Bingshan's Chinese translation version of Robert Lynd's prose work &amp;quot;Pleasures of Ignorance&amp;quot; as an example, carry out the interpretation of this translation in terms of its types, styles as well as strategies and methods employed. Lastly, the conclusion will point to the findings in this study and the weaknesses in the paper.&lt;br /&gt;
&lt;br /&gt;
==Literature Review==&lt;br /&gt;
&lt;br /&gt;
This part will draw into the domestic previous studies on Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
With regard to Chinese translation of English prose, at present, there are few domestic scholars dedicated to its systematic research. According to the different perspectives, the relevant researches at home can be roughly divided into three categories.&lt;br /&gt;
&lt;br /&gt;
First, concerning research on the theory of Chinese translation of English prose into Chinese, there are relatively small number of studies in this direction. One of the most fruitful works is ''The Study and Translation of British and American Prose'' co-authored by Zhao Xiuming and Zhao Zhangjin (2010), which makes a detailed investigation of the literary characteristics, historical evolution and style evolution of British and American prose. The work also discusses the basic principles of English prose translation in terms of pre-translation text analysis, historical and cultural context, artistic principles, and styles, etc., which can offer a reference for the further study of the theories and practices of English prose translation. (Hou Qiang 2014: 4)&lt;br /&gt;
&lt;br /&gt;
Second, regarding research on the famous translators of English and American prose with their translation styles and skills, Xia Ying explored the style of Professor Cao's translation of Francis Bacon with the essay titled &amp;quot;Research on Professor Cao Minglunss Chinese translation of bacon prose&amp;quot;. (Xia Ying, 2012:165-166) Some others probed into Liu Bingshanss and Li Shicong's thoughts on prose translation which have guiding significance for prose translation practice. (Hou Qiang 2014: 4)&lt;br /&gt;
&lt;br /&gt;
Third, as regards research on the practice of Chinese translation English prose based on translation theory, Huang Jianling (2021) analyzed the Chinese translation of Bacon's essays from the perspective of translation aesthetics. Hu Hongyun (2013) translates and elaborates on the British prose Farewell in vocabulary, semantics, style and cultural transmission, on the basis of Eugene Nida's Functional Equivalence theory. (Hou Qiang 2014: 5)&lt;br /&gt;
&lt;br /&gt;
These researches and investigations have laid a solid foundation for future studies and the analysis in this paper.&lt;br /&gt;
&lt;br /&gt;
==Overview of English Prose==&lt;br /&gt;
&lt;br /&gt;
Prose can be defined in broad sense and in narrow sense. In broad sense, prose refers to all the written and oral works in a loose form free from parallelism; and in narrow sense, it specifically means the writings with certain literary qualities, such as essays, and a literary genre juxtaposed with poetry, novel, drama and movie-television literature.&lt;br /&gt;
&lt;br /&gt;
This section will clarify the distinctive characteristics and linguistic features of English prose, as well as its translation principles.&lt;br /&gt;
&lt;br /&gt;
===Distinctive Features of English Prose===&lt;br /&gt;
&lt;br /&gt;
As an independent literary genre, English prose has its own distinctive characteristics.&lt;br /&gt;
&lt;br /&gt;
The first characteristic is its expression of sincere feeling. Prose mostly depicts the real people, things and scenery, and is generated based on record and recollection of life. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. So in this sense, prose can be considered as an earnest conversation between the author and the readers. (Zhang Baohong 2011: 28)&lt;br /&gt;
&lt;br /&gt;
Secondly, English prose is characterized by the wide material selection. In English prose, one detail, episode and facet of life can be used to display the author's specific emotions and circumstances, and all materials related to the theme can also be employed. It places no emphasis on rhythm and rhyme, like poetry, as well as to plot and characters, like drama. (Zhang Baohong 2011: 29)&lt;br /&gt;
&lt;br /&gt;
Besides, English prose features the free and loose structure. The structure of prose writings is free and flexible. Prose is elastic and natural and boasts descriptive, argumentative and lyrical qualities, thereof constituting its most distinctive advantage. There are no strict restrictions and fixed patterns in the prose structure, but its flexibility and randomness is not tantamount to disorder and scatter, and its choice of theme and expression of feelings should be closely centered on one main line. (Zhang Baohong 2011: 29)&lt;br /&gt;
&lt;br /&gt;
===Linguistic Features of English Prose===&lt;br /&gt;
&lt;br /&gt;
Compared with other literary forms, prose has no more skills to resort to. Therefore, as regards the form of artistic expression, English prose mainly has recourse to its own language features.&lt;br /&gt;
&lt;br /&gt;
First and foremost, succinctness and fluency characterize English prose language. The concise prose language not only fully delivers the content that the author intends to convey, but effectively shows the author's emotions and attitude towards persons and things. This is not the result of the author's deliberate elaboration, but the natural overflow of his or her plain and pure emotion. The fluency of prose language refers to both the informal use of words and phrases, and the author's sound expression of feelings. (Zhang Baohong 2011: 29)&lt;br /&gt;
&lt;br /&gt;
Meanwhile, colloquial style and literary grace are characteristic of prose language. As prose mainly focuses on description of the author's personal stories and sentiments, thus, he speaks or writes with his own posture, style and tone, as if he is confiding to the readers, so as to highlight the agreeable conversation style and unique colloquial style. Colloquial prose language is natural due to its simplicity, friendly owing to its ease of communication, and true thanks to its individuality. (Zhang Baohong 2011: 30)&lt;br /&gt;
&lt;br /&gt;
Furthermore, another linguistic feature of English prose is the smooth rhythm and reading. The rhythmic beauty of prose language is reflected in phonetic respect and in sentence patterns. The prose reading is catchy, with no obstacles and awkwardness, and its rhythm is in line with the natural law of oral breathing pauses as well as with the ups and downs of feelings. (Zhang Baohong 2011: 30)&lt;br /&gt;
&lt;br /&gt;
===Principles of English Prose Translation===&lt;br /&gt;
&lt;br /&gt;
The beauty of prose lies in its language and artistic conception, the two permeating each other and jointly creating the artistic charm of prose. In prose translation practice, the following principles can be observed to reproduce the artistic appeal.&lt;br /&gt;
&lt;br /&gt;
Keep an eye on sound and rhythm. Despite that the sound and rhythm of prose are often internal, not as obvious, regular and musical as that of poetry, they are not disordered with no aesthetic purpose. On the contrary, they effectively represent the variation of emotion in the prose, and are consistent with its unique aesthetic interest. This illustrates that in prose translation, on the one hand, the translators should recognize the great value and significance of prose sound and rhythm; on the other hand, with the intention of reproducing the linguistic subtleties of the original text, the translators can fully touch its aesthetic interest from the cadence between the lines, and perceive its inner rhythm from sentence length and speech speed. (Zhang Baohong 2011: 30)&lt;br /&gt;
&lt;br /&gt;
Pay attention to personalized mode of discourse. Different writers with various discourse modes bring about manifold writing styles. Not only is the personalized mode of discourse reflected in the author's choice of words and sentences as well as layout of the prose, but also in his thoughts and aesthetic interest. As a result, the translators can start with analyzing the original writer's one classic work and then his anthology and even look closely at the literary features of his age, in order to grasping the writer's personalized discourse mode, which is of particular importance to reproduce his artistic personality and the characteristics of his emotional expression in translation practice. (Zhang Baohong 2011: 31)&lt;br /&gt;
&lt;br /&gt;
Place a premium on the unity of scene and emotion. The unity of scene and interest in prose is embodied in diverse ways of language expression and structure, as well as the images or settings created by the author. In translation practice, based on the unity of scene and interest in the prose, it is beneficial to preserve and reproduce the overall aesthetic orientation of the original text through aesthetic reconstruction in word selection and layout, so that the translated text can obtain the aesthetic taste similar to the original prose.(Zhang Baohong 2011: 31)&lt;br /&gt;
&lt;br /&gt;
All in all, a general understanding of English prose can facilitate the study of its Chinese translation.&lt;br /&gt;
&lt;br /&gt;
==Case Study of Chinese Translation of &amp;quot;Pleasures of Ignorance&amp;quot;==&lt;br /&gt;
&lt;br /&gt;
The selected source text is &amp;quot;The Pleasures of Ignorance&amp;quot;, written by Robert Lynd. &lt;br /&gt;
&lt;br /&gt;
Robert Lynd (1879-1949), born in Belfast, Northern Ireland, was a modern critic and prose writer. He, together with E. V. Lucas, was a pioneer in reviving the tradition of Charles Lamb's prose. And The Pleasures of Ignorance is one of his notable prose works.&lt;br /&gt;
&lt;br /&gt;
This prose points out that it is because ignorance that people are interested in the nature and the world and their pursue knowledge, and the process of seeking knowledge is full of pleasure, by which the author emphasizes the importance of learning more and gaining insight. The article reveals somewhat erudition and aesthetic sensibility, as well as love for nature and and passion for life. From his leisurely writing, the author's maturity of thought and capability in usage of words is unveiled. Though the tone of the original text makes the readers feel that the author is chatting with them, giving people familiarity and closeness, it is not particularly colloquial. On the contrary, there is a kind of exactness and elegance of the learned between the lines, thus it can be seen that the case text is a typical scholar prose. (Zhu Mingju 2007: 326)&lt;br /&gt;
&lt;br /&gt;
The translator Professor Liu Bingshan firmly grasps these features of the original text and conveys the original style by carefully choosing words and sentences, with the principles of faithfulness, smoothness and expressiveness. His Chinese translation of &amp;quot;The Pleasures of Ignorance&amp;quot; will be analyzed in terms of translation strategies and methods. (Zhu Mingju 2007: 326)&lt;br /&gt;
&lt;br /&gt;
There is the natural connection between translation strategies and translation methods, but the two concepts are often confused. It is generally believed that translation strategies (such as foreignization and domestication) are at the cultural level, while the translation methods (such as literal translation and free translation) are at the textual level. Translation methods are the approaches, steps and techniques used to achieve a specific translation purpose based on a certain translation strategy in translation activities, whereas translation strategies are a collection of principles and methods. Consequently, this paper will enunciate the translation text on the basis of translation methods under foreignization strategy and domestication strategy respectively. (Xiong Bing 2014: 84)&lt;br /&gt;
&lt;br /&gt;
===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
&lt;br /&gt;
Foreignization is a strategy in which a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. This strategy is &amp;quot;an ethnodeviant pressure on target-language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad&amp;quot; to have alien reading experience. The translation methods under foreignization employed in Professor Liu's target text include literal translation, zero-translation and transliteration. (Venuti, 2004: 20) (Lian Shuneng 2006: 13)&lt;br /&gt;
&lt;br /&gt;
====Literal Translation====&lt;br /&gt;
&lt;br /&gt;
Literal translation is in fact looser renditions that replace individual source language words with individual target language wors wherever possible, and cling as closely as possible to the source language word order in the target language. (Lian Shuneng 2006: 12)&lt;br /&gt;
&lt;br /&gt;
Specifically, in the case translation text, the translator faithfully retains some personal pronouns and demonstrative pronouns in the original text. For example, &lt;br /&gt;
&lt;br /&gt;
(1)It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance.&lt;br /&gt;
&lt;br /&gt;
同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
&lt;br /&gt;
(2)This ignorance, however, is not altogether miserable.&lt;br /&gt;
&lt;br /&gt;
不过，这种无知也并非全然不幸。&lt;br /&gt;
&lt;br /&gt;
(3)But your and my ignorance is not confined to cuckoos.&lt;br /&gt;
&lt;br /&gt;
但是，你我的无知并不仅限于杜鹃这一方面。&lt;br /&gt;
&lt;br /&gt;
(4)A contemporary English novelist was once asked by a foreigner what was the most important crop in England.&lt;br /&gt;
&lt;br /&gt;
一个外国人问一位当代英国小说家，英国最重要的农作物是什么。&lt;br /&gt;
&lt;br /&gt;
The translation of these sentences, though properly altering the word order and voice with the adherence to the target-language syntactic norms, does not adopt the usage of transferred meaning in dealing with lexical sense.&lt;br /&gt;
&lt;br /&gt;
The use of literal translation, especially the retaining of the personal pronouns, like &amp;quot;we&amp;quot; and &amp;quot;you and I&amp;quot;, conveys the style of the original text, showing friendliness and intimacy.&lt;br /&gt;
&lt;br /&gt;
====Zero-Translation====&lt;br /&gt;
&lt;br /&gt;
Zero translation refers to the translation in which the translators do not use the ready-made words in the target language to translate the source language words. This translation phenomenon occurs when adjustments must be made due to the differences in the syntactic structures of the two languages. For example, some articles and personal pronouns are not translated in E-C translation. (Fang Mengzhi 2011: 108)&lt;br /&gt;
&lt;br /&gt;
In Professor Liu's Translation, zero-translation is particularly displayed by omission, a translation technique. For instance,&lt;br /&gt;
&lt;br /&gt;
Omission of the expletives ''It'' and ''There'':&lt;br /&gt;
&lt;br /&gt;
(5)''It'' is impossible to take a walk in the country oneself without being amazed at the vast continent of one's own ignorance.&lt;br /&gt;
&lt;br /&gt;
任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
&lt;br /&gt;
(6)''There'' are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy.&lt;br /&gt;
&lt;br /&gt;
这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。&lt;br /&gt;
&lt;br /&gt;
Omission of English articles:&lt;br /&gt;
&lt;br /&gt;
(7)Thousands of men and women live and die without knowing the difference between ''a'' beech and ''an'' elm, between ''the'' song of ''a'' thrush and ''the'' song of ''a'' blackbird.&lt;br /&gt;
&lt;br /&gt;
成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
&lt;br /&gt;
Omission of pronouns:&lt;br /&gt;
&lt;br /&gt;
(8)... as she (the cuckoo) lays ''her'' egg on the ground and takes it in ''her'' bill to the nest in which it is destined to breed infanticide.&lt;br /&gt;
&lt;br /&gt;
把蛋下到地面上，然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。&lt;br /&gt;
&lt;br /&gt;
The application of zero-translation can render the translation text concise, neat and fluent, and make the rhythm of the prose more natural and flexible, conforming to the principle of prose translation.&lt;br /&gt;
&lt;br /&gt;
====Transliteration====&lt;br /&gt;
&lt;br /&gt;
Proper names such as the names of persons and places of foreign countries, are, as a rule, to be transliterated, i.e., to be translated by using Chinese characters to represent the sound in articulating these names. (Lian Shuneng 2006: 344)&lt;br /&gt;
&lt;br /&gt;
In transliteration, the translators should follow the original pronunciation of proper names, in Liu's translation, for example,&lt;br /&gt;
&lt;br /&gt;
(9)Hamlet 哈姆雷特 Pickwick 匹克威克 (both transliterated from English)&lt;br /&gt;
&lt;br /&gt;
Besides, in transliteration, the translators sometimes should also use the standard pronunciation of the Chinese characters. One of the difficulties in transliterating a foreign name in Chinese characters lies in the lack of many foreign sounds in Chinese, and the variation in the pronunciation of the Chinese characters causes confusion. The remedy is to fix certain Chinese characters for a certain syllable of foreign names. And many long-standing translated names, though not named after the original sounds, have been recognized by the world and are generally invariable. (Lian Shuneng 2006: 346)&lt;br /&gt;
&lt;br /&gt;
For example, in the translation in case study. For example, in the translation in case study,&lt;br /&gt;
&lt;br /&gt;
(10)Montaigne 蒙田 (not 蒙泰涅)&lt;br /&gt;
&lt;br /&gt;
Transliteration plays a crucial role in translation of proper nouns and technical terms, which ensures the correct conveyance of information.&lt;br /&gt;
&lt;br /&gt;
The translation methods under foreignization are able to make the translation process more visible, by means of showing how translators are deeply involved in the construction of culture and ideology. The use of these methods can retain the foreignness of the source text and produce on the target-language readers an effect as close as possible to that obtained on the readers of the original, through which the readers can further understand the foreign expressions and cultures, realizing the differences between the two countries.&lt;br /&gt;
&lt;br /&gt;
===Translation Methods under Domesticating Strategy===&lt;br /&gt;
&lt;br /&gt;
Domestication is a strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for target language readers. This strategy is &amp;quot;an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home&amp;quot;. In other words, as regards the use of domesticating strategy, the translators are required to make target-language readers feel familiar and close through conveying the content of the original text with the expressions to which TL readers are accustomed. And in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, free translation method and imitation method under domestication are used and displayed in several translation techniques. (Venuti 2004: 20) (Lian Shuneng 2006: 14)&lt;br /&gt;
&lt;br /&gt;
====Free Translation====&lt;br /&gt;
&lt;br /&gt;
Free translation, also known as sense-for-sense translation, emphasizes transfer of the meaning or &amp;quot;spirit&amp;quot; of a source text over accurate reproduction of the original wording. The purpose of this method is to accommodate the needs of the target-language readers by producing a text which conforms to the linguistic and textual norms of the target language and culture which does not therefore sound &amp;quot;foreign&amp;quot;. (Shuttleworth &amp;amp; Cowie, 2014: 59)(Lian Shuneng 2006: 12)&lt;br /&gt;
&lt;br /&gt;
Such a method, in this case study, is specifically embodied in the choice of words packed with Chinese characteristics, that is, diction, also a translation technique. For example,&lt;br /&gt;
&lt;br /&gt;
(11)Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is ''the exception''.&lt;br /&gt;
&lt;br /&gt;
在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是''凤毛麟角''。&lt;br /&gt;
&lt;br /&gt;
(12)It is not that we have not seen the birds. It is simply that we ''have not noticed'' them.&lt;br /&gt;
&lt;br /&gt;
所以如此，并不是因为这些鸟我们没有见过，而只是因为我们''习焉不察''。&lt;br /&gt;
&lt;br /&gt;
(13)When in the oak’s green arms the cuckoo ''sings'', &lt;br /&gt;
&lt;br /&gt;
And first delights men in the ''lovely springs''.&lt;br /&gt;
&lt;br /&gt;
杜鹃在橡树的绿色怀抱里''啭啼''，&lt;br /&gt;
&lt;br /&gt;
第一个为人们带来''欢欣、美好的春意''。&lt;br /&gt;
&lt;br /&gt;
In translating these sentences, the translator transfers some words into vocabulary or phrases with conspicuously Chinese features. For instance, the transfer of &amp;quot;the exception&amp;quot; and &amp;quot;have not noticed&amp;quot; to Chinese idioms &amp;quot;凤毛麟角&amp;quot; (that describes rare and precious items) and &amp;quot;习焉不察&amp;quot; (which means that one is too accustomed to something to call it in questions), respectively, exemplifies the typical Chinese four-character structure. Moreover, the verb &amp;quot;sings&amp;quot; is transferred to &amp;quot;啭啼&amp;quot; (that describes birds' melodious chirp), a Chinese term composed of two words with the same left side, which is one of common and special linguistic phenomena in Chinese language. Meanwhile, &amp;quot;the lovely springs&amp;quot; is transferred to &amp;quot;欢欣、美好的春意&amp;quot; (a joyful and wonderful feeling brought by the spring) through abstraction.&lt;br /&gt;
Thus, it can be seen that the application of free translation can reproduce the sense of the original text more smoothly and idiomatically. And the wide adoption of the four-character structures enhance the academic atmosphere of the translation version.&lt;br /&gt;
&lt;br /&gt;
====Imitation====&lt;br /&gt;
&lt;br /&gt;
With regard to the use of imitation, the translators do not stick to the meaning details of the original text, let alone its vocabulary and syntactic structure, but take the original text as a reference model, either by deleting and condensing to only translate its gist and key information, or by adding and expanding to deliver more information than that in the original text. For instance, (Xiong Bing 2014: 85)&lt;br /&gt;
&lt;br /&gt;
(14)Thousands of ''men and women'' ''live and die'' ''without knowing'' the difference between a beech and an elm, between the song of a thrush and the song of a blackbird.&lt;br /&gt;
 &lt;br /&gt;
成千上万的''男男女女''，''从生到死''，''一辈子''也''说不出''山毛榉和榆树有什么区别，''听不出''画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
&lt;br /&gt;
In the translation of this sentence, a variety of translation techniques are employed. &lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
The translator uses conversion to alter the syntactic structure of the original sentence. &lt;br /&gt;
&lt;br /&gt;
The predicate &amp;quot;live and die&amp;quot; is converted into the preposition phrase &amp;quot;从生到死&amp;quot; as the adverbial in Chinese.&lt;br /&gt;
&lt;br /&gt;
And the adverbial preposition phrase in the source text &amp;quot;without knowing&amp;quot; is converted into the predicate in Chinese translation.&lt;br /&gt;
&lt;br /&gt;
②　Division:&lt;br /&gt;
&lt;br /&gt;
In accordance with the need of Chinese expression, &amp;quot;without knowing&amp;quot; is divided into two verb phrases &amp;quot;说不出&amp;quot; and &amp;quot;听不出&amp;quot; in Chinese as the predicate.&lt;br /&gt;
&lt;br /&gt;
③　Addition:&lt;br /&gt;
&lt;br /&gt;
With the addition of the expression &amp;quot;一辈子&amp;quot;, the translator highlights the long time between life and death.&lt;br /&gt;
&lt;br /&gt;
④　Repetition:&lt;br /&gt;
&lt;br /&gt;
The plural form &amp;quot;men and women&amp;quot; is translated into the reiterative locution &amp;quot;男男女女&amp;quot; by repetition. &lt;br /&gt;
&lt;br /&gt;
The change of sentence structure via techniques such as conversion and division as well as of vocabulary via repetition and addition render the translation natural and smooth, showing the translator’s superb handling of the original text.&lt;br /&gt;
&lt;br /&gt;
(15)...we are all the ''more'' delighted ''at the spectacle of'' its ''runaway flight'' as it (the cuckoo) ''hurries'' from wood to wood conscious of its crimes ...&lt;br /&gt;
&lt;br /&gt;
一日''看见''它（杜鹃）因为自己犯了罪而''煌惶不安地''从这个林子飞''逃''向那个林子 ... 我们才会觉得''大大''开心。&lt;br /&gt;
&lt;br /&gt;
In this example, there are also various translation techniques used.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
Firstly, the preposition phrase &amp;quot;at the spectacle of&amp;quot; is converted into the verb &amp;quot;看见&amp;quot; in Chinese. &lt;br /&gt;
&lt;br /&gt;
Secondly, the noun phrase &amp;quot;runaway flight&amp;quot; is converted into Chinese verbs &amp;quot;飞&amp;quot; (fly) and &amp;quot;逃&amp;quot; (escape). &lt;br /&gt;
&lt;br /&gt;
Besides, the verb &amp;quot;hurries&amp;quot; (that means to move quickly in a particular direction) is converted into &amp;quot;惶惶不安地&amp;quot; (which means to feel panic, afraid and utterly uneasy), a Chinese adverb to modify the verbs &amp;quot;飞&amp;quot; and &amp;quot;逃&amp;quot;, which endows the subject cuckoo with somewhat human characteristic.&lt;br /&gt;
&lt;br /&gt;
②　Repetition:&lt;br /&gt;
&lt;br /&gt;
The adjective &amp;quot;more&amp;quot; is translated into the reiterative locution &amp;quot;大大&amp;quot;, a Chinese adverb equivalent to &amp;quot;very&amp;quot; or &amp;quot;extremely&amp;quot; in English to modify the adjective &amp;quot;delighted&amp;quot;. &lt;br /&gt;
&lt;br /&gt;
In this example, the adjustment of the sentence order and conversion of parts of speech make the translation more consistent with the word sequence in Chinese. Meanwhile, the choice of words such as the Chinese four-character structure &amp;quot;惶惶不安&amp;quot; conveys the romantic charm beyond the original text. And there are also indicators of use of repetition embodied in the typical Chinese reiterative locutions like &amp;quot;惶惶&amp;quot; and &amp;quot;大大&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
(16)I have myself a ''capricious'' and ''leaking'' memory.&lt;br /&gt;
&lt;br /&gt;
我自己的记忆力也是''漏洞百出''、''不听使唤''。&lt;br /&gt;
&lt;br /&gt;
Although this is a short sentence, it still contains the flexible use of translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
At first, the original object &amp;quot;memory&amp;quot; is converted to the subject in the Chinese translation.&lt;br /&gt;
And then, the subject &amp;quot;I&amp;quot; with its appositive &amp;quot;myself&amp;quot; is converted into the attribute &amp;quot;我自己的&amp;quot; to modify the subject in the translation &amp;quot;记忆&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
On account of the conversion of the subject and the verb, the original predicate &amp;quot;have&amp;quot; is inappropriate. The addition of &amp;quot;也是&amp;quot; that is equivalent to the verb &amp;quot;be&amp;quot; in English enforces the completeness of sentence structure. And this is a structural addition mainly due to the structural difference between Chinese and English.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The two vivid adjective &amp;quot;capricious&amp;quot; and &amp;quot;leaking&amp;quot; are translated as &amp;quot;不听使唤&amp;quot; and &amp;quot;漏洞百出&amp;quot; respectively which are typical Chinese four-character structures. The Chinese adjective &amp;quot;漏洞百出(的)&amp;quot; means that the loopholes appear one after another, which is often used to describe that one's writing or speech is untenable because of lack of sufficient reasons and grounds. And here, this word shows the author's weak memory with which he forgets things time and again. And the other adjective &amp;quot;不听使唤(的)&amp;quot; generally depicts that someone loses control and is not obedient to the rules or instructions. Here, the word properly demonstrates that the author cannot manipulate his memory well and also cannot preclude it from being weaker. The use of these two words conforms to the choice of affective and stylistic meanings.&lt;br /&gt;
&lt;br /&gt;
In this example, the conversion of the subject and object as well as the change of the predicate enable the translation to be more closely accord with the Chinese sentential structure. Moreover, the two figurative adjectives packed with personified traits not only fully  convey the author's intention, but also enhance literariness of the translation and even display a lively mood beyond the original text.&lt;br /&gt;
&lt;br /&gt;
(17)We know, again, that, the blossom precedes and ''not succeeds'' the fruit of the apple-tree, but ''this does not lessen our amazement at'' the beautiful holiday of a May orchard.&lt;br /&gt;
&lt;br /&gt;
另外，我们知道苹果树''先''开花，''后''结果，可是五月''一旦''到来，果园里一片欢闹的花海。''我们不是仍然惊为奇观吗？''&lt;br /&gt;
&lt;br /&gt;
This is a typical example of the imitation method embodied in the use of diverse translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
Regarding the conversion of word classes, the noun &amp;quot;blossom&amp;quot; is converted into the Chinese verb &amp;quot;开花&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Concerning the conversion of sentence members, the object in the clause &amp;quot;apple-tree&amp;quot; is converted into the subject &amp;quot;苹果树&amp;quot; in the Chinese translation. And the attribute &amp;quot;May&amp;quot; is converted into the adverbial in Chinese as &amp;quot;五月一旦到来&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Considering the conversion of sentence patterns, the negative sentence &amp;quot;this does not lessen our amazement at...&amp;quot; is converted into a interrogative sentence &amp;quot;我们不是仍然惊为奇观吗？&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Negation:&lt;br /&gt;
&lt;br /&gt;
The negative form &amp;quot;not succeeds&amp;quot; in English is translated into the affirmative form &amp;quot;后结果&amp;quot; in Chinese, intensifying a positive tone on which Chinese language often places emphasis.&lt;br /&gt;
&lt;br /&gt;
③　Division:&lt;br /&gt;
&lt;br /&gt;
The original complicated sentence in English is divided into several simplex clauses and phrases in Chinese, which underlines the &amp;quot;chronicle style&amp;quot; of Chinese language with frequent use of shorter or composite structures.&lt;br /&gt;
&lt;br /&gt;
④　Addition:&lt;br /&gt;
&lt;br /&gt;
Now that the original sentence is divided into smaller components, it is necessary to supply connectors for better cohesion. The addition of the logical connectors in Chinese such as &amp;quot;先&amp;quot;, &amp;quot;后&amp;quot;, &amp;quot;一旦&amp;quot; and &amp;quot;仍然&amp;quot; render the translation more smooth and expressive.&lt;br /&gt;
&lt;br /&gt;
In this instance, the translator flexibly takes advantage of the techniques such as conversion, negation and division, not only contributing to the diversity of sentence patterns but also adding sense of warmth and vividness of the translation. Additionally, the semantic addition of logical connectors render the translation more cohesive and coherent.&lt;br /&gt;
&lt;br /&gt;
(18)Once more I shall ''see'' the world as a garden through ''the eyes'' of a stranger, ''my breath taken away with surprise by the painted fields''.&lt;br /&gt;
&lt;br /&gt;
那时，我像一个陌生者进人大花园，''放眼四望''，''五色缤纷''的原野再一次使我''目不暇接''，''心迷神醉''。&lt;br /&gt;
&lt;br /&gt;
As regards this example, the translator enriches the meaning of the original text and creates a more balmy atmosphere by employing various translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Division:&lt;br /&gt;
&lt;br /&gt;
The long complex sentence, composed of two clauses, is divided into several separated clauses in arranged in a certain order, which renders the translation rhythmic and highlights the focus of expression.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
The addition of the Chinese set phrase &amp;quot;目不暇接&amp;quot; (which means that so many wonderful things and so swift change of scenery come into sight that the eyes are kept fully occupied) makes the context more coherent, as it echoes &amp;quot;see&amp;quot; and &amp;quot;the eyes&amp;quot; in the preceding and connects the &amp;quot;painted fields&amp;quot; in the following that greet the author's eyes and take his breath away.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The verb &amp;quot;see&amp;quot; is translated into &amp;quot;放眼四望&amp;quot; (to look around), the noun phrase &amp;quot;breath taken away with surprise&amp;quot; into &amp;quot;心醉神迷&amp;quot; (to be thrown into ecstasies), and the adjective &amp;quot;painted&amp;quot; into &amp;quot;五彩缤纷&amp;quot; (colorful). These recurring four-character structures in translation are loaded with positive meanings, and proper to depict the attractive scenery and to be used in scholar prose.&lt;br /&gt;
&lt;br /&gt;
④　Conversion:&lt;br /&gt;
&lt;br /&gt;
The original clause &amp;quot;my breath taken away with surprise by the painted fields&amp;quot; is in passive voice, and is converted into the active voice in Chinese translation &amp;quot;五色缤纷的原野再一次使我目不暇接，心迷神醉&amp;quot;. This kind of conversion is due to the fact that the Chinese passive form marked by &amp;quot;被&amp;quot; is traditionally felt to be an &amp;quot;inflictive voice&amp;quot;, mainly expressing things unpleasant or undesirable, contrasted with the cheerful aura overflowing the original text. &lt;br /&gt;
&lt;br /&gt;
The translator employs short clauses separated from the original complex sentence to bestow smoothness and naturalness on the translation and strengthen its artistic appeal. Furthermore, the translator selects the words that tally with the affective, contextual and stylistic meanings of the original. And the opportune addition of words and change of voice also polish the translation.    &lt;br /&gt;
&lt;br /&gt;
The reasonable use of the imitation translation method can make the translation more idiomatic and vivid, and even enable the translation overshadow the original text in terms of showcasing the artistic and aesthetic charm.&lt;br /&gt;
&lt;br /&gt;
In a word, translation methods under domesticating strategy will involve he careful selection of texts which lend themselves to being translated in this manner, the conscious adoption of a fluent, natural-sounding target language style, the adaptation of target text to conform to target discourse types, the interpolation of explanatory material, the removal of source language REALIA and the general harmonization of target text with target language preconceptions and preferences. These methods can render the translation highly literary, aesthetic and readable, and also can to some extent optimize the source text. The appropriate application of domesticating translation is able to even become a sublimation of the original.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
&lt;br /&gt;
This paper makes an analysis of translation strategies and translation methods in English prose, with translator Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot; created by Robert Lynd as an example. With translation strategies and methods as the starting point, this paper considers Chinese translation of English prose as the research subject. The paper first introduces English prose along with its distinctive properties, linguistics features and principles of its translation. And then this paper carries out the interpretation of translation strategies and methods in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot; in which the application of translation methods as well as techniques under foreignizing and domesticating strategies are elaborated, and the concrete effects they exert are also elucidated.&lt;br /&gt;
&lt;br /&gt;
===Major Findings===&lt;br /&gt;
&lt;br /&gt;
Based on the above study of translation strategies and methods employed in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, the features or common ground of Chinese translation of English prose in terms of translation strategies and methods can be generally summarized.&lt;br /&gt;
&lt;br /&gt;
In Chinese translation of English prose, foreignization strategy and domestication strategy are both used in the light of the style, linguistic features, and syntactic structures of the source text.&lt;br /&gt;
&lt;br /&gt;
But, on the whole, the domesticating translation strategy which includes translation methods such as free translation and imitation is applied more frequently compared with foreignization. This is because that prose translation actually falls into literary translation that is special on the grounds of the unique characteristics of the original literary works. In literary works, or specifically, in English prose, some words are not used with their literal meanings but their connotative or extension meanings, so literal translation under foreignization may not correctly convey the real significance of the original text. Meanwhile, in English prose, there are complex syntactic structures whose translation cannot be carried out with no proper conversion and alteration. Additionally, multiple rhetoric devices such as metaphor, metonymy and allusion are used in English literary works, and the literal translation of these figures of speech may elude the target-language readers because of the cultural differences and the obscurity of the translation. However, the appropriate adoption of translation methods under domestication strategy, to some extent, can give the target-language readers a sense of closeness and deliver the aesthetic charm with the premise that the real meaning of the original text can be ensured.&lt;br /&gt;
&lt;br /&gt;
In terms of translation methods under foreignizing strategy, literal translation is used when the lexical meaning of the source text is lucid and the syntactic structures in it are relatively simple and clear, so the translators need not find a new path in the mode of expression in order to be faithful to the source text. And the use of literal translation can convey the information more objectively and avoid the interference of translators' subjective factors. Meanwhile, in Chinese translation of English prose, the use of zero-translation is frequent but imperceptible, with the omission of some words peculiar to English, such as expletives it and there, English articles and pronouns, but sometimes the English pronouns can also be retained to show a sense of closeness and friendliness. Besides, transliteration is used for the translation of proper nouns and technical terms not only in English prose but also in almost all text types, with conforming to the principles of being named after the original sound and of the translated names accepted through common practice. In a word, translation methods under foreignization can ensure the objective conveyance of information of the original text and preserve its foreignness and unique cultural values that can enrich the target-language readers' knowledge and their languages.&lt;br /&gt;
&lt;br /&gt;
With regard to translation methods under domesticating strategy, in Chinese translation English prose, free translation and imitation method are oftentimes employed. English prose, as one of the English literary genres, boasts distinctive features of literature, such as aesthetic value, language with hidden meanings and the usual use of figures of speech as well as culturally loaded images, which may not be shown vividly and be easily understood by target-language readers via literal or word-for-word translation. Thus, translation methods under domestication, with careful choice of words, proper adjustment of syntactic structures and sentence sequence, and appropriate sublimation of the original text, can express the original author's feelings more lively, render the translation more fluent, idiomatic and expressive, and display the aesthetic charm of the source text.&lt;br /&gt;
&lt;br /&gt;
At the lexical level, in Chinese translation of English prose, the translation techniques --- diction, addition, conversion and repetition --- are usually used. The typical Chinese four-character structures appear time from time in Chinese translation, and the translators choose the words in line with the affectionate, contextual and stylistic meanings of the original prose, which intensify literariness and satisfy the characteristics of scholar prose. Moreover, the addition of Chinese conjunctive words and logical connectors by which sentences in translation are connected into a text can create better cohesion. Furthermore, the conversion of word classes in translation is based on the contrastive studies of English and Chinese, viz., English with its nominal style is static whereas Chinese with its verbal style is dynamic. Besides, it is one of the peculiarities of Chinese to reduplicate characters or words in word-formation and to repeat the similar or same word or expression in a discourse for expressiveness and parallelism, which can render translation more appealing to Chinese readers and produce rhetorical and grammatical effect.&lt;br /&gt;
&lt;br /&gt;
At the syntactic level, the translation techniques --- conversion and division--- are often employed in Chinese translation of English prose. To start with, conversion in the syntactic respect involves conversions of sentence members, sentence patterns and the voice. The conversion of word classes often results in the conversion of sentence members, and the alteration of sentences patterns like the inter-conversion between assertive or negative sentences and question sentences can variegate sentence types in translation. The conversion of passive voice in English prose into active voice in Chinese translation is due to the preference for active forms that can produce positive effect in Chinese language. What's more, part of sentences in English prose are longer and complicated because of subordination, a fundamental feature of English, and it may be hard to reproduce the original thought with following the original sentence structure in translation, hence the division of complex English sentences into word-groups, clauses or simplex sentences in Chinese can endow Chinese translation of English prose with more naturalness, fluency and sense of rhythm.&lt;br /&gt;
&lt;br /&gt;
The research on the features of translation strategies and methods in Chinese translation of English prose, theoretically can offer a deeper insight into English prose and its translation, and practically can help to some extent improve the quality of Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
===Limitations and Suggestions===&lt;br /&gt;
&lt;br /&gt;
There are drawbacks in this paper: firstly, the paper takes only one piece of English prose as an example in case study, so it lacks strong persuasiveness; secondly, since there are few researchers on prose translation at home and abroad, especially those specializing in Chinese translation of English prose, this paper resorts to insufficient literature guidance and reference; thirdly, owing to the confined conditions and narrow academic capacity, this paper is devoid of enough depth and breadth as well as favorable insight and acuity, thus the theoretical support and practical assistance it provides are bound to be limited. As a consequence, it is expected that researchers in this field can cooperate well to build up a system to minimize the possible errors and create more thorough and holistic works to enunciate and improve Chinese translation of English prose.&lt;br /&gt;
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==References==&lt;br /&gt;
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[1] Lawrence Venuti. Rethinking Translation: Discourse, Subjectivity, Ideology [C]. London and New York: Routledge, 1992: 5-20.&lt;br /&gt;
&lt;br /&gt;
[2] Lawrence Venuti. The Translator's Invisibility: A History of Translation [M]. Shanghai: Shanghai Foreign Language Education Press 上海: 上海教育出版社, 2004: 7-25.&lt;br /&gt;
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[3] Mark Shuttleworth. Moira Cowie. Dictionary of Translation Studies [M]. London and New York: Routledge, 2014: 43-44, 59, 144-145.&lt;br /&gt;
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[4] 方梦之. 中国译学大辞典 [M]. 上海: 上海教育出版社, 2011: 108.&lt;br /&gt;
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Fang Mengzhi. Dictionary of Translation Studies in China [M]. Shanghai: Shanghai Foreign Language Education Press, 2011: 108 &lt;br /&gt;
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[5] 侯强. 英语散文汉译策略研究 --- 以“韩素音青年翻译奖”参赛文本为例 [D]. 厦门: 厦门大学, 2014.&lt;br /&gt;
    &lt;br /&gt;
Hou Qiang. On the Translation Strategies of English Prose: A Case Study of the Chinese version in &amp;quot;Han Suyin Award for Young Translators&amp;quot; [D]. Xiamen: Xiamen University, 2014.&lt;br /&gt;
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[6] 何秀琴. 期待视角下的英语散文汉译研究 --- 以《散文佳作108篇》为例 [D]. 南昌: 南昌大学, 2018.&lt;br /&gt;
&lt;br /&gt;
He Xiuqin. Research on English-Chinese Translation of Prose from the Perspective of Horizon of Expectation -- A Case Study of ''Anthology of Chinese and English Prose'' [D]. Nanchang: Nanchang University&lt;br /&gt;
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[7] 连淑能. 英译汉教程 [M]. 北京: 高等教育出版社, 2006: 12-14, 49, 52, 54, 67-175, 211, 253-262, 344-348.&lt;br /&gt;
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Lian Shuneng. A Coursebook on English-Chinese Translation [M]. Beijing: Higher Education Press, 2006: 12-14, 49, 52, 54, 67-175, 211, 253-262, 344-348.&lt;br /&gt;
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[8] 宋颉. 翻译美学视角下的民国散文英译风格研究 [D]. 上海: 上海外国语大学, 2018.&lt;br /&gt;
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Song Jie. A Study of Styles of English Translation of Chinese Essays during Period of the Republic of China from Perspective of Translation and Aesthetics [D]. Shanghai: Shanghai International Studies University, 2018.&lt;br /&gt;
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[9] 熊兵. 翻译研究中的概念混淆 [J]. 中国翻译, 2014(3): 82-88.&lt;br /&gt;
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Xiong Bing. On the Conceptual Confusion in Translation Studies [J]. Chinese Translation, 2014(3): 82-88.&lt;br /&gt;
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[10] 张保红. 文学翻译 [M]. 北京: 外语教学与研究出版社, 2011: 28-88.&lt;br /&gt;
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Zhang Baohong. Literary Translation [M]. Beijing: Foreign Language Teaching and Research Press, 2011: 28-88.&lt;br /&gt;
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[11] 朱明炬. 英汉名篇名译 [M].  南京: 译林出版社, 2007: 319-328.&lt;br /&gt;
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Zhu Mingju.  Chinese Translation of Famous English Works [M]. Nanjing: Yilin Press, 2007: 319-328.&lt;br /&gt;
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==Appendix==&lt;br /&gt;
&lt;br /&gt;
(The original text:)&lt;br /&gt;
&lt;br /&gt;
The Pleasures of Ignorance&lt;br /&gt;
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By Robert Lynd&lt;br /&gt;
&lt;br /&gt;
It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance. It is impossible to take a walk in the country oneself without being amazed at the vast continent of one’s own ignorance. Thousands of men and women live and die without knowing the difference between a beech and an elm, between the song of a thrush and the song of a blackbird. Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is the exception. It is not that we have not seen the birds. It is simply that we have not noticed them. We have been surrounded by birds all our lives, yet so feeble is our observation that many of us could not tell whether or not the chaffinch sings, or the colour of the cuckoo. We argue like small boys as to whether the cuckoo always sings as he flies or sometimes in the branches of a tree-whether Chapman drew on his fancy or his knowledge of nature in the lines:&lt;br /&gt;
&lt;br /&gt;
When in the oak's green arms the cuckoo sings, &lt;br /&gt;
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And first delights men in the lovely springs.&lt;br /&gt;
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This ignorance, however, is not altogether miserable. Out of it we get the constant pleasure of discovery. Every fact of nature comes to us each spring, if only we are sufficiently ignorant, with the dew still on it. If we have lived half a lifetime without having ever seen a cuckoo, and know it only as a wandering voice, we are all the more delighted at the spectacle of its runaway flight as it hurries from wood to wood conscious of its crimes and at the way in which it halts hawk-like in the wind, its long tail quivering, before it dares descend on a hillside of fir-trees where avenging presences may lurk. It would be absurd to pretend that the naturalist does not also find pleasure in observing the life of the birds, but his is a steady pleasure, almost a sober and plodding occupation, compared to the morning enthusiasm of the man who sees a cuckoo for the first time, and, behold, the world is made new.&lt;br /&gt;
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And, as to that, the happiness even of the naturalist depends in some measure upon his ignorance,which still leaves him new worlds of this kind to conquer. He may have reached the very Z of knowledge in the books, but he still feels half ignorant until he has confirmed each bright particular with his eyes. He wishes with his own eyes to see the female cuckoo—rare spectacle!—as she lays her egg on the ground and takes it in her bill to the nest in which it is destined to breed infanticide. He would sit day after day with a field-glass against his eyes in order personally to endorse or refute the evidence suggesting that the cuckoo does lay on the ground and not in a nest.And, if he is so far fortunate as to discover this most secretive of birds in the very act of laying, there still remain for him other fields to conquer in a multitude of such disputed questions as whether the cuckoo’s egg is always of the same colour as the other eggs in the nest in which she abandons it. Assuredly the men of science have no reason as yet to weep over their lost ignorance. If they seem to know everything, it is only because you and I know almost nothing. There will always be a fortune of ignorance waiting for them under every fact they turn up. They will never know what song the Sirens sang to Ulysses any more than Sir Thomas Browne did.&lt;br /&gt;
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If I have called in the cuckoo to illustrate the ordinary man's ignorance, it is not because I can speak with authority on that bird. It is simply because, passing the spring in a parish that seemed to have been invaded by all the cuckoos of Africa, I realized how exceedingly little I, or anybody else I met, knew about them. But your and my ignorance is not confined to cuckoos. It dabbles in all created things, from the sun and moon down to the names of the flowers. I once heard a clever lady asking whether the new moon always appears on the same day of the week. She added that perhaps it is better not to know, because, if one does not know when or in what part of the sky to expect it,its appearance is always a pleasant surprise. I fancy, however, the new moon always comes as a surprise even to those who are familiar with her time-tables. And it is the same with the coming-in of spring and the waves of the flowers. We are not the less delighted to find an early primrose because we are sufficiently learned in the services of the year to look for it in March or April rather than in October. We know, again, that, the blossom precedes and not succeeds the fruit of the apple-tree, but this does not lessen our amazement at the beautiful holiday of a May orchard.&lt;br /&gt;
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At the same time there is, perhaps, a special pleasure in relearning the names of many of the flowers every spring. It is like rereading a book that one has almost forgotten. Montaigne tells us that he had so bad a memory that he could always read an old book as though he had never read it before. I have myself a capricious and leaking memory. I can read Hamlet itself and The Pickwick Papers as though they were the work of new authors and had come wet from the press, so much of them fades between one reading and another. There are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy. But this is only when life has an object beyond entertainment. In respect of mere luxury, it may be doubted whether there is not as much to be said for a bad memory as for a good one. With a bad memory one can go on reading Plutarch and The Arabian Nights all one's life. Little shreds and tags, it is probable, will stick even in the worst memory, just as a succession of sheep cannot leap through a gap in a hedge without leaving a few wisps of wool on the thorns. But the sheep themselves escape,and the great authors leap in the same way out of an idle memory and leave little enough behind.&lt;br /&gt;
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And, if we can forget books, it is as easy to forget the months and what they showed us, when once they are gone. Just for a moment I tell myself that I know May like the multiplication table and could pass an examination on its flowers, their appearance and their order. Today I can affirm confidently that the buttercup has five petals. (Or is it Six? I knew for certain last week.) But next year I shall probably have forgotten my arithmetic, and may have to learn once more not to confuse the buttercup with the celandine. Once more I shall see the world as a garden through the eyes of a stranger, my breath taken away with surprise by the painted fields. I shall find myself wondering whether it is science or ignorance which affirms that the swift (that black exaggeration of the swallow and yet a kinsman of the humming-bird) never settles even on a nest, but disappears at night into the heights of the air. I shall learn with fresh astonishment that it is the male, and not the female,cuckoo that sings. I may have to learn again not to call the champion a wild geranium, and to rediscover whether the ash comes early or late in the etiquette of the trees. A contemporary English novelist was once asked by a foreigner what was the most important crop in England. He answered without a moment's hesitation: &amp;quot;Rye&amp;quot;. Ignorance so complete as this seems to me to be touched with magnificence; but the ignorance even of illiterate persons is enormous. The average man who uses a telephone could not explain how a telephone works. He takes for granted the telephone, the railway train, the linotype, the aeroplane, as our grandfathers took for granted the miracles of the gospels. He neither questions nor understands them. It is as though each of us investigated and made his own only a tiny circle of facts. Knowledge outside the day's work is regarded by most men as a gewgaw. Still we are constantly in reaction against our ignorance. We rouse ourselves at intervals and speculate. We revel in speculations about anything at all—about life after death or about such questions as that which is said to have puzzled Aristotle, &amp;quot;why sneezing from noon to midnight was good, but from night to noon unlucky.&amp;quot; One of the greatest joys known to man is to take such a flight into ignorance in search of knowledge. The great pleasure of ignorance is, after all, the pleasure of asking questions. The man who has lost this pleasure or exchanged it for the pleasure of dogma, which is the pleasure of answering, is already beginning to stiffen. One envies so inquisitive a man as Jowett, who sat down to the study of physiology in his sixties. Most of us have lost the sense of our ignorance long before that age. We even become vain of our squirrel’s hoard of knowledge and regard increasing age itself as a school of omniscience. We forget that Socrates was famed for wisdom not because he was omniscient but because he realized at the age of seventy that he still knew nothing. (Zhu Mingju 2007: 319-322)&lt;br /&gt;
 &lt;br /&gt;
(Liu Bingshan's Chinese translation:)&lt;br /&gt;
&lt;br /&gt;
无知常乐&lt;br /&gt;
&lt;br /&gt;
刘炳善 译&lt;br /&gt;
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同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是凤毛麟角。所以如此，并不是因为这些鸟我们没有见过，而只是因为我们习焉不察。在我们一生中，鸟类始终就在我们周围，然而我们对于它们的观察总是那样马马虎虎，所以我们当中许多人都说不清花鸡到底会不会知，也不知道杜鹃究竟是什么颜色。对于有些问题、我们像小孩子一样争论不休、譬如说，杜鹃在飞着或栖身于树枝间的时候，是否一直不停地鸣，而查普曼下面两行诗的灵感究竟是来自他的想像还是来自他的自然知识∶&lt;br /&gt;
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杜鹃在橡树的绿色怀抱里啭啼，&lt;br /&gt;
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第一个为人们带来欢欣、美好的春意。&lt;br /&gt;
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不过，这种无知也并非全然不幸，因为正是由于它，我们才能不断尝到发现的乐趣。只要我们是的的确确地无知，那么每年大地春回，自然界的每一种事物都会带着它那清新的露珠重新出现在我们面前。如果我们活了半辈子，对于杜鹃除了听过它那飘忽不定的叫声，从来没有见过它是什么模样，那么，一日看见它因为自己犯了罪而煌惶不安地从这个林子飞逃向那个林子。或是看见它顶着风、像老鹰似的停留在半空中，它那长长的尾巴颤动着，不敢落下来，生怕有什么鸟儿藏在那山坡上的枞树林里等着要找它报仇。我们才会觉得大大开心。有人想着，博物学家整天观察鸟类，大概就不会觉得有什么趣儿了吧？其实大谬不然--他那持续不断的乐趣几平已经变成一种安详的职业习惯了，不像有人某天早晨突然第一次看见一只杜鹃，不胜雀跃之至，于是，看哪，天地也为之焕然一新了。&lt;br /&gt;
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说到这儿，甚至连博物学家的快乐在一定程度上也有赖于自己的无知；只有如此。才能给他留出一些新的领域有待他去征服。即使他已经攀登了书本知识的顶峰，他仍会感到自己不过是半通不通，每一个引人注目的细节还必须用自己的亲眼观察来加以一一证实。他盼着能亲眼看到雌杜鹃（这可是个稀罕物儿！）把蛋下到地面上。然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。因此，博物学家就要戴上望远镜，日复一日地坐在那里等待着亲眼证实或者否定那种认为杜鹃确实是在地面上而非在窠里下蛋的说法。而日，即使他很幸运，能够发现杜鹃下蛋实况，这个在鸟类来说算是极大的秘密，其他一大批有争议的问题还依然存在。就像新的领土有待他去开拓，例如，杜鹃的蛋跟它占用的窠里其他鸟的蛋是否总是一样颜色？自然，科学家没有理由为了自己失去无知而哭泣。如果他们看起来似乎是精通一切的话，那也不过因为你我差不多是一无所知罢了。实际上，当他们要把一件事实的盖子揭开的时候，某种命定的无知就在等待着他们。海妖们向尤利塞斯唱的究竟是什么歌儿？——他们永远不可能知道，正像托马斯·勃朗爵士也不知道一样。&lt;br /&gt;
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我请杜鹃来做例子以说明普通人的无知，并不是因为我有什么权威可以对这种鸟儿发发议论。不过，我曾在某个教区暂住，而那年春天从非洲飞来的杜鹃似乎全集合在那个地方，因此我也就有机会了解到我自己以及我所碰见的每一个人对于这种鸟儿的知识是如何地微不足道。但是，你我的无知并不仅限于杜鹃这一方面。它涉及到宇宙万物，从太阳、月亮一直到花卉的名字。有一天，我听见一位聪明伶俐的太太提出了这样一个问题∶新月是不是总在星期几露面？她接着又说：不知道倒好，正因为人不知道在什么时候、在天空的哪一带能看见它，新月一出现才给人带来一场惊喜。然而我想、哪怕入把月亮盈亏时间表记得再熟。看见新月出现还是不免又惊又喜，春回大地，花开花落，也莫不如此。尽管我们对一年四季草本节令了如指掌，知道樱草开花在三月四月而不在十月，不过看见一株早开花的樱草，我们还是照样地高兴。另外，我们知道苹果树先开花，后结果，可是五月一旦到来，果园里一片欢闹的花海。我们不是仍然惊为奇观吗？&lt;br /&gt;
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倘在每年春天，把许多花卉之名重温一遍，还另有一番风味。那就像把一本差不多忘得干干净净的书再重新念一遍。蒙田说过，他的记忆力很坏，所以他随时都能拿起一本旧书，像从未读过的新书一样地念。我自己的记忆力也是漏洞百出、不听使唤。我甚至能拿起《哈姆雷特》和《匹克威克外传》，当作是初登文坛的新作家刚刚印成白纸黑字的作品来念，因为自从上回念过以后，这两部书在我脑子里的印象已经模模糊糊了。这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。不过，在这种时候，人不仅想得到娱乐，还追求着什么目的。如果只讲享受的话，记忆力坏比记忆力好究竟差到哪里去，还真是大可怀疑哩。记忆力坏的人可以一辈子不断地念普卢塔克的《英雄传》和《天方夜谭》，而永远感到新鲜。很可能，最坏的记忆力也难免粘粘连连地留下一星半点的印象，恰如一只只绵羊从篱笆洞里接连通过，总不免在那刺条上留下一丝半缕的羊毛。然而，绵羊终归逃出去了，正像伟大的作家从我们不争气的记忆中消失。所留下的东西简直微不足道。&lt;br /&gt;
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既然读过的书我们可以忘得一干二净，那么一年十二个月以及每个月的风物，一旦时过境迁。我们同样可以轻而易举地把它们忘在脑后。在某个短暂时刻，我可以说自己对于五月就像对于乘法表那样熟悉，关于五月里的花木、开花时间乃至前后次序，我能通过考试。今天，我就敢肯定金凤花有五瓣。（难道是六瓣吗？上个礼拜我还记得清清楚楚来着。）可是，到了明年，我也许连算术也忘个干干净净;我得从头学起，以免把金凤花误认成白屈菜。那时，我像一个陌生者进人大花园，放眼四望，五色缤纷的原野再一次使我目不暇接，心迷神醉。那时，我也许要对这么一个问题拿不定注意，就是; 认为雨燕（那种简直像大号小燕子、又和蜂鸟沾点儿亲戚的黑鸟儿）从来不在窠里歇着，一到夜里就飞向高高的天空，到底是一种科学论断，还是一种无知妄说？当我知道了会唱歌的并不是雌杜鹃，而是雄杜鹃。我还要再次感到惊讶。我得重新学习，以免把剪秋罗当作野大竺葵；还要去重新发现白杨在树木生长的习惯法中究章算是早成材还是晚成材。某天。一个外国人问一位当代英国小说家，英国最重要的农作物是什么。他毫不犹豫地回答：“稞麦。”在我看来，这是一种堂而皇之派头的彻头彻尾的无知；不过，大大无知的也包括那些没有文化的人。普通人只会使用电话，却无法解释电话的工作原理。他把电话、火车、铸造排字机、飞机都看作当然之事，就像我们的祖父一代把福音书里的奇迹故事视为理所当然一样。对于这些事，他既不去怀疑，也不去了解。我们每个人似乎只对很小范围内的某几件事才真正下工夫去了解、弄清楚。大部分人把日常工作以外的一切知识统统当作花哨无用的玩意儿。然面，对于我们的无知，我们还是时时抗拒着，我们}有时振作起来，进行思索。我们随便找一个什么题目，对之思考，甚至入迷——关于死后的生命，或者关于某些据说亚里士多德也感到大惑不解的问题，例如“打喷嚏，从中午到子夜则吉，从夜晚至中午则凶，其故安在？”为求知识而陷入无知，这是人类所欣赏的最大乐事之一。归根结底，无知的极大乐趣即在于提出问题。一个人，如果失去了这种提问的乐趣，或者把它换成了教条的答案，并且以此为乐，那么，他的头脑已经开始僵化了。我们羡慕像裘伊特这样勤学好问之人，他到了六十多岁居然还能坐下来研究生理学。我们多数人不到他这么大的岁数就早已丧失了自己无知的感觉了。我们甚全像松鼠似的对自己小小的知识储存感到沾沾自喜，把与日俱增的年龄看作是培养无所不知的天然学堂。我们忘记了∶苏格拉底之所以以智慧名垂后世，并非因为他无所不知，而是因为他到了七十高龄还能明白自己仍然一无所知。 (Zhu Mingju 2007: 322-325)&lt;br /&gt;
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=毛优Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
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毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
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=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
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从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。	&lt;br /&gt;
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Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
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Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
翻译风格，巴黎的忧郁，郭宏安，亚丁&lt;br /&gt;
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==Introduction==&lt;br /&gt;
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The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
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Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations. Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
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==Liu Miqing’s theory of translation style==&lt;br /&gt;
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Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
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Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.&lt;br /&gt;
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In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
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==Form Markers==&lt;br /&gt;
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According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
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===Register Markers===&lt;br /&gt;
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“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
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The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
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Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
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Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
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Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
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This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
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===Lexical Markers===&lt;br /&gt;
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Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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'''Eg. (b)'''&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence, translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
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==Non-formal Markers==&lt;br /&gt;
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The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
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Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
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According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
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Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
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The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
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The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
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Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
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Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.&lt;br /&gt;
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==References==&lt;br /&gt;
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[1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[3] 刘宓庆 Liu Mingqing. 新编当代翻译理论[M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp;amp; Publishing Corporation, 2005.&lt;br /&gt;
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[4] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.&lt;br /&gt;
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[5] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.&lt;br /&gt;
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=秦建安 A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
[[Trans_Type_EN_7]]&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Lu Xun, chief commander of China's modern cultural revolution, is not only a great thinker and political commentator but the founder of modern Chinese literature. Kong I-Chi is one of the masterpieces of Lu Xun's novels. Although the total number of characters is less than 3,000 words, Lu Xun exposes the nature of feudal ethics and its negative influence through his character portrayal, which is loved by many readers home and aboard. The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but so as close as possible to the original text in terms of syntactic structure and wording. Therefore, his translations once became the authoritative version of Lu Xun's novels. From the perspective of Nida’s functional equivalence theory, this thesis conducts translation research on the English translation of the famous writer Yang Xianyi, analyzing whether the translation is functionally equivalent to the original text and construe the English translation of prose from the lexical, syntactic, and semantic level to try to explore the translation strategies, styles and methods of Kong I-Chi which aims to explain the functional equivalents in Lu Xun's short novel translation.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Functional Equivalence Theory; Lu Xun; Kong I-Chi;translation method&lt;br /&gt;
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===Introduction===&lt;br /&gt;
This chapter will be expanded with respect to the research background, its significance and the methodology. The literature review will also be included which describes the previous studies on the Functional Equivalence Theory and previous translation versions of ''Kong I-Chi''.&lt;br /&gt;
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'''Research Background and Significance'''&lt;br /&gt;
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As the most famous writer in modern China, Lu Xun has a decisive bearing on the modern history of Chinese literature. Lu Xun settled in a period of transformation in Chinese literature. His short stories are different from modern short stories in terms of text and expression. ''Kong I-Chi'' was written in 1918 when there was a turmoil in China. At that time, although the imperial examination system had been abolished, the education system had not changed, and many scholars had not shaken off the shackles of feudal tenets. &lt;br /&gt;
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''Kong I-Chi'' enjoys high reputation at home and abroad and has been translated into English, Japanese, French, Russian and other languages. Compared with other language versions, the English versions enjoy a wider spread and have deeper influence. In 1954, the couple Yang and Dai translated it into English and published Selected Stories of Lu Xun in which ''Kong I-Chi'' was included. Yang Xianyi and his wife Gladys Yang are great translator beyond all doubt. They are knowledgeable and familiar with Chinese and Western cultures also have devoted their life to translating excellent Chinese and Western literary works. Through their translation, we can better master the author's own novel intentions.&lt;br /&gt;
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'''Methodology'''&lt;br /&gt;
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In recent years, the translation of traditional Chinese literary works was attached great significance by both Chinese and foreign scholars. As an important part of ancient Chinese culture, though, it is a common genre in Chinese and foreign literature, the short novels cannot be neglected. For translators, how to deal with the modern and balance Chinese and Western cultural differences has become a salient problem. It is not only necessary to understand the characteristics of modern Chinese literature, but also to be very familiar with Chinese and Western cultures for the translator. Functional Equivalence Theory is put forward by American linguists Eugene Nida. According to him, two different languages represent two different cultures which will never be the same, but translation is a kind of communication between the two cultures and translators should try their best to achieve functional equivalence between the two languages rather than seek for rigid correspondence when making translation, which can accurately reproduce the source culture in the target language and eliminate cultural differences. It puts forward a new attitude to treat different languages and cultures, promoting language communication and mutual understandings among people. Thus, taking Nida’s theory as guidance, this research is meaningful not only for translation studies, but also for cultural exchanges.&lt;br /&gt;
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'''Literature Review'''&lt;br /&gt;
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As one of Nida’s major contribution to contemporary translation studies, Functional Equivalence Theory has brought about heated discussion among scholars at home and abroad since its birth. Many momentous works of Nida also have been translated and introduced into China, such as Nida on Translation edited and translated by Tan Zaixi (1999) and Language and Translation translated by Cai Yi (1985) which of them aroused great repercussions in Chinese translation field. As the prototypical member of Functional Equivalence Theory, receptor’s response theory draws scholars’ attention. Zhang Xiujuan (2015) points out that “receptor’s response theory breaks the tradition of Chinese translation that translators pay much attention to the text but may ignore the response of readers, and provides a new perspective for Chinese scholars to make studies on translation theories”.&lt;br /&gt;
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Kong I-Chi, as the most typical character in Lu Xun's novels in the teaching textbooks of Chinese junior high school students, has left an indelible impression in the hearts of Chinese people. The most recognized translators of ''Kong I-Chi'' include Yang and Dai, Lyle William and Edgar Snow. The translation of Lu Xun's novels during the period of Yang and Dai reach its heyday. For a long time, domestic and foreign publishing houses have published works translated by the couple. Since Edgar Snow lived in the same age as Lu Xun, his translation is closer to Lu Xun's life background. It wasn't until 1990 that the American scholar William Lyell's new American translation was published, and the new stage of the English translation of Lu Xun's novels began. The British English version translated by Yang and Dai is elegant and idiomatic, giving readers the good impression of pure British English.&lt;br /&gt;
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=== Theoretical Framework: Nida’s Functional Equivalence Theory ===&lt;br /&gt;
==== Introduction of Functional Equivalence Theory ==== &lt;br /&gt;
===== The Original of Functional Equivalence Theory  =====&lt;br /&gt;
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Nida's main academic activities unfold around the translation of the Bible. In the process of &amp;quot;Bible&amp;quot; translation, Nida started from reality and developed a set of his own translation theory, which eventually became one of the classics in translation studies. In 1964, Nida (1964) put forward “dynamic equivalence” in ''Toward a Science of Translating'', and gave it specific definition in ''The Theory and Practice of Translation'' (1969). In the mid-1980s, “dynamic equivalence” was replaced by “functional equivalence” to avoid misunderstandings on the term “dynamic”, which was the origin of Functional Equivalence Theory.&lt;br /&gt;
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=====The Development of Functional Equivalence Theory  =====&lt;br /&gt;
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The most important and the most intractable part in Functional Equivalence Theory is the disposal of message. The theory requires that the message in receptor’s language must be consistent with the source language. In such a translation, translators should strive to “reproduce as literally and meaningfully as possible the form and content of the original” (Nida 1964:159). Later he successfully applied the research results of modern linguistics to translation theory which also reciprocally pushed his theory forward. There are three stages in the development of Functional Equivalence Theory.&lt;br /&gt;
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The first stage is that starting from the essence of language; he used semantic theory to make an objective and accurate analysis of the referent and associative meaning of words. In Nida's point of view, various language structures have great similarities, and the deep structure is far more common than the surface structure. Therefore, the translation of the deep structure between languages can ensure the fidelity of the translation to the greatest extent. At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensue smoothness of the translation as much as possible. The faithful and fluent translation presupposes conditions for the equivalence of receptor’s response, which makes it possible to realize functional equivalence.&lt;br /&gt;
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The second stage is that the theory was prone to lay its foundation on information theory. Nida held the view that translation is the activity of converting information expressed in one language into information in another language, which is, converting information of one code into information of another code. The translation plays a communicative role in transmitting information. Only when the target reader obtains the same amount of information as the original reader can the relationship between the target language recipient and the target language information be basically the same as the relationship between the original language recipient and the original source information. Nida noticed that there is a receptive gap between the original reader and target reader especially when the original language and the target language belong to different language families and different cultures. Thus, in order to improve the amount of the receptor’s information as much as the original reader’s, Nida emphasizes the translator can moderately change the form of the original text to provide a better understanding for receptors.&lt;br /&gt;
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On third stage, Nida tended to embellish his theory from the perspective of social semiotics. Nida insisted that the translation means translation meaning, and semiotics is the most comprehensive system for analyzing meaning. In the book &amp;quot;''Language, Culture, and Translation''&amp;quot;, Nida pointed out that social semiotics studies all codes and codes of human society, and its focus is on the most comprehensive and complex symbol system used by mankind-Language. Therefore, in terms of decoding and encoding, no translation method is as comprehensive as the social semiotic translation method.&lt;br /&gt;
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Nida also recognized that there would never be complete equivalence and it was just a quaesitum. With further development of Functional Equivalence Theory, he thought that it has different degrees of adequacy and on that basis he put forward two levels of functional equivalence — the maximal level and the minimal level of equivalence. The former refers to “the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did” (Nida 1993:118), but this is just an ideal state which cannot be achieved especially when there are huge cultural and aesthetic differences between the two languages. While the latter means “the readers of a translated text should be able to comprehend it to point that they can conceive of how the original readers of the text must have understood and appreciated it” (Nida 1993: 118), and translation below this level can never be accepted. According to Nida, if a translation is between these two levels, it can be regarded as a good one.&lt;br /&gt;
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==== Basics of Functional Equivalence Theory  ==== &lt;br /&gt;
=====Receptor’s Response  =====&lt;br /&gt;
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In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s responce. When translators are working on translation, they are increasingly unable to ignore the reader's feedback on the translation. From the perspective of reception aesthetics, translation theorist Nida said that only when the reader accepts the translation can the translation be truly completed. Therefore, when translating, the translator cannot ignore the acceptability of the translation. The translator builds a bridge between the original author and the reader of the target language through translation, and it is the translation that can clearly reflect this bridge role.&lt;br /&gt;
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Receptor’s Response Theory draws attention to the reader and the reading process, rather than the author or the text. Pat Mora and James Welch define it as: &amp;quot;The theory emphasizes the importance of the reader's role in text understanding.&amp;quot; The same description also appears in many of Nida’s works in which the importance of “receptor’s response” is emphasized repeatedly. &lt;br /&gt;
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There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which was pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information need to be filled in by the reader himself. Such uncertainty occupies another very important position in this theory. This concept includes those vague factors, such as gaps and blanks. This kind of uncertainty encourages readers to add their own ideas when reading, so there is usually more than one understanding of a literal work. The third point is implicit reader also proposed by Isel, as opposed to the actual reader, which refers to the intended reader set by the writer himself who can concretize the text. Isel points out that the implicit reader is not the actual reader, but a reader that the author expects to design in the creative process, that is, the implicit recipient. It is a certain character that the artist conceives and pre-sets based on his experience or hobbies. The forth part is the identity theme. In other words, the work itself has no fixed objective meaning; only when the reader reshapes the work out of his own identity theme and the reader replicates his own fantasies during the reading process, the work can be given meaning. The last point is the interpretative group which was put forward by Stanley Fish. It refers to people who share the same interpretation strategy as we have. In a known context or reader group, the interpretation of the work meaning is the product from the group.&lt;br /&gt;
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===== Principles for Producing Functional Equivalence  =====&lt;br /&gt;
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To achieve the closest natural equivalence between the source language and target language, Nida put forward six principles as the guidance of different kinds and degrees of adjustments:&lt;br /&gt;
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1.	When the translation that strictly keeps the form of the source text makes receptors misunderstand the designative meaning, changes need to be made in the translated text, or a footnote should be added for further explanation if literal translation is still be selected.&lt;br /&gt;
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2.	When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aim to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.&lt;br /&gt;
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3.	When the translation that strictly keeps the form of the source text is so semantically and syntactically difficult that average readers may give up the attempt to understand it, changes should be made in the translated text and the nature of the changes needs to be indicated in the introduction or footnote.&lt;br /&gt;
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4.	When the translation that strictly keeps the form of the source text causes significant misconceptions on the associative meanings of the source text or huge loss in the appreciation for the stylistic values of the source text, changes should be made to reflect the associative meanings of the source text.&lt;br /&gt;
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5.	The way that a translation is to be used (such as a drama to be read or acted on the stage) is of great significance to the extent to which changes are to be made.&lt;br /&gt;
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6.	A source text that must be translated together with accompanying codes (such as songs and operas) generally requires numerous adjustments in all aspects, including phonology, lexicon, syntax, and discourse. (Nida 1993: 125-128).&lt;br /&gt;
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=== Introduction to Lu Xun and ''Kong I-Ch''i  === &lt;br /&gt;
==== Lu Xun and the values of ''Kong I-Chi'' ====&lt;br /&gt;
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To read and translate Kong I-Chi, you must first understand its author-Lu Xun.&lt;br /&gt;
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Lu Xun is a great writer. Mentioning classical literary works, no matter what innovative methods are adopted, whether realistic, romantic, or magical, the content should be close to life, reflect the reality of times and speak for the people. In terms of form, literary works should conform to the inherent rules of literary creation-forming a unique artistic style and achieving the perfect unity of truth, goodness, and beauty. Lu Xun's works fully meet the above requirements. &lt;br /&gt;
Lu Xun is also a famous thinker. Indeed, Lu Xun did not specifically study thinking or modes of thinking, nor did he have advanced theoretical monographs, but he, like thinkers in ancient and modern times, both at home and abroad, used suspicion and criticism as spiritual swords to explore truth and reveal. He held the view that it was his duty to awaken the sleeping souls of the Chinese people with literary works of various genres. The depth and breadth of his thinking is even higher than that of some contemporary thinkers. This is well reflected in his work Kong I-Chi.&lt;br /&gt;
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Lu Xun, who is a revolutionary, has a precious characteristic, that is, the purity of his revolutionary original intention. Lu Xun leaned towards socialism under the white horror of the low ebb of the Chinese revolution. What's more commendable is that as a sober realist, Lu Xun never conceives any romantic illusions about the revolution. No matter what difficulties the revolution encounters, Lu Xun always has an optimistic belief in the prospects of the revolution.&lt;br /&gt;
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From a general perspective, Lunatic's Diary is more macro and image specific than Kong I-Chi, while Kong I-Chi starts from the micro level, depicting the poor people at the bottom of society who was bullied and oppressed and lost their dignity as human beings. In addition, there are many opinions in the critics. For example, Mr. Lu Xun's Kong I-Chi was written to criticize the feudal imperial examination system, and some people think that it was sent out to criticize the “dark” old society. The famous critic Lin Zhihao believes that this novel is not only to assail at the corruption of the feudal imperial examination system, but also to reveal the persecution of people’s spiritual and ideology by the feudal education system in the dark old society. The social reality was that most scholars had been ruthlessly “eaten” up by the environment. When the shackles of thinking have been broken, we can dig into the deep meaning under the surface of Kong I-Chi, that is, the process of literati's loss of personality and the process of redemption under the background of the dark society of feudalism. Although the tragedy is redemptive, the process is also accompanied by a fall.&lt;br /&gt;
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==== Study on the Translation of ''Kong I-Chi''  ====&lt;br /&gt;
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''Kong I-Chi'' is a masterpiece of Lu Xun. The novel was created in the winter of 1918, published in the sixth volume of &amp;quot;''Italic text''New Youth&amp;quot; in April 1919. (刘家鸣1992: 15). ''Kong I-Chi'' is Lu Xun's most satisfying work (孙伏园等2000: 58), and it is also one of Lu Xun's novels that English translators are vying to translate resulting in an amount of English translation. &lt;br /&gt;
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So far, there are eight translations of ''Kong I-Chi'': 1)A British man E.H.F.Mills translated ''Con Y Ki'' from Jing Yinyu's French translation (Mills 1930: 42-50), included in ''The Tragedy of Ah Q and Other Contemporary Chinese Short Stories'' published by George Rutridge Bookstore in London in 1930; 2) The English translation of ''K’ung I-chi'' by the American Jin Shouzhuo (G.A.Kennedy 1932: 14-15), which was later included in ''Isaacs'' (Isaacs 1974: 25-32) edited by Yi Luosheng; 3) ''K’ung I-chi'' translated by Lin Jijin (Lin 1935:3-4); 4) Unsigned version of The Tragedy of ''K'ung I-Chi'' (Anonymous 1936: 2-3); 5) ''K’ung I-chi'' was co-translated by American journalists Edgar Snow and Yao Xinnong; 6) later comes to Yang Xianyi and Gladys's translation ''K'ung I-chi'' (hereinafter referred to as &amp;quot;Yang Translation&amp;quot;) (Yang &amp;amp; Gladys 1960: 40-46); 7)Then, famous American sinologist William Lyell translated ''Kong Yiji'' (Lyell 1990: 42-48); 8) other translation of ''Kong Yiji'' was produced by British sinologist Lan Shiling ( Lovell 2009: 32-36).&lt;br /&gt;
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This article focuses on Yang's translation, trying to explore Yang and Dai's translation strategies, styles and methods of ''Kong I-Chi'' from the lexical, syntactic and semantic levels, and aims to explain the functional equivalence in the English translation of Lu Xun's short stories.&lt;br /&gt;
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=== Analysis of the Translation of ''Kong I-Chi'' from the Perspective of Functional Equivalence  === &lt;br /&gt;
==== Lexical Analysis ====&lt;br /&gt;
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There are many cultural-loaded words in the original Kong I-Chi text, such as this. Culture-loaded words are deeply imprinted by the region and era of a certain language society which express things and concepts peculiar to a certain culture. Such words as “进学” and “秀才” not only carry rich cultural connotations, but also exist only in a certain culture which may be blank in another culture. It is this characteristic which is “I have and you do not have” that often becomes an obstacle to cross-cultural communication and translation. From the perspective of Functional Equivalence, this thesis will analyze how these words are handled in Yang's translation.&lt;br /&gt;
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In the sentence “幸亏荐头的情面大，辞退不得”, the word “荐头” was translated into “someone influential” by Yang and Dai. “荐头” is the person who introduces works to other people in ancient China. Such person is absolutely influential. But for reader, such influential people may be a nobleman or someone who is very authoritative in the area which may result in discrimination. The job introducers also can be regarded as common people instead of the influential. From the perspective of Functional Equivalence, Yang’s translation explicitly showed the deep meaning with loss of cultural characteristic.&lt;br /&gt;
The phrase “之乎者也” was translated into “archaisms” which stands for the use of an archaic expression. In Chinese, the original meaning of “之乎者也” is four auxiliary words commonly used in classical Chinese. Therefore, the word &amp;quot;之乎&amp;quot; also refers to the basic abilities that a scholar should possess. Later, it is used to ridicule the scholar who only knows how to analyze words while cannot solve practical problems. Functional equivalence theory requires efforts to create translations that not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. The word “archaisms” corresponds exactly to the description of Kong I-Chi in Lu Xun’s story who is a nerd.&lt;br /&gt;
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Other prototypical cultural-loaded word is “进学”. Yang translated it into “pass the official examination”. As a link in the imperial examination system in ancient China, “进学” means that the children of the Qing dynasties who can pass the examination will be admitted to the prefectural and county schools. Such system is unique to China. To achieve functional equivalence, that is, to allow non-native readers to understand this special cultural mark, the translator must explain this cultural phenomenon as much as possible or find a corresponding expression in the foreign language culture. The same in the word “秀才” on this sentence “你怎的连半个秀才也捞不到呢?” “秀才” also belong to the imperial system. “秀才” is a subject for selecting officials in ancient China, and it was once used as a special name for school students. Yang translated it into “passed the lowest official examination”. As the minimum requirement of the ancient imperial examination system, those who passed the selection examination were called  “秀才”. According to Nida’s theory, it perfectly expresses the ancient Chinese imperial examination system, and at the same time allows foreign language readers to understand Kong I-Chi’s knowledge background.&lt;br /&gt;
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==== Syntax Analysis ====&lt;br /&gt;
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In terms of syntax, the differences in sentence patterns between English and Chinese are the most salient. English emphasizes hypothesis while Chinese emphasizes parataxis, which leads to the conversion of sentence patterns in the process of translation. According to Nida's Functional Equivalence Theory, if the change in form is still insufficient to express the meaning and culture of the original text, the translation technique of &amp;quot;reconstruction&amp;quot; can be used to resolve cultural differences and make the source language and the target language equal in meaning. &amp;quot;Reconstruction&amp;quot; refers to the conversion of the deep structure of the source language into the surface structure of the target language (郭建中,2000 , P67), that is, the cultural connotation of the source language article is explained by the vocabulary of the target language.&lt;br /&gt;
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In ''Kong I-Chi'', when Kong I-Chi took our his money and ordered some food, other people started to sneer at his revenue sources and said “你一定又偷了人家东西了!” The exclamatory sentence in the original text showed others' affirmation of Kong I-Chi's theft. Yang translated it into “You must have been stealing again!” Here we can notice the tense of the two sentences. Lu Xun used the past tense in original text, which expresses that Kong I-Chi's stealing is an established fact. However, Yang used the present perfect continuous tense when translating. In English, the present perfect continuous tense manifests that something the subject has done in the past is still being done, and may continue in the future, expressing the continuation of an action. There is no need to add any other additional descriptions, just from this tense, readers can realize everyone's thoughts on Kong I-Chi's theft. Such reconstruction of tense verifies the application of Functional Equivalence Theory in turn.&lt;br /&gt;
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Afterwards, these people who deprecated him refuted Kong I-Chi's maintenance of himself, saying: “什么清白?” In Yang's translation, it is translated as “Pooh, good name indeed!” In the original text, it is originally an interrogative sentence, but Yang transformed it into an exclamation sentence, added English slang “pooh” in it and translated “清白” into good name. If the interrogative sentence in the original text is literally translated into &amp;quot;what’s the innocence&amp;quot;, the comic effect, that is, everyone's disdain for Kong I-Chi in the exclamatory sentence will not be achieved. The sentiment contained in the original text is successfully conveyed through the conversion of sentence patterns.&lt;br /&gt;
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When describing Kong I-Chi’s knowledge background, the original text mentioned: “幸而写得一笔好字，便替人家钞钞书”. In Yang’s translation, he didn’t directly translate it into a verb phrase instead of into a noun phrase which was “Happily, he was a good calligrapher.” Knowing the characteristics of English and Chinese languages, he metonymically recreated dynamic Chinese verb clauses into static noun clauses.&lt;br /&gt;
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==== Semantic Analysis ====&lt;br /&gt;
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How to eliminate cultural differences as much as possible so that the semantics of the original language can be perfectly embodied? From the perspective of Functional Equivalence Theory, the translator needs to transform the deep structure of the source language into the surface structure of the target language which requires translator to use the corresponding vocabulary in the target language to directly explain the connotation of the original text, so that the target readers can accept the translation more easily. For example, in the original text, the sentence “因为他姓孔，别人便从描红纸上的 ‘上大人孔乙己’这半懂不懂的话里，替他取下一个绰号，叫作孔乙己” includes an allusion: 上大人孔乙己 which refers to a character in the card game popular in ancient China. In such card game, the characters always are drawn in a red paper. For children in ancient China, the card game was easy to play and was a childhood memory.&lt;br /&gt;
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In Yang’s translation, he translated it into “As his surname was Kung, he was nicknamed ‘Kung I-chi’, the first three characters in a children's copybook.” Such translation omits a lot of information from the original text, such as “描红纸上” and “半懂不懂”. But Yang gave a substitute for the omission: he explained the game allusion about children which can be regarded as a strategy that helps foreign readers better understand how Kong I-Chi comes. &lt;br /&gt;
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Another illustration is the translation of this sentence: “孔乙己，你当真认识字么？” It seems fairly easy for common people to translate it with “Kong I-Chi, do you really know words?” , while Yang gave a different version: “Kung I-chi, do you really know how to read?” In our cognitive concepts, if a man knows how to read a word, then he must know this word. But if he knows the word, he may not only know how to read it, but even know how to write it. Such special mechanism is called conceptual metonymy. Yang metonymically narrowed the scope of the meaning of the word “认识”and accurately positioned the meaning of this understanding according to the context. The translator abandons the equivalence of form and achieves the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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This article selects Yang’s translation of &amp;quot;''Kong I-Chi''&amp;quot; as the study case, and analyzes the translation effect from three aspects: lexicon, syntax and semantics, combined with Nida’s Functional Equivalence Theory. It is believed that the translator flexibly uses a variety of translation methods to deal with the differences between English and Chinese languages, and the translation has realized functional equivalence as a whole.&lt;br /&gt;
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At the lexical level, the translator adopts the naturalization method when translating the proper nouns of &amp;quot; ''Kong I-Chi'' &amp;quot;, adding notes to individual words. The translation perfectly conveys the meaning of the original vocabulary. &lt;br /&gt;
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At the syntactic level, when there are differences in the expression of English and Chinese sentences, the translator will split the sentence, adjust the subject and object of the sentence, change the sentence structure and the sentence order to make the translation conform to the expression of the target language where the translation is smooth and natural. When translating the allusions of &amp;quot; ''Kong I-Chi'' &amp;quot;, the translator adopts literal translation and annotations. &lt;br /&gt;
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In terms of semantics, the translator uses the mechanism of conceptual metaphors to accurately show the original flavor.&lt;br /&gt;
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This article believes that the success of Yang’s English translation of &amp;quot;''Kong I-Chi''&amp;quot; lies in its fluent, natural language and exotic flavor. The author and translator of &amp;quot; ''Kong I-Chi'' &amp;quot; are both famous artists. The translation case from the English translation of &amp;quot;''Kong I-Chi''&amp;quot; reflects the practical application of the Functional Equivalence Theory in Lu Xun's novels. The writer also hopes that this thesis can provide ideas and inspirations for the English translation of other Lu Xun's novels.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Nida E.A. ''Language and Culture: Contexts in translating''. Shanghai: Shanghai Foreign Language Education Press.2001. &lt;br /&gt;
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[2]Nida, Eugene A.1964. Towardsa ''Science of Translating'', Leiden: E.J.Brill. &lt;br /&gt;
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[3]Nida, Eugene A.&amp;amp;Charles R.Taber, 1969, ''The Theory and Practice of Translation'', Leiden: E.J.Brill&lt;br /&gt;
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[4]鲁迅Lu Xun.鲁迅全集(第一卷)Selected Work of Lu Xun(volume Ⅰ）[M].北京Beijing:人民文学出版社People's Literature Publishing House ,1982.&lt;br /&gt;
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[5]谭载喜Tan Zaixi．新编奈达论翻译New Nida's Translation[M]．北京Beijing：中国对外翻译出版公司China Translation &amp;amp; Publishing Corporation，1999.&lt;br /&gt;
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[6]杨坚定Yang Jianding，孙鸿仁Sun Hongren．鲁迅小说英译版本综述A Summary of the English Versions of Lu Xun's Novels[J]．鲁迅研究月刊Lu Xun Research Monthly，2021(4)．&lt;br /&gt;
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[7]伊塞尔Iser.本文中的读者 Readers in this article[A]．二十世纪西方美学名著选（下）Selected Works of Western Aesthetics in the Twentieth Century (Part 2)[C]．上海Shanghai：复旦大学出版社Fudan University press,1998.&lt;br /&gt;
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[8]杨宪益.Yang Xianyi,戴乃迭 Dai Naidie译.鲁迅选集英文版(一) Selected Works of Lu Xun (1)[M].北京:外文出版社 Beijing: Foreign Languages Press,1980.&lt;br /&gt;
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[9]https://baike.baidu.com/item/%E5%8A%9F%E8%83%BD%E5%AF%B9%E7%AD%89%E7%90%86%E8%AE%BA/3373397?fr=aladdin&lt;br /&gt;
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[10]https://www.zhihu.com/question/29965932&lt;br /&gt;
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=颜子涵 Translation methods and strategies applicable to the style of biographical literature -- Taking Incidents in Life of Slave Girl (excerpt) as an example=&lt;br /&gt;
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[[Trans_Type_EN_8]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
The translated text of this article is a part of the English biography Incidents in Life of Slave Gir. The author of this work is Harriet Jacobs. This translation mainly takes the translation functional equivalence theory of American linguist Eugene A.Nida as the theoretical framework, adopts some translation skills in translation practice, and discusses the translation skills and Strategies of Chinese translation of such texts by analyzing the stylistic characteristics of biographical literature, especially African American autobiography. Through the Chinese translation of this autobiography, we can have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Autobiographical Literature; Black female slaves; Translation methods and Strategies&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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This paper is divided into four parts. The first part is an overview of the translation project, which mainly introduces the relevant situation of the translation project, the author and works of the translated text; The second part is the preliminary preparation of translation, including project text analysis and translation plan formulation; The third part, translation theory and case analysis, including functional equivalence theory, translation strategies and case analysis; The fourth part is the summary of the project, mainly on the problems encountered in translation, the experience and inspiration gained in the process of translation.&lt;br /&gt;
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This work belongs to the category of biographical literature. Biographical literature is a literary genre in which the author reproduces the characters' life stories and experiences, shows the characters' spiritual outlook and values, and depicts the characters' distinct love and hate and vivid personality through documentary writing and a variety of literary and artistic techniques. There are more than 50 characters involved in the biography. In the author's works, these characters are very vivid, such as the forbearance of a strong grandmother to the slave owner, the loyalty of a hard-working aunt to the slave owner, the oppression of female slaves by a crafty and sinister doctor, and the wit of Linda Brent, the heroine who pursues freedom and courage. In particular, the author's description of the heroine's seven years spent in a &amp;quot;cage&amp;quot; like cabin before she fled to the North more ruthlessly castigates the evil of slavery. The heroine's experience deeply moved her relatives and friends, including white slave owners. With the help of her relatives and friends, the heroine was able to escape to the north.&lt;br /&gt;
Taking the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework, this paper adopts the following translation skills in the process of translation: 1. The translation methods of foreignization and domestication are used to achieve partial functional equivalence between the source language and the target language, so as to reduce the lack of culture after translation. 2. According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to make the translation conform to the expression habits of the target language. 3. The methods of addition and subtraction are adopted to make the translation consistent with the original in grammar and language form, as well as in cultural background and word association. 4. The Conversion Transformation is adopted to make the translation more acceptable to the target language readers. By analyzing the stylistic characteristics of biographical literature, especially African American autobiography, the author discusses the translation skills and Strategies of Chinese translation of such texts.&lt;br /&gt;
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=== Text background===&lt;br /&gt;
From the beginning of the British northern colony to the early 20th century, blacks were brutally exploited and oppressed by the slavery system. In particular, female slaves not only had to bear heavy labor, but also suffered the destruction and abuse of supervisors. Since the publication of the first Autobiography of black slaves in 1760, some advanced elements in black slaves denounced and denounced the evils of slavery with their own experience, and made outstanding contributions to the abolition movement. The author of this work is Harriet Jacobs, whose pseudonym is Linda Brent. Born in a slave family, she fought tirelessly because she could not bear the persecution of slave owners on her and her children. After fleeing to the north, the author wrote a biography of his personal experience of being enslaved, exploited, persecuted, fleeing to the north and realizing freedom, which was published in 1861. Through the Chinese translation of this autobiography, more people have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves.&lt;br /&gt;
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===Research Purpose and Significance===&lt;br /&gt;
This autobiography of black women starts from the experience of childhood from the perspectives of black slaves and women. In the process of growing up, the author experienced different masters of good and evil. When she was a child, her hostess let the author learn to read and write. Later, she died of illness. Then the new owner, Dr. flint and his wife tortured and framed her. Later, for the freedom of her children, the author resolutely decided to flee to the north and enjoy the right to freedom with her children. In the process of pursuing freedom, he went through escape, pursuit, hiding until he went north by boat. The author selects simple but typical examples in daily life, through the description of characters' psychology and language, the contradictory struggle between the interests of opposite classes, the criminal complaint of slave trafficking, and the process of slaves fleeing to the north, reveals the slave owner's naked exploitation and fraud of slaves, and reveals the slave's sincerity, courage and longing for freedom. The simple language and narrative techniques of the work fully shape the tenacity, courage, intelligence and clear love and hate of the female slave Linda Brent, and show the readers the misfortune and suffering of many slaves.&lt;br /&gt;
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=== Translation theory and case analysis===&lt;br /&gt;
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3.1 functional equivalence theory&lt;br /&gt;
This translation practice report takes the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework. Eugene Nida is an American linguist and a famous translation theorist. From the perspective of etymology, according to the essence of translation, he put forward the famous dynamic equivalence translation theory, namely &amp;quot;functional equivalence&amp;quot;. In this theory, he pointed out that &amp;quot;translation is to reproduce the information of the source language from semantics to style in the most appropriate, natural and equivalent language&amp;quot;. He believes that translation is not only the equivalence of lexical meaning, but also the equivalence of semantic style and style. The information conveyed by translation includes both surface lexical information and deep cultural information. Equivalence in dynamic equivalence includes lexical equivalence, syntactic equivalence, textual equivalence and stylistic equivalence. Nida pointed out that the translation should be functionally equivalent to the original text. Judging whether the translation is equivalent to the original text should be based on the psychological response of the readers, that is, the translator should not only stay in the equivalence of structure and semantics, but strive to make the target readers produce the functions and effects that the original author wants to achieve through his works, so as to make the target readers after reading the translation, Get the same feelings as the original readers, and make translation really become a converter of thoughts, feelings and cultural information. Therefore, in literary translation, according to Nida's theory, the translator should take the four aspects of dynamic equivalence as the translation principle to accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
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The core of Nida's functional equivalence theory is &amp;quot;content is greater than form&amp;quot;, which emphasizes that when there is a conflict between content and form, content must precede form (Nida, 2004:203). Due to the differences between Chinese and Western ways of thinking and logical habits, in order to make the translation conform to the habits of readers in the target country and make it easier for readers in the target country to accept, the author has adopted different translation methods and strategies. According to the specific content of Nida theory, this paper intends to analyze its application in English-Chinese translation practice from four aspects. 1、 According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to achieve lexical semantic equivalence between the source language and the target language; second, addition and subtraction and part of speech conversion are used to make the translation conform to the expression habits of target slogans in grammar and language form and consistent with the original text in terms of cultural background and word association; third, forward and reverse translation is used to reproduce the original text Fourth, for the long and difficult sentences of the original text, the translation methods such as reorganization, sentence splitting and merging are adopted to make the language expression forms of the translation more rich and diverse, and more easily accepted by the target language readers.&lt;br /&gt;
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3.2 translation skills and case analysis&lt;br /&gt;
When translating vocabulary, the author mostly adopts the literal translation method to convey the information of the original text more accurately. If the meaning of the translation is not accurate enough or does not conform to the Chinese expression habits after the literal translation, the author adopts the free translation method, while for the long and difficult sentences with complex structure, the translational translation method and split method are adopted to make them conform to the Chinese expression habits and more acceptable to the readers.&lt;br /&gt;
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=== Translation skills, methods and case studies===&lt;br /&gt;
Case 1: literal translation and free translation to achieve semantic equivalence in vocabularyIn the process of translation, it is the basic quality of every translator to correctly express the source language in the target language. In order to achieve this goal, the translator must start with the smallest unit of the source language—vocabulary. In project translation, the author follows the functional translation theory and pursues semantic equivalence. First, we must ensure the equivalence of lexical meaning. The author mainly discusses the semantic equivalence of words from two aspects: literal translation and free translation.&lt;br /&gt;
&lt;br /&gt;
1. Literal translation  &lt;br /&gt;
Literal translation emphasizes the consistency between the original text and the translation in form and content, which helps to maintain the style of the original text. Literal translation is not a dead translation, a hard translation, or a literal translation. Literal translation emphasizes retaining its form and reaching its meaning.&lt;br /&gt;
The example 1:&lt;br /&gt;
“Nothing could please her better than to see me humbled and trampled upon” is literally translated as ”没有什么比看到我恭顺谦卑、任人践踏更让她快活啦。”&lt;br /&gt;
Analysis: in this sentence, humbled and trampled upon is used to express the due psychology and living state of slaves in the eyes of slave owners. Here, it can be translated into obedience, humility and trampling, which can reflect the coldness of slave owners and the misery of slaves.&lt;br /&gt;
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2. Free translation&lt;br /&gt;
Paraphrase emphasizes divine similarity. When the original text is quite different from the translation in terms of lexical meaning, syntactic structure and style, it can not be confined to the original text. Free translation should be adopted to explain the form of the original language in another language form, so as to correctly express the ideological thrust of the original text. Free translation should conform to the grammatical norms and expression habits of the target language, so as to make the translation more fluent and natural. Free translation is not arbitrary addition and deletion, nor random translation. Free translation emphasizes &amp;quot;preaching its spirit&amp;quot; rather than &amp;quot;retaining its shape&amp;quot;. The work belongs to biographical literature. There are great differences between the source language culture and the target language culture. The translator can not adhere to literal translation from beginning to end, but should carry out free translation according to needs, so as to achieve better translation effect.&lt;br /&gt;
The example 2:&lt;br /&gt;
I resolved to give him no cause to accuse me of being too much of a lady, so far as work was concerned.&lt;br /&gt;
literal translation: 就工作而言，我决心让他找不到口实指责我过分淑女。&lt;br /&gt;
free translation: 就工作而言，我决心让他找不到口实指责我养尊处优。&lt;br /&gt;
Analysis: a lady originally means 女士或优雅的女子. Too much of a lady is often understood as 十分优雅. Because the author could read and write and looked dignified, he had not done heavy work like other slaves before, &amp;quot;I&amp;quot; guessed that the young master was disgusted with it. Here, too much of a lady is translated by free translation, which reflects the inner contempt of the young master for &amp;quot;me&amp;quot;.&lt;br /&gt;
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Case 2: addition, subtraction and part of speech conversion make the translation achieve sentence meaning equivalence, which is in line with the expression habit of the target language.&lt;br /&gt;
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3. Additional translation&lt;br /&gt;
The example 4:&lt;br /&gt;
One day, she sat under the window where I was at work, crying that weary cry which makes a mother's heart bleed. &lt;br /&gt;
&lt;br /&gt;
一天，她就坐在我干活的那个房间的窗户外哭，哭得声嘶力竭让任何一个做母亲的心里流血。&lt;br /&gt;
Analysis: A mother literally means &amp;quot;一个母亲&amp;quot;, but the following clause is translated into &amp;quot;哭得声嘶力竭让一个母亲的心里流血&amp;quot;. The emotion of the translation is weak. In this article, &amp;quot;I&amp;quot; as a slave must work and can't take into account children and family affection, because in the slave owner's view, slaves are low animals and don't deserve feelings. Although I heard my daughter crying, I couldn't get over it. Any mother would be distressed to hear her daughter's cry. In order to make up for the lack of emotion in literal translation, the method of additional translation should be adopted here, which is translated as &amp;quot;任何一个母亲&amp;quot;&lt;br /&gt;
&lt;br /&gt;
4. Omission &lt;br /&gt;
The example 5:&lt;br /&gt;
The doctor stamped his foot at him in a rage, and exclaimed, &amp;quot;Get out of the way, you little damned rascal! If you don't, I'll cut off your head.&amp;quot;&lt;br /&gt;
translated text：医生愤怒地跺了他一脚，厉声说道：“滚开!他妈的小坏蛋，如果不听话，我把你的头砍下来!”&lt;br /&gt;
&lt;br /&gt;
Analysis: Dr. flint twice went to the north to pursue the fugitive slave &amp;quot;I&amp;quot; without success. He spent a lot of money and was full of anger. At this time, my son asked him if he had brought his mother back. Dr. flint stamped his feet angrily, scolded and threatened the child. Through the vivid description of Dr. Flint's body movements and language, his angry image jumped onto the paper,In order to achieve the same effect and achieve the equivalence of language style, the author uses even verbs according to the original &amp;quot;stamped his foot at him in a rage, and exclaimed&amp;quot; and translates it into &amp;quot;stamp his foot angrily and say&amp;quot; you little damned rascal!!! &amp;quot;It is also a typical strong adult's words towards weak children. In order to be concise and powerful, the author omits &amp;quot;you&amp;quot; and translates it into &amp;quot;他妈的小坏蛋&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
The example 6:&lt;br /&gt;
But when winter came, the cold penetrated through the thin shingle roof, and I was dreadfully chilled.&lt;br /&gt;
translated text：上次遭遇蛇咬，现在我对蛇更惧怕了，踏上这个藏身的地方，我不由心惊胆颤。&lt;br /&gt;
&lt;br /&gt;
Analysis: My fear of snakes is literally translated as &amp;quot;我对蛇的恐惧&amp;quot;, and the subject of the following clause is &amp;quot;我&amp;quot;. In order to give the target readers a unified reading perspective, my fear of snakes had been increased is translated as: 我对蛇更惧怕了. By transforming the noun of fear into a verb, the translation is more concise and more in line with Chinese expression habits than literal translation.&lt;br /&gt;
&lt;br /&gt;
Case 3: The stylistic style of the original text is reproduced by positive and negative translation.&lt;br /&gt;
5.The Positive and Negative Translation&lt;br /&gt;
The example 7:Nobody respects a mother who forsakes her children; and if you leave them, you will never have a happy moment.&lt;br /&gt;
translated text 1：没有人尊重抛弃孩子的母亲，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
translated text 2：抛弃孩子的母亲会遭人唾弃，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
&lt;br /&gt;
Analysis: This sentence contains a negative indefinite pronoun—nobody. In translation text 1, the first half of the original text (Nobody respects a mother who forsakes her children) is translated into &amp;quot;没有人尊重抛弃孩子的母亲&amp;quot;. Although the meaning is translated, the expression is not authentic. Translation text 2 uses the positive and negative translation method to change negative into positive, and “Nobody respects” into &amp;quot;being despised&amp;quot; can better express the speaker's (my grandmother's) eagerness to oppose &amp;quot;I&amp;quot; to escape.&lt;br /&gt;
&lt;br /&gt;
Case 4:The translation methods of reorganization, sentence splitting and merging are adopted to make the translation conform to the expression habits of the target language&lt;br /&gt;
There are great differences between English and Chinese syntactic structures. English is a linear language. Its syntax takes the subject predicate structure as the central axis, while other components form branch lines in the form of branches and connect with the main axis through connectives. The logical relationship between sentences tends to be explicit,; Chinese is more parataxis, and the combination between the components in a sentence or between sentences mostly depends on the connection of semantics and uses fewer connectives. Chinese sentences are arranged under the command of theme, that is, the structure of &amp;quot;topic description&amp;quot; has various forms and free combination. The logical relationship between sentences is more implicit (Yang Lin, 2007: Preface). There are few logical relational words between clauses and between sentences. Therefore, the author adopts the reorganization method, combining syntax and disassembling syntax to realize the semantic equivalence of sentences, and studies the influence of sentence structure on the translation. The significance is to better guide the translation practice.&lt;br /&gt;
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5.Recasting&lt;br /&gt;
The example 7: This was the good old lady who paid fifty dollars for my grandmother, for the purpose of making her free, when she stood on the auction block.&lt;br /&gt;
translated text：这个老太太是个好人，当年外祖母站在拍卖台上，为了让外祖母获得自由她花五十美元买下了我的外祖母。&lt;br /&gt;
&lt;br /&gt;
Analysis: The original text contains two compound structures, one is an attributive clause, the other is a time adverbial clause. Because Chinese sentences are constructed according to the law of logical order, the word order is arranged according to the actual sequence and event order, which is divided into sequence in time, and pay attention to the causality in logic. The author adjusts the time adverbial clause to the front, first explain the time, then explain the reason, and finally the result. This reorganized translation plays an important role in shaping the relationship between sentences, which is in line with the characteristics of Chinese sentence structure.&lt;br /&gt;
&lt;br /&gt;
6.Sentence-combining&lt;br /&gt;
The example 8: There was joy and there was sadness in the sound. It made my tears flow.&lt;br /&gt;
translated text：无论是哭声还是笑声都会让我泪流满面。&lt;br /&gt;
&lt;br /&gt;
Analysis: The original text is two sentences. Considering the close causal relationship between the two sentences, the author adopts the translation method of combined sentence to translate it into one sentence, so that the target language readers can read it more naturally.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
7.Dismantle the syntactic&lt;br /&gt;
The example 9: My hope was that the doctor would get discouraged, and, for fear of losing my value, and also of subsequently finding my children among the missing, he would consent to sell us; and I knew somebody would buy us.&lt;br /&gt;
translated text：损失一个女奴，再赔上我的两个孩子，这正是弗林特医生所担心的。他会泄气并同意卖掉我们，我知道有人会买下我们，而这正是我所希望的！  &lt;br /&gt;
&lt;br /&gt;
Analysis: When dealing with long English sentences, the method of splitting is generally used to divide the original sentence into several parts and combine them according to their internal logical relationship. The adverbial clause after the subject of “My hope” consists of three parallel sentences, the second of which has a more complex cause adverbial. The author first takes apart the subject clause, first translates the clause, and then presents the subject at the end, which is in line with the characteristics of Chinese presentation before topic.&lt;br /&gt;
&lt;br /&gt;
Case 5: Stylistic equivalence&lt;br /&gt;
The basic task of translation is to faithfully present the original text, so it is necessary for the translator to pursue the style of the original text. To achieve stylistic equivalence, the translator needs to analyze and identify the stylistic markers in the original. The original text contains national language characteristics, historical allusions and religious beliefs, so it has cultural differences. In translation, it should reflect the style of the original text and optimize it accordingly, so as to realize the re creation of style and adapt to the communication of the target language.&lt;br /&gt;
The original text has strong religious and cultural content, simple and pious faith, and shows their enthusiasm and passion for them. In translation, we should not only show the feeling of religious belief and culture, but also optimize the sentence style and deal with alienation appropriately, so that readers can feel the piety and understand the author's writing intention.&lt;br /&gt;
The key to shaping the problem role lies in its adaptability to the style of the original language. Only by adopting appropriate translation methods, deeply understanding the cultural background of the original text and skillfully changing the style of the original text, can the style meaning of the original text be reproduced in the target language and better reflect its charm and artistic conception.&lt;br /&gt;
In a word, a biographical text should be well expressed first to make it conform to the expression habits of the target language. First, we should deeply understand the creative intention of the original author and think of what we think from the perspective of the original author, so as to realize the central idea of the original text. The premise of translation is that the translator should have profound language and cultural skills and deeply understand the particularity of different background cultures, Have a good command of the target language, and then use it flexibly.&lt;br /&gt;
&lt;br /&gt;
The example 10: She hasn't so much feeling for her children as a cow has for its calf. If she had, she would have come back long ago, to get them out of jail, and save all this expense and trouble. &lt;br /&gt;
translated text：她对孩子的感情还不如母牛呢，母牛还知道护犊子。如果她有感情，她很久以前就会回来把他们救出去了，也就没有这些代价和麻烦了。&lt;br /&gt;
&lt;br /&gt;
Analysis: This sentence is a complaint made by Dr. Flint's wife—my mistress, about my escape. Considering that cows in Chinese culture also have the image of caring for their cubs, The author translates call “feeling for her children as a cow has for its calf” as：“母牛还知道护犊子”, This not only achieves cultural equivalence, but also sounds colloquial. On the other hand, it is in line with the speaker's identity as a mean slave owner.[He was &amp;quot;a chip of the old block.&amp;quot; If he found any slave out after nine o'clock, he could whip him as much as he liked; and that was a privilege to be coveted.如果他发现任何人九点后（宵禁时刻）跑出去，他就会抓住并鞭打此人，直到他满意为止。这是别人垂涎三尺的特权。]&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
&lt;br /&gt;
Through the development of this project, the author believes that the translation of biographical works needs to have a full understanding of the differences between Chinese and English languages and cultures, thinking habits and expression methods. Only after having an accurate understanding and grasp of the language characteristics and contents of the original text, can words and sentences be carefully selected and constantly modified and polished in the process of translation, Make it an excellent translation. The author summarizes the following points in the whole translation process:&lt;br /&gt;
The translation method of biographical text. Biographical text has both information function and expression function (Zhang Meifang, 2006). Therefore, in translation, the translator should not only correctly express the information of the original text, but also reflect the literariness of biographical literature. In view of the differences in thinking and logic between Chinese and English, different translation methods should be adopted in the translation process. For example, literal translation can be used in terms of vocabulary, so as to simply, clearly and accurately convey the meaning of the original text. If literal translation is not possible, free translation, addition or subtraction, positive and negative translation, such transformation and other methods should be adopted to strive to achieve literal semantic equivalence. In terms of sentences, according to the respective characteristics of Chinese and English sentence structures, translation skills such as reorganization, disassembly and combination of syntax are adopted in order to meet the reading habits of target language readers. Experience the language style of biographical literature. In this project, the author's narrative language is simple and simple, and do a good job in the analysis of the characteristics of biographical literature materials. For a translator, the types of material translation can be diverse, literary or scientific, so the translator must do a good job in the analysis of text materials when he gets a relatively unfamiliar translated text, Only after analyzing the materials thoroughly and finding out the characteristics can the preparatory work be done adequately. This project adopts biographical text, which is characterized by many names and place names and strong local cultural characteristics. Therefore, in order to improve the accuracy of translation, the author has made a lot of preparations before translation, including finding the author's relevant background information, relevant historical facts, as well as the folk customs at that time. With reference to the new English Chinese dictionary, the names of people and places in the text are translated uniformly. Due to sufficient preparation, these problems encountered in translation have been solved.&lt;br /&gt;
The author has two experiences in maintaining problem awareness in the translation process. &lt;br /&gt;
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First, if you encounter an uncertain word and sentence in the translation process, you should consult the relevant reference books in time or use the Internet. &lt;br /&gt;
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Second, when dealing with cultural problems, I often ask my classmates or experts in this field for advice, so as to solve the problems in time.&lt;br /&gt;
At the same time, there are some problems in the process: My translation experience is still shallow and the cultural knowledge reserve is insufficient. There are some disadvantages in this project.Because my Chinese level needs to be further improved, the translated language is still immature and not concise enough. Second, the lack of relevant knowledge leads to the fact that the unique things of foreign culture can only be translated directly and hard in translation, resulting in the stiff and rigid translation. Such as a box, covered with sheepskin, is called the gumbo box. A dozen beat on this, while other strike triangles and jawbones, to which bands of dancers keep time.&lt;br /&gt;
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Third, in translation, we should not only maintain the meaning of the original text, but also reflect the style of the original text. We can't have both fish and bear's paw—鱼和熊掌不可兼得。Therefore, I believe that only through a lot of translation practice and summing up experience can we improve our translation level.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Beardslee, Karen E. Through Slave Culture's Lens Comes the Abundant Source: Harriet A. Jacobs's Incidents in the Life of a Slave Girl.&amp;quot; MELUS 24 (1999): 37-58.&lt;br /&gt;
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[2]Jacobs Incidents in the life of a Slave Girl: Written by herself.&amp;quot; Languages &amp;amp;Literature 15(2001):314-336.&lt;br /&gt;
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[3]Incidents in Life of a Slave Girl chapters 16 to 30&lt;br /&gt;
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[4]李小春. (2016). 浅析英语翻译技巧及方法的应用. 读天下(20), 1.&lt;br /&gt;
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[5]李亚云.《一名女奴的人生际遇》之黑人女性身份建构[J].文学教育(上),2015(07):30-31.p&lt;br /&gt;
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[6]李亚云. 《一名女奴的人生际遇》之黑人母性分析[D].中央民族大学,2016.&lt;br /&gt;
&lt;br /&gt;
[7]付娟. 英汉翻译中拆句法和合并法的有机结合探析[J]. 好家长, 2016(38):1.&lt;br /&gt;
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=邝艳丽 On the Translation Strategies of English Version of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hong-Ming and Xu Yuanchong=&lt;br /&gt;
[[Trans_Type_EN_9]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
''Lun Yu'', one of Chinese classics, records behavior and thoughts of Confucius and his disciples. ''Lun Yu'', intensively reflecting Chinese Confucianism, plays a significant role in Chinese culture. Dating from 1809, there are about sixty translations of ''Lun Yu'' during the two hundred years. This paper will study the two English versions of ''Lun Yu'' by Ku Hung-ming and Xu Yuanchong from the the theory of Horizon Fusion proposed by Hans-Georg Gadamer, mainly the core conceptual words in ''Lun Yu''. Besides, the paper will explore the translation strategies adopted by the two translators from different visions such as the horizons of the original text, the translator and the target culture. The better translation of core conceptual words will come to a conclusion through the contrastive analysis.&lt;br /&gt;
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===Keywords===&lt;br /&gt;
Fusion of horizons; Ku Hong-Ming; ''Lun Yu''; Xu Yuanchong&lt;br /&gt;
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===Introduction===&lt;br /&gt;
&lt;br /&gt;
''Lun Yu'', as a carrier of Confucianism, has profound influence on the culture all over the world. Confucianism has largely influenced the development of European philosophy, which provide new theoretical basis for European Enlightenment in the eighteenth century (Li Zongzheng 2016: 112-116). In Voltaire’s opinion, the discovery of Chinese culture is important to the process of European society, just as what what has been discovered by Vasco da Dagama and Magellan to the nature (Bao Xiankuo 2001: 62-67). With the continuing development of China in the recent years, China exerts more and more significant influence on the world. In the meanwhile, more and more people would like to learn Chinese language and cultures. When it comes to Chinese culture, all the people, Chinese and foreigners, nearly think of Confucianism, which is generally regarded as the important components of Chinese traditional culture, as well as the mainstream of the spirit of national modern culture. Moreover, Confucianism is intensively embodied in the ancient work called ''Lun Yu'', which records the behaviors and thoughts of Confucius and his disciples mainly in the form of dialogues. ''Lun Yu'' involves so many aspects such as politics, education and so on. The wide and profound influence of Confucianism on the world attributes the success to the development of translations of ''Lun Yu'' by Chinese or foreign translators.&lt;br /&gt;
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''Lun Yu'' is a classic work. The reason why classics remains classics is that it can be translated and re-translated. The language itself of ''Lun Yu'' is difficult to be understood, and what are reflected by ''Lun Yu'' such as history, thoughts, culture and culture is also hard to be understood. Therefore, translators in different times produce different translations of ''Lun Yu'' due to different constrictions of subjective or objective factors. Derrida, holding the point of hermeneutics, considers that the understanding of works is open and that the understanding of text by the readers is always unfinished and uncertain for reading is the process of creation. ''Lun Yu'', acclaimed as one of the leading classics in the course of Chinese literature’s development, is always given new life by the scholars. Therefore, every translation version of classics deserves to be studiedin the different times. Moreover, the employment of fusion of horizons may not only be a reference for English translation of ancient Chinese classics, but also be beneficial foe the spread of traditional culture. &lt;br /&gt;
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This paper chooses two English translation versions of ''Lun Yu'', one by Ku Hung-ming, the other one by Xu Yuanchong. The paper mainly makes a contrastive study of different translation strategies adopted by the two translators from the perspective of fusion of horizons. In order to make an in-depth study, the thesis will focus on the analysis of the translation of core conceptual words of ''Lun Yu'', and aim to present a more appropriate translation to both fully express the content of Chinese culture and make western readers easier to understand.&lt;br /&gt;
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===Overview on the Theory of Fusion of Horizons===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====Fusion of Hrizons====&lt;br /&gt;
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Hans-Georg Gadamer is the greatest thinker in 20th century when his academic work ''Truth and Method'' was published. The publishment brought about widespread attention in the world and helped him reach the immortal status in the field of philosophy. Actually, the theory used in this paper is originated from ''Truth and Method''. “Horizon” was first proposed by Edmund Husserl, a great German philosopher. For the concept of “Horizon”, Husserl believed that “everything worldly giving is given under the horizon. Finally, everything given by the world itself has the horizon of the world, and it is only for this reason that it is realized as the world.” (Wei Fangyuan 2013: 134-136)&lt;br /&gt;
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It can be seen that “Horizon” in Husserl’s eye is related to consciousness. Husserl’s “Horizon” includes two ones, internal horizon and external horizon. Internal horizon refers to what previous knowledge people have grasped or not. External horizon refers to grasp or experience of another open horizon when people have internal horizon. Martin Heidegger, from the respective of Ontology, believed that “Horizon” is something real which has been known by human and exists previously. This becomes precondition of our understanding. Inspired by Martin Heidegger and Edmund Husserl, Hans-Georg Gadamer affirmed the importance of “Horizon”. In his Hermeneutic, “Horizon” refers to the process of understanding from a specific standpoint. And “Fusion of Horizons” means that the process of understanding in nature is open without fixed pattern and answer. “Fusion of Horizon is not onlly diachronic, but also synchronic. History and present, object and subject, self and other, all form an infinite unified entirety. (Wei Fangyuan 2013: 134-136 ) &lt;br /&gt;
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Gadamer thinks that, both the translator and the object which is explained by the translator have their own horizons. The object-- history, classics, personal life, philosophy or work of art—has its own historical horizons. When we understand historical classical works, philosophy or certain culture with the horizons given by the history, the conflict of two different horizons and historical background will inevitably happen. Translation neither demands the translator to totally give up his own horizon in order to get into the text’s horizons, nor allows the interpreter simply includes the text into his own horizons. Translator, starting from his original horizons, ceaselessly test his own “prejudice” and open his own horizons, in the contact with the object which is interpreted by the interpreter, then two different horizons forming a new horizon. This process is called “fusion of horizons”. The reason why it is possible to interpret historical text is the fusion of horizons of the readers and writers of the original text.&lt;br /&gt;
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====Fusion of Horizons in translation study====&lt;br /&gt;
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In the view of Hans-Georg Gadamer, any understandings is carried out in the stream of history for any interpreter and reader lives in the history in his or her own way. Historicity is the basic fact of human existence. People’s historical particularity and limitations cannot be eliminated and avoided. Both subject and object exist in historicity. History determines that people cannot get rid of historicity. Such question faced by Hermeneutics is not what we carry out but what caused on us by something beyond our willing and behavior. In the research of translation Gadamer’s “Fusion of Horizons” can be borrowed and reformed into views or perspective available to the translation study. (Li Ge 2020:50-63)&lt;br /&gt;
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To achieve such a horizon, means that we learn to see something beyond its restricted horizon. However, the reason why we do this is for watching the things in a more correct angle and in a bigger unity, rather than for avoid seeing it.(Gadamer, H. G. 2004: 304) We need to study translation from a higher point and in a more overall angle. Only in this way can we “full see” the parts of the integrity, which is the enlightenment brought by “fusion of horizons”. The precondition of translation is that the translator and the original text have the common horizons. If the translator does not know medicine, he cannot interpret some books about medicine, and vice versa. The translator need to understand the original text’s meanings at first, which means that he will get into the horizon of the original text, and overcome the difference to form a new horizon. This is the first fusion of horizons. The second one is that the translator gets into the horizons of the target readers. Then the third fusion of horizons, the final interpretation of the translator, is the fusion of the two texts after the first two fusions. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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During the process of translation, the horizons are produced in the history rather than in isolation. In the fusion of horizons, the past and the present, the subject and the object, form a unity. Everything exists in the point of history, and all the interpretation cannot be finished for good. The original text itself is historical. The language, content, thoughts and etc. in it are marked by characteristics of the times. The translator is also historical. He will be influenced by his identity, status and tradition. There does not exist “perfectness” and “standard” in the translation. It will vary with different historical period. So the study of translation also goes on. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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===Overview on the Translations of ''Lun Yu''===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====The history of translations of ''Lun Yu====&lt;br /&gt;
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''Lun Yu'' is as important to Chinese is the Bible is to Westerners. So ''Lun Yu''’s translation is hot in western countries. ''Lun Yu'', whose translation can be traced back as early as the end of 16th century, has been translated by lots of missionary, sinologist, philosopher, litterateur and other scholars. There have been more than 40 translation versions of ''Lun Yu'' so far. Its English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. In 1861 James Legge’s The Confucian Analects became the mark of the English translation of ''Lun Yu''. A Companion for Chinese Translators makes comments on the translation version that James Legge can roughly understand the meaning of the original text and that his enormous notes can show his serious and careful attitude to the translation of our Chinese classics. (Wang Hui 2003: 39-43) &lt;br /&gt;
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In 1898, Ku Hong-ming’s translation of Lun Yu was published in Shanghai. The reason why he retranslated Lun Yu is that he was not content with James Legge’s. Ku Hong-ming use the strategy of foreignization, trying to translate Lun Yu in the same way an educated British express his thoughts. And Ku thought the Chinese proper nouns should be omitted and some European writers’ saying in order to remove the feeling of strangeness of British readers. In 1938, Arthur Waley’s version of Lun Yu was published. Waley wrote long-winded introduction for the translation, which was accompanied by detailed notes for readers and was followed by the footnotes for in-depth discussion on the text. Cui Yonglu thought that Waley’s translation, retaining the original text’s meaning and culture and paying attention to the detail, is beneficial to scholars. In 1998, Roger Ames’ translation of Lun Yu was published. His retranslation, which is based on a philosophical perspective, exerted great influence in the world of translation at home and abroad. In 2005, Xu Yuanchong’s Thus Spoke the Master was published. The book’s title borrowed the name of well-known philosophical translation called Thus Spoke Zarathustra, which shows Chinese translators’ creative spirits. In addition, there are still so many translators, such as Ezra Pound, James Ware, Din Cheuk Lau, Lin Yu tang and so on. (Wang Hui 2003: 39-43) &lt;br /&gt;
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====Different angles of the study on the translations of ''Lun Yu''====&lt;br /&gt;
In the nearly 30 years, the study of ''Lun Yu''’s translation has become hot in the translation studies. Scholars have made lot of studies of ''Lun Yu''’s translation from different angles and theories. From the linguistic point of view, scholars focus on the equivalence of lexicon, syntax, text and style. Professor Liu Chongde wrote “A research into Waley’s English version of The Analects—And some comments on its English versions by Legge and D. C. Lau”. Professor Liu summarized the language features and style of the two translations by Waley and Legge. Besides, he compared James Legge’s version and D. C. Lau’s, and made a conclusion that the former one preferred the written English, complicated sentences and archaic words which were quite similar to the style of the original, while the latter one preferred using spoken English and simple sentences.(Liu Chongde 2001:15-17) &lt;br /&gt;
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From the cultural point of view, Yao Shun in Southwest Jiaotong University did “On English translation of Confucius notions from the perspective of Skopos theory—A case study on Legge’s and Waley’s Translation of ''Lun Yu''”. Yao concluded that translation cannot be measured only by the equivalence with the source text, other elements such as translators’ purposes and expectation of target readers should be taken allowance for and that amongst these factors, the intention of the target text ranks the first.(Yao Shun 2014: 42-43)&lt;br /&gt;
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From the sociological point of view, Zhang Xin in Jiangnan University did “A study on Xu Yuanchong’s English Translation of ''Lun Yu'' from the Sociological Perspective of Bourdieu”.   Zhang draw some tentative conclusions. Firstly, the original text must be valuable and unique with an international reputation to facilitate its dissemination in the world. Secondly, translators should pay full attention to the readability and acceptability of target readers to meet their anticipation. Thirdly, the success of a work is the combination of various social factors.(Zhang Xi 2020:80-89)&lt;br /&gt;
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=== The Translation of ''Lun Yu'' from Fusion of Horizons===&lt;br /&gt;
''Lun Yu'' has always been translated or retranslated into many languages. Before interpretation, interpreters are supposed to try to totally understand ''Lun Yu'' in the first step. However, in the matter of fact, the language of a text is really hard for translators to totally understand. Different cultural background and different translators may produce different translation version.&lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》） [8]”. In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. &lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
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Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》）”.In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. (Yao Sshun 2014:42-43) &lt;br /&gt;
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====Horizon of the translator====&lt;br /&gt;
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Ku Hung-ming (1857-1928) is not only a famous literary figure in modern China, but also a great translator. He became an influential scholar at the turn of the 20th century because of his works that advocated Confucianism. Ku’s traslated works, including Lun Yu and Zhong Yong, played a significant role in spreading traditional Chinese culture to the western world. Ku, well-versed in both Chinese and Western cultures, has a good command of nine languages such as English, French, Germany and so on. He is the first one was proficient in Western science and language in the late Qing Dynasty. Special background of growth and education makes his thoughts combine advantages between Chinese and Western cultures. He tried to translate Lun Yu as a work written by a educated English man in order to promote Chinese traditional culture to spread in Western countries. At the meanwhile, he added his thinking and understanding of Confucianism in order to express the truth and spirit of Confucian classics and Chinese belief system. In order to make Western readers accept to the most extent the Confucian culture, Ku adopted some special methods, such as using extreme translation strategy of Domestication to translate Chinese special expression; borrowing the expression in Western literature to translate some words; applying the strategy of combination of omission and addition.(Niu Xiyu 2021: 89-90)&lt;br /&gt;
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When translating Lun Yu, Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. Western readers are not familiar with Confucian core words whose total equivalence can not be found in the Wesern culture. Ku did not translate the core words according to the literal meaning, but according to his deep understanding of Confucian classics he adopted flexible methods to translate the words in different situation. Besides, in order to make the translation of Lun Yu more readable to Western readers, Ku adopted the stratedy of domestication to interprete Confucian thoughts in Western way of mind. On the one hand, Ku used Western terms to translate those Confucian concept words which is difficult to Western readers. For example, he translates “天” as “God”. On the other hand, he quoted those well-known writers and thinkers who are familiar to Western readers, such as Johann Wolfgang von Goethe, Ralph Waldo Emersonand so on. Ku tries to make the content and form of the translation to accord with the way of thinking and cognitive structure of Western people. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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Xu Yuanchong, professor in Peking University, has been devoting himself in Literature translation study. He accomplished numerous classical translations and proposed many translation theories. He makes contribution to the development of Chinese traditional career.In 1921, Xu Yuanchong was born in Jiangxi Province in China. Since he was a child, Xu Yuanchong had been deeply influenced by his families. His mother was well educated and his uncle worked as a translator. All of these inspired his passion of enjoying literature and going after beauty, as we can see the three-beauty-concept-concept proposed in his later books. His uncle succeeded in translating the play called Wang Baochuan into English, which caused a sensation when it was performed in England. Later on the British dramatist George Bernard Shaw interviewed his uncle, which inspired the great interests of Xu Yuanchong in learning English well. In 1938, he was admitted to the Foreign Languages Department of National Southwest United University with the seventh place. In 1939, he translated the book “别丢掉” written by Lin Huiyin at the first time in order to express his love for a girl. Then he fell in love with translation ever after. Although suffering a lot, he still insisted to be himself. Xu made a great contribution to the development of Chinese translation. Xu introduces the three-beauty-concept to translation theory. The theory of three beauty advocates that a translation should be as beautiful as the original in sense, in sound and in font. These three aspects call also be respectively called Beauty of Sense, Beauty of Sound, and Beauty of Form. Beauty of Sense, emphasizing the deeper meaning, is of the first-rate importance. Beauty of Sound, emphasizing rhyme and rhythm, is of the second-importance. Beauty of Form, emphasizing length, is of the third-rate importance. All of these have great influence on his translation. (Li Mi 2004: 83-84)&lt;br /&gt;
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====Horizon of the target language culture====&lt;br /&gt;
The purpose of translation is to be read by the target readers. However, the target individual is different. They differ from historical background, education, knowledge, and so on. Some foreign readers read Lun Yu just for broaden his vision and know Chinese culture, some study the translation just for doing academic researches. The ages of target readers also influence the translation. Some young readers with less knowledge need translation which can be easily understood. For those aged readers the sophisticated translations are needed. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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===Contrastive Analysis===&lt;br /&gt;
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As Confucian classics recording the words and deeds between Confucius and his disciples, Lun Yu deeply influences generations of Chinese people. Lun Yu combines Chinese rich culture from thousands of years and gathers immortal spirit of Eastern philosophy. Therefore, a number of scholars at home or abroad want to translate Lun Yu. Especially, the various academic conference that has taken place in the recent years attract many scholars to absorb Confucian wisdom and explore Chinese wisdom from the old classics.&lt;br /&gt;
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====Description of key conceptual words====&lt;br /&gt;
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''Lun Yu''’s English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. Since that many other scholars have thrown themselves in the wave of translation of ''Lun Yu''. The scholars at home and abroad attempt to know more about the Chinese society, language, and Chinese culture through ''Lun Yu''. However, in order to really understand and interpret ''Lun Yu'', we must be clear about the meaning of the core conceptual words in ''Lun Yu''. Whether the translation of the core conceptual words is right or not has something to do with whether the readers abroad can understand the real meaning of the classics ''Lun Yu''. The translation of core conceptual words is so critical that has drawn many scholars’ attention. However, in the present situation of translation, one core conceptual word has so many Chinese translation, and some translation is not very accurate, which will cause trouble for foreigner readers to understand the original meaning and its cultural meaning. For those core words concerning Chinese culture, if wrongly translated, will not cause foreigners’ misunderstanding Chinese traditional culture, but also influence the improvement of national cultural soft power. Thus, the discussion of the translation of ''Lun Yu'', especially that of the core words, is very important to the circles of translation and culture. There are lots of core conceptual words in Lun Yu, but This thesis will mainly discuss the five core words: “''ren''”, “''li''”, and “''junzi''”. &lt;br /&gt;
“''Ren''” is the supreme state of moral ideal advocated by Confucius, and the spirit and centre of Confucian theory. Xu Shen in the Eastern Han Dynasty made an explanation of the word “''ren''” in “Shuo-wen chieh-tzu”. He thought “''ren''” is combined by “''ren''”(man) and “er”(number 2), and that “''ren''” does not express the quantitative relation but the interpersonal relationship, more accurately the interpersonal relationship close to friendship. (Xu Shen 2013: 1458) According to The Notes of ''Lun Yu'' by Yang Bojun, “''ren''” appears 109 times in ''Lun Yu'' . (Yang Bojun, 2009)&lt;br /&gt;
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“''Li''” is another important concept in ''Lun Yu'' after “''ren''”. According to The Notes of ''Lun Yu'' by Yang Bojun, “''li''” appears 74 times. Obviously, “''li''” is one of main ideas repeated by Confucius. Its connotation has become one of the objects the scholars of every dynasty attempt to study and understand since the ''Lun Yu'' came out. Both “''ren''” and “''li''” work as the centre of Confucianism. They complement and perfect each other. Just as the saying in Lun Yu, “To Subdue Oneself and Return to the Proprieties is Perfect Virtue”. “Li” refers to external behavior, while “ren” refers to internal morality. “''Li''” is a general term the rules and regulation according to the moral demanding. “''Li''” can restrict personal behavior, improve interpersonal relationship and help building a harmony and orderly society. However, Confucius does not give an accurate explanation of “''li''”, but its meanings can be analyzed from the concrete sentences concerning “''li''”. (Yang Bojun 2009: 23)&lt;br /&gt;
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“''Junzi''”, first found in The Book of Songs, was roughly referred to noble man. Thereafter, “''junzi''” was widely used in many ancient classics such as The Book of Changes, Shangshu and so on. Based on the original meaning “the noble man”, “''junzi''”’s meaning was extended and expanded. In Lun Yu, the word “''junzi''” got extended meaning of morality. The core conceptual word “''junzi''” mainly placed emphasis on moral deeds, then developed into the important cultural icon in Confucianism. According to The Notes of ''Lun Yu'' by Yang Bojun, “''junzi''” appears 107 times in ''Lun Yu'' .(Yang Bojun 2009: 11)&lt;br /&gt;
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====Different translations of key conceptual words====&lt;br /&gt;
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Different translators will have different translation. &lt;br /&gt;
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“Ren” has rich meanings. Its translation will to the certain degree influence the understanding of Lun Yu and Chinese traditional culture. For example:&lt;br /&gt;
子曰：“巧言令色，鲜矣仁！”《学而》&lt;br /&gt;
Ku: Confucius remarked, “With plausible speech and fine manners will seldom be found moral character.” &lt;br /&gt;
Xu: A good man, said the Master, would rarely say what he does not believe, or pretend to appear better than he is.&lt;br /&gt;
From the translation above, it is seen that Ku adopts free translation, and the English sentence is in formal grammer and syntax which accords with Western readers’ language habits. While Xu’s translation is not in the form of direct speech and he changes the order of the target text and use the parenthesis so as to conform to the habits of target language readers. It can be easily seen that Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. And Xu employs free translation to make target readers better understand the meanings. For the translation of “ren”, Ku translated it into “moral character”. He thought “ren” is refers to all the morality, and that “ren” is the highest realm of life. The translation “moral character” is more in line with Western language habits. While Xu interpreted it into “a good person”, of which “good” has broad meanings just like “ren” which is a kind of moral category of extremely broad meanings in ancient China. By comparison, “mental character” is better translation for “ren”. (Yang Bojun 2009: 23) (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Li” is generally thought to have three main meanings. The first one is worshiping the God. The second one refers to a ceremony held to show respect or solemnity. The third one refers to the social and moral norms of the aristocratic hierarchy in slave society of feudal society. For example, &lt;br /&gt;
道之以道，齐之以礼，有耻且格 。（《为政》）&lt;br /&gt;
Ku: If, on the other hand, in government you depend upon the moral sentiment, and maintain order by encouragung education and good manners, the people will have a sense of shame for wrong – doing and, moreover, wil emulate what is good. &lt;br /&gt;
Xu: If they are led by virtue and order is kept by the rites, they would be conscientious and act in agreement with what is right. &lt;br /&gt;
Generally, “li” is rendered as “rites,” “customs,” “propriety,” “ritual,” “moral,” “rules of proper behavior,” and “worship.” However, Ku did not literally translated “li” but to fully understand its original meaning in such concrete situation to translated it into “education and good manners”. While Xu translated it into “rites”. In the Oxford dictionary, “rite” means a ceremony performed by a particular group, often for religious purpose. In Spring and Autumn and Warring States periods of China, the social order was in chaos. Actually, “rite” is a proper word full of Chinese speciality, which is really hard for Western readers to understand. Therefore, Ku’s translation “education and good manners” is better one. It not only convey Confucian thoughts but also make it readable to Western readers. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Junzi” is Confucian ideal character standard. Then what is “junzi”? In Confucian point of view, “junzi” should be erudite, which is an important standard of being “junzi”. First and the most, “junzi” should be a benevolent man. In addition, “junzi” and “xiaoren” form contrast. For example,&lt;br /&gt;
人不知，而不愠，不亦君子乎？（《学而》）&lt;br /&gt;
Ku: But he is truly a wise and good man who fees no discomposure even when he is not noticed of men.&lt;br /&gt;
Xu: Is he not an intelligentleman, who is careless alike of being known or unknown?&lt;br /&gt;
According to Oxford dictionary, the term “exemplary” refers to providing a good example for people to copy. Ku adopted free translation to interprete one word “junzi” into several words “wide and good man”, which is easy for Western peple to understand what “junzi” is. It can be seen that Ku had a thoroungh understanding of Confucian thoughts as well as well-versed in English. While, Xu translated it into “intelligentleman”, which cannot be found in dictionaries. It is a new word created by Xu. “Interlligentleman” is combined by “intelligent” and “gentleman”. In the Oxford dictionary, the term “intelligent” means good at learning, understanding and thinking in a logical way about things. “gentleman” refers to a man who is polite and well educated and who has excellent manners and always behaves well. “Intelligentlemen” seemly attempt to achieve formal equivalence with “junzi”. However, it is unfamiliar to Wetern readers. So Ku’s translation “a wise and goood man”. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
In this paper, we have talked over two translation versions of ''Lun Yu'' written by Ku Hung-ming and Xu Yuanchong, especially the core conceptual words in ''Lun Y''u. In the matter of fact, both of them had good command of Chinese and western cultures. But their interpretation of Lun Yu were quite different from each other. Here we use Gadamer’s “fusion of horizons” to explain why they had different understandings of Lun Yu. Understanding is regarded as the fusion of horizons between translator and the text in the hermeneutics, however, besides, the target readers should also be taken into consideration. Thus, in the paper, the horizons of the original text, two translators and target readers are expounded in detail. Under the contrast between the two translation versions, we could find out that Ku Hung-ming’s translation is better one which can more convey the meaning of original text and can be easier for the readers of the target culture from the perspective of the fusion of horizons. &lt;br /&gt;
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However, this paper could not give an in-depth research on the transaltion of ''Lun Yu'' because of the author’s limited knowledge and not thorough understanding of the theory of “fusion of horizons”. In addition, Confucianism has got more and more important influence on the world in the recent years. However, the study of translation of ''Lun Yu'' has not gone far enough. Though lots of scholars have achieved a lot in the field, there is still much work to do in the future. Written by --[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 03:41, 9 December 2021 (UTC)&lt;br /&gt;
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===Reference===&lt;br /&gt;
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Li Zongzheng, Ma Haidong 李宗政,马海东. (2016)《论语》英译的当代价值研究[J] [A study on the contemporary value of the ''Analects of Confucius''] 112-116.&lt;br /&gt;
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Wei Yuanfang 韦芳元. (2020) 浅析伽达默尔的视域融合理论[J].[On the Gadamer’s Theory Fusion of Horizons] 2013(12):134-136.&lt;br /&gt;
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Gadamer, H. G. Truth and Method[M]. New York: Continuum, 2004: 304.&lt;br /&gt;
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Wang Hui 王辉. (2003) 理雅各与《中国经典》[J]. [James Legge and Chinese Classics] 2003: 39-43.&lt;br /&gt;
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Lieu Chongde 刘重德. (2003)《论语》韦利英译本之研究—兼议里雅各、刘殿爵英译本[J]. [A Study of Lun Yu by Whaley—Discussion on contrastive analysis between James Legge and D.C.Lau)  2001: 15-17.&lt;br /&gt;
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Yao Shun 姚舜. (2014) 目的论视角下的儒家思想核心概念英译研究—以理雅各和韦利《论语》英译对比分析为例[D]. [A Study of Lun Yu Translated by Xu Yuanchong in the perspective of Skopostheory] 2014: 42-43.&lt;br /&gt;
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Niu Xiyu 牛汐语. (2021) 辜鸿铭《论语》译本中译者主体性的体现[J]. [The Presentation of Translator’s Subjectivity in Ku Hung-ming’s Lun Yu’s Translation] 2021:89-90.&lt;br /&gt;
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Li Mi 李谧. (2004) 许渊冲的诗译“三美”之说[J]. [Three Beauty in Poetic Translation of Xu Yuanchong] 2004: 83-84.&lt;br /&gt;
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Xu Shen 许慎. (2013)《说文解字》[Z]. [Shut-wen chieh-tzu] 2013: 1458&lt;br /&gt;
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Yang Bojun 杨伯峻. (2009)《论语释注》[Z]. [Annotation Analects] 2009: 213, 214, 215,2, 11, 23,&lt;br /&gt;
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Ku Hungming 辜鸿铭.(2011)《辜鸿铭英译&amp;lt;论语&amp;gt;》[M]. [The Discourses And Sayings of Confucius] 2011&lt;br /&gt;
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Yuanchong, Xu. (2013) Thus Spoke the Master[M]. Beijing: Dolphin Books, 2013: 12, 18.&lt;br /&gt;
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=杨柳青 Bian Zhilin's Literary Translation Theories and Practice  ——Take His Translation of Romantic Poems as examples=&lt;br /&gt;
[[Trans_Type_EN_10]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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Bian Zhilin is a famous Chinese translator and poet. He absorbed traditional translation theories dialectically and created translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; from the perspective of literary translation. Specifically, &amp;quot;Replacing foot with dun&amp;quot; is his poetry translation strategy. This paper will analyze Bian Zhilin translations of some romantic poems and shows some critical thinking about his literary translation theories.&lt;br /&gt;
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===Key words===&lt;br /&gt;
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&amp;quot;Faithfulness, Similarity and Translation&amp;quot;; &amp;quot;Replacing Foot with Dun&amp;quot;; Romantic Poetry&lt;br /&gt;
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===题目===&lt;br /&gt;
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卞之琳文学翻译理论和实践 ——以其浪漫主义诗歌译作为例&lt;br /&gt;
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===摘要===&lt;br /&gt;
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卞之林是著名的中国翻译家、诗人。他辩证地吸收传统翻译理论，从文学翻译的角度创立了“信、似、译”的翻译理论。 具体而言，“以顿代步”是他的诗歌翻译策略。本文将对卞之琳的浪漫主义诗歌译作进行分析，并对其文学翻译理论提出一些批判性性思考。&lt;br /&gt;
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===关键词===&lt;br /&gt;
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“信、似、译”；“以顿代步”；浪漫主义诗歌&lt;br /&gt;
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===Chapter 1 Introduction of Bian Zhilin and Romanticism===&lt;br /&gt;
====Introduction of Bian Zhilin====&lt;br /&gt;
Bian Zhilin is a representative of Chinese modernist poetry, a famous literary critic and literary translator. He translated foreign literature especially poetry and Shakespeare's plays. He has devoted his whole life to the literature and cultural exchanges between China and foreign countries. He is known as &amp;quot;the master of Poetry and the leading scholar in translation in China&amp;quot;. He dialectically absorbed previous translation theories and formed his unique translation thoughts. His famous works include ''Leaves of Three Autumns'' which is his first volume of Poetry and contains verses filled with the melancholy and despair, ''Fish Eyes Collection'', ''The Han Garden Collection'' and ''Poems of a Decade'' and so on.&lt;br /&gt;
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====Introduction of Romanticism====&lt;br /&gt;
Romanticism is a reaction against the Enlightenment and rationalism in 18th century, and a rejection of the precepts of order, calm, harmony, balance, idealization, and rationality that typified in classicism and neoclassicism. English Romanticism is generally defined to begin in 1798 with the publication of William Wordsworth and Samuel Taylor Coleridge's Lyrical Ballads and end in 1832 with Walter Scott's death. Romanticists place the individual at the center of art and make literature most valuable as an expression of his or her unique feelings and particular attitudes and make its accuracy a portraying the individual's experience. &lt;br /&gt;
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Romanticism is a period of poetry. During this period, many poets created plenty of wonderful poems which vividly show the beauty of nature and humanistic thoughts. English romantic poets contain the elder generation and the younger generation. The elder generation, also called &amp;quot;lake poets&amp;quot; includes William Wordsworth, Samuel Taylor Coleridge and Robert Southey and so on. The younger generation includes George Gordon Byron, Percy Bysshe Shelley and John Keats and so on. Besides, William Blake also deserves attention. He is a pre-romanticist and a forerunner of the romantic poetry of the 19th century. In this paper, I will analyze poems of William Blake, William Wordsworth and Percy Bysshe Shelly to show Bian Zhilin's translation theories.&lt;br /&gt;
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===Chapter 2 Bian Zhilin's Literary Translation Theories===&lt;br /&gt;
====&amp;quot;Faithfulness, Similarity and Translation&amp;quot;====&lt;br /&gt;
Bian Zhilin is a famous poet, translator and literary researcher in China. For decades, he not only made remarkable achievements in the field of poetry and Chinese and foreign literature studies, but also left a valuable fortune in literary translation, especially in poetry translation. Bian Zhilin has formed clear and instructive translation thoughts and theoretical views through her long-term translation practice. These translation thoughts and theoretical views influenced his translation behavior and effect, formed his exquisite translation art, and also had a great influence in the field of translation. He broke through the traditional translation theories and put forward the translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot; which is based on dialectically absorbing and reasonably sublating the traditional translation theories.&lt;br /&gt;
&lt;br /&gt;
=====Faithfulness=====&lt;br /&gt;
It is well-known that &amp;quot;faithfulness, expressiveness and elegance&amp;quot; created by a modern Chinese translator Yan Fu has become the most widely spread and popular translation standards in history of modern Chinese translation. And it has always been in the mainstream in the field of translation in China. There has been a long debate in Chinese translation field around &amp;quot;faithfulness, expressive and elegance&amp;quot;. However, &amp;quot;faithfulness&amp;quot; put forward by Bian Zhilin has achieved the transcendence and unification of this debate. &lt;br /&gt;
&lt;br /&gt;
======Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
According to Yan Fu, &amp;quot;faithfulness&amp;quot; means a translation should be faithful to the content of the original which is the first requirement of translation. &amp;quot;Expressiveness&amp;quot; means a translation should be fluent and articulate. &amp;quot;Elegance&amp;quot; means a translation should use elegant words so as to make the translation literary (Luo Xinzhang 136). Yan Fu believed that only elegant words can express the essence of original text. And he advocated translator used classical Chinese before Han Dynasty, namely, pre-Qin period. In fact, Yan Fu translated a lot of works in accordance with this criterion. &lt;br /&gt;
&lt;br /&gt;
======Debates around Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
Many speakers thought highly of Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, and this criterion once became the only standard for evaluating the quality of translation. Many literary translators like Liang Qichao, Lu Xun praised this criterion.&lt;br /&gt;
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Though &amp;quot;Faithfulness, expressiveness and elegance&amp;quot; has been widely accepted, there were still many doubts about this criterion. Most translators acknowledged Yan Fu's &amp;quot;faithfulness,expressiveness and elegance&amp;quot;, but they doubted &amp;quot;elegance&amp;quot;. For example, Chen Xiying, a famous Chinese female translator, opposed &amp;quot;elegance&amp;quot; because she thought &amp;quot;faithfulness and expressiveness&amp;quot; is quite enough for non-literary works and &amp;quot;elegance&amp;quot; is not necessary. Even for literary works, &amp;quot;elegance&amp;quot; is not necessary since some characters in literary works are from countryside and their speeches apparently couldn't be elegant (Luo Xinzhang 401-402). &lt;br /&gt;
&lt;br /&gt;
However, though these opinions are different they have one thing in common: all these opinions divide &amp;quot;faithfulness, expressiveness and elegance&amp;quot; up and judge them separately. &lt;br /&gt;
&lt;br /&gt;
======Bian Zhilin's &amp;quot;faithfulness&amp;quot;======&lt;br /&gt;
Unlike most translators, Bian Zhilin has his own unique view. Bian Zhilin believes there is only one advisable standard in &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, that is &amp;quot;faithfulness&amp;quot;. According to Bian Zhilin, &amp;quot;faithfulness&amp;quot; means being loyal to the original text comprehensively, not only to the content of the original text, but also to the form (Bian Zhilin 503). It seems that there is no apparent difference between Yan Fu's faithfulness and Bian Zhilin's faithfulness. But that's not the case. &lt;br /&gt;
     &lt;br /&gt;
Firstly, Bian Zhilin doesn't totally deny the value of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. His faithfulness is mainly for literary translation which aims to highlight the artistic features of literary translation. Bian Zhilin believes that literary translation is an artistic and creative activity which not only includes language conversion but also involves the knowledge of literature, aesthetics, literature and art. He thinks &amp;quot;faithfulness, expressiveness and elegance&amp;quot; lays too much emphasis on the content and form of language which is not suitable for literary translation. &lt;br /&gt;
&lt;br /&gt;
Secondly, Bian Zhilin opposed the artificial separation of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. He thinks this separation is a kind of false perception which may cause the emphasis of one aspect and the neglect of the others. He thinks that artistic translation standard, strictly speaking, is only &amp;quot;faithfulness&amp;quot; which means the full fidelity to content and form. Actually, Bian Zhilin doesn't deny the existence value of expressiveness and elegance; instead, he seems &amp;quot;faithfulness, expressiveness and elegance&amp;quot; as a whole and &amp;quot;faithfulness&amp;quot; includes &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot;. Therefore, his faithfulness is comprehensive: both &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot; are internalized in &amp;quot;faithfulness&amp;quot;.&lt;br /&gt;
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Thirdly, Bian Zhilin believes &amp;quot;faithfulness&amp;quot; in literary translation means translation should be loyal to original text both in content and form. In others words, it's not desirable that translation be better or worse than the original. Besides, he holds that &amp;quot;faithfulness&amp;quot; in translation is not absolute but relative and it needs artistic creation of translators(Li Changshuan 57). What's more, literary translators should have the confidence in translating the &amp;quot;spirit&amp;quot; of the original so as to make translation vivid and expressive.&lt;br /&gt;
&lt;br /&gt;
All in all, Bian Zhilin believes the content and form of literary works are unified and indivisible, so is &amp;quot;faithfulness, expressiveness and elegance&amp;quot;.  At the same time, he admits &amp;quot;faithfulness&amp;quot; is relative rather than absolute considering difference between language and culture. Therefore, Bian Zhilin's faithfulness is inheritance and innovation of traditional translation theory and has important theoretical value.&lt;br /&gt;
&lt;br /&gt;
=====Similarity=====&lt;br /&gt;
======Formal Similarity and Spiritual Similarity======&lt;br /&gt;
Formal similarity means translation preserves the linguistic form of the original which includes words, grammar, sentence structure, figures of speech and types or forms of literature and so on. Any two languages have something both common and different. Those common features are the bases of formal similarity of translation. &lt;br /&gt;
&lt;br /&gt;
Spiritual similarity, on the contrary to formal similarity, means getting rid of the bondage of language form such as words, grammar when it is necessary. And translators should use authentic translation to convey the artistic features of the original. Spiritual similarity was first put forward by Mao Dun and was further advocated and practiced by Fu Lei. It has become one of the dominant theories in Chinese translation theories.&lt;br /&gt;
&lt;br /&gt;
======Debates around Formal Similarity and Spiritual Similarity======&lt;br /&gt;
In the field of Chinese translation, translators debated a lot around formal translation and spiritual translation. Many translators believe formal translation is more advisable than spirit translation. But others think differently. For instance, Chen Xiying believed there were three kinds of &amp;quot;faithfulness&amp;quot;, namely spiritual similarity, meaning similarity and formal similarity, among which spiritual similarity is superior, meaning similarity is the second and formal similarity is inferior. Chen Xiying held that formal similarity ignores the writing style of the original though it conveys the meaning of the original completely. Meaning translation is better than formal translation because it focuses on not only what the original writer says but also how he says it. But meaning translation is much more like imitation which cannot grasp the &amp;quot;spirit&amp;quot; of the original. Spirit translation, however, is the exact way to convey the &amp;quot;spirit&amp;quot; of the original. Besides, Yan Fu is another representative who pays more attention to spirit similarity than to formal similarity (Luo Xinzhang 694).&lt;br /&gt;
======Bian Zhilin's &amp;quot;Similarity&amp;quot;======&lt;br /&gt;
Bian Zhilin took a stand against the long-standing debate around formal similarity and spiritual similarity. In his opinion, there is only one word between formal similarity and spiritual similarity that is advisable——&amp;quot;Similarity&amp;quot;. Bian Zhilin holds that literary work is a unity of content and form; &amp;quot;form&amp;quot; and &amp;quot;spirit&amp;quot; in literary translation is complementary. On the one hand, &amp;quot;form&amp;quot; is the basis of &amp;quot;spirit&amp;quot; which means without concrete form, the spirit and artistic value of literary works can only be empty talk. On the other hand, &amp;quot;spirit&amp;quot; is the life of &amp;quot;form&amp;quot; which means literary works without &amp;quot;spirit&amp;quot; likes people without soul, which can only be empty body and meaningless form (Bian Zhilin 551).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Similarity&amp;quot; which was put forward by Bian Zhilin, actually contains the similarity both in formal similarity and spiritual similarity. In other words, ideal literary translation should achieve the unity of form and spirit. Bian Zhilin thinks literary translation can only achieve similarity with the original but not sameness (Bian Zhilin 8-9), which not only recognizes the difference between the original and the translation, but also acknowledges translators' creative efforts.&lt;br /&gt;
&lt;br /&gt;
=====Translation=====&lt;br /&gt;
======Literal Translation and Free Translation======&lt;br /&gt;
Literal Translation means expression forms and syntactic structure of the translated text should be as consistent as possible with the original when translators convey the meaning of the original text. Free translation, however, means translators should break the linguistic form of the original text and express the meaning of the original by using the customary expressions of the target language.&lt;br /&gt;
&lt;br /&gt;
======Debates around Literal Translation and Free Translation======&lt;br /&gt;
The debates between literal translation and free translation in the history of western translation can be date back to Cicero (106BC-43BC). Cicero opposed &amp;quot;word for word translation&amp;quot; (literal translation) which was deemed as &amp;quot;interpreter's translation&amp;quot; and advocated &amp;quot;sense for sense translation&amp;quot; (free translation) which was deemed as &amp;quot;orator's translation&amp;quot;(Tan Zaixi 24). Cicero's distinction about translation paved the way for following translators. For example, John Dryden published his views on literal translation and free translation. Dryden made distinction between metaphrase, phrase and imitation which was an extension of literal translation and free translation. What's more, Newmark thinks literal translation is preferred when the effect is the same (Newmark 39). And Nabokov holds that literal translation is true translation because it can convey the exact contextual meaning of the text as accurately as possible (Nabokov viii).&lt;br /&gt;
&lt;br /&gt;
======Bian Zhilin's Translation======&lt;br /&gt;
Bian Zhilin thinks only &amp;quot;translation&amp;quot; is advisable over the long-standing dispute over literal translation and free translation. Translation contains following meanings (Bian Zhilin 8).&lt;br /&gt;
&lt;br /&gt;
Firstly, literal translation and free translation are not contradictory but complementary. Too much emphasis on either side will only have a bad effect on literary translation. Bian Zhilin also criticizes translations that put too much emphasis on the source language or the target language.&lt;br /&gt;
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Secondly, translation cannot be creation. Translation should be based on the original text, not personal creation. But Bian Zhilin doesn't deny the creativity in translation and thinks the creativity is the life of translation as long as it is based on the original.&lt;br /&gt;
&lt;br /&gt;
====Bian Zhilin's Poetry Translation Strategies====&lt;br /&gt;
Absorbed thoughts from former and contemporary poets, Bian Zhilin created his poetry translation strategies. That is to translate English poetry in a poetical and metrical way and replace foot with dun. These strategies not only consider the western poetry patterns, but also considers the characteristics of Chinese, which has strong feasibility. Bian Zhilin's poetry translation strategies are closely related with his literary translation theory of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
=====Translating Poetry in A Poetical and Metrical Way=====&lt;br /&gt;
Bian Zhilin thinks that poetry is more a unity of content and form than other literary forms. Therefore, poetry translation includes both translation of poetry content and form. Bian Zhilin thinks poetry translation should be loyal to the original poem not only in content but also in form. Poems should be translated into the form of poem rather than prose. If the original poem is free verse, then translated version also should be free verse. If the original poem is metrical poem, then translation also should be a metrical one. (Bian Zhilin, 319) The coincidence between form and content in poetry translation is an embodiment of translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
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Meter is an important feature of poetry, including rhythm, rhythm and arrangement of words and stanzas. There are many differences in meter among poetry of different languages. And different poets and works use different meters. These become major factors of difficulties in poetry translation. &lt;br /&gt;
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Bian Zhilin thinks translators should preserve the metrical features of the original poems. In other words, translators should translate poetry in a metrical way. Therefore, poems should be translated by using equivalent meter. To be more specific, translators should translate foreign poems by using commonalities between Chinese traditional metrical basis and foreign metrical basis. It's not just simple application of foreign poetry patterns nor of Chinese traditional poetry patterns. Instead, it's the crossover of the two poetry patterns.&lt;br /&gt;
&lt;br /&gt;
=====Replacing Foot with Dun=====&lt;br /&gt;
The key to the metrical problem of poetry translation is what is the metrical unit of the line, &amp;quot;word&amp;quot; (a syllable) as a unit or &amp;quot;dun&amp;quot; (syllables) as a unit. Bian Zhilin believes metrical poems should be translated in equivalent &amp;quot;duns&amp;quot; which can replace meters and this kind of translation is without the limit of word numbers. This theory is well thought out and based on rhythmic characteristics of Chinese. As Bian Zhilin analyzed that when we speak Chinese, we usually say two or three Chinese characters as a &amp;quot;dun&amp;quot; in most cases, one character at least as a &amp;quot;dun&amp;quot; and four characters at most as a &amp;quot;dun&amp;quot;. This is the internal rules of Chinese. Chinese poems constitute stanzas, stanzas constitute lines and lines constitutes &amp;quot;duns&amp;quot;. Therefore, &amp;quot;dun&amp;quot; is the natural rhythmic units of Chinese poetry and reveals poems' &amp;quot;inherent music-like rhythm and beat&amp;quot;.&lt;br /&gt;
 &lt;br /&gt;
However, that &amp;quot;dun&amp;quot; is the basic metrical unit of the Chinese poetry doesn't mean the number of duns in each line is exactly the same. Bian Zhilin advocates dun of two characters and dun of three characters should be arranged alternately and adjusted mutually to meet the needs of poetic expression and produce an effect similar to feet in western poetry.&lt;br /&gt;
&lt;br /&gt;
===Chapter 3 Analyses of Bian Zhilin's Translation Practice===&lt;br /&gt;
Bian Zhilin put his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and poetry translation strategies of &amp;quot;replacing foot with dun&amp;quot; into practice. Here are three poem excerpts of romantic poets and Bian Zhilin's translation of them.&lt;br /&gt;
&lt;br /&gt;
====William Blake's ''The Tiger'' in ''Songs of Experience''====&lt;br /&gt;
William Blake is a representative of English romantic literature. He was hailed by 20th century critics as &amp;quot;the great prophet&amp;quot; who was a pioneer of romanticism. He broke neoclassical traditions in the 18th century and emphasized instinct, passion and imagination. Besides, Blake is a revolutionary poet and expressed strong revolutionary passion and rebellious spirit in his poem. The Tiger is one of his earliest lyrical poems. It eulogizes the shape and strength of the tiger. Here is an excerpt of it:&lt;br /&gt;
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Tiger! Tiger! Burning bright&lt;br /&gt;
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In the forests of the night,&lt;br /&gt;
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What immortal hand or eye&lt;br /&gt;
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Could frame thy fearful symmetry?&lt;br /&gt;
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'''Bian Zhilin's Translation:'''&lt;br /&gt;
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老虎！|老虎！|火一样的辉煌，&lt;br /&gt;
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烧穿了|黑夜的|森林和|草莽，&lt;br /&gt;
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什么样|非凡的|手和|眼睛&lt;br /&gt;
&lt;br /&gt;
能塑造|你一身|惊人的|匀称？&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of dun.)&lt;br /&gt;
&lt;br /&gt;
The excerpt shows the praise for the tiger. In the poem, Blake uses symbolization and compares the tiger to a fire that destroys everything. Bian Zhilin represents the perfect creation of the creator with the symmetry of the tiger. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem on the guidance of his theory of &amp;quot;faithfulness, similarity and translation&amp;quot;. In the first line of the excerpt, the use of &amp;quot;Tiger&amp;quot; with exclamation marks is a kind of call of the tiger——the king of the forest. Bian Zhilin translates them faithfully into &amp;quot;老虎！老虎！&amp;quot;. The third line is a rhetorical sentence that asks without answering, which reminds readers of the Creator——God, thus making the poetry profound. Bian Zhilin follows the rhythmic characteristics of the original poem and translates it artistically.  &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin also makes his translation according to his theory of &amp;quot;replacing foot with dun”. The above stanza consists of four lines of trochaic tetrameter. Therefore, there are four feet in each line. And in translated version, there are four lines of four duns. Each duns contains two or three characters, thus make the structure of the translated poem neat and have a strong rhythm.&lt;br /&gt;
&lt;br /&gt;
====William Wordsworth's ''The“Lucy”Series''====&lt;br /&gt;
William Wordsworth is also an important poet in English romanticism. He was made poet laureate and he strongly promoted the innovation of English poetry and the development of the Romantic movement. He believes &amp;quot;Poetry is the spontaneous overflow of powerful feelings&amp;quot;. The following excerpt is taken from his &amp;quot;Lucy&amp;quot; series:&lt;br /&gt;
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A slumber did my spirit seal&lt;br /&gt;
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I had no human fears&lt;br /&gt;
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She seemed a thing that could not feel&lt;br /&gt;
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The touch of earthly years &lt;br /&gt;
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No motion has she now, no force&lt;br /&gt;
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She neither hears nor sees&lt;br /&gt;
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Rolled round in earth's diurnal course&lt;br /&gt;
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With rocks, and stones, and trees.&lt;br /&gt;
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'''Bian Zhilin's translation:'''&lt;br /&gt;
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迷糊|封住了|我的|精神；&lt;br /&gt;
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我没有|人世的|忧惶：&lt;br /&gt;
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她似乎|超然|物外，|不可能&lt;br /&gt;
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感觉到|岁月的|影响。&lt;br /&gt;
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现在|她无力了，|也不能|动弹；&lt;br /&gt;
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她不再|耳闻|目睹；&lt;br /&gt;
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卷在|地球的|日程里|滚转，&lt;br /&gt;
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混同了|岩石、|树木。&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
The above poem was written when Wordsworth went and stayed in Germany with his sister Dorothy in 1798 and 1799. It uses simple words and the meaning of the poems is quite clear. And Bian Zhilin's translation of the poem is quite faithful and vivid. &amp;quot;Slumber&amp;quot; in the first line of the original is translated into &amp;quot;迷糊&amp;quot; rather than &amp;quot;沉睡&amp;quot;, which gives readers a sense of &amp;quot;lazy charm&amp;quot;. And &amp;quot;fears&amp;quot; in the second line was translated into &amp;quot;忧惶&amp;quot;；it’s quite vivid and pertinent. Besides, the original poem consists of two stanzas with four lines of iambus. In each stanza, the first and the third line have four feet and the second and the fourth line have three feet. The whole poem follows the rhyme scheme of &amp;quot;a-b-a-b, c-d-c-d&amp;quot;. Bian Zhilin replaces feet in the poem with duns. There are fours duns in the first and the third lines and three duns in the second and fourth lines in translation. And the translated version follows the same rhyme scheme with the original. The whole poem is translated and expressed in quite appropriate way.&lt;br /&gt;
&lt;br /&gt;
====Percy Bysshe Shelley's ''Song to the Men of England''====&lt;br /&gt;
Percy Bysshe Shelley, as one of the famous romantic poets, pursued freedom and resisted violence in his short life. He encouraged people to stand and fight for a better life and was branded a &amp;quot;complete revolutionary&amp;quot; by Marx. And Song to the Men of England was written by Shelley after &amp;quot;Peterloo incident&amp;quot; in Manchester in 1819 to reveal the cruel nature of reactionary rulers and call on people to revolt bravely. Here is an excerpt of Song to the Men of England:&lt;br /&gt;
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Men of England, wherefore plough&lt;br /&gt;
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For the lords who lay ye low?&lt;br /&gt;
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Wherefore weave with toil and care&lt;br /&gt;
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The rich robes your tyrants wear?&lt;br /&gt;
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Wherefore feed and clothe and save&lt;br /&gt;
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From the cradle to the grave&lt;br /&gt;
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Those ungrateful drones who would&lt;br /&gt;
&lt;br /&gt;
Drain your sweat——nay, drink your blood?&lt;br /&gt;
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'''Bian Zhilin's Translation:'''&lt;br /&gt;
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英国的|人民，|为什么|犁地&lt;br /&gt;
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报答|老爷们|踩你们|成泥？&lt;br /&gt;
&lt;br /&gt;
为什么|辛勤|劳苦|去织布，&lt;br /&gt;
&lt;br /&gt;
让那些|恶霸|穿华丽|衣服？&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
为什么|你们|从摇篮|到坟冢&lt;br /&gt;
&lt;br /&gt;
尽供给|和保养|那许多|雄峰？&lt;br /&gt;
&lt;br /&gt;
他们|不感激，|还非常|坚决，&lt;br /&gt;
&lt;br /&gt;
要喝干|你们的汗|——再加|血；&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
This excerpt is about the clash between two classes of society, the poor working class and the rich nobles. The major theme of this poem is exploitation. People plow for the sake of the lords, who are like drone bees that do no work but live off of the works of others. The narrator is urging the workers to make a stand as they are being treated unfairly. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin practices his poetry translation strategies of &amp;quot;translating poetry in metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; in this poem. In the original poem, each of two stanzas consists of four lines of iambic tetrameter, rhyming &amp;quot;a-a-b-b, a-a-b-b&amp;quot;. In the translated version, there are also two stanzas composed of four lines. And in each line, there are four duns which replaces the four feet in the original poem. The rhyme scheme in translated version is the same as that in the original.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translate the poem faithfully and vividly. For example, he translates &amp;quot;lay ye low&amp;quot; into &amp;quot;踩你们成泥&amp;quot; which well preserves the images of the original work. And &amp;quot;tyrants&amp;quot; in the fourth line of the first stanza is translated into &amp;quot;恶霸&amp;quot; which is concise and accurate. In the second stanza, &amp;quot;From the cradle to the grave&amp;quot; modifies &amp;quot;the men of England&amp;quot; rather than those &amp;quot;ungrateful drones&amp;quot;, Bian Zhilin understands the linguistic structure of the poem and translates it into &amp;quot;你们从摇篮到坟冢&amp;quot;. &amp;quot;坟冢&amp;quot; is more formal than &amp;quot;坟墓&amp;quot; and it's suitable for poetry, from which we can see the precision of Bian Zhilin's choose of words. In the last line, Bian Zhilin uses a dash and the words &amp;quot;再加&amp;quot; to highlight the brutal nature of the rulers. Actually, this translation is a good practice of his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===Chapter 4 Critical Thinking of Bian Zhilin's Translation Theories===&lt;br /&gt;
There is no doubt that Bian Zhilin's translation theories greatly promoted the development of English poetry translation in China. His &amp;quot;faithfulness, similarity and translation&amp;quot; is the inheritance and innovation of Chinese traditional translation theories. And it indeed provides a new way for poetry translation. Besides, Bian Zhilin thinks poetry should be translated into poetry rather than prose. In other words, translators should translate poetry in a poetical and metrical way. He stresses the importance of the unity between form and content and thinks high quality translation should be a unity of content and artistic style of the original text.&lt;br /&gt;
&lt;br /&gt;
Despite Bian Zhilin's great contribution to literary translation theories, I think there are still some problems existing in Bian Zhilin's translation strategies. In Bian Zhilin's opinion, translators can replace foot with dun thus achieving similar rhythmical effect in Chinese version with the English original. It seems that it is a quite advisable and feasible method. Bur actually, it cannot be practiced widely. In English poetry, each foot consists of two syllables, which is fixed and regular. But things are changed in Chinese. The character numbers in each dun in Chinese are not fixed. There may be one or two or three or four characters in each dun, so different people may have different divisions of duns based on their different understanding of context. Therefore, the division of duns may be disordered and random, which makes &amp;quot;replacing foot with dun&amp;quot; not advisable in many cases.&lt;br /&gt;
&lt;br /&gt;
Another problem in Bian Zhilin's translation theories is the ignorance of metrical patterns of foot. In English poetry, there are different metrical patterns like iambus, trochee, spondee and pyrrhic and so on. But there are no such meters in Chinese. &amp;quot;Replacing foot with dun&amp;quot; only considers the correspondence of foot but ignores the correspondence of metrical patterns of foot, so Bian Zhilin's &amp;quot;translating poetry in metrical way&amp;quot; actually is not adequate. We know Chinese is a kind of tone language which has four tones. We can use four tones to correspond the metrical patterns of foot in English. But it's quite difficult in so far and still needs more exploration.&lt;br /&gt;
&lt;br /&gt;
===Chapter 5 Conclusion===&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. His literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and &amp;quot;translating poems in a poetical and metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; give us a lot of enlightenment in the translation of poems. This paper analyzes Bian Zhilin's translation of romantic poems to show his translation strategies. However, there are still some problems in his theories, for example, the division of duns are disordered and random which are based on the understanding of translators and there is no correspondence in metrical patterns of foot. These are the problems that are needed to be considered and solved.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Blake, William. Songs of Experience[M]. New York: Dover Publications, Inc., 1971.&lt;br /&gt;
&lt;br /&gt;
Durrant, Geoffrey. William Wordsworth [M]. Cambridge: Cambridge University Press, 1979.&lt;br /&gt;
&lt;br /&gt;
Nabokov, Vladimir. &amp;quot;Forward&amp;quot;, A.S.Pushkin, Eugene Onegin, Nabokov, V.trans. London: Routledge &amp;amp; Kegan Paul, 1964/1975, p.viii.&lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. Approaches to Translation. Oxford: Pergamon, 1981, p39.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2002).《卞之琳文集》（中卷）. 安徽教育出版社, p503.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2000).《卞之琳文集》（上卷）. 安徽教育出版社, p8.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(1994).《从&amp;lt;西窗集&amp;gt;到&amp;lt;西窗小书&amp;gt;》.[英] 克里斯托弗·衣修伍德《紫罗兰姑娘》, 卞之琳译. 中国工人出版社, p8-9.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2007).《人与诗：忆旧说新》（增订本）. 安徽教育出版社, p319.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2005). 《英国诗选》. 商务印书馆, p156.&lt;br /&gt;
&lt;br /&gt;
Chen Xiying陈西滢(1984).《论翻译》. 罗新璋编《翻译论集》. 商务印书馆, p401-402.&lt;br /&gt;
&lt;br /&gt;
Fu Lei傅雷(1984).《论文学翻译书》. 罗新璋编《翻译论集》. 商务印书馆, p694.&lt;br /&gt;
&lt;br /&gt;
Li Changshuan李长栓(2004). 《非文学翻译理论与实践》. 中国对外翻译出版公司, p57.&lt;br /&gt;
&lt;br /&gt;
Shen Suru沈苏儒(1998).《论信达雅：严复翻译理论研究》. 商务印书馆, p8.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜(1991).《西方翻译简史》.商务印书馆, p24.&lt;br /&gt;
&lt;br /&gt;
Yan Fu严复(1984).《&amp;lt;天演论&amp;gt;译例言》.罗新璋编《翻译论集》. 商务印书馆, p136.&lt;br /&gt;
&lt;br /&gt;
=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012, 37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær, 2015, 10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005, 9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004, 1. Translation is essential for cultures and languages to exchange information. Newmark (1988) defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects. Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
&lt;br /&gt;
Nida (1964) indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style. Larson (1998) has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context. &lt;br /&gt;
&lt;br /&gt;
Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”.(Snell-Hornby 1988, 33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957, 167. By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
&lt;br /&gt;
The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003, 16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
&lt;br /&gt;
This study is aimed to probe Newmark's (1988) translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988, 81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.&lt;br /&gt;
&lt;br /&gt;
===Translation and Culture===&lt;br /&gt;
&lt;br /&gt;
2. Translation and Culture &lt;br /&gt;
&lt;br /&gt;
Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
&lt;br /&gt;
The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988, 7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988, 5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988, 7).  &lt;br /&gt;
&lt;br /&gt;
In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford (1965) defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language” (Catford 1965, 20). According to Venuti’s translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader” (Venuti 1995, 18). Schjoldager stated that “a translation is a text that expresses what another text has expressed in another language” (Schjoldager 2008, 19). Culture is a complex whole which includes knowledge, belief, art, law, morals, customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan (2014), claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014, 2). Hermanns (1999) contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures. Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014, 2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark (2001), illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001, 328). &lt;br /&gt;
&lt;br /&gt;
Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
&lt;br /&gt;
2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
&lt;br /&gt;
Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora, fauna, food, clothes, housing, work, leisure, politics, law, and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988, 327) Christine Nord names them “culturemes” (Nord 1997, 9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012, 1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Aixela, 1997; Davies, 2003), others choose cultural words (Newmark, 2003) or culture-bound phenomena/concepts (Baker, 1992, Newmark, 2003, Robinson, 2003). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker, 1992, 21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988, 94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988, 95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988, 95).&lt;br /&gt;
&lt;br /&gt;
2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
&lt;br /&gt;
The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85, P. 22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003, 16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.&lt;br /&gt;
&lt;br /&gt;
===Types of Translation ===&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
Newmark (1988) determines 8 types of translation which are: &lt;br /&gt;
 &lt;br /&gt;
3.1 Word-for-Word Translation &lt;br /&gt;
&lt;br /&gt;
This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
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3.2 Literal translation &lt;br /&gt;
&lt;br /&gt;
In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
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3.4 Semantic Translation &lt;br /&gt;
&lt;br /&gt;
Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
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3.5 Adaptation &lt;br /&gt;
&lt;br /&gt;
This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015, 15). &lt;br /&gt;
&lt;br /&gt;
3.6 Free Translation &lt;br /&gt;
&lt;br /&gt;
The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
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3.7 Idiomatic Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
&lt;br /&gt;
3.8 Communicative Translation &lt;br /&gt;
&lt;br /&gt;
This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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&lt;br /&gt;
===Translation Strategies  ===&lt;br /&gt;
&lt;br /&gt;
4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
&lt;br /&gt;
4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela (1996), translators need to choose several strategies based on the source language culture and target culture.  He distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, he tries to command by the level of their intercultural intervention. He divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies). &lt;br /&gt;
&lt;br /&gt;
4.1.1. Conservation: &lt;br /&gt;
In conservation, the less compelling process includes repetition, orthographic adaptation, linguistic translation, extratextual gloss and intratextual gloss. &lt;br /&gt;
&lt;br /&gt;
4.1.1.1 Repetition: In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus, the translator keeps as much as possible the original reference (Aixela, 1996, p. 61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
&lt;br /&gt;
4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
&lt;br /&gt;
4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
&lt;br /&gt;
4.1.1.4 Extra-textual Gloss: Here, the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes, endings, words, ideas, translators in dictionaries, italics and so on. &lt;br /&gt;
&lt;br /&gt;
4.1.1.5 Intra-textual Gloss: It's like the past but the translator feels that he/she can include the globe as an indirect part of the text, not to distract the reader. &lt;br /&gt;
&lt;br /&gt;
4.2.1 Substitution &lt;br /&gt;
In substitution, According (Aixela, 1996) “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here”. &lt;br /&gt;
&lt;br /&gt;
4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
&lt;br /&gt;
4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
&lt;br /&gt;
4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela, 1997, p.63). &lt;br /&gt;
&lt;br /&gt;
4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Shokri, Ketabi, 2015, p.8). &lt;br /&gt;
&lt;br /&gt;
4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela, 1996, p. 64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
&lt;br /&gt;
4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela, 1997). &lt;br /&gt;
&lt;br /&gt;
4.3 Mona Baker’s Translation Strategies &lt;br /&gt;
Baker’s strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation. (Baker, 1992). He suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies, which are the following: &lt;br /&gt;
&lt;br /&gt;
4.3.1 Translation by a more general word: According to Baker, this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
&lt;br /&gt;
4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
&lt;br /&gt;
4.3.3 Translation by cultural substitution: This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
&lt;br /&gt;
4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
&lt;br /&gt;
4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
&lt;br /&gt;
4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
&lt;br /&gt;
4.3.7 Translation by omission: Losing phrases or words that are not vital to text development. &lt;br /&gt;
&lt;br /&gt;
4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view, however, Baker's (1992) translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
&lt;br /&gt;
===Cultural Categories  ===&lt;br /&gt;
5. Cultural categories &lt;br /&gt;
 &lt;br /&gt;
5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
5.1.2 Material culture &lt;br /&gt;
Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.” &lt;br /&gt;
5.1.3 Social culture &lt;br /&gt;
The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
5.1.4 Organisation &lt;br /&gt;
Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
 &lt;br /&gt;
5.2 Newmark Classification CSIs &lt;br /&gt;
Newmark (1988) established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items.&lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
 &lt;br /&gt;
Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
&lt;br /&gt;
2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
&lt;br /&gt;
3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
&lt;br /&gt;
4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
&lt;br /&gt;
5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
&lt;br /&gt;
6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
&lt;br /&gt;
7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
&lt;br /&gt;
8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
&lt;br /&gt;
9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
&lt;br /&gt;
10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
&lt;br /&gt;
11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
&lt;br /&gt;
12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
&lt;br /&gt;
13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
&lt;br /&gt;
14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
&lt;br /&gt;
16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
&lt;br /&gt;
17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
&lt;br /&gt;
18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
&lt;br /&gt;
19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
&lt;br /&gt;
20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
&lt;br /&gt;
21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
&lt;br /&gt;
22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
&lt;br /&gt;
23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
&lt;br /&gt;
24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996, 31), “translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by (Newmark 1988, 81), “translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.” &lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation, then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions. &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity, as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts, the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term, and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part, but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark (1988) has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9. &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark’s strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark (1988) were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However, the translator must be competent in using the translation procedures to provide an accurate translation. &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abdi, H. (2019). Translating culture-specific items (CSIs) as a conundrum for Iranian MA translation students: Considering the level of study. Journal of new advances in English Language Teaching and Applied Linguistics, 1(1), 88-109. &lt;br /&gt;
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Aguado-Gimenez, P., &amp;amp; Pérez-Paredes, P. F. (2005). Translation-strategies use: A classroombased examination of Baker’s taxonomy. Meta: journal des traducteurs/Meta: &lt;br /&gt;
Translators' Journal, 50(1), 294-311. &lt;br /&gt;
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Ahmadi, M. R.S and Nosrati, Fatemah. (2012). Domestication and Foreignization Strategies in Translation of Culture-Specific Items. Translations of English-Persian Children’s Literature. San Francisco: Grin Publishing. Google Books. &lt;br /&gt;
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Al Saleh, R. A. (2019). An Application of Newmark's Procedures to Muhammad Abul Quasem's Alleman, J. C. Bee. W. Ulitkin, I. Files, F., Zetzsche, J., Chatonnet-Marton, P. &amp;amp; y del Árbol, E. V. Translation Strategies. &lt;br /&gt;
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Al-Sofi, B. B. M. A., &amp;amp; Abouabdulqader, H. (2020). Bridging the gap between translation and culture: towards a cultural dimension of translation. International journal of linguistics, literature and culture, 6(1), 1-13. &lt;br /&gt;
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Baker, M., 1992. In Other Words: A Coursebook on Translation. London: Routledge, p.20–42. &lt;br /&gt;
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Blažytė, D., &amp;amp; Liubinienė, V. (2016). Culture-specific items (CSI) and their translation strategies in Martin Lindstrom’s&amp;quot; Brand sense&amp;quot;. Kalbų studijos, (29), 42-57. &lt;br /&gt;
&lt;br /&gt;
Bush, P. (1998) &amp;quot;Literary Translation.&amp;quot; In: M. Baker, ed. Routledge Encyclopedia of Translation Studies, London: Routledge, pp.127-130. &lt;br /&gt;
&lt;br /&gt;
Catford. J. C. (1965). A linguistic theory of translation. Oxford: Oxford University Press. &lt;br /&gt;
English Translation of Mohammad Al-Ghazali's Islamic Guidance.Literature and Culture, 6(1), 1-13. &lt;br /&gt;
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Gečaitė, L. (2020). Culture-Specific Items and Their Translation Strategies in Victoria Hislop's Novel The Sunrise.” (2020). &lt;br /&gt;
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Hassan, B. E. A. (2014). Between English and Arabic: A practical course in translation. &lt;br /&gt;
Cambridge Scholars Publishing. &lt;br /&gt;
&lt;br /&gt;
Hermans, T. (1999). Translation in systems. Manchester: St. Jerome Publication  House, J. (Ed.). (2014). Translation: a multidisciplinary approach. Springer. &lt;br /&gt;
Issa, A. L. S. M., &amp;amp; Hammood, L. H. R.- Quranic-Specific Phrases under the Study of Translation; Significance and Applications. &lt;br /&gt;
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Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. (33), p. 83-87). &lt;br /&gt;
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Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. 33, p. 83-87). &lt;br /&gt;
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Lambert, J. (1998) Literary Translation. In: M. Baker, ed. Routledge Encyclopedia of Translation Studies. London: Routledge, 130-134. &lt;br /&gt;
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Landers, Clifford E. (2001) Literary Translation: A practical guide. New Jersey University Press: Multilingual Maters. &lt;br /&gt;
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Lustig, Myron, W. and Koeser, Joline  (2003), Intercultural Competence: Interpersonal Communication Across Cultures, Boston: Allyn and Bacon. &lt;br /&gt;
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Malmkjær, K. (1993). Who Can Make Nice A Better Word Than Pretty? Collocation, Translation, and Psycholoinguistics. In: Baker, M., Francis, G. and Tognini-Bonelli, E. &lt;br /&gt;
eds. Text and Technology. Philadelphia/Amsterdam: John Benjamins Publishing Company. pp.213-32. &lt;br /&gt;
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Mosavat, S., &amp;amp; Rahimpour, S. (2016). The Most and Least Used Translation Strategies for &lt;br /&gt;
Conveying Culture-Specific-Items in Young Adult Literature from English into Persian. International Journal of Humanities and Cultural Studies (IJHCS) ISSN 23565926, 1853-1873. &lt;br /&gt;
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Munday, J. (1997). Systems in Translation: A computer-assisted systemic approach to the analysis of translation of García Márquez. Ph.D thesis, University of Bradford. &lt;br /&gt;
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Newmark, P. (2001). A Textbook of Translation. Shanghai: Shanghai Foreign Language &lt;br /&gt;
Education Press &lt;br /&gt;
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Newmark, Peter. (1988). A Textbook of Translation. New Jersey: Prentice-Halls &lt;br /&gt;
&lt;br /&gt;
Nord, Christiane. (1997). Translating as a Purposeful Activity: Functionalist Approaches &lt;br /&gt;
Explained. Manchester: St. Jerome. Accessed 10 November. 2018. Google Books Schjoldager, A. (2008). Understanding translation. Academica: Århus. &lt;br /&gt;
&lt;br /&gt;
Silalahi, M., &amp;amp; Lubis, S. (2013). Translation Procedures of Cultural Terms Found In Sejarah Bilingual For Students of Senior High School. &lt;br /&gt;
Valipoor, K., &amp;amp; andAzizeh Chalak, H. H. T. (2019). Cultural-specific items in translation of the Holy Quran by Irving: 43-51. &lt;br /&gt;
&lt;br /&gt;
Venuti, L. (1995). The translator’s invisibility: A history of translation. London and New York: &lt;br /&gt;
Routledge &lt;br /&gt;
&lt;br /&gt;
Widiarto, O. V. V. (2016). The translation procedures of cultural expressions applied in a game of thrones translated into Perebutan Tahta novel by Barokah Ruziati (Doctoral dissertation, Dian Nuswantoro University).&lt;br /&gt;
&lt;br /&gt;
=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
===An Overview on Translation Studies  ===&lt;br /&gt;
&lt;br /&gt;
===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
&lt;br /&gt;
=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the researcher wants to highlight the different concepts about the fundamental question &amp;quot;what is idiomatic expression&amp;quot; of different critics, theorists and linguistic experts, and prominent scholars of translation studies. Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
&lt;br /&gt;
Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda Corelli 2006, 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984, 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992, 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to (Newmark 1981, 11), “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”&lt;br /&gt;
.	The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to (Corelli 2006, 53), English has a sizeable idiomatic base.&lt;br /&gt;
About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.&lt;br /&gt;
The main issue that idiomatic and fixed expressions pose for translators, according to (Baker 1992, 65), is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.&lt;br /&gt;
&lt;br /&gt;
Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.&lt;br /&gt;
&lt;br /&gt;
===Literature Review ===&lt;br /&gt;
In this chapter, the author/researcher defines the strategy and its different definitions from the perspective of different subjects and fields. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented. Krings defines it as the content of the project, while Seguinet divided the term into three steps. However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. &lt;br /&gt;
&lt;br /&gt;
The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward.&lt;br /&gt;
Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint.&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to (Seguinot 1989, 27) (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.&lt;br /&gt;
&lt;br /&gt;
Furthermore, (Loescher 1991, 8) defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot; As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998, 4) claim moreover, (Bell 1998, 188) distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.&lt;br /&gt;
&lt;br /&gt;
According to (Venuti 1998, 240), &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot; He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to (Jaaskelainen 2005, 15), product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.&lt;br /&gt;
&lt;br /&gt;
Furthermore, (Jaaskelainen 2005, 16) distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making. (Newmark 1988, 221) distinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016, 13).&lt;br /&gt;
&lt;br /&gt;
The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010, 15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017, 54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
&lt;br /&gt;
Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985, 9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female.&lt;br /&gt;
Several research articles are found on translated work (license and khol do) of Urdu famous short stories writer Sadat Hassan Manto's from a different perspective like psychoanalysis, postcolonial, feminist approaches but to explore the problem of translations strategies face by translator Aatish Taseer during the process of translation has not been mention till date. To summarize this, the research includes a critical, in-depth, comprehensive analysis of issues that previously did not address.&lt;br /&gt;
&lt;br /&gt;
=== Theoritical Framework ===&lt;br /&gt;
&lt;br /&gt;
Different strategies have been used, like using an idiom of similar meaning and similar form, the idiom of similar meaning and different form, translation by Paraphrasing, translation by omission. The approach of employing idioms of similar meaning and form, according to Mona Baker, entails using an idiom in the target language that can express about the same meaning as the source language idiom, as well as having lexical similarity. On the other hand, this type of matching happens periodically as well as regularly.&lt;br /&gt;
&lt;br /&gt;
Similarly, employing idioms with similar meanings but different forms means that it is possible to locate an idiom or fixed expression in the target text language that has a similar meaning to the source idiom or expression but is made up of distinct lexical elements. Consider the case of English and French, both of which use the idiom mentioned above. In English, one good deed is rewarded with another, whereas in French, handsome deeds are rewarded with handsome deeds.&lt;br /&gt;
&lt;br /&gt;
Furthermore, we did not come across any idioms in the category mentioned above during translating idioms. To deal with this issue, the translators used the most popular approach, known as a translation by paraphrase, which is short, straightforward, and time-saving. When a match cannot be identified in the target language or when it appears improper to employ idiomatic language in target material due to aesthetic differences between the source and target languages, this is the most typical approach for translating an idiom from source to target language. However, one thing to keep in mind is that a perfect translation is not required is necessary or possible.&lt;br /&gt;
&lt;br /&gt;
Last but not least, to overcome the problem of idiom translation, the translator employs the strategy of translation by omission. This can be defined as an idiom being omitted entirely in the target text with a single word. This is done because the idiom has no close match in the target language; its meaning cannot be easily paraphrased or due to stylistic reasons. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
3.4 Data analysis Techniques:&lt;br /&gt;
Textual analysis is the method of data analysis in qualitative research that brings forth the hidden and potent message, structure, and function of research in giving text, Alan Mckee (defines textual analysis as whenever we perform textual analysis on the text, we make an educated guess at some time of the most likely interpretations that might be made of that text (Alan Mckee 2001, 3)&lt;br /&gt;
Analysis of the translation of short stories in light of Mona baker's theory &amp;quot;khol do and license&amp;quot; are short stories written by Sadat Hassan Manto and translated by many translators from Urdu into English. During translation, the translator adopted many strategies for translating idiomatic expression, sometimes by Paraphrasing, sometimes by omission, sometimes using similar idioms of form and meaning while sometimes using different words and the same form, the whole.&lt;br /&gt;
&lt;br /&gt;
===Discussion and Analysis===&lt;br /&gt;
&lt;br /&gt;
The chapter analyzes and discusses all the data collected by the author/researcher from different sources. All the examples of idioms are first identified, then translated into the target text, and back-translated for the sole purpose of exploring the strategies being used by the translator. A separate section is given to every strategy with its related example. Moreover, the idiomatic expression, the target work for finding, is highlighted through the bold letter.&lt;br /&gt;
&lt;br /&gt;
4.1	Translation by Paraphrasing:&lt;br /&gt;
&lt;br /&gt;
Based on our findings, the most often used strategy was &amp;quot;translation by paraphrasing.&amp;quot; An inspection also reveals that Aatish Taseer preferred this strategy. Here are some examples applied by the translators, and in the following section, the logic behind their preference towards this strategy is elaborate. The following are examples from two short stories of Sadat Husain Manto's &amp;quot;khol do&amp;quot; and &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 1: &lt;br /&gt;
&lt;br /&gt;
ST: Sirajuddin ne subah das baji anki kholi to logo ka ail mutalatam samandar deka.&lt;br /&gt;
&lt;br /&gt;
TT: Ten a.m., Siraj Uddin opens his eyes on the cold floor of the camp, seeing the swelling sea of men.&lt;br /&gt;
&lt;br /&gt;
BT: sub ke das baji jab Sirajuddin ne apni anki koli to logo ka aik ublaha howa samandar ka nizara dekni laga.&lt;br /&gt;
&lt;br /&gt;
So, the above idioms are literal idioms being translated with the help of Paraphrasing because there is no perfect equivalent of mutalatam words in English languages. A similar look at another idiom from short stories &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&lt;br /&gt;
ST: Khuda tomahra bala kari.&lt;br /&gt;
&lt;br /&gt;
TT: Your God will reward&lt;br /&gt;
&lt;br /&gt;
BT: Is ka badla khoda tomahi di.&lt;br /&gt;
&lt;br /&gt;
Here, the word reward is being used for Bala Kari, an example of transitional by Paraphrasing.&lt;br /&gt;
Let  take another example from &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
&lt;br /&gt;
ST: unkho nai Jan khateli pa rak kar sakena ko donda.&lt;br /&gt;
&lt;br /&gt;
TT: even putting their lives online, they search sakina &lt;br /&gt;
&lt;br /&gt;
BT: apni zindagio ko khatri me dal kar unkho nai sakina ko dond nekala.&lt;br /&gt;
&lt;br /&gt;
The above idioms are examples of pure idiom translated from Urdu into English with the help of paraphrases strategies. However, under the same strategies, the idioms of another short story of Manto,s &amp;quot;license,&amp;quot; are translated by Aatish Taseer. Some of the examples are given below.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
ST: Abu kochwan bara cheel jabela ta. It is the binomial type of idioms taken from the first sentence of the short story &amp;quot;license&amp;quot; by Sadat &lt;br /&gt;
Hasan Manto &lt;br /&gt;
&lt;br /&gt;
TT: Abu kochwan is stylish man.&lt;br /&gt;
&lt;br /&gt;
BT: Abu kochwan aik wazahdar admi ta.&lt;br /&gt;
&lt;br /&gt;
From the above idiom, it is clear that there is no perfect equivalence of cheela chabela idiom in English; that is, the translator goes &lt;br /&gt;
through paraphrasing strategies. Look at another example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
ST: Lein har waqat bank bani rekhi ka usi be had showk ta&lt;br /&gt;
&lt;br /&gt;
TT: He had a weakness for style and fashion.&lt;br /&gt;
&lt;br /&gt;
BT: Dan saj ke rekhna uski kamzori me sai ik ta.&lt;br /&gt;
&lt;br /&gt;
So all of the above examples, which are analyzed one by one, are examples of idioms being translated through paraphrasing strategies. (De Beaugrande and Dressler 1981, 50) define paraphrases as &amp;quot;approximate conceptual equivalence among outwardly different material.&amp;quot; Similarly, in this regard, Hirst defines paraphrases as &amp;quot;talk(ing) about the same situation in a different way.&amp;quot; Munday declared that &amp;quot;equivalence is particularly useful in translating idioms and proverbs” For instance, if the English idiom like a bear with a sore head is rendered into Persian as (mesle borje zahremar), meaning like a tower of snake venom, the strategy of equivalence has been applied. &lt;br /&gt;
&lt;br /&gt;
According to Leonardi, &amp;quot;Equivalence can be said to be the central issue in translation.&amp;quot; In this regard, house believes that &amp;quot;a translation text should match not only its source text in function but also employ equivalent situational-dimensional means to achieve that function&amp;quot; (Baker 2002, 49).  who shares this approach, states that equivalence is used &amp;quot;for the sake of convenience—because most translators are used to it rather than because it has any theoretical status&amp;quot; (Kenny 1998, 77). &lt;br /&gt;
&lt;br /&gt;
Despite different attitudes to the concept of equivalence, most specialists pay much attention to its meaning in the theory of translation. The translation is a form of communication, and that is why it is vital to establish equivalence between the source text and the target text. Although Vinay and Darbelnet believe that equivalence is used differently than in modern translation theory, it is evident that equivalence is one of the basic concepts of translation that cannot be neglected. Consequently, based on the Above mentioned studies using Paraphrasing in translation stands as the core concept in the process of translation, and still, most of the translators cling to it for producing a more comprehensible and explicable text. These language ideas and translation models are ideal constructs, presented abstractly in order to be differentiated precisely. They may exist in an uneasy combination in actual theories and practices, resulting in logical tensions or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation. Theories and actions must be contextualized in historical settings. They've been utilized as analytical tools to describe various topics in section introductions. Theoretical writings and current events these language notions and translation models are ideal constructs expressed in an abstract manner in order to be distinguished precisely in real-life hypotheses they may exist in an uncomfortable mix, resulting in logical conflicts or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
4.2	Using an idiom of Similar Meaning and Form &lt;br /&gt;
&lt;br /&gt;
As mentioned earlier, this strategy type is being used by Aatish Taseer during their translated work of Manto's short stories &amp;quot;khol do&amp;quot; and&amp;quot; license&amp;quot; on an occasional basis. Some examples are mention below.&lt;br /&gt;
&lt;br /&gt;
From khol do.&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
ST: Larki ka rang zard hogaya.&lt;br /&gt;
&lt;br /&gt;
TT: The girl's face became fail&lt;br /&gt;
&lt;br /&gt;
BT: larki ka rang zar hogya.&lt;br /&gt;
&lt;br /&gt;
Similarly, another example from the license is&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: Abu our us ke mat beer hogaie&lt;br /&gt;
&lt;br /&gt;
TT: They fall in love with each other.&lt;br /&gt;
&lt;br /&gt;
BT: WO ik dosri ke mokhbat me geriftar hogaie&lt;br /&gt;
&lt;br /&gt;
The above idioms are pure ones and are being translated with the help of similar meanings and similar forms.&lt;br /&gt;
&lt;br /&gt;
The procedures: transposition, modulation, equivalence, and adaptation, and when it comes to defining the term Equivalence, (Vinay and Darbelnet 2000, 90) propose that it consists in rendering &amp;quot;the same situation … by two texts using completely different stylistic and structural methods&amp;quot;, and when it comes to translating idiomatic expressions like &amp;quot;Il pleut à seaux&amp;quot; it can be translated as &amp;quot;It is raining cats and dogs&amp;quot; using the idiom of similar form and meaning in the target language.&lt;br /&gt;
&lt;br /&gt;
As (Baker 1992, 12) states, this strategy involves using an idiom in the TL which conveys roughly the same meaning as that of the source language idiom and, in addition, consists of identical lexical items. The salient point is that this kind of match can only occasionally be achieved, which cannot be picked up more often by translators. Accordingly, both translators mentioned in the current study had quite a slim chance of using this strategy type. &lt;br /&gt;
&lt;br /&gt;
4.3 Using an idiom of similar meaning but different form:&lt;br /&gt;
&lt;br /&gt;
During translating Manto short stories, &amp;quot;khol do&amp;quot; and &amp;quot;license,&amp;quot; some of the idioms are translated with the help of this strategy. Some of the examples are given below from two different short stories.&lt;br /&gt;
&lt;br /&gt;
Example number one is from the short story &amp;quot;khol do&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
ST: Aur bolwai gos ayai thee?&lt;br /&gt;
&lt;br /&gt;
TT: The roitors come abroad.&lt;br /&gt;
&lt;br /&gt;
BT: pasadi bahar agai hai.&lt;br /&gt;
&lt;br /&gt;
The above idiom is a pure type of idiom being translated with the help of above mention strategy. The word rioter is being used for bolwai, which is not a perfect word for bolwai. In Urdu bolwai, people believe in violence when minorities or the low population of any country want some rights. These people stop them by using violence, burn down their properties, rapes women, and do things like that. Another example from the license is below.&lt;br /&gt;
&lt;br /&gt;
Example 9:&lt;br /&gt;
&lt;br /&gt;
ST: Dosri kotwal abu ko dek kar jal ban ho jati.&lt;br /&gt;
&lt;br /&gt;
TT: The other coachman burn with envy.&lt;br /&gt;
&lt;br /&gt;
BT: Abu ke kamyabi dek kar aur kotwal abu sai khasad karni lagi’&lt;br /&gt;
&lt;br /&gt;
The above idioms are a pure idiom that reflects the effect of jealousy between competitors to achieve equivalency. Aatish Taseer uses envy word for jal ban instead of other which have similar meaning but different form. Look at the other example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: Dino lat vo lagal se kam karni laga.&lt;br /&gt;
&lt;br /&gt;
TT: Dino came with an excuse.&lt;br /&gt;
&lt;br /&gt;
BT: Dino abb bahi tarashni laga.&lt;br /&gt;
	&lt;br /&gt;
The above idioms are types of binomial idioms translated with the help of idioms with similar meanings and different forms. (Newmark 1988, 81) mentions the difference between translation methods and translation procedures. He writes that &amp;quot;[w]hile translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language&amp;quot; (Newmark 1988, 81). Idiomatic translation in his definition reproduces the 'message' of the original. However, it distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original, leading to using an idiom of similar meaning but a different form. Besides, it is often possible to find an idiom or fixed expression in the target language with a meaning similar to that of the source idiom or expression but which consists of different lexical items (Baker 1992, 12). Therefore, translators discover idiomatic expressions in the target language with different forms than in the source language. In the current study, the translators approached this strategy merely for 9% of the total times, which means the frequency of Iranian and English idioms with the same meaning and different forms is not considered high. &lt;br /&gt;
&lt;br /&gt;
4.4 Translation by omission:&lt;br /&gt;
&lt;br /&gt;
A translator is less using these strategies, and we did not find any clue on this type of strategy in an area under consideration.&lt;br /&gt;
&lt;br /&gt;
=== Findings===&lt;br /&gt;
&lt;br /&gt;
(Mandelbit 1995) believed that idioms with different cognitive mapping in the target language would be more challenging to translate. After conducting study and data analysis of collected data, the result revealed that the translator frequently used three out of four strategies of the Mona Baker model during the translation process, which is a translation by Paraphrasing, translation by similar meaning and similar form, translation by similar meaning and different form. In contrast, translation by omission does not found in his work.&lt;br /&gt;
After detail and careful analysis of data, more than half of idioms like &amp;quot;swelling sea of man,” my lord break his arrogance, “weakness for style and fashion.&amp;quot; As I mentioned earlier, many more are translated under the umbrella of Paraphrasing, which is considered the most common method used for translating idioms.&lt;br /&gt;
&lt;br /&gt;
Similarly, we also reflect strategies like similar meaning and different form and similar meaning and similar form. The idiom &amp;quot;rioter came abroad,” burn with envy,” The girl's face became pale, &amp;quot; They fall in love with each other&amp;quot; are translated with the help of two mention strategies, respectively.&lt;br /&gt;
&lt;br /&gt;
Although translation by omission is a strategy used on rare occasions because of its meaning, its meaning cannot be easily paraphrased or stylistic reason. Here, the researcher also did not find any idiom translated with the help of the omission strategy.&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
Go through detailed discussion and analysis of data collected from my source. We finally concluded that the idioms present in two short stories, &amp;quot;khol do&amp;quot; and &amp;quot;License,&amp;quot; are translated under the frame of Mona Baker's idiomatic model. Translation by Paraphrasing is mainly used while idioms of similar meaning and form and idioms of similar meaning and different forms are used occasionally. The researcher discusses all the strategies with related examples in the order of maximum used to minimum used. The strategy by omission did not find it works. All the data are collected from different sources and analyzed with the help of different researcher tools, and the result is written in light of the finding. Different from previous studies, the writer presents the strategies to translate idioms by each type of idiomatic expression found in the story. From the result, it is considered the translation of idiomatic expressions in the story is quite accurate. As the number of accurate data is more the data which is not related to the translation. We take conclusion from the translation through idiomatic expression and paraphrasing is the best way to translate a novel or a story however it is very difficult job to do because it needs more accurate and precise knowledge about the source language and an inspiring method to express ideas in the target language. However, translation is thing through which we can connect the world with each other and also we can study and observe diverse cultures.            &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abu-Saydeh, A. F. (2004). Translation of English idioms into Arabic. Babel, 114-131.&lt;br /&gt;
&lt;br /&gt;
Ahsan, S. (2020). A comparative study of two translations of manto's short story &amp;quot;Toba Tek&amp;quot;. International Journal of English Language Studies, 12-27.&lt;br /&gt;
&lt;br /&gt;
Alexander, R. J. (1987). Mimeograph. In R. J. Alexander (Ed.) Collocation and Culture. Trier: University of Trier, West Germany.&lt;br /&gt;
&lt;br /&gt;
Al-Qinai, J. (2000). Translation quality assessment. strategies, parameters and procedures. Translator's Journal, 497-519.&lt;br /&gt;
&lt;br /&gt;
Bayashi, J. (2020). Japanese-English translation: An advanced guide. Oxfordshire: Routledge.&lt;br /&gt;
&lt;br /&gt;
Das, V. &amp;amp;. (1995). Critical events: An anthropological perspective on contemporary India. New Delhi: Oxford Printing Press.&lt;br /&gt;
&lt;br /&gt;
Mufti, A. (2007). The Language of English India. In I. &amp;amp;. End (Ed.) Enlightenment in the Colony. Princeton University Press.&lt;br /&gt;
&lt;br /&gt;
Waka Xia, L. (2019). A discourse analysis of news translation in China. Syydney: Routledge.&lt;br /&gt;
&lt;br /&gt;
= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
===Ambiguity===&lt;br /&gt;
&lt;br /&gt;
===Lexical and Structural Mismatches===&lt;br /&gt;
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===Multiword units: Idioms and Collocations===&lt;br /&gt;
&lt;br /&gt;
===Summary===&lt;br /&gt;
&lt;br /&gt;
===Further Reading===&lt;/div&gt;</summary>
		<author><name>Atta Ur Rahman</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=130907</id>
		<title>Translation types, strategies, styles, methods</title>
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		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* Introduction */&lt;/p&gt;
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&lt;div&gt;'''Translation types, strategies, styles, methods'''&lt;br /&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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==Abstract==&lt;br /&gt;
''Legend of Zhen Huan'', as an excellent Chinese TV series, has successfully entered the American market. However, the American version of Legend of Zhen Huan still has some shortcomings in translation. By comparing and analyzing the subtitle texts of the ''Legend of Zhen Huan'' in China and the United States, this paper aims to discuss the problems existing in the overseas translation of the ''legend of Zhen Huan'' and the translation strategies and methods adopted in the subtitle translation of the American version, so as to provide some enlightenment for Chinese costume dramas to reach the world in the future.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
Translation strategy and translation methods; ''Legend of Zhen Huan''; Subtitle translation&lt;br /&gt;
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==Introduction==&lt;br /&gt;
The TV series ''Legend of Zhen Huan'' is Imperial-harem competing play produced by the Beijing Television Arts Center in 2011. This play is adapted from a novel of the same name written by Liu Lianzi, which mainly tells the story of the young girl Zhen Huan growing up from an unsophisticated young girl to an empress dowager who is good at politics. Since its debut in China in 2012, ''the Legend of Zhen Huan'' has been a hit among Chinese audiences, with its ratings rising and even forming “Zhen Huan craze” for a time. The reason why the play has received so much praise, on the one hand, is that the film and television script is well-produced; on the other hand, it is because the plots and dialogues of the characters in the play cover a wealth of historical and cultural knowledge, embodying the profundity of Chinese culture.&lt;br /&gt;
Due to its great success in the domestic market, the series finally attracted the attention of foreign producers: the American team adapted the original ''Legend of Zhen Huan'', cutting the 76-episode original drama into six episodes,which was officially launched on Netflix’s paid website in the United States on March 15, 2015. It is the first Chinese TV series to be broadcast on mainstream TV stations in the United States. &lt;br /&gt;
However, the American version of the ''Legend of Zhen Huan'' failed to be sought after by audiences in the US, with most viewers abandoning the show after only one or two episodes.The English lines of the ''Legend of Zhen Huan''’s have ever been criticized by some Chinese audiences. After a deep study of the reason, in addition to the lack of content caused by a large amount of deletion and cutting, another important reason is the insufficiency of subtitle translation. This paper attempts to explore the translation strategies of the subtitle of ''Legend of Zhen Huan'', hoping to provide some inspiration for the subtitle translation of domestic film and television works of the same type.&lt;br /&gt;
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==Literature Review==&lt;br /&gt;
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===Previous studies in Subtitle Tranlation abroad===&lt;br /&gt;
In the early 1970s, Doller Up (1974) published a paper entitled “On Subtitle in TV Programs” on Babel, an authoritative journal of the International Association of Translators, which was the first time that scholars paid special attention to subtitle translation. In addition, he creatively pointed out the great value of TV subtitles to foreign language teaching, and then made contributions to the cause of education.&lt;br /&gt;
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In 1976, Istvan Fodor published a book called Film Dubbing: Aspects of Phonology, Semiotic Aesthetics, and Psychology, which centered on film dubbing from an acoustic perspective. Fodor argues that because each country’s language and culture are unique and irreplaceable, it is almost impossible to achieve perfect “synchronization” in all aspects of the translation of film(Fodor 1976:82).&lt;br /&gt;
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In 1982, Christopher Titford first proposed the concept of “restricted translation” in his article “Subtitling: Restricted Translation”. He believes that the limitations of film and television as a medium themselves are the main cause of problems encountered by translators in practice (Titford 1982:113).&lt;br /&gt;
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In 1992, Ivarsson, a Swedish subtitling translation scholar, published his book Subtitling for Media: A Handout of Art, which can be said to be the first comprehensive study of subtitling translation works in Europe. In this book, Ivarsson introduces the development of subtitle translation technology in detail. The most representative subtitle translation scholars are Gambill and Gottlieb, who are two translation theorists. Yves Gambill, a Finnish translator, is a very important expert in the field of film and television translation. Gambill has a wide range of research fields, he has compiled a large number of academic monographs, such as language transfer and Audiovisual Communication: bibliography, which discusses the classification of translation patterns, translation strategies, translation audience and so on (Gambill 1997).&lt;br /&gt;
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===Previous studies on Subtitle translation at home===&lt;br /&gt;
The research on subtitle translation in China mainly focuses on the English translation of Chinese films, and a large number of such papers and articles have been published, which are also the most representative research results of subtitle translation in China. In addition, with more and more domestic films moving toward the international stage, some attention has been paid to the study of Chinese subtitles.&lt;br /&gt;
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The study on Chinese and English subtitle translation can be divided into several fields, including film and television language characteristics, subtitle translation methods, subtitle translation history and so on.&lt;br /&gt;
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Subtitle translation methods can be broadly divided into two categories. One category refers to some practical translation methods and skills summed up by translators based on their years of translation experience, such as the seven kinds of experiences of film and television translation proposed by Qian Shaochang (2000), which stresses the importance of “translation” in the output of films and TV plays. The other is related to domestic MA papers. They usually start with some translation theories, such as German functional translation theory, Eugene Nida’s functional equivalence theory, relevance theory, and Susan Basnett’s cultural translation theory, and finally conclude translation methods such as domestication, foreignization, literal translation, free translation, omission and so on.&lt;br /&gt;
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In recent years, with the increasing popularity of American TV series in China, the phenomenon of online subtitle translation has begun to attract attention from all sides. As time went by, subtitle translation goes beyond the simple purpose of satisfying the entertainment needs of movie fans, and begin to be applied to teaching practice and students’ self-learning process. This phenomenon is bound to attract academic attention. For example, Wang Hui (2005) discussed this issue in his article “The Impact of Subtitling on Vocabulary Acquisition”. This paper draws some conclusions which are beneficial to foreign language teaching.&lt;br /&gt;
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However, there are still many deficiencies in the study on subtitle translation. The only literature we can refer to is few books on the translation of film and television subtitle. In other words, subtitle translation is not discussed in detail.&lt;br /&gt;
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==Subtitle translation features==&lt;br /&gt;
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===Subtitle translation needs to be brief and comprehensive===&lt;br /&gt;
Subtitle translation should not be lengthy for two reasons: First, because the screen keeps switching, each screen stay can not be very long, the scene with the character’s dialogue switches over more quickly, in a matter of seconds, which is fleeting. Second, whether it is the large screen in the cinema or the small screen in the home, due to space constraints, if the subtitle translation is not simple enough, it will lead to an increase in the number of words in the target language, not to mention the English words that take up more space than Chinese phrases. English words take up more space than Chinese phrases.&lt;br /&gt;
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Take the Chinese phrase “Computer”for example, the English equivalent word is computer. The Chinese verb “来”corresponds to the English word “Come”. In general, English words have more characters than their Chinese counterparts, except in rare cases. Since the length of the word can not be artificially controlled, subtitle translation will put a higher demand on the number of words. In a typical presentation, Chinese and English subtitles are displayed simultaneously at the bottom of the screen, up to two lines of Chinese and two lines of English.&lt;br /&gt;
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If there are too many words, the limited space can not accommodate in a few seconds, the audience will have a dazzling feeling as well. Therefore, one of the distinctive features of subtitle translation is its concise use of words.&lt;br /&gt;
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===Subtitling translation requires natural equivalence===&lt;br /&gt;
The subtitling of the target language should be as natural as the subtitling of the source language. The subtitle translation discussed in this paper is mainly about the dialogue of the characters in the play. On the one hand, the style of dialogue is colloquial, in this sense,It is important   for the translator to pay attention to whether the subtitle translation that the target language audience can hear and see is in line with their daily speaking style.If the original spoken language is translated formally and rigidly, the audience of the target language will feel less natural and fluent, and their movie-watching experience can not be comparable with that of the source language audience. On the other hand, the spoken language features of the characters can clearly shape the characters in the play. If the translator does not grasp the spoken features of the characters, the target audience can not understand the character’s connotation as well as the source audience.&lt;br /&gt;
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Therefore,if a character needs to say something filthy, or even taboo, to make the character stand out, the subtitle translator must also translate the same filthy and taboo.These taboos should inevitably appear in the subtitle translation, and we should not mince words about them. The same is true of English to Chinese subtitle translation and Chinese to English translation. Because these taboo words are the extension of the role connotation, improper handling will affect the target audience's understanding of the connotation of the role.&lt;br /&gt;
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===Subtitle translation needs to be easy to understand===&lt;br /&gt;
The film and Television Play is the Popular Entertainment Program, so subtitle translation should be clear at a glance. There are thousands of people watching TV dramas, and their knowledge and cultural level vary widely, and their appreciation level is naturally mixed.Film and TV series have such a wide audience, which requires subtitle translation to take care of the needs of the majority of the audience whether from the perspective of box office and Audience Rating, or from the perspective of cultural communication.&lt;br /&gt;
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==Theory of Domestication and Foreignization==&lt;br /&gt;
In the process of translation, the translator should determine the general direction of translation, cultivate a good sense of culture, and fully understand that translation is an important feature of information exchange across different languages and cultures. But how to achieve that? There are two opposite strategies in translation: foreignization and domestication. The terms of domestication and foreignization were put forward by Laurence Venutti in his book Translators’ invisibility in 1995:&lt;br /&gt;
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===Domestication===&lt;br /&gt;
The domestication strategy is to localize the source language, take the target language or target readers as the destination, and convey the content of the original text in the way that the target language readers are accustomed to.Domestication requires the translator to be closer to the target language reader, and the translator must speak like the native author.This translation strategy will often make the translation transparent, smooth, relaxed and natural, close to the reader to the greatest extent, so as to dilute the strangeness brought by the original text.In film and television subtitle translation, domestication is often used in order to make the audience understand the film smoothly.&lt;br /&gt;
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===Foreignization===&lt;br /&gt;
The foreignization strategy is completely opposite to the domestication strategy, which is oriented by the source language culture and that &amp;quot;the translator should not disturb the author as much as possible to make the reader close to the author&amp;quot;.Foreignization advocates believe that the main purpose of translation is cultural communication, so the translation should try its best to preserve the language and cultural information contained in the source language.Only in this way can the exchange and fusion of source and target cultures be achieved through translation. In addition, they believe that the translator should believe the reader’s imagination and intelligence to the utmost, and believe that when reading the translated version, the reader should not only understand the simple words, but also understand the foreign culture through the words, and they have the capacity to understand the culture. &lt;br /&gt;
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Of course, as two translation strategies, domestication and foreignization are the unity of opposites and they complement each other. Absolute domestication and absolute foreignization do not exist.&lt;br /&gt;
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==Case Study==&lt;br /&gt;
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===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
The essence of “foreignization”is “the tendency toward the original author”, that is, the translator tries to be close to the original author in his translation (Xiong Bing, 2014). In the words of the Friedrich Schleiermacher, this means that the translator“Tries not to disturb the original author, but to take the reader to the original author”(Robinson, 2006:229) . Specifically in Translation, the translator tries to retain the original language, literariness, cultural characteristics and exotic customs (Xiong Bing, 2014) . Therefore, the nature of foreignization strategy is mainly in favor of the original author, and its defects are mainly reflected in the readability of the translation. In other words, the translation may be blunt and not well received and understood by the audience. Therefore, the translation effect is not ideal for the target audience.&lt;br /&gt;
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====Literal Translation====&lt;br /&gt;
Literal translation means keeping both the content and the form of the original text in the translation when the language conditions permit, especially the metaphor, image, national and local color of the original text.The vast majority of subtitle translation of the Us version of ''Legend of Zhen Huan'' adopts literal translation. Look at the following example:&lt;br /&gt;
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Example 1&lt;br /&gt;
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Chinese version：嬛嬛一袅楚宫腰。&lt;br /&gt;
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American version：the slim waist of the concubines of the Chu palace.&lt;br /&gt;
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For the word “Huan”in the name of Zhen Huan, the American version uses the Foreignization method, which is translated literally as the slim waist of the concubines of the Chu palace.Western audiences may be confused by the subtitles,Western audiences may be confused by the subtitles, because Zhen Huan is clearly a woman from the Qing Dynasty, how come another Chu Palace? In terms of accuracy and the conveying of cultural context, this translation is well-done, but it creates a barrier for the audience to understand. Therefore, the translation can throw out on its real meaning, such as translated into As my name, Huan, means graceful women with slim waist, &amp;quot;Chu palace&amp;quot; here means can be omitted.&lt;br /&gt;
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Example 2&lt;br /&gt;
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Chinese version：一片冰心在玉壶&lt;br /&gt;
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American version：A jade vessel is the symbol of a pure heart.&lt;br /&gt;
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“Jade Vessel”in Chinese has a unique associative meaning, while the meaning of these words in English is vacant. Western audiences just think that Dr. Wen is evaluating his character, but they can’t hear his pure love for Zhen Huan, so on the basis of foreignization, it’s better to add some domestication translation to make it easier for the audience to understand.&lt;br /&gt;
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The American versions of examples 1 and 2 are very literal and concise translations, because the original subtitles have no hidden meaning.However, due to the wrong choice of translation methods, a small number of translated subtitles are just like translation cavities.If the cultural significance of the original text is lost, the translation may be regarded as a failure.In a sense, actors’ performances and lines are the &amp;quot;booster&amp;quot; of the plot development of the TV series.However, if the audience can not understand the original meaning, the story will be much less attractive in the eyes of the audience.For example:&lt;br /&gt;
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Example 3&lt;br /&gt;
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Chinese version：“赏你一丈红”&lt;br /&gt;
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American version：Then I will award Attendant Xia the Scarlet Red.&lt;br /&gt;
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In the original subtitle of example 3, “一丈红” (yi zhang hong,  literally “two-meter-long red”) is used to punish a palace maid or a  concubine who had done something wrong in China’s ancient imperial palace. The specific content of the penalty goes as follows: a two-meter-long and two-inch-thick board was used by the performer to give the guilty palace maid or concubine a good beating on their waist or the place below it until their bones were broken and the blood gushed out.   Looking from the distance, you will see that the blood covered a long distance. Thus, it is called “一丈红”. &lt;br /&gt;
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In the American version of Legend of Zhen Huan, it is translated into “the Scarlet Red”. the word Scarlet itself means “Lewd and sinful,”as in the Scarlet letter. It is very appropriate to translate &amp;quot;red&amp;quot; with scarlet. However, this partial literal translation runs counter to the American audience’s way of thinking, which they think it as nothing more than a horror show. In this way, the specific penalty content will be lost, and the target audience can't feel that the harem struggle is everywhere in the court, and can't get the equal effect for them.&lt;br /&gt;
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In this way, the specific content of the penalty will be lost, the target audience can not feel the Harem struggle existed everywhere in the imperial court and the equivalent effects cannot be obtained for them.&lt;br /&gt;
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====Zero Translation====&lt;br /&gt;
The so-called &amp;quot;zero translation&amp;quot; means that some elements of the source language are directly introduced into the target language without the ready-made words in the target language (Xiong Bing, 2014). This translation method is mainly used to translate the names of people and officials in the English version of the ''Legend of Zhen Huan''. That’s because in ancient China, there was a very strict patriarchal system with the ideas of three cardinal guides and the five constant virtues.&lt;br /&gt;
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In the eyes of the Chinese people, the distinction between the titles of concubines and concubines is clear at a glance, but it is difficult for foreigners to see these things, because medieval European monarchs were nominally allowed only one wife, there is no such complicated hierarchy of appellation among women. Therefore, such titles as &amp;quot;贵妃&amp;quot;, &amp;quot;妃&amp;quot;, &amp;quot;嫔&amp;quot;, &amp;quot;贵人&amp;quot;, &amp;quot;常在&amp;quot; and &amp;quot;答应&amp;quot; are presented in a dynamic equivalent way (words with similar functions in the source language), for example:&lt;br /&gt;
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Example 4&lt;br /&gt;
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熹贵妃——Noble Consort Xi    华妃——Consort Hua&lt;br /&gt;
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莞嫔 ——Concubine Huan       沈贵人——Lady Shen&lt;br /&gt;
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夏常在——Attendant Xia       小主——Young Mistress&lt;br /&gt;
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敦亲王：Prince Dun            舒太妃：Consort Dowager Shu&lt;br /&gt;
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Example 4 only shows a few official titles of the characters in the ''Legend of Zhen Huan''. However, the translation subtitles in this example reveal a subtitle rule that the American version of the ''Legend of Zhen Huan'' Uses Zero Translation for personal names and free translation for official titles. And we can clearly see the efforts of translators to represent this hierarchical culture in ancient China. However, this method of translation can not meet the needs of the current audience, because the ancient Chinese culture is broad and profound, and the official titles of emperors and concubines in the play conform to the traditional Chinese culture&lt;br /&gt;
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However, the cultural ideologies of the American people and the Chinese people are very different. Traditional translation can not convey the characteristics of the characters and the intensification of their contradictions. The American people have not experienced the five thousand years of slavery and feudalism in China, nor do English dictionaries or translation related books have Chinese cultural vocabulary. In addition, the current subtitle translation does not advocate the use of a large number of notes, which will have a negative impact on the effect of watching the drama.&lt;br /&gt;
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Therefore, notes are usually used only for the first appearance of a character, in order to provide the necessary introduction in enough subtitling space.When they appear a second time, the introduction will be omitted.As for the conflicts between the characters and the progress of the plot, it is difficult for the target audience unfamiliar with Chinese History to adapt to the culture and conflict in the play. Therefore, it is hard to arouse their interest in watching this drama.&lt;br /&gt;
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===Translation Methods under Domesticating Strategy===&lt;br /&gt;
Opposite to the foreignizing strategy, domestication is characterized by the “tendency toward the target recipients” (Xiong Bing, 2014). In other words, the translator tries to be as close to the target recipients in the translation as possible. In Schleiermacher’s words, it means that translators “try not to disturb the reader, but to bring the original author to the reader” (Robinson, 2006: 229). Specifically speaking, in the translation, the translator uses the language, literary devices, cultural elements that the target language readers love to replace the language, literary devices and cultural elements of the original language as much as possible, and abides by the language, literary devices and cultural norms of the original language (Xiong Bing, 2014). &lt;br /&gt;
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The domesticating strategy is a translation strategy just opposite to the foreignizing strategy. Its advantage is that the translation can be fluent, easy to understand, and easily accepted by the target recipients; or it tries to meet the specific needs of the target audience. However, the domesticating strategy also has some shortcomings. The first weakness of it is the loss of the language, literariness, culture and other important elements of the source text, so that the target audience cannot appreciate the exotic authentic language and cultural practices. This cannot help the cultural exchange and dissemination between different ethnic groups. The second weakness is that the domesticating strategy of the translated text may lead to semantic loss and semantic ambiguity in translated texts.&lt;br /&gt;
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====Omission====&lt;br /&gt;
Omission is a very important method in domestication strategy.The Syntactic structure of English emphasizes &amp;quot;hypotaxis&amp;quot;, and there are appropriate connecting elements between each component of a sentence to express their mutual relations, which emphasizes the consistency and coordination of grammatical relations.The structure of Chinese sentences is &amp;quot;parataxis&amp;quot;, and the relationship between each component of the sentence depends more on the intention, and less on the linking component. The structure form is relatively relaxed, and the words and sentences are relatively simple.Therefore, Omission is one of the most common methods in Chinese text translation.Word reduction means that in translation, the translator must grasp the differences between Chinese and English, omit the unnecessary linking elements in Chinese, make the translation smooth, avoid stiff and cumbersome, and eliminate unnecessary words and words as far as possible.There are many examples of reducing words in the translation of Legend of Zhen Huan.&lt;br /&gt;
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Example 1&lt;br /&gt;
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Chinese version:“先敬罗衣后敬人。” &lt;br /&gt;
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American version: “The clothing completes the person.”&lt;br /&gt;
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This Chinese idiom means that people will first look at the clothes they are wearing and judge their social status according to the clothes. There is a derogatory element in it.However, in the translation of this sentence, the translator adopted the word reduction method and did not translate every word.The word &amp;quot;complete&amp;quot; expresses the idea that &amp;quot;clothes make the man&amp;quot;, but fails to express the meaning intended in the original text.Therefore, the author thinks that can continue to use the Omission here, will change its translated into “According to clothing to estimate people’s status.”&lt;br /&gt;
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Example 2&lt;br /&gt;
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Chinese version: “花开堪折直须折，莫待无花空折枝。” &lt;br /&gt;
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American version: One must pick a flower at the prime of its bloom, Do not wait until the blossom fade and falls.&lt;br /&gt;
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There are three Chinese characters for &amp;quot;折&amp;quot; in this sentence, but the translator did not show any of them in the Process of English translation.Shall we say that he did not translate the Chinese meaning?Of course not. The translator must have noticed these three &amp;quot;fold&amp;quot; characters in the process of translation. If one of them is translated out, the sentence will appear too long-winded and not in line with the characteristics of subtitle translation.Therefore, the translator starts from the meaning of the original text to persuade people to cherish, and cleverly leaves out the word &amp;quot;折&amp;quot;, which not only avoids repetition, but also conveys the meaning of the original text.This reflects the three principles of Skopos theory: &amp;quot;Based on the source language, pay attention to the culture in the target language, the intention of translation activities and the acceptance state of the American audience&amp;quot;.&lt;br /&gt;
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====Addition====&lt;br /&gt;
Addition is also an important translation method in domestication strategy.Augmentation refers to the use of structural and semantic augmentation to compensate for linguistic and cultural deficiencies in the target text.Structural supplement refers to the addition of omitted words or replaced words to make the content of translation more complete.Semantic supplement refers to the translator's addition of nouns, verbs, summative words, explanatory words and conjunctions to compensate for the lack of language and culture in the target text so that readers can understand the original text.&lt;br /&gt;
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Example 1&lt;br /&gt;
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Chinese version:“他不忍叫你明珠暗投。”  &lt;br /&gt;
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American version:&amp;quot;You will not be granted an ordinary life when you can live an extraordinary one.&lt;br /&gt;
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In this example, the translator adopted Addition method to make a explanatory translation for &amp;quot;明珠暗投&amp;quot; , the translation of &amp;quot;be granted an ordinary life when you can live an extraordinary one.&amp;quot;As we know, Chinese idioms are one of the wonders of The Han culture, and they often show rich implicit meanings in condensed four-character sentences.In the translation of this sentence, it is easy for us to understand the meaning of &amp;quot; 明珠暗投&amp;quot;&amp;quot;, but how to make the American audience understand, the translator needs to make an explanation, so that the American audience can understand the implicit meaning of the original text, so as to reduce the cultural burden.&lt;br /&gt;
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Example 2&lt;br /&gt;
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Chinese version：“臣妾一与社稷无功，二与龙脉无助。” &lt;br /&gt;
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American version:“Firstly, I have made no contribution to the nation. Secondly, I have begotten no heirs.&lt;br /&gt;
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In example 2, the translator interprets &amp;quot;社稷&amp;quot; as &amp;quot;nation&amp;quot; for readers to understand.&amp;quot;社稷&amp;quot; has always been a synonym for &amp;quot;nation&amp;quot; in Chinese, just as &amp;quot;White House&amp;quot; is a synonym for &amp;quot;America&amp;quot;. In addition, there is no English equivalent for &amp;quot;nation&amp;quot;, so it is appropriate for the translator to use &amp;quot;nation&amp;quot;.Heirs to dragon vein, a Feng shui concept meaning undulating mountains, succeed.Later, the royal family regarded it as the lifeblood of the country, so they would call the royal blood &amp;quot;dragon vein&amp;quot;.Heirs to dragon Vein, which in this case means heirs to the emperor's children, succeed in translating it into Heirs to the emperor.It's less common and more advanced than the word &amp;quot;children&amp;quot;, which is often thrown around.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
The subtitle translation strategy of Legend of Zhen Huan generally focuses on domestication, and tends to transform implicit meaning into explicit meaning.When the meaning of the source language is complex and difficult to be understood by the target language audience, the translation strategy of domestication is usually adopted, and the expressions used in the target language are adopted.If there is an equivalent or similar expression between the target language and the source language, alienation should be considered, and a concise explanation should be added if conditions permit, so that the cultural essence of the source language can be preserved and the audience can experience the charm and national characteristics of traditional Chinese culture.&lt;br /&gt;
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As a translation strategy, absolute domestication and absolute foreignization do not exist in translation practice.The task of the translator is to make the best use of the two strategies in practice according to the specific language characteristics, the purpose, the language characteristics of the source language and the target language, and the national culture, so as to bridge the cultural differences between the two countries.&lt;br /&gt;
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==Reference==&lt;br /&gt;
[１]Dollerup, Cay. On Subtitles in Television Programs[J]. Babel, 1974, (20): 197-202. &lt;br /&gt;
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[２]Ivstor, Fordor. Film Dubbing: Phonetic Semiotic, Esthetic and Psychological Aspects[C]. John Benjamins, 1976. &lt;br /&gt;
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[３]Schleiermacher, F. On the Different Methods of Translation[A]. In Robinson, D.(ed.). Western Translation Theory: From Herodotus to Nietzsche[C]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
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[４]Titford, Christopher.Subtitling: Constrained Translation[J]. Lebende Sprachen, 1982, 27(3):113-116.  &lt;br /&gt;
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[５]钱绍昌. 影视翻译──翻译园地中愈来愈重要的领域[J]. 中国翻译, 2000(1):61-65.&lt;br /&gt;
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[６]汪徽.字幕对伴随性词汇习得的影响[J].外语电化教学,2005(2):47-52. &lt;br /&gt;
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[７]熊兵. 翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J]. 中国翻译, 2014(3):82-88.&lt;br /&gt;
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=2 刘晓 The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
[[Trans_Type_EN_2]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
With the rapid growth of economy, people's pursuit of life quality is gradually increasing. Travelling abroad has become a hot topic nowadays. The rapid development of overseas travel has increased the market demand for tourism translation, and more stringent requirements for tourism translators. How to deal with the translation problems caused by the cultural differences between Chinese and English during the translation process is of great importance to improve the quality of tourism translation. The communicative translation strategy in Newmark's translation theory focuses on the effect that the translation brings to the target language readers, which is of certain guiding significance to the E-C translation of tourism texts. Therefore, this paper takes ''Everglades National Park, Florida (Excerpt)'' as an example to analyze the specific translation strategies and methods in the application of Newmark's translation theory in tourism texts, so as to provide reference for other translators.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Translation strategy and translation methods; Peter Newmark; Tourism texts&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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This paper is based on the English-Chinese translation of ''Everglades National Park, Florida (Excerpt)''. By analyzing the application of Peter Newmark's communicative transaltion in the translation, the author proposes some translation methods, which can be provided for future references.  This chapter mainly introduces the background information and significance of the report, and the domestic research status.&lt;br /&gt;
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====Research background====&lt;br /&gt;
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With the development of the world, various kinds of tourism appear in people’s life, and has unprecedentedly, extremely widely spread a variety of culture and lifestyle. Tourism has become a rising sunrise industry in modern society (Jin Huikang, 2007). To a foreign country to enjoy the beautiful scenery can make people know the colorful world and further know what they want. And this activity also has made tourism translation a reality and a thriving discipline.&lt;br /&gt;
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However, due to the different geographical environments, cultural differences and historical backgrounds in different countries, many translators often ignore the disadvantages brought by differences in language and cultural habits in the process of translation, so that the original meaning of the original text will be lost in the process of transmission, which may cause confusion for tourists and cannot achieve the purpose of offering them accurate information and stimulating their interest.&lt;br /&gt;
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Therefore, in order to make it more convenient for domestic citizens to travel abroad, translators should choose appropriate translation strategies and methods according to the cultural differences between China and foreign countries in the process of tourism English translation, so that tourists can form an objective and correct understanding of scenic spots. The semantic translation and communicative translation strategies in Peter Newmark’s Theories respectively focus on whether the meaning of the original text is exactly reproduced and the effect and influence that the translation brings to the target language readers, which are of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
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====Research significance====&lt;br /&gt;
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In theory, based on Peter Newmark’s translation theories, this paper chooses the semantic translation strategy and puts forward appropriate translation methods for the English-Chinese translation of tourist text -- the ''Everglades National Park, Florida (Excerpt)'', which is of certain guiding significance for English - Chinese translation of tourist texts.&lt;br /&gt;
Based on the practice of the ''Everglades National Park, Florida (Excerpt)'' English - Chinese translation and the analysis of Newmark’s communicative translation strategy’s application, this paper sums up some translation methods, such as voice change, objective and personal subject changing, adding conjunctions, etc. And these methods can be provided for future references in the translation study and practice of others, which has a certain practical significance.&lt;br /&gt;
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====Literature review====&lt;br /&gt;
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Through the analysis of Newmark’s communicative translation in recent years, it can be found that there are many references for the guidance of communicative translation on tourism translation texts. He Xueyun (2005) proposes that the public notices and signs should belong to the vocative functional text and focus on the reader-centered communicative translation, which can give foreigners a better environment for travel, study and work in China. For such a style, the communicative translation theory should be chosen, the target readers put in the first place and always in mind, and their culture and receptivity taken into account. Jin Huikang (2006) believes that tour guide words must have a specific expected function, which are a kind of texts that integrate informative, expressive and vocative functions. Therefore, tourism translation should aim at effective attraction for overseas tourists, and the translator should grasp the group characteristics of overseas tourists and audiences when carrying out tourism propaganda or translating tourism materials. Ma Chen (2010) points out that the tourism text is a kind of article mainly based on vocative function, and the core of which is to accurately convey information for readers. Liu Anhong (2013) proposes tourism text as a kind of publicity material, aiming to stimulate tourists’ interest in visiting. According to the division of Newmark, the tourism text should belong to the text with the vocative function as its main function and the informative function as its secondary function. Therefore, the translation of tourism text should effectively achieve the effects similar to the original text.&lt;br /&gt;
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From the combing of previous literatures, it can be found that there are many studies on the translation of tourism texts guided by Newmark’s communicative translation strategy. However, at present, there are few studies on the translation of tourism texts from English to Chinese, and more studies focus on the Chinese- English translation. For this reason, this paper is based on the translation practice of ''Everglades National Park, Florida (Excerpt)'' to provide some reference for future English – Chinese translation of tourism.&lt;br /&gt;
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===Tourism Texts===&lt;br /&gt;
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====General Introduction====&lt;br /&gt;
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Tourism text is an important carrier for readers to obtain scenic spot information, and Tourism text is to stimulate readers' desire to travel by introducing tourist attractions and resources, and its ultimate purpose is to meet readers' expectations and arouse readers' enthusiasm by delivering tourism information. In other words, the dominant function of tourism text is vocative function. At the same time, tourism texts also provide readers with information they like, from which people can acquire relevant knowledge such as culture and customs, natural geography, etc. Therefore, informative function is also its important feature. It can be seen that the two most important functions of tourism texts are respectively informative and vocative one, whose premise is to provide information and purpose is to attract tourists. &lt;br /&gt;
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In addition, we should realize that translation of tourism texts is a professional translation of tourist attractions and resources for target readers, and its essence is a communicative behavior. If the translator fails to properly deal with the differences between cultures, it will often fail to achieve the expected results. Therefore, during the translation process, more attention should be paid to the accuracy and effectiveness of the information, so as to make the translation conform to the target readers’ reading habits and aesthetic expectation (Li Daosheng, 2000). This requires the translator to put the reader's acceptance first in the process of translation. That is, tourism text translation should not only realize the conversion from one language to another, but also take language barriers and cultural differences into account. Therefore, in order to achieve the goal of successful communication, translators should flexibly apply various translation strategies and adopt appropriate translation methods according to the text types of tourism texts.&lt;br /&gt;
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====Introduction to the ''Everglades National Park, Florida (Excerpt)''====&lt;br /&gt;
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Established in 1974, Everglades National Park covers 2,354 square miles, or 6,097 square kilometers (1.4 million acres). Located at the tip of southern Florida, it is the largest subtropical wildlife sanctuary in the continental United States. Everglades National Park protects an unparalleled landscape which provides important habitat for numerous rare and endangered species such as the manatee, American crocodile, and the elusive Florida panther.&lt;br /&gt;
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''Everglades National Park, Florida (Excerpt)'' is excerpted from a notice from U.S. National Park Service about the phased reopening of the park, including alerts of the reopening, activities, safety and accessibility. It can also be regarded as a travel guide, which describes the journey towards people and offers help to the tourists who want to go there, and which often includes the description of the best travel time, transportation, accommodation, scenic spots and matters needing attention. As a practical text, its main purpose is to introduce and promote tourist scenic spots, that is the Everglades National Park in Florida. Its vocative and informative function are very prominent, and it has the characteristics of reader-orientation, the effectiveness of information transmission and timeliness.&lt;br /&gt;
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===Newmark's Translation Theory===&lt;br /&gt;
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====General introduction of Peter Newmark's translation theories====&lt;br /&gt;
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Peter Newmark, a well-known translation theorist, is one of the main figures in the founding of translation studies in the English-speaking world in 20th century. Newmark devoted himself to studying the past and present of Western translation, and put forward his own views on this basis. Newmark’s translation theories mainly include three parts, that is, the classification of text types, translation approaches, and the lately correlative theory of translation.&lt;br /&gt;
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According to Karl Buhler’s knowledge of language features and Jacobson’s classification of them, Newmark proposed six functions of language informative function, expressive function, vocative function, phatic function, aesthetic function, and lastly metalingual function. (Hou Yingying, 2020) Then Newmark divided text types into three: expressive-functional texts, informative-functional texts, vocative-functional texts.&lt;br /&gt;
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After putting forward these three text types, Peter Newmark suggested eight translation approaches or strategies. Firstly, from the perspective of focusing on the source language, he suggested word-for-word translation, literal translation, faithful translation and semantic translation; Secondly, from the perspective of focusing on the target language, he suggested adaptation, free translation, idiomatic translation and communicative translation (Newmark, 2001:45).&lt;br /&gt;
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In 2007, Newmark came up with a new theory, that is, correlative theory of translation, which means that “The more serious and important the language of the original or source text, the more closely it should be translated.” (Newmark, 2007)&lt;br /&gt;
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In conclusion, Peter Newmark has proposed many significant theories and made extensive discussion on those concepts, which will have a great influence on the translation practice.&lt;br /&gt;
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====Semantic translation and communicative translation====&lt;br /&gt;
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Peter Newmark divided text genres into “expressive text”, “informative text” and “vocative text” in his classic work ''Approaches to Translation''. Imaginative literary works, such as poems, songs, novels and dramas, authoritative statements, autobiographies, essays and personal correspondence, etc. are expressive texts. All the formatted texts with science and technology, industry and commerce, and economy as themes belong to informative texts. And vocative text refers to all texts that can infect readers and make them “get information”.&lt;br /&gt;
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With reference to these three kinds of texts, Newmark further creatively proposed the concepts of semantic translation and communicative translation: “communicative translation” means that the effect of the target text on the reader of the target language is as much as the effect of the original text on the reader of the source language; “semantic translation” refers to the reproduction of the context of the source text as accurately as possible under the premise of the semantic and syntactic structure of the target language. He believed that only communicative translation and semantic translation can achieve the two major goals of translation: being accurate, and being economic (effective).&lt;br /&gt;
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In ''About Translation'', Newmark made a detailed comparison of the characteristics of semantic translation and communicative translation from different aspects, and pointed out that the fundamental difference between them lies in that when the information and the effect are in conflict, communicative translation lays more emphasis on effect than content, while semantic translation lays more emphasis on content than effect. Communicative translation can give the translator full freedom, the translator can reorganize the syntax, eliminate the original obscure places in the source language, and make the language conform to the standard of the target language. However, semantic translation emphasizes the content of the information itself, tries to make the form of the target text similar to the form of the original text, and retains the language characteristics and expressive style of the original author. Therefore, compared with semantic translation, communicative translation is more subjective and can better reflect the translator’s creativity and it attaches great importance to the communicative effect of translation, the key to which is to convey information, make readers of the target language think, act and feel, and play an inductive role in making the translation natural and smooth, and more readable. &lt;br /&gt;
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Newmark pointed out that the translation of expressive texts should employ semantic translation, while informative and vocative texts communicative translation which is reader-centered. The most direct purpose of tourism texts translation is to convey information to readers on the premise of attracting readers’ attention and leaving readers with deep memories, so that readers can take actions -- to visit tourist attractions and pay attention to matters that should be paid attention to. Thus, it can be seen that the tourism text belongs to the vocative text and the communicative translation should be applied. &lt;br /&gt;
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To sum up, Newmark’s communicative translation focus on the effect that the translation brings to the target language readers, which is of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
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===Case Study===&lt;br /&gt;
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The purpose of communicative translation is to try to make the translation have the same effect on the target reader as the original does on the source reader. That is to say, the key point of communicative translation is to be loyal to the target language and the target text reader, that is, the source language is required to obey the target language and culture, leaving no doubt or obscurity to the reader, and eliminating difficulties and obstacles in reading or communication for the reader as far as possible.&lt;br /&gt;
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Because the translator wants to achieve a certain communicative purpose, emphasizes the effect and has a specific target audience, the translation has inevitably broken the restrictions of the original text, pursuing smoothness, clarity, directness and conformity with conventions. In this part, the author analyzes the specific application of communicative translation in the translation practice of the ''Everglades National Park, Florida (Excerpt)'' from three aspects: lexical, syntactic and textual analysis.&lt;br /&gt;
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====At Lexical Level====&lt;br /&gt;
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Generally speaking, there is partial equivalence between English and Chinese, that is, similar expressions in Chinese can replace the meaning of English words or phrases (Liu Junping, 2009). In the following, two translation methods used in lexical translation will be introduced: conversion of part of speech and the translation of public signs.&lt;br /&gt;
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1)Conversion of part of speech&lt;br /&gt;
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Example 1:&lt;br /&gt;
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ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors.''&lt;br /&gt;
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TT: 个人、团体或家庭都能在这找到适合的户外活动。&lt;br /&gt;
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Analysis: As we all know, English belongs to the Indo-European language family, while Chinese the Sino-Tibetan language family. Many differences exist between English and Chinese in terms of vocabulary and grammatical structure. Therefore, in the process of translating English into Chinese, due to the different ways of expression between English and Chinese some sentences can be translated word by word, while most sentences cannot. In order to make the Chinese translation smooth and natural, some words in the original text need to be converted into different parts of speech in the target text without sticking to the surface structure of the original text. In other words, some words in the original text can be converted into other parts of speech in Chinese on the premise of being faithful to the original meaning and retaining the original effect. &lt;br /&gt;
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The original sentence uses a nominal phrase “no shortage of” to express the meaning that no matter how many people come together for outdoor activities, there are always options. The translator translates it into a verbal phrase, that is, everyone can find a suitable outdoor activity here, so that the meaning gets across and the whole sentence flows naturally.&lt;br /&gt;
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Example 2:&lt;br /&gt;
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ST: ''Accessibility: No immediate trails.''&lt;br /&gt;
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TT: 如何前往：没有路径可直接到达。&lt;br /&gt;
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Analysis: As English tends to use more nouns with static narratives, while Chinese tends to use more verbs with dynamic ones. The static tendency of English mainly comes from nominalization, a common phenomenon in English. Nominalization mainly refers to the use of nouns (phrases) to express the information originally expressed by verbs (phrases), such as the use of abstract nouns to express actions, behaviors, changes, states, etc (Lian Shuneng, 1993). For example, “accessibility” in Example 2 is an abstract noun, which is used to show the way to one place. Chinese, on the other hand, tends to use verbs. So, in order to better convey the effect and let the reader read without any doubt or discomfort, the translator converted the noun into a verb phrase, that is “如何前往”. Likewise, in the noun phrase “no immediate trails”, the author wants to say that there is no direct way (to arrive at the destination). When translating, if it is directly translated into a noun phrase “没有直达路”, the reader may feel difficult to read. So, if it is translated into “there is no direct path can reach that place”, the sentence will be more smoothly and convey the original information and the effect is also retained.&lt;br /&gt;
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2)Public signs&lt;br /&gt;
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Example 3 &amp;amp; 4:&lt;br /&gt;
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ST: ''Things To Do'' &lt;br /&gt;
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TT: 活动介绍&lt;br /&gt;
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ST: ''What you can do''&lt;br /&gt;
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TT: 解决措施&lt;br /&gt;
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Analysis: As mentioned in the theoretical framework above, tourism text belongs to vocative text. As a kind of tourism text, public signs are a special style for specific people to achieve a certain communicative purpose. Its application scope is very wide, almost involved in every aspect of our daily life, such as street signs, billboards, road signs, shop signs, warnings, propaganda, travel briefs and so on. As a communicative tool, it conveys necessary and useful information to the public by means of a few words, simple and easy to understand icons or the combination of both (He Xueyun, 2006). Therefore, it can be seen that public signs feature lots of nouns, verbs, phrases and abbreviations and more often, fixed expression, which means in translation, only concise and idiomatic expression can fully convey the effect of the original text.&lt;br /&gt;
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Just as the example 3, once the original text is translated literally, that is “要做的事情”, it sounds rather awkward, which not only does not convey the meaning of the source text that was intended as an introduction to the activities that can be done, but also may lead the reader to believe that this section is about what is required. However, if it is translated into “活动介绍”, readers can clearly know the main content of this part and can find out the activities they are interested in. This expression is very concise and also in line with the Chinese language habits. The same is true of example 4.&lt;br /&gt;
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Example 5 &amp;amp; 6:&lt;br /&gt;
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ST: ''Alligators and crocodiles - Crocodilians are one of the reasons people visit the park, however, these are wild animals that can be dangerous to humans.''&lt;br /&gt;
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TT: 小心短吻鳄和鳄鱼——鳄鱼是人们参观公园的原因之一，然而，这些野生动物对人类会很危险。&lt;br /&gt;
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ST: ''Poisonous plants - The park’s ecosystems support a variety of plant life including some that cause reactions to human skin.''&lt;br /&gt;
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TT: 警惕有毒植物——公园的生态系统支持多种植物的生长，包括一些会对是人类皮肤过敏的植物。&lt;br /&gt;
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Analysis: Tourist texts belong to the vocative text, emphasizing the transfer of the effect of the information and the empathy of the reader. This requires the translator to pay attention to the internal logic of the text, modify the translated text to make it clear in the process of tourism translation without sticking to the original form and give full consideration to the core position of readers. &lt;br /&gt;
Examples 5 and 6 are in the same sentence structure -- firstly species are given, and then that the species could be in some danger is pointed out. If it is translated in accordance with the original text word by word, then the front part is just posing out that species. However, if such warning words as “小心” or “警惕” are added, it can let the reader know before he continues reading that this species may be dangerous when visiting, and then with reading below, the reader will know why it is dangerous. This will prepare the reader mentally, and the reading will be smoother.&lt;br /&gt;
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====At Syntactical Level====&lt;br /&gt;
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Two aspects are included in syntactic analysis, which are change of subjects and passive voice, and the punctuation.&lt;br /&gt;
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1)Change of subjects and passive voice&lt;br /&gt;
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Example 7:&lt;br /&gt;
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ST: ''Wading birds, cormorants, Purple Gallinules, and nesting Anhingas may be found along the path anytime of the day during the winter (dry) season.''&lt;br /&gt;
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TT: 在冬季（旱季），任何时候您都可以在沿路发现涉水鸟类、鸬鹚、紫雀和筑巢的美洲蛇鸟。&lt;br /&gt;
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Analysis: English tends to use more impersonal subjects, which means it rarely uses the personal subject to describe but expresses how objective things act on people’s perception to things appear in an objective tone. So, the structure is often like this: inanimate subject + animate subject (Lian Shuneng, 2010). Chinese pays more attention to subjective thinking, and often describes objective things from the point of view of oneself, or tends to describe people and their behavior or state, so the personal subject is often used. When the personal subject is clear, Chinese often implies or omits it.&lt;br /&gt;
Passive voice is a common grammatical phenomenon in English. In some styles, the use of passive sentences has almost become a habit of expression. Passive sentences give rise to the tendency of using impersonal subjects, and vice versa. Chinese uses fewer passive forms. The main reason for this difference is that the use of passive forms in Chinese is limited, and the mark of the passive voice, such as “让”, “给”, “受”, mostly expresses displeasure.&lt;br /&gt;
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Therefore, in example 7, the translator transformed the passive voice into the active voice and the impersonal subjects “Wading birds, cormorants, Purple Gallinules, and nesting Anhingas” into the personal subjects “您”. What’s more, as this tourism text is written for readers, the use of the second person subject can shorten the distance. &lt;br /&gt;
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Example 8 &amp;amp; 9: &lt;br /&gt;
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ST: ''Wading birds, American Coots, Osprey, White-crowned Pigeons, warblers, Red-shouldered Hawks, Anhingas, rails, Painted Buntings and other transients are best viewed here in the morning.''&lt;br /&gt;
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TT: 早晨在这里观赏涉禽、美洲骨顶鸡、鱼鹰、白头鸽、莺、赤肩鹫、美洲蛇鸟、秧鸡、彩绘鹀和其他过路的鸟类的效果最好。&lt;br /&gt;
&lt;br /&gt;
ST: ''In the summer, fewer programs are offered.''&lt;br /&gt;
&lt;br /&gt;
TT: 夏季提供的项目较少。&lt;br /&gt;
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Analysis: Just as what has been said above, English has a tendency to use impersonal subjects and passive voice, while Chinese is exactly the opposite. And when the subject is clear, Chinese often implies or omits it, which is just like example 8 the personal subject “you” is omitted. &lt;br /&gt;
In example 9, the omitted subject is the national park, and the temporal adverbial phrase “in the summer” becomes the subject in form, which is a common expression in Chinese. That is because subjects in Chinese are not only in various forms, but also dispensable: it can denote giving, receiving, time, place.&lt;br /&gt;
 &lt;br /&gt;
2)Punctuation&lt;br /&gt;
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Example 10:&lt;br /&gt;
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ST: ''Connecting trails through the Pinelands run 7 miles (11 km) west from the Long Pine Key campground to Pine Glades Lake along the main park road.''&lt;br /&gt;
&lt;br /&gt;
TT: 这些小道从长松岛营地向西延伸7英里（11公里），穿过一片松林地，连通公园主路边松林湖。&lt;br /&gt;
&lt;br /&gt;
Analysis: English sentences are complicated, and subordination is one of the most important characteristics of modern English, which features right-branching, sentences long and complex, made in “architecture style”. Conversely, Chinese sentences are relatively short, and commonly use scattered sentences, loose sentences, tight sentences or composite sentences with parallel structure. Chinese features left-branching, and sentences are made in “chronicle style”, using clauses to streamline the thoughts. &lt;br /&gt;
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So, when there are many prepositional phrases in the original English sentence, the translator can divide the long sentence into several short sentences and recognize those by adding comma, which can help readers to sort out the logic of the original text and get the main information. By using communicative translation, the translator divided the original sentence into three sentences. The logical sequence is that “The trails run seven miles (11 kilometers) west from the Long Pine Key campground. Passing through the Pinelands, they lead to Pine Glades Lake along the main park road.”, which shows the location of both the Long Pine Key campground, the Pinelands and Pine Glades Lake correctly, leaving no doubt to readers of the target language.&lt;br /&gt;
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Example 11:&lt;br /&gt;
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ST: ''In keeping with Monroe County’s closure order for beaches, North Nest Key and all waters within 100 yards from the shore will be closed for protection of park resources during the holiday weekend. The closure will begin on Friday, July 3 at 6 a.m.''&lt;br /&gt;
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TT: 根据门罗县对海滩的关闭安排，为保护公园资源，北巢岛和离海岸100码以内的所有水域将自7月3日星期五早上6点起暂停对外开放。&lt;br /&gt;
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Analysis: In the original text there are two sentences, which can be combined to make the meaning complete and language pithy in the target language. And it can be taken into consideration to reconstruct them by replacing full stop with comma. By considering communicative translation, the translator put two prepositional phrases in advance as adverbials, which are “in keeping with Monroe County’s closure order for beaches” and “for protection of park resources during the holiday weekend”, and then turned the second sentence into a temporal adverbial phrase and put it in the main clause as an adverbial. So, the whole structure is “In keeping with Monroe County’s closure order for beaches and for protection of park resources during the holiday weekend, North Nest Key and all waters within 100 yards from the shore will be closed from Friday, July 3 at 6 a.m.” By doing so, the information is concisely conveyed, and Chinese readers can well understand it.&lt;br /&gt;
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====At Textual Level====&lt;br /&gt;
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Discourse refers to the actual language unit used and is the whole language constituted by a series of consecutive paragraphs or sentences in the communication process. In general, a text consists of words, phrases, sentences and sentence cluster (Lan Lingyan, 2020), among which the components were cohesion in form and coherence in semantics.&lt;br /&gt;
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Example 12:&lt;br /&gt;
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ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors. The diverse habitats allow for enjoyable activities ranging from hiking, canoeing, kayaking, biking, fresh and saltwater fishing, and camping in the ultimate wilderness.''&lt;br /&gt;
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TT: 个人、团体或家庭都能在这找到适合的户外活动。无论是步行、乘坐独木舟、划皮划艇、骑自行车，还是在淡水或海水钓鱼、在终极荒野地露营，您都可以饱览多样的自然环境、尽享快乐。&lt;br /&gt;
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Analysis: Coherence in a piece of writing refers to the principle that all paragraphs, sentences or ideas are combined so well that they form a united whole. Coherent translation has smooth structural, grammatical, and logical movement from one sentence or idea to the next and the reader does not have to pause and guess at the meaning caused by gaps in development between ideas, sentences and paragraphs. &lt;br /&gt;
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In example 12, the last topic of the fist sentence in the original sentence is outdoor activities, while the subject of the second sentence is the diverse habitats. This is a shift in the topic, which may make the readers pause and guess at the logical relation between them. Therefore, in translation, guided by communicative translation, the translator needs to mind the text coherence and to make proper adjustments. Out of this, the translator put the activities in the second sentences as the subject of the second sentence in the target text, so that the first sentence can pass through smoothly to the next one, so does the understanding of readers.&lt;br /&gt;
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Example 13:&lt;br /&gt;
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ST: ''Everglades National Park is a popular spot for saltwater and freshwater sport fishing. Boats can be chartered at Flamingo. Be sure to check a visitor center for park fishing regulations and closed areas.''&lt;br /&gt;
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TT: 大沼泽地国家公园是一个很受欢迎的钓海水鱼和淡水鱼的地方。在弗拉明戈可以租船。在钓鱼之前，一定要阅读游客中心的公园捕鱼规定和封闭区域。&lt;br /&gt;
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Analysis: Cohesion can be thought of as all the grammatical and lexical links that link one part of a text to another. This includes the use of synonyms, lexical sets, pronouns, verb tenses, time references, grammatical reference, etc. For example, ‘it’, ‘neither’ and ‘this’ all refer to an idea previously mentioned.&lt;br /&gt;
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In example 13, this paragraph mainly talks about fishing in the Everglades National Park, with a topic sentence and two explanatory sentences: one introducing the place for chartering and the other cautions. There are no grammatical or lexical links within these three sentences, and the logic is connected by semantics. Considering well understanding of readers in the target language, the translator added one lexical link “before fishing” between the last two sentences, to make the reader understand that he or she should read the rules and precautions of fishing before going fishing. Also, with repeating the key word “fishing”, the central idea of this whole paragraph is prominent, and the sentences are logically and smoothly linked to express the intended meaning, thus making this paragraph a cohesive group.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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====Major findings====&lt;br /&gt;
For the text, the tourism text belongs to the vocative text, which focuses on conveying the information and effect, so the communicative translation theory should be adopted to this kind of translation. As for this original text, the first part that introduces the outdoor activities belongs to the tourism advertisements, which are descriptive with vivid words. Tourism advertising is infective, with short and concise words, full of creativity, lively and concise sentence structure, and strong attraction. While the announcement that informs of the operating status of the park is a quite different style. The wording is formal, standard, accurate and stylized. Secondly, the source text involves a wide range of knowledge and large vocabulary. For example, “hardwood hammock” for “硬木吊床” and “Geocaching” for “寻宝”. &lt;br /&gt;
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Based on the analysis of examples from lexical, syntactic and textual levels, some translation methods can be proposed. On one hand, when translating, some words in the target text can be converted into different parts of speech in the original text to make the language natural and idiomatic. On the other hand, when doing English – Chinese translation, in most cases, passive voice should be changed into active voice, personal subject is favored in Chinese, and subjects can also be omitted sometimes. Lastly, as English and Chinese have lots of differences in sentences, the translator should change the order of the sentences sometimes to make them smooth and fluent, and some words can be added to make the meaning coherent.&lt;br /&gt;
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====Limitations====&lt;br /&gt;
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Besides some major findings, there are also many limitations in this translation practice. Firstly, communicative translation focuses on the effect conveyed by the translation rather than the information, which can easily make the translator ignore some original. So, in the translation, other available translation theories should also be taken into account to achieve best translation. &lt;br /&gt;
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Then, when translating a text, whether it is a tourism text or a literary works, they cannot be translated immediately. Relevant information and background should be collected in advance, and otherwise some mistakes which should be avoided will be made. For example, “Snail Kite (蜗鸢)” might be translated as “蜗牛风筝” if the translator does not look it up in advance.&lt;br /&gt;
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===References===&lt;br /&gt;
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[1] Newmark, Peter. About Translation[M]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
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[2] Newmark. Approaches to translation[M]. Shanghai Foreign Language Education Press, 2001. &lt;br /&gt;
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[3] Newmark, Peter. A New Theory of Translation[J]. Sborník Prací Filozofické Fakulty Brněnské Univerzity, 2007(13)&lt;br /&gt;
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[4] Newmark, Peter. A Textbook of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2001:39-42. &lt;br /&gt;
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[5] 贺学耘.汉英公示语翻译的现状及其交际翻译策略[J].外语与外语教学, 2006(03):57-59.&lt;br /&gt;
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[6] 侯莹莹.凯瑟琳娜·莱斯与彼得·纽马克文本类型翻译理论之比较研究[J].海外英语, 2020(22):49-50+60. &lt;br /&gt;
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[7] 金惠康.跨文化旅游翻译探讨[J].上海翻译, 2007(01):31-34.&lt;br /&gt;
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[8] 兰灵艳.交际翻译理论指导下《家庭生活》（节选）汉译实践报告[D].南昌大学, 2020.&lt;br /&gt;
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[9] 李道胜. 汉英语义对比分析[J]. 语言教育, 2000(4):4-5.&lt;br /&gt;
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[10] 连淑能.《英汉对比研究》[M]. 北京：高等教育出版社, 1993.&lt;br /&gt;
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[11] 刘安洪.跨文化交际视角下的旅游文本翻译策略研究[J].中华文化论坛, 2013(10):160-163. &lt;br /&gt;
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[12] 刘军平，西方翻译理论通史[M]. 武汉：武汉大学出版社, 2009.&lt;br /&gt;
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[13] 马忱.交际翻译策略对汉英旅游翻译的启示[J].郑州航空工业管理学院学报(社会科学版), 2010,29(06):119-121.&lt;br /&gt;
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=3 刘越 Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
[[Trans_Type_EN_3]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
There are many translation practices under the guidance of communicative translation theory, but there are not many translation practices in Korean novels. Through this translation practice, we hope to summarize the translation methods and strategies adopted in the translation of novel subject matter under the guidance of communicative translation theory in terms of vocabulary, sentence and rhetoric. In this paper, under the guidance of communicative translation theory of Korean novels &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; to analyze translation strategies and translation methods, let us hope that through the work of human changes in temperature to realize that the most warm affection and the most simple human feelings, seems to be the fact that more and more far from us, let us together to explore the history of the &amp;quot;family&amp;quot; gradually forgotten by us and meaning, Wake up our sense of affection, cause our emotional resonance.&lt;br /&gt;
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===Keywords===&lt;br /&gt;
Communicative translation theory; Korean novels; Translation methods and strategies&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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===The emergence and development of communicative translation===&lt;br /&gt;
According to the function of language, i.e. the purpose for which it is used, Newmark proposes the following three text types: expressive function, informative function, and evocative function.&lt;br /&gt;
At the heart of the expressive function is the use of words by the speaker or author to express his or her thoughts and feelings. The author's unique form of language is as important as the content.Expressive function texts emphasise the authority of the original author, and translations should follow the principle of &amp;quot;original author first&amp;quot;, faithful to both the content of the ideas expressed by the original author and the language style of the original author, without regard to the reaction of the target reader. The core of the information function is the external context, i.e. all the information about a topic, or the unspeakable reality. At the heart of the information text is the &amp;quot;authenticity&amp;quot; of the content; the author's language is secondary. Translation should be based on the principle of &amp;quot;authenticity first&amp;quot;. The call to action is reader-centred and aims to &amp;quot;call the reader to action, to think, to feel&amp;quot;. The translation should follow the principle of 'reader first', putting the reader of the target language first. The translator can make full use of the advantages of the incoming language, without adhering to the expressions of the original, so that the translated language can achieve the same effect as the original.&lt;br /&gt;
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On this basis, two translation concepts, communicative translation and semantic translation, are proposed. Newmark believes that the theory of communicative translation focuses on the understanding and reaction of the recipient, the reader of the translation, and more on the effect rather than the content of the translated expression. The translator can give full play to the advantages of the translated language and introduce foreign elements into the culture of the translated language, with the advantages of naturalisation, Italian translation and idiomatic translation. Semantic translation attaches importance to the original text, focuses on its semantic content and strives to preserve the culture of the original text, and has the advantages of word-for-word, word-for-word and faithful translation. Communicative translation is suitable for informative and attractive texts such as autobiographies, personal emotional declarations, important political statements (or other statements), most non-literary texts, news, intellectual articles and books, textbooks, reports, scientific and technical literature, official correspondence, promotional material, advertisements, announcements, popular fiction. ( Yang 1989:68-71)# His communicative and semantic translations have largely enriched the study of translation theory and influenced the field of translation.&lt;br /&gt;
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===The applicability of communicative translation theory to the translation of popular novels===&lt;br /&gt;
First of all, the core content of communicative translation theory is that on the basis of being faithful to the content of the original text, it focuses on the readers' understanding ability and feelings, and pays more attention to the expression effect of the target text than the content. For the translator, the translator can give full play to the advantages of the target language and get rid of the constraints of the language structure of the original text. If the original text is illogical, ambiguous, and there are redundant words and ambiguities in the sentence, as well as dialects, coarse slang and other phenomena in the article, the translator has the right to reorganize the syntax and improve it by using collocation and common sentence patterns in accordance with the habits of the target language, so as to make the language more standardized. Translators also have the right to correct errors and omissions in the original text.( Shuang 1999(05):840）&lt;br /&gt;
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Secondly, according to Newmark's text type, communicative translation theory is applicable to vocative texts, which focus on the inspiring effect and take the target readers as the center. The purpose of translation is to elicit the desired response, including popular books and best-selling novels. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. The novel is mainly composed of characters, plots and descriptions of the environment to reflect the social reality. Novel is a literary genre that conveys thoughts and feelings and arouses readers' resonance. It belongs to appeal text, so communicative translation theory is suitable for novel translation.&lt;br /&gt;
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The most important thing in novel translation is to convey the content of the original text and the author's thoughts and feelings to the readers, and to arouse the readers' deep thinking and empathy. When translating a novel, we should describe the plot of the original text to the readers and try to get close to the literary image described by the author and the literary artistic conception created in the novel.&lt;br /&gt;
If only follow the content style and text structure of the original text, it will violate the original intention of translation, making the translation obscure and unclear. Under the guidance of communicative translation theory, the translator can give full play to the advantages of the target language, modify and polish the original text, adjust the logic of expression, eliminate the differences between the original text and the target text, and get a smooth translation. At the same time, the translator can also pay more attention to the target readers, fully consider the reading habits and thinking mode of the target readers, and use easy to understand language vocabulary to convey the information of the source text and the thoughts and feelings of the source text author to the readers, so that the target text readers and the source text readers get the same effect.&lt;br /&gt;
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=== Case study under the guidance of communicative translation theory===&lt;br /&gt;
Guided by Peter Newmark's communicative translation theory, the author carries out translation practice on two short stories &amp;quot;The Innocent Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. Under the guidance of communicative translation theory, this section adopts the strategies of translation modification and meaning extension to solve the problems of ambiguous and implicit sentences in novels. At the sentence level, the strategy of paraphrase, syntactic and translation is adopted. In the aspect of rhetoric, this paper adopts the translation strategies of addition and repetition, and makes a case study to explore and summarize the translation methods and strategies applicable to novel subject matter under the guidance of communicative translation theory.&lt;br /&gt;
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=== The application of communicative translation theory at lexical level===&lt;br /&gt;
'''Transliteration'''&lt;br /&gt;
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The translation method refers to the conversion of parts of speech in the original text, such as changing nouns into verbs, adjectives into verbs, etc., so as to make the translation conform to the expression habits of the target language. Different languages have different linguistic phenomena and cultural backgrounds. In order to make the translation more in line with the language expression habits of The Chinese people and convey the correct meaning of the original text to The Chinese readers, every word in the Korean sentence cannot be translated dead, and some parts of speech in The Korean language have to be changed in translation.(Chen 1994)# The following is a case study of translating a part of speech in the original text into another part of speech in Chinese.&lt;br /&gt;
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Eg.1 그럴 때의 아이는 이제 노인이 아니라 소년가장 같았다.&lt;br /&gt;
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First translation：那一刻我觉得孩子不像老人，而像少年家长。 &lt;br /&gt;
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Retranslation：那一刻我觉得他不像一个历经沧桑的老人，而像一个饱经世故的孩子。&lt;br /&gt;
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&amp;quot;소 년 가 장&amp;quot; is a noun, the author looked up Chinese dictionary, found &amp;quot;소 년 가 장&amp;quot; in Korean means &amp;quot;가 정 의 생 계 를 실 질 적 으 로 책 임 지 고, 어 렵 게 생 계 를 유 지 하 는 소 년&amp;quot;, at the beginning of translation, in accordance with the original literal translation is &amp;quot;young parents&amp;quot;, but is not in conformity with the Chinese expression habit, it is not easy to let Chinese readers understand, The author in the guidance of communicative translation theory, through the network search and found the dictionary lookup &amp;quot;소 년 가 장&amp;quot; and Chinese proverb &amp;quot;the poor children early master&amp;quot; has the same effect, but here can make statements impassability, in order not to cause the reader to understand the problems, the author give full play to the advantages of the Chinese, the author by using the method of adaptation, Phrases collocation and considering the Chinese habit, the term &amp;quot;소 년 가 장&amp;quot; divided &amp;quot;소 년&amp;quot; and &amp;quot;가 장&amp;quot; two nouns, and the term &amp;quot;가 장&amp;quot; translated into adjectives &amp;quot;world&amp;quot;, the &amp;quot;소 년&amp;quot; translated into &amp;quot;children&amp;quot;, both to convey the meaning of the original, and can make readers easily understand the content.&lt;br /&gt;
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Eg.2：거기에 아이가 자신을 만나려 하지 않기 때문에 돈을 주지 않는 것이라는 비난의 말이 반복해서 쓰여 있었기 때문이다. &lt;br /&gt;
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Translation ：文件上反复指责说孩子不想认他这个父亲，所以不给抚养费。&lt;br /&gt;
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In the original text 비 난&amp;quot; is a noun, the author according to the original text in translation translated into &amp;quot;document and is accused of child, father didn't want to see him the accused, so not to support&amp;quot;, at the same time with the two accused, groundwork or at the back of the verb &amp;quot;blame&amp;quot;, also make the repetitive, so the author under the guidance of communicative translation theory, When translated again, the noun &amp;quot;비 project-oriented&amp;quot; is translated into the verb &amp;quot;blame&amp;quot;, so that the translation is easy to understand.&lt;br /&gt;
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Extension of meaning Extension translation method is refers to according to the specific context of contact and words in the original context, starting from the basic meaning of Korean original words, through the letter of the word or phrase in the sentence, its excellent implied meaning appropriately, use some conforms to the Chinese expression habit of character words, the content of the original essence of accurate expression.&lt;br /&gt;
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Eg.3：①텔레비전을 쳐다보던 아이가 대뜸 내밷었다. ②동식이 집을 나서자마자 엄마는 휴이히히히, 하는 기괴한 한숨을 길게 내뱉었다.&lt;br /&gt;
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Translation：①正在看电视的儿子突然吐槽道：“妈，你快看，电视里那个人真像我爸”。 ②母亲就“唉！”长长地叹了一口气。&lt;br /&gt;
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The author by looking up the dictionary, in the original &amp;quot;내 밷 다&amp;quot; has two meanings: (1) 입 안 에 있 던 것 을 입 밖 으 로 뱉 어 내 보 내 다. (2) 마 음 에 내 키 지 아 니 하 거 나 못 마 땅 한 어 조 로 불 쑥 말 하 다. &lt;br /&gt;
Chinese meaning is &amp;quot;vomit, and said,&amp;quot; the author under the guidance of communicative translation theory, reader's expressions and words in Chinese habit as the center, contact the original context and context, considering the words collocation, adopt the method of the extension, the &amp;quot;내 밷 다&amp;quot; translated into &amp;quot;fun&amp;quot; and &amp;quot;sigh&amp;quot;, not only conforms to the present context, and in accordance with the Chinese language habits.&lt;br /&gt;
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Eg.4: ①그러니까 엄마는 내가 돈 얘기 할 것을 미리 알고서 지금 차단막을 치는 것이리라. ②형이 옆구리를 툭 치며. ③까지는 살큼 익혀서 찬지름 치고 조선간장으로 조물조물 무쳐노면 고기반찬보다 낫드라. &lt;br /&gt;
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Translation：①但母亲好像早已看透了我的心思，先堵住了我的口。 ②大哥用胳膊肘戳了我一下。 ③蒸个七八分熟的时候撒上香油好好拌一下就行了，这样比那些荤食都好吃。&lt;br /&gt;
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The verb &amp;quot;치&amp;quot; would give many different meanings with different words, such as ①&amp;quot;beating, beating, beating, playing&amp;quot;.② take, base, wrap, erect, ③ feed, feed, etc. On the basis of communicative translation theory, and fully understand the original meaning, context, and considering Chinese words collocation is used, depending on the context, the extension method was adopted, will &amp;quot;치 다&amp;quot; translated into &amp;quot;blocking&amp;quot;, &amp;quot;stamp&amp;quot;, &amp;quot;and&amp;quot; verb, such as to conform to the Chinese habits of expression.&lt;br /&gt;
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===The expression of communicative translation theory at the sentence level===&lt;br /&gt;
Communicative translation theory is pointed out that to the readers, the translator should give full play to the advantages of the target language, to make the translation conform to the target language expression of habit, not to leave any arcane to readers, while Korean and Chinese belong to different language families, there are differences in expression habit, this summary is mainly under the guidance of communicative translation theory, This paper analyzes the translation of sentences in The Pure Man and The Goat Family by means of paraphrase, syntactic and combined translation.&lt;br /&gt;
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'''Interpretation method'''&lt;br /&gt;
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Hermeneutic method is also an interpretative translation method. Because Chinese and Korean have different expression habits, in the process of translation, we can use the paraphrase method to explain some ambiguous sentences, which can not only make the translation clear, but also accurately convey the original purpose.&lt;br /&gt;
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Eg.5：어느날, 아이가 눈에 보이는 사물들을 가리켜 얼마짜리냐고 물었을 때, 어떤 행위를 가리켜 얼마 받느냐고 물었을 때, 나는 어린것이 별걸다 궁금해한다고 면박을 줬다. 면박을 주는 것으로 마음에 이는 민망함을 무마시켰다. 아이의 입에서 처음 돈 얘기가 나왔을 때, 그때 나는 이미 알아챘어야 했는지도 모른다.&lt;br /&gt;
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First Translation: 当某一天，孩子们指着各种东西问花了多少钱，挣了多少钱时，我当面斥责说“小孩子家家的，真是什么都好奇”。我以这种当面驳斥的方式来掩饰心中的尴尬。当我第一次从孩子嘴里听到关于钱的话题时,我可能就已经觉察到了些什么。&lt;br /&gt;
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Retranslation: 当某一天，孩子们指着各种东西问价格时，我当面斥责说‘小孩子家的，问这个做什么’，以此来掩饰我内心的尴尬。当我第一次从孩子嘴里听到关于钱的话题时，我可能已经觉察到时代变了，我那‘不知钱为何物’的时代过去了。&lt;br /&gt;
&lt;br /&gt;
The author at the beginning of the translation of &amp;quot;그 때 나 는 이 미 알 아 챘 어 야 했 는 지 도 모 른 다&amp;quot;, literal translation is &amp;quot;I may already have noticed what&amp;quot;, but the specific perceive what is not clear, causing distress to Chinese readers, by contacting the above learned that the &amp;quot;I&amp;quot; as a child is the hairpin, objects such as pottery fragments, But now the child is the &amp;quot;money&amp;quot;, the author under the guidance of communicative translation theory, to the readers, adopting the tactics of interpretation method, interpreted &amp;quot;I perceived that the&amp;quot; content &amp;quot;I might have been aware of The Times have changed, I that 'I don't know the money was the era of the past&amp;quot;, thus the author want to convey the original concept of the era of the change of the clear expression come out.&lt;br /&gt;
&lt;br /&gt;
Eg.6：영호야, 명절 때만이라도 꼭 아빠한데 가봐, 가기 싫으면 연락이라도 드리고.아빠가 아무리 네 맘에 안 들더라도 너는 네 할 도리를 해야 떳떳한 사람이 되는 거야,알았지?&lt;br /&gt;
&lt;br /&gt;
First Translation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。只有做了自已应该做的才能做一个光明磊落的人，知道吗？&lt;br /&gt;
&lt;br /&gt;
Retranslation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。为人处事和忠孝贤良是亘古不变的，要想做一个光明磊落的人，就要做好自己的分内之事，知道吗？阿姨的话要记住哦。&lt;br /&gt;
&lt;br /&gt;
Early in the translation of &amp;quot;너 는 네 할 도 리 를 해 야 떳 떳 한 사 람 이 되 는 거 야&amp;quot;, the corresponding Chinese literal translation is &amp;quot;only do oneself should do can do a aboveboard person&amp;quot;, but &amp;quot;할 도 리&amp;quot; what, did not explain clearly in the original, need the reader to consider, in order not to leave readers obscure place, The author puts the advantage of Chinese into full play and interprets &amp;quot;up 도 wish to be good&amp;quot; into English by means of context and translation theory. At the same time, I also think that this is the advice of adults. It is necessary to tell him this truth in a soft and powerful tone. After this sentence, &amp;quot;Remember what aunt said&amp;quot; is added to make the original meaning clearly conveyed to readers, so that readers can better understand the original content.&lt;br /&gt;
&lt;br /&gt;
'''demolition syntax'''&lt;br /&gt;
&lt;br /&gt;
Deconstruction is the breaking down of a long sentence into several shorter sentences. As Korean and Chinese belong to different language families, there are many differences in syntax. The word order of Korean sentences is the structure of SOV, and narration is the main body and focus of the sentence, and there are a large number of long sentences, which rely on word endings to express various grammatical meanings. No amount of sentence elements will cause meaning confusion.&lt;br /&gt;
&lt;br /&gt;
However, the word order of Chinese sentences is the SVO structure, which depends on vocabulary, function words and word order to distinguish sentence components, so the sentence structure is simple, mainly short sentences. The translation of Korean long sentences into Chinese sentence groups can make the translation logical, smooth and accurate.&lt;br /&gt;
&lt;br /&gt;
Eg.7：동식의 이혼에 책임이 없다고 할 수는 없는 형제들이 돈을 모아 동식에게 새집을 지어줬는데 집안 새것이면 뭐 하냐고 동식이 폭력을 휘두를 조짐을 보이자 그 팔아 종류의 폭력을 아버지에게 당해본 엄마는 지레 겁을 먹고 소를 팔아 동식에게 새장가 갈 자금을 쥐여줄 수밖에 없었다.&lt;br /&gt;
&lt;br /&gt;
First Translation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子。挨过父亲打的母亲因为对东植这种动不动就挥拳头打人的行为心有余悸，并觉得只有新房子没用，就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
&lt;br /&gt;
Retranslation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子，母亲因为挨过父亲的打，所以对东植这种动不动就挥拳头打人的行为心有余悸，觉得只有新房子无济于事，改不了他的暴力行为，索性就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
&lt;br /&gt;
The original text Is a long sentence, &amp;quot;는 데&amp;quot; is a long attributive clause, behind the author under the guidance of communicative translation theory, using the translation, in the resolution of a sentence, adjust the structure of the sentence, but his father mother &amp;quot;dragged&amp;quot; compared to read man translationese is too heavy, have the taste of Korean Chinese, is not in conformity with the Chinese expression habit, the author on the basis of this, The translation has been revised and polished to make it smooth and smooth.&lt;br /&gt;
&lt;br /&gt;
'''Cotranslation'''&lt;br /&gt;
&lt;br /&gt;
Cotranslation refers to the combined translation of two or more sentences in the original text. Using the combined translation method to translate, will reduce the long winded translation, obtain a smooth and smooth translation.&lt;br /&gt;
&lt;br /&gt;
Eg.8 ：나는 큰오빠와 작은오빠가 아버지가 남긴 논을 가져간 것을 알고 있었다. 큰언니, 작은언니가 결혼할 때 밭을 가져 갔다는 것도. 동식은 제 몫이 논도 밭도 아닌 집인 것에 불만을 품고 쓰러져가는 슬레이트집에 불을 질렀다.&lt;br /&gt;
&lt;br /&gt;
First Translation：我知道大哥和二哥结婚时分走了家里的水田，大姐和二姐结婚时分走了家里的旱地，东植因为分到的不是田和地，而是即将坍塌的的石板屋，一气之下就在屋里放了火。&lt;br /&gt;
&lt;br /&gt;
Retranslation：哥哥姐姐们结婚时把家里的水田和旱地都分走了。而东植分到的是即将坍塌的的石板屋，他对此很不满，一气之下就放火烧了房子。&lt;br /&gt;
&lt;br /&gt;
Are two sentences in the original, the author first translation, according to the original text translated into two other subject-predicate bin structure of the sentence, but &amp;quot;big sister&amp;quot; &amp;quot;big brother&amp;quot; &amp;quot;sister&amp;quot; &amp;quot;second brother&amp;quot; will be read repetitive, so the author under the guidance of communicative translation theory, adopt the method of r the appellation of original elements became the &amp;quot;brothers and sisters&amp;quot;, and the two sentence elements into a simple sentence, Reduce redundant redundant.&lt;br /&gt;
&lt;br /&gt;
===The embodiment of communicative translation at the rhetorical level===&lt;br /&gt;
Communicative translation theory points out that should take the readers as heavy, compared to convey to the readers the article content, pay more attention to the expression effect, good expression effect can cause the resonance of the readers, caused the reader's thinking, and good expression effect depends on the use of rhetoric, this summary is mainly under the guidance of communicative translation theory, adopt different translation strategies, The rhetorical translation in The Innocent Man and The Goat Family is analyzed.&lt;br /&gt;
&lt;br /&gt;
'''Addition'''&lt;br /&gt;
&lt;br /&gt;
Addition is a translation method that adds content to the target text in order to accurately express the meaning of the source text, meet the needs of the target text readers and make the target text conform to the expression habits of the target language. Since Chinese and Korean have different pragmatic ways and expressive habits, some words or sentences should be added in the translation to make the translation more consistent with the Chinese context, the reader's expressive habits and the exact meaning of the original text.&lt;br /&gt;
&lt;br /&gt;
Eg.9：나는 아이 아빠의 돈을 ‘그깟 돈’이라고 표현했다.&lt;br /&gt;
&lt;br /&gt;
First Translation：我把孩子爸爸的钱称为“那么点儿钱”。&lt;br /&gt;
&lt;br /&gt;
Retranslation：我把孩子爸爸给的钱称为“塞牙缝的钱”。&lt;br /&gt;
&lt;br /&gt;
&amp;quot;그깟&amp;quot; is a contraction of &amp;quot;그까짓&amp;quot;. It means so little, so little. The amount of money given by the father of the child is very small. The author under the guidance of communicative translation theory, give full play to the advantages of target language, adopt the method of thickening of translation, the use of metaphor, the &amp;quot;그 깟 돈&amp;quot; translated into accord with the readers expression habit &amp;quot;for all of the money&amp;quot;, making it easy to understand, more intuitive said the little amount, so as to impress the reader.&lt;br /&gt;
&lt;br /&gt;
'''Repetition'''&lt;br /&gt;
&lt;br /&gt;
Repetition refers to the translation technique of appropriately repeating a part of words or sentences in translation. The repetition method can make the meaning of the translation more clear, further strengthen the appeal of the article, highlight the thoughts and feelings of the article, and achieve a good rhetorical effect.&lt;br /&gt;
&lt;br /&gt;
Eg.10：아비를 한번도 찾지 않다가 돈 달라고, 그것도 법정에서 애 얼굴을 봐야 하는 아비 된 자의 참담한 심정을 당신들이 아느냐고.&lt;br /&gt;
&lt;br /&gt;
First Translation：孩子一次也没来看过我这个父亲，却开口要钱？而且只有上了法院，我才好不容易看孩子一眼，你们理解我这个做父亲的心情和处境吗！&lt;br /&gt;
&lt;br /&gt;
Retranslation：孩子一次也没来看过我就跟我开口要钱，只有上了法院，我才好不容易看孩子一眼，我这个做父亲的苦楚，悲凉的的心情，你们理解吗！理解吗！&lt;br /&gt;
&lt;br /&gt;
The author by contacting the specific context, as a father, no contact for many years but children themselves to court, the state of mind should be both angry and sad, based on the theory of communicative translation, using the skill of verb repetition, to &amp;quot;알 다&amp;quot; repeated translation, to emphasize my angry tone, in order to make the article more vivid and accurate meaning.&lt;br /&gt;
&lt;br /&gt;
=== conclusion===&lt;br /&gt;
This paper selected the south Korean writer Kong Shanyu stories &amp;quot;well bead film&amp;quot; in the two novel &amp;quot;pure people&amp;quot; and &amp;quot;the goat family&amp;quot; has carried on the translation practice, the two novels are using the simple nature of language and a small amount of dialect vocabulary, shape lifelike characters, are described by family members of the past, let the past and reality contrast, It reflects the social reality that with the development of society, people have become selfish and indifferent, and the most simple family and human feelings seem to be more and more far away from us, so as to explore the history and significance of the &amp;quot;family&amp;quot; and the simple social atmosphere, which are gradually forgotten by Koreans.&lt;br /&gt;
&lt;br /&gt;
The core of Peter Newmark's communicative translation theory is that on the basis of being faithful to the content of the original text, the translator can give full play to the advantages of the target language, get rid of the constraints of the language structure of the original text, and pay attention to the effect of the expression of the target text. According to Newmark's text type, communicative translation theory applies to appeal texts, which focus on the target reader and aim to elicit the desired response, including popular books, popular novels and so on. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. Under the guidance of Peter Newmark's communicative translation theory, the author analyzes and discusses the translation strategies in the Pure Man and The Goat Family, which are complicated sentences, ambiguous meanings and implicit expressions.&lt;br /&gt;
&lt;br /&gt;
From the lexical level analysis, the author mainly combined with the context, to Chinese readers as the center, to comply with the Chinese expression and language habits, consider the reader's understanding ability, on the basis of Chinese used to translation and translation methods of extension, so as to satisfy the to the original readers and the translation of the original dual need of the readers have the same effect, At the same time, it also ensures the accuracy and flexibility of the translation words, so as to conform to the translator's lexical habits.&lt;br /&gt;
From the statement level analysis, &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; appeared in the text of the long sentence and attributive clause, at the same time, some relatively obscure sentences substance, so the author adopted the method of interpretation, syntax and translation of translation strategies, to explain the sentence, split, reorganization, thus reducing the sentence's mad outages and ideographic unclear, The translation is in line with the habits of Chinese readers and effectively conveys the essence of the original text. From the rhetoric analysis, communicative translation theory points out that compared with the content, should attach great importance to the expression of the translation effect, good expression effect depends on the use of rhetoric, so the author USES the translation strategy of work and repetition, has carried on the modification to the original and polishing, to strengthen the artistic effect and influence of the translation, make readers for the characters vivid impression, Arouse readers' reflection and emotional resonance.&lt;br /&gt;
&lt;br /&gt;
Therefore, the results of this study indicate that the communicative translation theory is of guiding significance to the Chinese translation of Korean novels and can provide a reference for similar translation practices. Communicative translation theory is pointed out that to the reader as the center, the translator can get rid of the original text, giving full play to the advantages of target language to adjust the structure and logic, to make the translation easy to understand, but there may be lack of scattering situation, so the translator should properly our subjective initiative, to insure the effect of readers in at the same time, also used to avoid the above situation. In addition, there are also shortcomings in the translation, but the author still hopes that this translation practice can provide reference for the future Korean-Chinese translation practice. At the same time, through this translation practice, the author has realized his own shortcomings. In the future, the author will continue to learn, accumulate practical experience, and strive to improve his literary accomplishment and language foundation, and improve his translation level.&lt;br /&gt;
&lt;br /&gt;
===Reference===&lt;br /&gt;
&lt;br /&gt;
'''English Literature:'''&lt;br /&gt;
&lt;br /&gt;
[1]. GAO Chang. The Application of Peter Newmark's Communicative Translation Theory to the Translation of Chinese Historical Allusions [J]. Overseas English, 2013(11).&lt;br /&gt;
&lt;br /&gt;
[2]. JIAN Fang. Newmark's Translation Theory and Film Names [J]. Overseas English, 2010(08).&lt;br /&gt;
&lt;br /&gt;
[3]. LI Xin, ZHANG Zhe. On Peter Newmark’s Semanic Translation &amp;amp; Communicative Translation[J]. Overseas English, 2015（03）.&lt;br /&gt;
&lt;br /&gt;
'''Korean literature:'''&lt;br /&gt;
&lt;br /&gt;
[4]. Gong Seon-ok. In the 1980s, my literature Gwangju, and my life's hardship [J]. History of Criticism, 1995 (08).&lt;br /&gt;
&lt;br /&gt;
[5]. Kang Young-mi. Preliminary review of the singing movement in the 1970s and 1980s [J]. Mental Culture Research 41(3), 2018.(09).&lt;br /&gt;
&lt;br /&gt;
[6]. Kim Young Hee. Modern and Alternative Experience and Women--Park Wan-seo, Kim In-sook, and Gong Sun-ok's novel [J]. Creation and Criticism 23(3), 1995(09).&lt;br /&gt;
&lt;br /&gt;
[7]. Osunbang. A study of the translation of novels in modern China and the two-way translation of Sino-Korean novels[J]. Seoul: Sungsil University Press, 2008.&lt;br /&gt;
&lt;br /&gt;
'''Chinese Literature:'''&lt;br /&gt;
&lt;br /&gt;
[8]. Chen Lin. A comparison of Eugene A. Naida and Peter Newmark's translation theories [J]. Journal of Xiangtan University (Social Science Edition), 1994,(08): 87-91.&lt;br /&gt;
&lt;br /&gt;
[9]. Si Jitao and Yan Honglan. The translation of split sentences and combined sentences in English-Chinese translation[J]. Journal of Guangxi Right River Nationalities Teachers College,2005(02):21&lt;br /&gt;
&lt;br /&gt;
[10]. Chen Lin. A comparison of Eugene A. Naida and Peter Newmark's translation theory [J]. Journal of Xiangtan University (Social Science Edition), 1994, (08).&lt;br /&gt;
&lt;br /&gt;
[11]. Yang Shi-Zhuo. A brief analysis of Newmark's theory of semantic and communicative translation[J]. Fujian Foreign Language, 1989:68-71.&lt;br /&gt;
&lt;br /&gt;
=毛雅文On Translation Strategies and Methods in Chinese Translation of English Prose --- Chinese Translation of Robert Lynd’s &amp;quot;Pleasures of Ignorance&amp;quot; as an example=&lt;br /&gt;
&lt;br /&gt;
'''浅析英语散文汉译中的翻译策略——以罗伯特·林德《无知的乐趣》汉译本为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_4]]&lt;br /&gt;
&lt;br /&gt;
毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
&lt;br /&gt;
Prose, together with poetry, novel and drama, is a kind of literary form. It is not limited to rhythm, plot and characters, flexible in form, real and natural. English prose has a long history and various types, so it becomes an important object in translation practice and research. In China, the most famous English prose writers are Francis Bacon and Charles Lamb, hence, their works can be regarded as the focus of studies on Chinese translation of English prose. In fact, Chinese translation of English prose draws less attention in translation circle of China, compared with that of English poetry and drama. With English prose as the starting point, this paper will introduce the characteristics of English prose and the domestic studies on its Chinese translation, and take the Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, the representative work of English modern prose writer Robert Lynd, as an example to analyze its translation strategies and methods.&lt;br /&gt;
&lt;br /&gt;
==摘要==&lt;br /&gt;
&lt;br /&gt;
散文是与诗歌、小说、戏剧并称的一种文体，不拘泥于韵律、情节、人物，形式灵活，真实自然。英语散文历史悠久，类型多样，是翻译实践与研究中的重要研究对象。在我国，最著名的英语散文家是弗朗西斯·培根和查尔斯·兰姆，他们的作品也因此成为英语散文汉译的重点。而事实上，我国翻译界更加重视的是诗歌与小说的汉译，英语散文汉译的研究相较之下比较滞后。本文将以英语散文为切入点，介绍英语散文的特点及其在我国的汉译研究，并以英国现代散文家罗伯特·林德的代表作《无知的乐趣》汉译本为例，主要分析其中的策略及方法。&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Pleasures of Ignorance&amp;quot;; Chinese translation of English prose; translation strategies; translation methods; translation techniques&lt;br /&gt;
&lt;br /&gt;
==关键词==&lt;br /&gt;
&lt;br /&gt;
《无知的乐趣》；英语散文汉译；翻译策略；翻译方法；翻译技巧&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
&lt;br /&gt;
This chapter will point to the research background and its significance, and briefly set forth the structure of this paper and the methods used.&lt;br /&gt;
&lt;br /&gt;
===Research Background and Significance===&lt;br /&gt;
&lt;br /&gt;
In recent years, with the deepening of the reform and opening-up, the channels of international cultural exchange have become increasingly unblocked, and China's translation industry has also flourished. The studies on translation theory, drawing lesson from western translation studies, have yielded fruitful results, and more noteworthily, remarkable achievements have been made in studies on literary translation for all to see. (Hou Qiang 2014: 1)&lt;br /&gt;
&lt;br /&gt;
Prose is a basic literary form in written or spoken language that typically exhibits a natural flow of speech and grammatical structure. A large number of works in philosophy, history, economics, journalism, etc, are examples of works written in prose. It can be seen that prose, which is widely used for creation, occupies an important position in literature. However, there are few researchers majoring in prose translation, still fewer ones who specialize in Chinese translation of English prose. In view of the above, this paper, based on previous studies, will study the Chinese translation of English prose, and take the Chinese translation by Liu Bingshan of ''The Pleasures of Ignorance'' created by the English prose writer Robert Lynd, exploring its characteristics in translation strategies and methods, so as to provide better understanding and some reference for the appreciation and translation of English prose. (He Xiuqin 2018: 6) (Song Jie 2018: 1)&lt;br /&gt;
&lt;br /&gt;
===Methodology and Structure===&lt;br /&gt;
&lt;br /&gt;
This paper will employ the methods of literature research and case analysis. The paper consists of three parts. The first section is literature review, explicating the distinctive properties and linguistic features of English prose, and the prose translation with its principles, as well as introducing the previous studies on Chinese translation of English prose at home. The second part, the core of this paper, will take Liu Bingshan's Chinese translation version of Robert Lynd's prose work &amp;quot;Pleasures of Ignorance&amp;quot; as an example, carry out the interpretation of this translation in terms of its types, styles as well as strategies and methods employed. Lastly, the conclusion will point to the findings in this study and the weaknesses in the paper.&lt;br /&gt;
&lt;br /&gt;
==Literature Review==&lt;br /&gt;
&lt;br /&gt;
This part will draw into the domestic previous studies on Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
With regard to Chinese translation of English prose, at present, there are few domestic scholars dedicated to its systematic research. According to the different perspectives, the relevant researches at home can be roughly divided into three categories.&lt;br /&gt;
&lt;br /&gt;
First, concerning research on the theory of Chinese translation of English prose into Chinese, there are relatively small number of studies in this direction. One of the most fruitful works is ''The Study and Translation of British and American Prose'' co-authored by Zhao Xiuming and Zhao Zhangjin (2010), which makes a detailed investigation of the literary characteristics, historical evolution and style evolution of British and American prose. The work also discusses the basic principles of English prose translation in terms of pre-translation text analysis, historical and cultural context, artistic principles, and styles, etc., which can offer a reference for the further study of the theories and practices of English prose translation. (Hou Qiang 2014: 4)&lt;br /&gt;
&lt;br /&gt;
Second, regarding research on the famous translators of English and American prose with their translation styles and skills, Xia Ying explored the style of Professor Cao's translation of Francis Bacon with the essay titled &amp;quot;Research on Professor Cao Minglunss Chinese translation of bacon prose&amp;quot;. (Xia Ying, 2012:165-166) Some others probed into Liu Bingshanss and Li Shicong's thoughts on prose translation which have guiding significance for prose translation practice. (Hou Qiang 2014: 4)&lt;br /&gt;
&lt;br /&gt;
Third, as regards research on the practice of Chinese translation English prose based on translation theory, Huang Jianling (2021) analyzed the Chinese translation of Bacon's essays from the perspective of translation aesthetics. Hu Hongyun (2013) translates and elaborates on the British prose Farewell in vocabulary, semantics, style and cultural transmission, on the basis of Eugene Nida's Functional Equivalence theory. (Hou Qiang 2014: 5)&lt;br /&gt;
&lt;br /&gt;
These researches and investigations have laid a solid foundation for future studies and the analysis in this paper.&lt;br /&gt;
&lt;br /&gt;
==Overview of English Prose==&lt;br /&gt;
&lt;br /&gt;
Prose can be defined in broad sense and in narrow sense. In broad sense, prose refers to all the written and oral works in a loose form free from parallelism; and in narrow sense, it specifically means the writings with certain literary qualities, such as essays, and a literary genre juxtaposed with poetry, novel, drama and movie-television literature.&lt;br /&gt;
&lt;br /&gt;
This section will clarify the distinctive characteristics and linguistic features of English prose, as well as its translation principles.&lt;br /&gt;
&lt;br /&gt;
===Distinctive Features of English Prose===&lt;br /&gt;
&lt;br /&gt;
As an independent literary genre, English prose has its own distinctive characteristics.&lt;br /&gt;
&lt;br /&gt;
The first characteristic is its expression of sincere feeling. Prose mostly depicts the real people, things and scenery, and is generated based on record and recollection of life. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. So in this sense, prose can be considered as an earnest conversation between the author and the readers. (Zhang Baohong 2011: 28)&lt;br /&gt;
&lt;br /&gt;
Secondly, English prose is characterized by the wide material selection. In English prose, one detail, episode and facet of life can be used to display the author's specific emotions and circumstances, and all materials related to the theme can also be employed. It places no emphasis on rhythm and rhyme, like poetry, as well as to plot and characters, like drama. (Zhang Baohong 2011: 29)&lt;br /&gt;
&lt;br /&gt;
Besides, English prose features the free and loose structure. The structure of prose writings is free and flexible. Prose is elastic and natural and boasts descriptive, argumentative and lyrical qualities, thereof constituting its most distinctive advantage. There are no strict restrictions and fixed patterns in the prose structure, but its flexibility and randomness is not tantamount to disorder and scatter, and its choice of theme and expression of feelings should be closely centered on one main line. (Zhang Baohong 2011: 29)&lt;br /&gt;
&lt;br /&gt;
===Linguistic Features of English Prose===&lt;br /&gt;
&lt;br /&gt;
Compared with other literary forms, prose has no more skills to resort to. Therefore, as regards the form of artistic expression, English prose mainly has recourse to its own language features.&lt;br /&gt;
&lt;br /&gt;
First and foremost, succinctness and fluency characterize English prose language. The concise prose language not only fully delivers the content that the author intends to convey, but effectively shows the author's emotions and attitude towards persons and things. This is not the result of the author's deliberate elaboration, but the natural overflow of his or her plain and pure emotion. The fluency of prose language refers to both the informal use of words and phrases, and the author's sound expression of feelings. (Zhang Baohong 2011: 29)&lt;br /&gt;
&lt;br /&gt;
Meanwhile, colloquial style and literary grace are characteristic of prose language. As prose mainly focuses on description of the author's personal stories and sentiments, thus, he speaks or writes with his own posture, style and tone, as if he is confiding to the readers, so as to highlight the agreeable conversation style and unique colloquial style. Colloquial prose language is natural due to its simplicity, friendly owing to its ease of communication, and true thanks to its individuality. (Zhang Baohong 2011: 30)&lt;br /&gt;
&lt;br /&gt;
Furthermore, another linguistic feature of English prose is the smooth rhythm and reading. The rhythmic beauty of prose language is reflected in phonetic respect and in sentence patterns. The prose reading is catchy, with no obstacles and awkwardness, and its rhythm is in line with the natural law of oral breathing pauses as well as with the ups and downs of feelings. (Zhang Baohong 2011: 30)&lt;br /&gt;
&lt;br /&gt;
===Principles of English Prose Translation===&lt;br /&gt;
&lt;br /&gt;
The beauty of prose lies in its language and artistic conception, the two permeating each other and jointly creating the artistic charm of prose. In prose translation practice, the following principles can be observed to reproduce the artistic appeal.&lt;br /&gt;
&lt;br /&gt;
Keep an eye on sound and rhythm. Despite that the sound and rhythm of prose are often internal, not as obvious, regular and musical as that of poetry, they are not disordered with no aesthetic purpose. On the contrary, they effectively represent the variation of emotion in the prose, and are consistent with its unique aesthetic interest. This illustrates that in prose translation, on the one hand, the translators should recognize the great value and significance of prose sound and rhythm; on the other hand, with the intention of reproducing the linguistic subtleties of the original text, the translators can fully touch its aesthetic interest from the cadence between the lines, and perceive its inner rhythm from sentence length and speech speed. (Zhang Baohong 2011: 30)&lt;br /&gt;
&lt;br /&gt;
Pay attention to personalized mode of discourse. Different writers with various discourse modes bring about manifold writing styles. Not only is the personalized mode of discourse reflected in the author's choice of words and sentences as well as layout of the prose, but also in his thoughts and aesthetic interest. As a result, the translators can start with analyzing the original writer's one classic work and then his anthology and even look closely at the literary features of his age, in order to grasping the writer's personalized discourse mode, which is of particular importance to reproduce his artistic personality and the characteristics of his emotional expression in translation practice. (Zhang Baohong 2011: 31)&lt;br /&gt;
&lt;br /&gt;
Place a premium on the unity of scene and emotion. The unity of scene and interest in prose is embodied in diverse ways of language expression and structure, as well as the images or settings created by the author. In translation practice, based on the unity of scene and interest in the prose, it is beneficial to preserve and reproduce the overall aesthetic orientation of the original text through aesthetic reconstruction in word selection and layout, so that the translated text can obtain the aesthetic taste similar to the original prose.(Zhang Baohong 2011: 31)&lt;br /&gt;
&lt;br /&gt;
All in all, a general understanding of English prose can facilitate the study of its Chinese translation.&lt;br /&gt;
&lt;br /&gt;
==Case Study of Chinese Translation of &amp;quot;Pleasures of Ignorance&amp;quot;==&lt;br /&gt;
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The selected source text is &amp;quot;The Pleasures of Ignorance&amp;quot;, written by Robert Lynd. &lt;br /&gt;
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Robert Lynd (1879-1949), born in Belfast, Northern Ireland, was a modern critic and prose writer. He, together with E. V. Lucas, was a pioneer in reviving the tradition of Charles Lamb's prose. And The Pleasures of Ignorance is one of his notable prose works.&lt;br /&gt;
&lt;br /&gt;
This prose points out that it is because ignorance that people are interested in the nature and the world and their pursue knowledge, and the process of seeking knowledge is full of pleasure, by which the author emphasizes the importance of learning more and gaining insight. The article reveals somewhat erudition and aesthetic sensibility, as well as love for nature and and passion for life. From his leisurely writing, the author's maturity of thought and capability in usage of words is unveiled. Though the tone of the original text makes the readers feel that the author is chatting with them, giving people familiarity and closeness, it is not particularly colloquial. On the contrary, there is a kind of exactness and elegance of the learned between the lines, thus it can be seen that the case text is a typical scholar prose. (Zhu Mingju 2007: 326)&lt;br /&gt;
&lt;br /&gt;
The translator Professor Liu Bingshan firmly grasps these features of the original text and conveys the original style by carefully choosing words and sentences, with the principles of faithfulness, smoothness and expressiveness. His Chinese translation of &amp;quot;The Pleasures of Ignorance&amp;quot; will be analyzed in terms of translation strategies and methods. (Zhu Mingju 2007: 326)&lt;br /&gt;
&lt;br /&gt;
There is the natural connection between translation strategies and translation methods, but the two concepts are often confused. It is generally believed that translation strategies (such as foreignization and domestication) are at the cultural level, while the translation methods (such as literal translation and free translation) are at the textual level. Translation methods are the approaches, steps and techniques used to achieve a specific translation purpose based on a certain translation strategy in translation activities, whereas translation strategies are a collection of principles and methods. Consequently, this paper will enunciate the translation text on the basis of translation methods under foreignization strategy and domestication strategy respectively. (Xiong Bing 2014: 84)&lt;br /&gt;
&lt;br /&gt;
===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
&lt;br /&gt;
Foreignization is a strategy in which a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. This strategy is &amp;quot;an ethnodeviant pressure on target-language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad&amp;quot; to have alien reading experience. The translation methods under foreignization employed in Professor Liu's target text include literal translation, zero-translation and transliteration. (Venuti, 2004: 20) (Lian Shuneng 2006: 13)&lt;br /&gt;
&lt;br /&gt;
====Literal Translation====&lt;br /&gt;
&lt;br /&gt;
Literal translation is in fact looser renditions that replace individual source language words with individual target language wors wherever possible, and cling as closely as possible to the source language word order in the target language. (Lian Shuneng 2006: 12)&lt;br /&gt;
&lt;br /&gt;
Specifically, in the case translation text, the translator faithfully retains some personal pronouns and demonstrative pronouns in the original text. For example, &lt;br /&gt;
&lt;br /&gt;
(1)It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance.&lt;br /&gt;
&lt;br /&gt;
同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
&lt;br /&gt;
(2)This ignorance, however, is not altogether miserable.&lt;br /&gt;
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不过，这种无知也并非全然不幸。&lt;br /&gt;
&lt;br /&gt;
(3)But your and my ignorance is not confined to cuckoos.&lt;br /&gt;
&lt;br /&gt;
但是，你我的无知并不仅限于杜鹃这一方面。&lt;br /&gt;
&lt;br /&gt;
(4)A contemporary English novelist was once asked by a foreigner what was the most important crop in England.&lt;br /&gt;
&lt;br /&gt;
一个外国人问一位当代英国小说家，英国最重要的农作物是什么。&lt;br /&gt;
&lt;br /&gt;
The translation of these sentences, though properly altering the word order and voice with the adherence to the target-language syntactic norms, does not adopt the usage of transferred meaning in dealing with lexical sense.&lt;br /&gt;
&lt;br /&gt;
The use of literal translation, especially the retaining of the personal pronouns, like &amp;quot;we&amp;quot; and &amp;quot;you and I&amp;quot;, conveys the style of the original text, showing friendliness and intimacy.&lt;br /&gt;
&lt;br /&gt;
====Zero-Translation====&lt;br /&gt;
&lt;br /&gt;
Zero translation refers to the translation in which the translators do not use the ready-made words in the target language to translate the source language words. This translation phenomenon occurs when adjustments must be made due to the differences in the syntactic structures of the two languages. For example, some articles and personal pronouns are not translated in E-C translation. (Fang Mengzhi 2011: 108)&lt;br /&gt;
&lt;br /&gt;
In Professor Liu's Translation, zero-translation is particularly displayed by omission, a translation technique. For instance,&lt;br /&gt;
&lt;br /&gt;
Omission of the expletives ''It'' and ''There'':&lt;br /&gt;
&lt;br /&gt;
(5)''It'' is impossible to take a walk in the country oneself without being amazed at the vast continent of one's own ignorance.&lt;br /&gt;
&lt;br /&gt;
任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
&lt;br /&gt;
(6)''There'' are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy.&lt;br /&gt;
&lt;br /&gt;
这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。&lt;br /&gt;
&lt;br /&gt;
Omission of English articles:&lt;br /&gt;
&lt;br /&gt;
(7)Thousands of men and women live and die without knowing the difference between ''a'' beech and ''an'' elm, between ''the'' song of ''a'' thrush and ''the'' song of ''a'' blackbird.&lt;br /&gt;
&lt;br /&gt;
成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
&lt;br /&gt;
Omission of pronouns:&lt;br /&gt;
&lt;br /&gt;
(8)... as she (the cuckoo) lays ''her'' egg on the ground and takes it in ''her'' bill to the nest in which it is destined to breed infanticide.&lt;br /&gt;
&lt;br /&gt;
把蛋下到地面上，然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。&lt;br /&gt;
&lt;br /&gt;
The application of zero-translation can render the translation text concise, neat and fluent, and make the rhythm of the prose more natural and flexible, conforming to the principle of prose translation.&lt;br /&gt;
&lt;br /&gt;
====Transliteration====&lt;br /&gt;
&lt;br /&gt;
Proper names such as the names of persons and places of foreign countries, are, as a rule, to be transliterated, i.e., to be translated by using Chinese characters to represent the sound in articulating these names. (Lian Shuneng 2006: 344)&lt;br /&gt;
&lt;br /&gt;
In transliteration, the translators should follow the original pronunciation of proper names, in Liu's translation, for example,&lt;br /&gt;
&lt;br /&gt;
(9)Hamlet 哈姆雷特 Pickwick 匹克威克 (both transliterated from English)&lt;br /&gt;
&lt;br /&gt;
Besides, in transliteration, the translators sometimes should also use the standard pronunciation of the Chinese characters. One of the difficulties in transliterating a foreign name in Chinese characters lies in the lack of many foreign sounds in Chinese, and the variation in the pronunciation of the Chinese characters causes confusion. The remedy is to fix certain Chinese characters for a certain syllable of foreign names. And many long-standing translated names, though not named after the original sounds, have been recognized by the world and are generally invariable. (Lian Shuneng 2006: 346)&lt;br /&gt;
&lt;br /&gt;
For example, in the translation in case study. For example, in the translation in case study,&lt;br /&gt;
&lt;br /&gt;
(10)Montaigne 蒙田 (not 蒙泰涅)&lt;br /&gt;
&lt;br /&gt;
Transliteration plays a crucial role in translation of proper nouns and technical terms, which ensures the correct conveyance of information.&lt;br /&gt;
&lt;br /&gt;
The translation methods under foreignization are able to make the translation process more visible, by means of showing how translators are deeply involved in the construction of culture and ideology. The use of these methods can retain the foreignness of the source text and produce on the target-language readers an effect as close as possible to that obtained on the readers of the original, through which the readers can further understand the foreign expressions and cultures, realizing the differences between the two countries.&lt;br /&gt;
&lt;br /&gt;
===Translation Methods under Domesticating Strategy===&lt;br /&gt;
&lt;br /&gt;
Domestication is a strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for target language readers. This strategy is &amp;quot;an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home&amp;quot;. In other words, as regards the use of domesticating strategy, the translators are required to make target-language readers feel familiar and close through conveying the content of the original text with the expressions to which TL readers are accustomed. And in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, free translation method and imitation method under domestication are used and displayed in several translation techniques. (Venuti 2004: 20) (Lian Shuneng 2006: 14)&lt;br /&gt;
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====Free Translation====&lt;br /&gt;
&lt;br /&gt;
Free translation, also known as sense-for-sense translation, emphasizes transfer of the meaning or &amp;quot;spirit&amp;quot; of a source text over accurate reproduction of the original wording. The purpose of this method is to accommodate the needs of the target-language readers by producing a text which conforms to the linguistic and textual norms of the target language and culture which does not therefore sound &amp;quot;foreign&amp;quot;. (Shuttleworth &amp;amp; Cowie, 2014: 59)(Lian Shuneng 2006: 12)&lt;br /&gt;
&lt;br /&gt;
Such a method, in this case study, is specifically embodied in the choice of words packed with Chinese characteristics, that is, diction, also a translation technique. For example,&lt;br /&gt;
&lt;br /&gt;
(11)Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is ''the exception''.&lt;br /&gt;
&lt;br /&gt;
在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是''凤毛麟角''。&lt;br /&gt;
&lt;br /&gt;
(12)It is not that we have not seen the birds. It is simply that we ''have not noticed'' them.&lt;br /&gt;
&lt;br /&gt;
所以如此，并不是因为这些鸟我们没有见过，而只是因为我们''习焉不察''。&lt;br /&gt;
&lt;br /&gt;
(13)When in the oak’s green arms the cuckoo ''sings'', &lt;br /&gt;
&lt;br /&gt;
And first delights men in the ''lovely springs''.&lt;br /&gt;
&lt;br /&gt;
杜鹃在橡树的绿色怀抱里''啭啼''，&lt;br /&gt;
&lt;br /&gt;
第一个为人们带来''欢欣、美好的春意''。&lt;br /&gt;
&lt;br /&gt;
In translating these sentences, the translator transfers some words into vocabulary or phrases with conspicuously Chinese features. For instance, the transfer of &amp;quot;the exception&amp;quot; and &amp;quot;have not noticed&amp;quot; to Chinese idioms &amp;quot;凤毛麟角&amp;quot; (that describes rare and precious items) and &amp;quot;习焉不察&amp;quot; (which means that one is too accustomed to something to call it in questions), respectively, exemplifies the typical Chinese four-character structure. Moreover, the verb &amp;quot;sings&amp;quot; is transferred to &amp;quot;啭啼&amp;quot; (that describes birds' melodious chirp), a Chinese term composed of two words with the same left side, which is one of common and special linguistic phenomena in Chinese language. Meanwhile, &amp;quot;the lovely springs&amp;quot; is transferred to &amp;quot;欢欣、美好的春意&amp;quot; (a joyful and wonderful feeling brought by the spring) through abstraction.&lt;br /&gt;
Thus, it can be seen that the application of free translation can reproduce the sense of the original text more smoothly and idiomatically. And the wide adoption of the four-character structures enhance the academic atmosphere of the translation version.&lt;br /&gt;
&lt;br /&gt;
====Imitation====&lt;br /&gt;
&lt;br /&gt;
With regard to the use of imitation, the translators do not stick to the meaning details of the original text, let alone its vocabulary and syntactic structure, but take the original text as a reference model, either by deleting and condensing to only translate its gist and key information, or by adding and expanding to deliver more information than that in the original text. For instance, (Xiong Bing 2014: 85)&lt;br /&gt;
&lt;br /&gt;
(14)Thousands of ''men and women'' ''live and die'' ''without knowing'' the difference between a beech and an elm, between the song of a thrush and the song of a blackbird.&lt;br /&gt;
 &lt;br /&gt;
成千上万的''男男女女''，''从生到死''，''一辈子''也''说不出''山毛榉和榆树有什么区别，''听不出''画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
&lt;br /&gt;
In the translation of this sentence, a variety of translation techniques are employed. &lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
The translator uses conversion to alter the syntactic structure of the original sentence. &lt;br /&gt;
&lt;br /&gt;
The predicate &amp;quot;live and die&amp;quot; is converted into the preposition phrase &amp;quot;从生到死&amp;quot; as the adverbial in Chinese.&lt;br /&gt;
&lt;br /&gt;
And the adverbial preposition phrase in the source text &amp;quot;without knowing&amp;quot; is converted into the predicate in Chinese translation.&lt;br /&gt;
&lt;br /&gt;
②　Division:&lt;br /&gt;
&lt;br /&gt;
In accordance with the need of Chinese expression, &amp;quot;without knowing&amp;quot; is divided into two verb phrases &amp;quot;说不出&amp;quot; and &amp;quot;听不出&amp;quot; in Chinese as the predicate.&lt;br /&gt;
&lt;br /&gt;
③　Addition:&lt;br /&gt;
&lt;br /&gt;
With the addition of the expression &amp;quot;一辈子&amp;quot;, the translator highlights the long time between life and death.&lt;br /&gt;
&lt;br /&gt;
④　Repetition:&lt;br /&gt;
&lt;br /&gt;
The plural form &amp;quot;men and women&amp;quot; is translated into the reiterative locution &amp;quot;男男女女&amp;quot; by repetition. &lt;br /&gt;
&lt;br /&gt;
The change of sentence structure via techniques such as conversion and division as well as of vocabulary via repetition and addition render the translation natural and smooth, showing the translator’s superb handling of the original text.&lt;br /&gt;
&lt;br /&gt;
(15)...we are all the ''more'' delighted ''at the spectacle of'' its ''runaway flight'' as it (the cuckoo) ''hurries'' from wood to wood conscious of its crimes ...&lt;br /&gt;
&lt;br /&gt;
一日''看见''它（杜鹃）因为自己犯了罪而''煌惶不安地''从这个林子飞''逃''向那个林子 ... 我们才会觉得''大大''开心。&lt;br /&gt;
&lt;br /&gt;
In this example, there are also various translation techniques used.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
Firstly, the preposition phrase &amp;quot;at the spectacle of&amp;quot; is converted into the verb &amp;quot;看见&amp;quot; in Chinese. &lt;br /&gt;
&lt;br /&gt;
Secondly, the noun phrase &amp;quot;runaway flight&amp;quot; is converted into Chinese verbs &amp;quot;飞&amp;quot; (fly) and &amp;quot;逃&amp;quot; (escape). &lt;br /&gt;
&lt;br /&gt;
Besides, the verb &amp;quot;hurries&amp;quot; (that means to move quickly in a particular direction) is converted into &amp;quot;惶惶不安地&amp;quot; (which means to feel panic, afraid and utterly uneasy), a Chinese adverb to modify the verbs &amp;quot;飞&amp;quot; and &amp;quot;逃&amp;quot;, which endows the subject cuckoo with somewhat human characteristic.&lt;br /&gt;
&lt;br /&gt;
②　Repetition:&lt;br /&gt;
&lt;br /&gt;
The adjective &amp;quot;more&amp;quot; is translated into the reiterative locution &amp;quot;大大&amp;quot;, a Chinese adverb equivalent to &amp;quot;very&amp;quot; or &amp;quot;extremely&amp;quot; in English to modify the adjective &amp;quot;delighted&amp;quot;. &lt;br /&gt;
&lt;br /&gt;
In this example, the adjustment of the sentence order and conversion of parts of speech make the translation more consistent with the word sequence in Chinese. Meanwhile, the choice of words such as the Chinese four-character structure &amp;quot;惶惶不安&amp;quot; conveys the romantic charm beyond the original text. And there are also indicators of use of repetition embodied in the typical Chinese reiterative locutions like &amp;quot;惶惶&amp;quot; and &amp;quot;大大&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
(16)I have myself a ''capricious'' and ''leaking'' memory.&lt;br /&gt;
&lt;br /&gt;
我自己的记忆力也是''漏洞百出''、''不听使唤''。&lt;br /&gt;
&lt;br /&gt;
Although this is a short sentence, it still contains the flexible use of translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
At first, the original object &amp;quot;memory&amp;quot; is converted to the subject in the Chinese translation.&lt;br /&gt;
And then, the subject &amp;quot;I&amp;quot; with its appositive &amp;quot;myself&amp;quot; is converted into the attribute &amp;quot;我自己的&amp;quot; to modify the subject in the translation &amp;quot;记忆&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
On account of the conversion of the subject and the verb, the original predicate &amp;quot;have&amp;quot; is inappropriate. The addition of &amp;quot;也是&amp;quot; that is equivalent to the verb &amp;quot;be&amp;quot; in English enforces the completeness of sentence structure. And this is a structural addition mainly due to the structural difference between Chinese and English.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The two vivid adjective &amp;quot;capricious&amp;quot; and &amp;quot;leaking&amp;quot; are translated as &amp;quot;不听使唤&amp;quot; and &amp;quot;漏洞百出&amp;quot; respectively which are typical Chinese four-character structures. The Chinese adjective &amp;quot;漏洞百出(的)&amp;quot; means that the loopholes appear one after another, which is often used to describe that one's writing or speech is untenable because of lack of sufficient reasons and grounds. And here, this word shows the author's weak memory with which he forgets things time and again. And the other adjective &amp;quot;不听使唤(的)&amp;quot; generally depicts that someone loses control and is not obedient to the rules or instructions. Here, the word properly demonstrates that the author cannot manipulate his memory well and also cannot preclude it from being weaker. The use of these two words conforms to the choice of affective and stylistic meanings.&lt;br /&gt;
&lt;br /&gt;
In this example, the conversion of the subject and object as well as the change of the predicate enable the translation to be more closely accord with the Chinese sentential structure. Moreover, the two figurative adjectives packed with personified traits not only fully  convey the author's intention, but also enhance literariness of the translation and even display a lively mood beyond the original text.&lt;br /&gt;
&lt;br /&gt;
(17)We know, again, that, the blossom precedes and ''not succeeds'' the fruit of the apple-tree, but ''this does not lessen our amazement at'' the beautiful holiday of a May orchard.&lt;br /&gt;
&lt;br /&gt;
另外，我们知道苹果树''先''开花，''后''结果，可是五月''一旦''到来，果园里一片欢闹的花海。''我们不是仍然惊为奇观吗？''&lt;br /&gt;
&lt;br /&gt;
This is a typical example of the imitation method embodied in the use of diverse translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
Regarding the conversion of word classes, the noun &amp;quot;blossom&amp;quot; is converted into the Chinese verb &amp;quot;开花&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Concerning the conversion of sentence members, the object in the clause &amp;quot;apple-tree&amp;quot; is converted into the subject &amp;quot;苹果树&amp;quot; in the Chinese translation. And the attribute &amp;quot;May&amp;quot; is converted into the adverbial in Chinese as &amp;quot;五月一旦到来&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Considering the conversion of sentence patterns, the negative sentence &amp;quot;this does not lessen our amazement at...&amp;quot; is converted into a interrogative sentence &amp;quot;我们不是仍然惊为奇观吗？&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Negation:&lt;br /&gt;
&lt;br /&gt;
The negative form &amp;quot;not succeeds&amp;quot; in English is translated into the affirmative form &amp;quot;后结果&amp;quot; in Chinese, intensifying a positive tone on which Chinese language often places emphasis.&lt;br /&gt;
&lt;br /&gt;
③　Division:&lt;br /&gt;
&lt;br /&gt;
The original complicated sentence in English is divided into several simplex clauses and phrases in Chinese, which underlines the &amp;quot;chronicle style&amp;quot; of Chinese language with frequent use of shorter or composite structures.&lt;br /&gt;
&lt;br /&gt;
④　Addition:&lt;br /&gt;
&lt;br /&gt;
Now that the original sentence is divided into smaller components, it is necessary to supply connectors for better cohesion. The addition of the logical connectors in Chinese such as &amp;quot;先&amp;quot;, &amp;quot;后&amp;quot;, &amp;quot;一旦&amp;quot; and &amp;quot;仍然&amp;quot; render the translation more smooth and expressive.&lt;br /&gt;
&lt;br /&gt;
In this instance, the translator flexibly takes advantage of the techniques such as conversion, negation and division, not only contributing to the diversity of sentence patterns but also adding sense of warmth and vividness of the translation. Additionally, the semantic addition of logical connectors render the translation more cohesive and coherent.&lt;br /&gt;
&lt;br /&gt;
(18)Once more I shall ''see'' the world as a garden through ''the eyes'' of a stranger, ''my breath taken away with surprise by the painted fields''.&lt;br /&gt;
&lt;br /&gt;
那时，我像一个陌生者进人大花园，''放眼四望''，''五色缤纷''的原野再一次使我''目不暇接''，''心迷神醉''。&lt;br /&gt;
&lt;br /&gt;
As regards this example, the translator enriches the meaning of the original text and creates a more balmy atmosphere by employing various translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Division:&lt;br /&gt;
&lt;br /&gt;
The long complex sentence, composed of two clauses, is divided into several separated clauses in arranged in a certain order, which renders the translation rhythmic and highlights the focus of expression.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
The addition of the Chinese set phrase &amp;quot;目不暇接&amp;quot; (which means that so many wonderful things and so swift change of scenery come into sight that the eyes are kept fully occupied) makes the context more coherent, as it echoes &amp;quot;see&amp;quot; and &amp;quot;the eyes&amp;quot; in the preceding and connects the &amp;quot;painted fields&amp;quot; in the following that greet the author's eyes and take his breath away.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The verb &amp;quot;see&amp;quot; is translated into &amp;quot;放眼四望&amp;quot; (to look around), the noun phrase &amp;quot;breath taken away with surprise&amp;quot; into &amp;quot;心醉神迷&amp;quot; (to be thrown into ecstasies), and the adjective &amp;quot;painted&amp;quot; into &amp;quot;五彩缤纷&amp;quot; (colorful). These recurring four-character structures in translation are loaded with positive meanings, and proper to depict the attractive scenery and to be used in scholar prose.&lt;br /&gt;
&lt;br /&gt;
④　Conversion:&lt;br /&gt;
&lt;br /&gt;
The original clause &amp;quot;my breath taken away with surprise by the painted fields&amp;quot; is in passive voice, and is converted into the active voice in Chinese translation &amp;quot;五色缤纷的原野再一次使我目不暇接，心迷神醉&amp;quot;. This kind of conversion is due to the fact that the Chinese passive form marked by &amp;quot;被&amp;quot; is traditionally felt to be an &amp;quot;inflictive voice&amp;quot;, mainly expressing things unpleasant or undesirable, contrasted with the cheerful aura overflowing the original text. &lt;br /&gt;
&lt;br /&gt;
The translator employs short clauses separated from the original complex sentence to bestow smoothness and naturalness on the translation and strengthen its artistic appeal. Furthermore, the translator selects the words that tally with the affective, contextual and stylistic meanings of the original. And the opportune addition of words and change of voice also polish the translation.    &lt;br /&gt;
&lt;br /&gt;
The reasonable use of the imitation translation method can make the translation more idiomatic and vivid, and even enable the translation overshadow the original text in terms of showcasing the artistic and aesthetic charm.&lt;br /&gt;
&lt;br /&gt;
In a word, translation methods under domesticating strategy will involve he careful selection of texts which lend themselves to being translated in this manner, the conscious adoption of a fluent, natural-sounding target language style, the adaptation of target text to conform to target discourse types, the interpolation of explanatory material, the removal of source language REALIA and the general harmonization of target text with target language preconceptions and preferences. These methods can render the translation highly literary, aesthetic and readable, and also can to some extent optimize the source text. The appropriate application of domesticating translation is able to even become a sublimation of the original.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
&lt;br /&gt;
This paper makes an analysis of translation strategies and translation methods in English prose, with translator Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot; created by Robert Lynd as an example. With translation strategies and methods as the starting point, this paper considers Chinese translation of English prose as the research subject. The paper first introduces English prose along with its distinctive properties, linguistics features and principles of its translation. And then this paper carries out the interpretation of translation strategies and methods in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot; in which the application of translation methods as well as techniques under foreignizing and domesticating strategies are elaborated, and the concrete effects they exert are also elucidated.&lt;br /&gt;
&lt;br /&gt;
===Major Findings===&lt;br /&gt;
&lt;br /&gt;
Based on the above study of translation strategies and methods employed in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, the features or common ground of Chinese translation of English prose in terms of translation strategies and methods can be generally summarized.&lt;br /&gt;
&lt;br /&gt;
In Chinese translation of English prose, foreignization strategy and domestication strategy are both used in the light of the style, linguistic features, and syntactic structures of the source text.&lt;br /&gt;
&lt;br /&gt;
But, on the whole, the domesticating translation strategy which includes translation methods such as free translation and imitation is applied more frequently compared with foreignization. This is because that prose translation actually falls into literary translation that is special on the grounds of the unique characteristics of the original literary works. In literary works, or specifically, in English prose, some words are not used with their literal meanings but their connotative or extension meanings, so literal translation under foreignization may not correctly convey the real significance of the original text. Meanwhile, in English prose, there are complex syntactic structures whose translation cannot be carried out with no proper conversion and alteration. Additionally, multiple rhetoric devices such as metaphor, metonymy and allusion are used in English literary works, and the literal translation of these figures of speech may elude the target-language readers because of the cultural differences and the obscurity of the translation. However, the appropriate adoption of translation methods under domestication strategy, to some extent, can give the target-language readers a sense of closeness and deliver the aesthetic charm with the premise that the real meaning of the original text can be ensured.&lt;br /&gt;
&lt;br /&gt;
In terms of translation methods under foreignizing strategy, literal translation is used when the lexical meaning of the source text is lucid and the syntactic structures in it are relatively simple and clear, so the translators need not find a new path in the mode of expression in order to be faithful to the source text. And the use of literal translation can convey the information more objectively and avoid the interference of translators' subjective factors. Meanwhile, in Chinese translation of English prose, the use of zero-translation is frequent but imperceptible, with the omission of some words peculiar to English, such as expletives it and there, English articles and pronouns, but sometimes the English pronouns can also be retained to show a sense of closeness and friendliness. Besides, transliteration is used for the translation of proper nouns and technical terms not only in English prose but also in almost all text types, with conforming to the principles of being named after the original sound and of the translated names accepted through common practice. In a word, translation methods under foreignization can ensure the objective conveyance of information of the original text and preserve its foreignness and unique cultural values that can enrich the target-language readers' knowledge and their languages.&lt;br /&gt;
&lt;br /&gt;
With regard to translation methods under domesticating strategy, in Chinese translation English prose, free translation and imitation method are oftentimes employed. English prose, as one of the English literary genres, boasts distinctive features of literature, such as aesthetic value, language with hidden meanings and the usual use of figures of speech as well as culturally loaded images, which may not be shown vividly and be easily understood by target-language readers via literal or word-for-word translation. Thus, translation methods under domestication, with careful choice of words, proper adjustment of syntactic structures and sentence sequence, and appropriate sublimation of the original text, can express the original author's feelings more lively, render the translation more fluent, idiomatic and expressive, and display the aesthetic charm of the source text.&lt;br /&gt;
&lt;br /&gt;
At the lexical level, in Chinese translation of English prose, the translation techniques --- diction, addition, conversion and repetition --- are usually used. The typical Chinese four-character structures appear time from time in Chinese translation, and the translators choose the words in line with the affectionate, contextual and stylistic meanings of the original prose, which intensify literariness and satisfy the characteristics of scholar prose. Moreover, the addition of Chinese conjunctive words and logical connectors by which sentences in translation are connected into a text can create better cohesion. Furthermore, the conversion of word classes in translation is based on the contrastive studies of English and Chinese, viz., English with its nominal style is static whereas Chinese with its verbal style is dynamic. Besides, it is one of the peculiarities of Chinese to reduplicate characters or words in word-formation and to repeat the similar or same word or expression in a discourse for expressiveness and parallelism, which can render translation more appealing to Chinese readers and produce rhetorical and grammatical effect.&lt;br /&gt;
&lt;br /&gt;
At the syntactic level, the translation techniques --- conversion and division--- are often employed in Chinese translation of English prose. To start with, conversion in the syntactic respect involves conversions of sentence members, sentence patterns and the voice. The conversion of word classes often results in the conversion of sentence members, and the alteration of sentences patterns like the inter-conversion between assertive or negative sentences and question sentences can variegate sentence types in translation. The conversion of passive voice in English prose into active voice in Chinese translation is due to the preference for active forms that can produce positive effect in Chinese language. What's more, part of sentences in English prose are longer and complicated because of subordination, a fundamental feature of English, and it may be hard to reproduce the original thought with following the original sentence structure in translation, hence the division of complex English sentences into word-groups, clauses or simplex sentences in Chinese can endow Chinese translation of English prose with more naturalness, fluency and sense of rhythm.&lt;br /&gt;
&lt;br /&gt;
The research on the features of translation strategies and methods in Chinese translation of English prose, theoretically can offer a deeper insight into English prose and its translation, and practically can help to some extent improve the quality of Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
===Limitations and Suggestions===&lt;br /&gt;
&lt;br /&gt;
There are drawbacks in this paper: firstly, the paper takes only one piece of English prose as an example in case study, so it lacks strong persuasiveness; secondly, since there are few researchers on prose translation at home and abroad, especially those specializing in Chinese translation of English prose, this paper resorts to insufficient literature guidance and reference; thirdly, owing to the confined conditions and narrow academic capacity, this paper is devoid of enough depth and breadth as well as favorable insight and acuity, thus the theoretical support and practical assistance it provides are bound to be limited. As a consequence, it is expected that researchers in this field can cooperate well to build up a system to minimize the possible errors and create more thorough and holistic works to enunciate and improve Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
&lt;br /&gt;
[1] Lawrence Venuti. Rethinking Translation: Discourse, Subjectivity, Ideology [C]. London and New York: Routledge, 1992: 5-20.&lt;br /&gt;
&lt;br /&gt;
[2] Lawrence Venuti. The Translator's Invisibility: A History of Translation [M]. Shanghai: Shanghai Foreign Language Education Press 上海: 上海教育出版社, 2004: 7-25.&lt;br /&gt;
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[3] Mark Shuttleworth. Moira Cowie. Dictionary of Translation Studies [M]. London and New York: Routledge, 2014: 43-44, 59, 144-145.&lt;br /&gt;
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[4] 方梦之. 中国译学大辞典 [M]. 上海: 上海教育出版社, 2011: 108.&lt;br /&gt;
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Fang Mengzhi. Dictionary of Translation Studies in China [M]. Shanghai: Shanghai Foreign Language Education Press, 2011: 108 &lt;br /&gt;
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Hou Qiang. On the Translation Strategies of English Prose: A Case Study of the Chinese version in &amp;quot;Han Suyin Award for Young Translators&amp;quot; [D]. Xiamen: Xiamen University, 2014.&lt;br /&gt;
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[6] 何秀琴. 期待视角下的英语散文汉译研究 --- 以《散文佳作108篇》为例 [D]. 南昌: 南昌大学, 2018.&lt;br /&gt;
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He Xiuqin. Research on English-Chinese Translation of Prose from the Perspective of Horizon of Expectation -- A Case Study of ''Anthology of Chinese and English Prose'' [D]. Nanchang: Nanchang University&lt;br /&gt;
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[7] 连淑能. 英译汉教程 [M]. 北京: 高等教育出版社, 2006: 12-14, 49, 52, 54, 67-175, 211, 253-262, 344-348.&lt;br /&gt;
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Lian Shuneng. A Coursebook on English-Chinese Translation [M]. Beijing: Higher Education Press, 2006: 12-14, 49, 52, 54, 67-175, 211, 253-262, 344-348.&lt;br /&gt;
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[8] 宋颉. 翻译美学视角下的民国散文英译风格研究 [D]. 上海: 上海外国语大学, 2018.&lt;br /&gt;
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Xiong Bing. On the Conceptual Confusion in Translation Studies [J]. Chinese Translation, 2014(3): 82-88.&lt;br /&gt;
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Zhu Mingju.  Chinese Translation of Famous English Works [M]. Nanjing: Yilin Press, 2007: 319-328.&lt;br /&gt;
&lt;br /&gt;
==Appendix==&lt;br /&gt;
&lt;br /&gt;
(The original text:)&lt;br /&gt;
&lt;br /&gt;
The Pleasures of Ignorance&lt;br /&gt;
&lt;br /&gt;
By Robert Lynd&lt;br /&gt;
&lt;br /&gt;
It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance. It is impossible to take a walk in the country oneself without being amazed at the vast continent of one’s own ignorance. Thousands of men and women live and die without knowing the difference between a beech and an elm, between the song of a thrush and the song of a blackbird. Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is the exception. It is not that we have not seen the birds. It is simply that we have not noticed them. We have been surrounded by birds all our lives, yet so feeble is our observation that many of us could not tell whether or not the chaffinch sings, or the colour of the cuckoo. We argue like small boys as to whether the cuckoo always sings as he flies or sometimes in the branches of a tree-whether Chapman drew on his fancy or his knowledge of nature in the lines:&lt;br /&gt;
&lt;br /&gt;
When in the oak's green arms the cuckoo sings, &lt;br /&gt;
&lt;br /&gt;
And first delights men in the lovely springs.&lt;br /&gt;
&lt;br /&gt;
This ignorance, however, is not altogether miserable. Out of it we get the constant pleasure of discovery. Every fact of nature comes to us each spring, if only we are sufficiently ignorant, with the dew still on it. If we have lived half a lifetime without having ever seen a cuckoo, and know it only as a wandering voice, we are all the more delighted at the spectacle of its runaway flight as it hurries from wood to wood conscious of its crimes and at the way in which it halts hawk-like in the wind, its long tail quivering, before it dares descend on a hillside of fir-trees where avenging presences may lurk. It would be absurd to pretend that the naturalist does not also find pleasure in observing the life of the birds, but his is a steady pleasure, almost a sober and plodding occupation, compared to the morning enthusiasm of the man who sees a cuckoo for the first time, and, behold, the world is made new.&lt;br /&gt;
&lt;br /&gt;
And, as to that, the happiness even of the naturalist depends in some measure upon his ignorance,which still leaves him new worlds of this kind to conquer. He may have reached the very Z of knowledge in the books, but he still feels half ignorant until he has confirmed each bright particular with his eyes. He wishes with his own eyes to see the female cuckoo—rare spectacle!—as she lays her egg on the ground and takes it in her bill to the nest in which it is destined to breed infanticide. He would sit day after day with a field-glass against his eyes in order personally to endorse or refute the evidence suggesting that the cuckoo does lay on the ground and not in a nest.And, if he is so far fortunate as to discover this most secretive of birds in the very act of laying, there still remain for him other fields to conquer in a multitude of such disputed questions as whether the cuckoo’s egg is always of the same colour as the other eggs in the nest in which she abandons it. Assuredly the men of science have no reason as yet to weep over their lost ignorance. If they seem to know everything, it is only because you and I know almost nothing. There will always be a fortune of ignorance waiting for them under every fact they turn up. They will never know what song the Sirens sang to Ulysses any more than Sir Thomas Browne did.&lt;br /&gt;
&lt;br /&gt;
If I have called in the cuckoo to illustrate the ordinary man's ignorance, it is not because I can speak with authority on that bird. It is simply because, passing the spring in a parish that seemed to have been invaded by all the cuckoos of Africa, I realized how exceedingly little I, or anybody else I met, knew about them. But your and my ignorance is not confined to cuckoos. It dabbles in all created things, from the sun and moon down to the names of the flowers. I once heard a clever lady asking whether the new moon always appears on the same day of the week. She added that perhaps it is better not to know, because, if one does not know when or in what part of the sky to expect it,its appearance is always a pleasant surprise. I fancy, however, the new moon always comes as a surprise even to those who are familiar with her time-tables. And it is the same with the coming-in of spring and the waves of the flowers. We are not the less delighted to find an early primrose because we are sufficiently learned in the services of the year to look for it in March or April rather than in October. We know, again, that, the blossom precedes and not succeeds the fruit of the apple-tree, but this does not lessen our amazement at the beautiful holiday of a May orchard.&lt;br /&gt;
&lt;br /&gt;
At the same time there is, perhaps, a special pleasure in relearning the names of many of the flowers every spring. It is like rereading a book that one has almost forgotten. Montaigne tells us that he had so bad a memory that he could always read an old book as though he had never read it before. I have myself a capricious and leaking memory. I can read Hamlet itself and The Pickwick Papers as though they were the work of new authors and had come wet from the press, so much of them fades between one reading and another. There are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy. But this is only when life has an object beyond entertainment. In respect of mere luxury, it may be doubted whether there is not as much to be said for a bad memory as for a good one. With a bad memory one can go on reading Plutarch and The Arabian Nights all one's life. Little shreds and tags, it is probable, will stick even in the worst memory, just as a succession of sheep cannot leap through a gap in a hedge without leaving a few wisps of wool on the thorns. But the sheep themselves escape,and the great authors leap in the same way out of an idle memory and leave little enough behind.&lt;br /&gt;
&lt;br /&gt;
And, if we can forget books, it is as easy to forget the months and what they showed us, when once they are gone. Just for a moment I tell myself that I know May like the multiplication table and could pass an examination on its flowers, their appearance and their order. Today I can affirm confidently that the buttercup has five petals. (Or is it Six? I knew for certain last week.) But next year I shall probably have forgotten my arithmetic, and may have to learn once more not to confuse the buttercup with the celandine. Once more I shall see the world as a garden through the eyes of a stranger, my breath taken away with surprise by the painted fields. I shall find myself wondering whether it is science or ignorance which affirms that the swift (that black exaggeration of the swallow and yet a kinsman of the humming-bird) never settles even on a nest, but disappears at night into the heights of the air. I shall learn with fresh astonishment that it is the male, and not the female,cuckoo that sings. I may have to learn again not to call the champion a wild geranium, and to rediscover whether the ash comes early or late in the etiquette of the trees. A contemporary English novelist was once asked by a foreigner what was the most important crop in England. He answered without a moment's hesitation: &amp;quot;Rye&amp;quot;. Ignorance so complete as this seems to me to be touched with magnificence; but the ignorance even of illiterate persons is enormous. The average man who uses a telephone could not explain how a telephone works. He takes for granted the telephone, the railway train, the linotype, the aeroplane, as our grandfathers took for granted the miracles of the gospels. He neither questions nor understands them. It is as though each of us investigated and made his own only a tiny circle of facts. Knowledge outside the day's work is regarded by most men as a gewgaw. Still we are constantly in reaction against our ignorance. We rouse ourselves at intervals and speculate. We revel in speculations about anything at all—about life after death or about such questions as that which is said to have puzzled Aristotle, &amp;quot;why sneezing from noon to midnight was good, but from night to noon unlucky.&amp;quot; One of the greatest joys known to man is to take such a flight into ignorance in search of knowledge. The great pleasure of ignorance is, after all, the pleasure of asking questions. The man who has lost this pleasure or exchanged it for the pleasure of dogma, which is the pleasure of answering, is already beginning to stiffen. One envies so inquisitive a man as Jowett, who sat down to the study of physiology in his sixties. Most of us have lost the sense of our ignorance long before that age. We even become vain of our squirrel’s hoard of knowledge and regard increasing age itself as a school of omniscience. We forget that Socrates was famed for wisdom not because he was omniscient but because he realized at the age of seventy that he still knew nothing. (Zhu Mingju 2007: 319-322)&lt;br /&gt;
 &lt;br /&gt;
(Liu Bingshan's Chinese translation:)&lt;br /&gt;
&lt;br /&gt;
无知常乐&lt;br /&gt;
&lt;br /&gt;
刘炳善 译&lt;br /&gt;
&lt;br /&gt;
同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是凤毛麟角。所以如此，并不是因为这些鸟我们没有见过，而只是因为我们习焉不察。在我们一生中，鸟类始终就在我们周围，然而我们对于它们的观察总是那样马马虎虎，所以我们当中许多人都说不清花鸡到底会不会知，也不知道杜鹃究竟是什么颜色。对于有些问题、我们像小孩子一样争论不休、譬如说，杜鹃在飞着或栖身于树枝间的时候，是否一直不停地鸣，而查普曼下面两行诗的灵感究竟是来自他的想像还是来自他的自然知识∶&lt;br /&gt;
&lt;br /&gt;
杜鹃在橡树的绿色怀抱里啭啼，&lt;br /&gt;
&lt;br /&gt;
第一个为人们带来欢欣、美好的春意。&lt;br /&gt;
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不过，这种无知也并非全然不幸，因为正是由于它，我们才能不断尝到发现的乐趣。只要我们是的的确确地无知，那么每年大地春回，自然界的每一种事物都会带着它那清新的露珠重新出现在我们面前。如果我们活了半辈子，对于杜鹃除了听过它那飘忽不定的叫声，从来没有见过它是什么模样，那么，一日看见它因为自己犯了罪而煌惶不安地从这个林子飞逃向那个林子。或是看见它顶着风、像老鹰似的停留在半空中，它那长长的尾巴颤动着，不敢落下来，生怕有什么鸟儿藏在那山坡上的枞树林里等着要找它报仇。我们才会觉得大大开心。有人想着，博物学家整天观察鸟类，大概就不会觉得有什么趣儿了吧？其实大谬不然--他那持续不断的乐趣几平已经变成一种安详的职业习惯了，不像有人某天早晨突然第一次看见一只杜鹃，不胜雀跃之至，于是，看哪，天地也为之焕然一新了。&lt;br /&gt;
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说到这儿，甚至连博物学家的快乐在一定程度上也有赖于自己的无知；只有如此。才能给他留出一些新的领域有待他去征服。即使他已经攀登了书本知识的顶峰，他仍会感到自己不过是半通不通，每一个引人注目的细节还必须用自己的亲眼观察来加以一一证实。他盼着能亲眼看到雌杜鹃（这可是个稀罕物儿！）把蛋下到地面上。然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。因此，博物学家就要戴上望远镜，日复一日地坐在那里等待着亲眼证实或者否定那种认为杜鹃确实是在地面上而非在窠里下蛋的说法。而日，即使他很幸运，能够发现杜鹃下蛋实况，这个在鸟类来说算是极大的秘密，其他一大批有争议的问题还依然存在。就像新的领土有待他去开拓，例如，杜鹃的蛋跟它占用的窠里其他鸟的蛋是否总是一样颜色？自然，科学家没有理由为了自己失去无知而哭泣。如果他们看起来似乎是精通一切的话，那也不过因为你我差不多是一无所知罢了。实际上，当他们要把一件事实的盖子揭开的时候，某种命定的无知就在等待着他们。海妖们向尤利塞斯唱的究竟是什么歌儿？——他们永远不可能知道，正像托马斯·勃朗爵士也不知道一样。&lt;br /&gt;
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我请杜鹃来做例子以说明普通人的无知，并不是因为我有什么权威可以对这种鸟儿发发议论。不过，我曾在某个教区暂住，而那年春天从非洲飞来的杜鹃似乎全集合在那个地方，因此我也就有机会了解到我自己以及我所碰见的每一个人对于这种鸟儿的知识是如何地微不足道。但是，你我的无知并不仅限于杜鹃这一方面。它涉及到宇宙万物，从太阳、月亮一直到花卉的名字。有一天，我听见一位聪明伶俐的太太提出了这样一个问题∶新月是不是总在星期几露面？她接着又说：不知道倒好，正因为人不知道在什么时候、在天空的哪一带能看见它，新月一出现才给人带来一场惊喜。然而我想、哪怕入把月亮盈亏时间表记得再熟。看见新月出现还是不免又惊又喜，春回大地，花开花落，也莫不如此。尽管我们对一年四季草本节令了如指掌，知道樱草开花在三月四月而不在十月，不过看见一株早开花的樱草，我们还是照样地高兴。另外，我们知道苹果树先开花，后结果，可是五月一旦到来，果园里一片欢闹的花海。我们不是仍然惊为奇观吗？&lt;br /&gt;
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倘在每年春天，把许多花卉之名重温一遍，还另有一番风味。那就像把一本差不多忘得干干净净的书再重新念一遍。蒙田说过，他的记忆力很坏，所以他随时都能拿起一本旧书，像从未读过的新书一样地念。我自己的记忆力也是漏洞百出、不听使唤。我甚至能拿起《哈姆雷特》和《匹克威克外传》，当作是初登文坛的新作家刚刚印成白纸黑字的作品来念，因为自从上回念过以后，这两部书在我脑子里的印象已经模模糊糊了。这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。不过，在这种时候，人不仅想得到娱乐，还追求着什么目的。如果只讲享受的话，记忆力坏比记忆力好究竟差到哪里去，还真是大可怀疑哩。记忆力坏的人可以一辈子不断地念普卢塔克的《英雄传》和《天方夜谭》，而永远感到新鲜。很可能，最坏的记忆力也难免粘粘连连地留下一星半点的印象，恰如一只只绵羊从篱笆洞里接连通过，总不免在那刺条上留下一丝半缕的羊毛。然而，绵羊终归逃出去了，正像伟大的作家从我们不争气的记忆中消失。所留下的东西简直微不足道。&lt;br /&gt;
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既然读过的书我们可以忘得一干二净，那么一年十二个月以及每个月的风物，一旦时过境迁。我们同样可以轻而易举地把它们忘在脑后。在某个短暂时刻，我可以说自己对于五月就像对于乘法表那样熟悉，关于五月里的花木、开花时间乃至前后次序，我能通过考试。今天，我就敢肯定金凤花有五瓣。（难道是六瓣吗？上个礼拜我还记得清清楚楚来着。）可是，到了明年，我也许连算术也忘个干干净净;我得从头学起，以免把金凤花误认成白屈菜。那时，我像一个陌生者进人大花园，放眼四望，五色缤纷的原野再一次使我目不暇接，心迷神醉。那时，我也许要对这么一个问题拿不定注意，就是; 认为雨燕（那种简直像大号小燕子、又和蜂鸟沾点儿亲戚的黑鸟儿）从来不在窠里歇着，一到夜里就飞向高高的天空，到底是一种科学论断，还是一种无知妄说？当我知道了会唱歌的并不是雌杜鹃，而是雄杜鹃。我还要再次感到惊讶。我得重新学习，以免把剪秋罗当作野大竺葵；还要去重新发现白杨在树木生长的习惯法中究章算是早成材还是晚成材。某天。一个外国人问一位当代英国小说家，英国最重要的农作物是什么。他毫不犹豫地回答：“稞麦。”在我看来，这是一种堂而皇之派头的彻头彻尾的无知；不过，大大无知的也包括那些没有文化的人。普通人只会使用电话，却无法解释电话的工作原理。他把电话、火车、铸造排字机、飞机都看作当然之事，就像我们的祖父一代把福音书里的奇迹故事视为理所当然一样。对于这些事，他既不去怀疑，也不去了解。我们每个人似乎只对很小范围内的某几件事才真正下工夫去了解、弄清楚。大部分人把日常工作以外的一切知识统统当作花哨无用的玩意儿。然面，对于我们的无知，我们还是时时抗拒着，我们}有时振作起来，进行思索。我们随便找一个什么题目，对之思考，甚至入迷——关于死后的生命，或者关于某些据说亚里士多德也感到大惑不解的问题，例如“打喷嚏，从中午到子夜则吉，从夜晚至中午则凶，其故安在？”为求知识而陷入无知，这是人类所欣赏的最大乐事之一。归根结底，无知的极大乐趣即在于提出问题。一个人，如果失去了这种提问的乐趣，或者把它换成了教条的答案，并且以此为乐，那么，他的头脑已经开始僵化了。我们羡慕像裘伊特这样勤学好问之人，他到了六十多岁居然还能坐下来研究生理学。我们多数人不到他这么大的岁数就早已丧失了自己无知的感觉了。我们甚全像松鼠似的对自己小小的知识储存感到沾沾自喜，把与日俱增的年龄看作是培养无所不知的天然学堂。我们忘记了∶苏格拉底之所以以智慧名垂后世，并非因为他无所不知，而是因为他到了七十高龄还能明白自己仍然一无所知。 (Zhu Mingju 2007: 322-325)&lt;br /&gt;
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=毛优Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
[[Trans_Type_EN_5]]&lt;br /&gt;
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毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
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=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
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从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。	&lt;br /&gt;
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Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
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Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
翻译风格，巴黎的忧郁，郭宏安，亚丁&lt;br /&gt;
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==Introduction==&lt;br /&gt;
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The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
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Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations. Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
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==Liu Miqing’s theory of translation style==&lt;br /&gt;
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Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
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Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.&lt;br /&gt;
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In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
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==Form Markers==&lt;br /&gt;
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According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
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===Register Markers===&lt;br /&gt;
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“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
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The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
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Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
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Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
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Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
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This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
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===Lexical Markers===&lt;br /&gt;
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Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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'''Eg. (b)'''&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence, translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
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==Non-formal Markers==&lt;br /&gt;
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The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
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Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
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According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
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Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
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The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
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The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
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Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
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Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.&lt;br /&gt;
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==References==&lt;br /&gt;
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[1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[3] 刘宓庆 Liu Mingqing. 新编当代翻译理论[M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp;amp; Publishing Corporation, 2005.&lt;br /&gt;
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[4] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.&lt;br /&gt;
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[5] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.&lt;br /&gt;
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=秦建安 A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
[[Trans_Type_EN_7]]&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Lu Xun, chief commander of China's modern cultural revolution, is not only a great thinker and political commentator but the founder of modern Chinese literature. Kong I-Chi is one of the masterpieces of Lu Xun's novels. Although the total number of characters is less than 3,000 words, Lu Xun exposes the nature of feudal ethics and its negative influence through his character portrayal, which is loved by many readers home and aboard. The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but so as close as possible to the original text in terms of syntactic structure and wording. Therefore, his translations once became the authoritative version of Lu Xun's novels. From the perspective of Nida’s functional equivalence theory, this thesis conducts translation research on the English translation of the famous writer Yang Xianyi, analyzing whether the translation is functionally equivalent to the original text and construe the English translation of prose from the lexical, syntactic, and semantic level to try to explore the translation strategies, styles and methods of Kong I-Chi which aims to explain the functional equivalents in Lu Xun's short novel translation.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Functional Equivalence Theory; Lu Xun; Kong I-Chi;translation method&lt;br /&gt;
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===Introduction===&lt;br /&gt;
This chapter will be expanded with respect to the research background, its significance and the methodology. The literature review will also be included which describes the previous studies on the Functional Equivalence Theory and previous translation versions of ''Kong I-Chi''.&lt;br /&gt;
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'''Research Background and Significance'''&lt;br /&gt;
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As the most famous writer in modern China, Lu Xun has a decisive bearing on the modern history of Chinese literature. Lu Xun settled in a period of transformation in Chinese literature. His short stories are different from modern short stories in terms of text and expression. ''Kong I-Chi'' was written in 1918 when there was a turmoil in China. At that time, although the imperial examination system had been abolished, the education system had not changed, and many scholars had not shaken off the shackles of feudal tenets. &lt;br /&gt;
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''Kong I-Chi'' enjoys high reputation at home and abroad and has been translated into English, Japanese, French, Russian and other languages. Compared with other language versions, the English versions enjoy a wider spread and have deeper influence. In 1954, the couple Yang and Dai translated it into English and published Selected Stories of Lu Xun in which ''Kong I-Chi'' was included. Yang Xianyi and his wife Gladys Yang are great translator beyond all doubt. They are knowledgeable and familiar with Chinese and Western cultures also have devoted their life to translating excellent Chinese and Western literary works. Through their translation, we can better master the author's own novel intentions.&lt;br /&gt;
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'''Methodology'''&lt;br /&gt;
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In recent years, the translation of traditional Chinese literary works was attached great significance by both Chinese and foreign scholars. As an important part of ancient Chinese culture, though, it is a common genre in Chinese and foreign literature, the short novels cannot be neglected. For translators, how to deal with the modern and balance Chinese and Western cultural differences has become a salient problem. It is not only necessary to understand the characteristics of modern Chinese literature, but also to be very familiar with Chinese and Western cultures for the translator. Functional Equivalence Theory is put forward by American linguists Eugene Nida. According to him, two different languages represent two different cultures which will never be the same, but translation is a kind of communication between the two cultures and translators should try their best to achieve functional equivalence between the two languages rather than seek for rigid correspondence when making translation, which can accurately reproduce the source culture in the target language and eliminate cultural differences. It puts forward a new attitude to treat different languages and cultures, promoting language communication and mutual understandings among people. Thus, taking Nida’s theory as guidance, this research is meaningful not only for translation studies, but also for cultural exchanges.&lt;br /&gt;
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'''Literature Review'''&lt;br /&gt;
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As one of Nida’s major contribution to contemporary translation studies, Functional Equivalence Theory has brought about heated discussion among scholars at home and abroad since its birth. Many momentous works of Nida also have been translated and introduced into China, such as Nida on Translation edited and translated by Tan Zaixi (1999) and Language and Translation translated by Cai Yi (1985) which of them aroused great repercussions in Chinese translation field. As the prototypical member of Functional Equivalence Theory, receptor’s response theory draws scholars’ attention. Zhang Xiujuan (2015) points out that “receptor’s response theory breaks the tradition of Chinese translation that translators pay much attention to the text but may ignore the response of readers, and provides a new perspective for Chinese scholars to make studies on translation theories”.&lt;br /&gt;
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Kong I-Chi, as the most typical character in Lu Xun's novels in the teaching textbooks of Chinese junior high school students, has left an indelible impression in the hearts of Chinese people. The most recognized translators of ''Kong I-Chi'' include Yang and Dai, Lyle William and Edgar Snow. The translation of Lu Xun's novels during the period of Yang and Dai reach its heyday. For a long time, domestic and foreign publishing houses have published works translated by the couple. Since Edgar Snow lived in the same age as Lu Xun, his translation is closer to Lu Xun's life background. It wasn't until 1990 that the American scholar William Lyell's new American translation was published, and the new stage of the English translation of Lu Xun's novels began. The British English version translated by Yang and Dai is elegant and idiomatic, giving readers the good impression of pure British English.&lt;br /&gt;
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=== Theoretical Framework: Nida’s Functional Equivalence Theory ===&lt;br /&gt;
==== Introduction of Functional Equivalence Theory ==== &lt;br /&gt;
===== The Original of Functional Equivalence Theory  =====&lt;br /&gt;
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Nida's main academic activities unfold around the translation of the Bible. In the process of &amp;quot;Bible&amp;quot; translation, Nida started from reality and developed a set of his own translation theory, which eventually became one of the classics in translation studies. In 1964, Nida (1964) put forward “dynamic equivalence” in ''Toward a Science of Translating'', and gave it specific definition in ''The Theory and Practice of Translation'' (1969). In the mid-1980s, “dynamic equivalence” was replaced by “functional equivalence” to avoid misunderstandings on the term “dynamic”, which was the origin of Functional Equivalence Theory.&lt;br /&gt;
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=====The Development of Functional Equivalence Theory  =====&lt;br /&gt;
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The most important and the most intractable part in Functional Equivalence Theory is the disposal of message. The theory requires that the message in receptor’s language must be consistent with the source language. In such a translation, translators should strive to “reproduce as literally and meaningfully as possible the form and content of the original” (Nida 1964:159). Later he successfully applied the research results of modern linguistics to translation theory which also reciprocally pushed his theory forward. There are three stages in the development of Functional Equivalence Theory.&lt;br /&gt;
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The first stage is that starting from the essence of language; he used semantic theory to make an objective and accurate analysis of the referent and associative meaning of words. In Nida's point of view, various language structures have great similarities, and the deep structure is far more common than the surface structure. Therefore, the translation of the deep structure between languages can ensure the fidelity of the translation to the greatest extent. At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensue smoothness of the translation as much as possible. The faithful and fluent translation presupposes conditions for the equivalence of receptor’s response, which makes it possible to realize functional equivalence.&lt;br /&gt;
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The second stage is that the theory was prone to lay its foundation on information theory. Nida held the view that translation is the activity of converting information expressed in one language into information in another language, which is, converting information of one code into information of another code. The translation plays a communicative role in transmitting information. Only when the target reader obtains the same amount of information as the original reader can the relationship between the target language recipient and the target language information be basically the same as the relationship between the original language recipient and the original source information. Nida noticed that there is a receptive gap between the original reader and target reader especially when the original language and the target language belong to different language families and different cultures. Thus, in order to improve the amount of the receptor’s information as much as the original reader’s, Nida emphasizes the translator can moderately change the form of the original text to provide a better understanding for receptors.&lt;br /&gt;
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On third stage, Nida tended to embellish his theory from the perspective of social semiotics. Nida insisted that the translation means translation meaning, and semiotics is the most comprehensive system for analyzing meaning. In the book &amp;quot;''Language, Culture, and Translation''&amp;quot;, Nida pointed out that social semiotics studies all codes and codes of human society, and its focus is on the most comprehensive and complex symbol system used by mankind-Language. Therefore, in terms of decoding and encoding, no translation method is as comprehensive as the social semiotic translation method.&lt;br /&gt;
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Nida also recognized that there would never be complete equivalence and it was just a quaesitum. With further development of Functional Equivalence Theory, he thought that it has different degrees of adequacy and on that basis he put forward two levels of functional equivalence — the maximal level and the minimal level of equivalence. The former refers to “the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did” (Nida 1993:118), but this is just an ideal state which cannot be achieved especially when there are huge cultural and aesthetic differences between the two languages. While the latter means “the readers of a translated text should be able to comprehend it to point that they can conceive of how the original readers of the text must have understood and appreciated it” (Nida 1993: 118), and translation below this level can never be accepted. According to Nida, if a translation is between these two levels, it can be regarded as a good one.&lt;br /&gt;
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==== Basics of Functional Equivalence Theory  ==== &lt;br /&gt;
=====Receptor’s Response  =====&lt;br /&gt;
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In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s responce. When translators are working on translation, they are increasingly unable to ignore the reader's feedback on the translation. From the perspective of reception aesthetics, translation theorist Nida said that only when the reader accepts the translation can the translation be truly completed. Therefore, when translating, the translator cannot ignore the acceptability of the translation. The translator builds a bridge between the original author and the reader of the target language through translation, and it is the translation that can clearly reflect this bridge role.&lt;br /&gt;
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Receptor’s Response Theory draws attention to the reader and the reading process, rather than the author or the text. Pat Mora and James Welch define it as: &amp;quot;The theory emphasizes the importance of the reader's role in text understanding.&amp;quot; The same description also appears in many of Nida’s works in which the importance of “receptor’s response” is emphasized repeatedly. &lt;br /&gt;
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There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which was pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information need to be filled in by the reader himself. Such uncertainty occupies another very important position in this theory. This concept includes those vague factors, such as gaps and blanks. This kind of uncertainty encourages readers to add their own ideas when reading, so there is usually more than one understanding of a literal work. The third point is implicit reader also proposed by Isel, as opposed to the actual reader, which refers to the intended reader set by the writer himself who can concretize the text. Isel points out that the implicit reader is not the actual reader, but a reader that the author expects to design in the creative process, that is, the implicit recipient. It is a certain character that the artist conceives and pre-sets based on his experience or hobbies. The forth part is the identity theme. In other words, the work itself has no fixed objective meaning; only when the reader reshapes the work out of his own identity theme and the reader replicates his own fantasies during the reading process, the work can be given meaning. The last point is the interpretative group which was put forward by Stanley Fish. It refers to people who share the same interpretation strategy as we have. In a known context or reader group, the interpretation of the work meaning is the product from the group.&lt;br /&gt;
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===== Principles for Producing Functional Equivalence  =====&lt;br /&gt;
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To achieve the closest natural equivalence between the source language and target language, Nida put forward six principles as the guidance of different kinds and degrees of adjustments:&lt;br /&gt;
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1.	When the translation that strictly keeps the form of the source text makes receptors misunderstand the designative meaning, changes need to be made in the translated text, or a footnote should be added for further explanation if literal translation is still be selected.&lt;br /&gt;
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2.	When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aim to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.&lt;br /&gt;
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3.	When the translation that strictly keeps the form of the source text is so semantically and syntactically difficult that average readers may give up the attempt to understand it, changes should be made in the translated text and the nature of the changes needs to be indicated in the introduction or footnote.&lt;br /&gt;
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4.	When the translation that strictly keeps the form of the source text causes significant misconceptions on the associative meanings of the source text or huge loss in the appreciation for the stylistic values of the source text, changes should be made to reflect the associative meanings of the source text.&lt;br /&gt;
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5.	The way that a translation is to be used (such as a drama to be read or acted on the stage) is of great significance to the extent to which changes are to be made.&lt;br /&gt;
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6.	A source text that must be translated together with accompanying codes (such as songs and operas) generally requires numerous adjustments in all aspects, including phonology, lexicon, syntax, and discourse. (Nida 1993: 125-128).&lt;br /&gt;
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=== Introduction to Lu Xun and ''Kong I-Ch''i  === &lt;br /&gt;
==== Lu Xun and the values of ''Kong I-Chi'' ====&lt;br /&gt;
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To read and translate Kong I-Chi, you must first understand its author-Lu Xun.&lt;br /&gt;
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Lu Xun is a great writer. Mentioning classical literary works, no matter what innovative methods are adopted, whether realistic, romantic, or magical, the content should be close to life, reflect the reality of times and speak for the people. In terms of form, literary works should conform to the inherent rules of literary creation-forming a unique artistic style and achieving the perfect unity of truth, goodness, and beauty. Lu Xun's works fully meet the above requirements. &lt;br /&gt;
Lu Xun is also a famous thinker. Indeed, Lu Xun did not specifically study thinking or modes of thinking, nor did he have advanced theoretical monographs, but he, like thinkers in ancient and modern times, both at home and abroad, used suspicion and criticism as spiritual swords to explore truth and reveal. He held the view that it was his duty to awaken the sleeping souls of the Chinese people with literary works of various genres. The depth and breadth of his thinking is even higher than that of some contemporary thinkers. This is well reflected in his work Kong I-Chi.&lt;br /&gt;
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Lu Xun, who is a revolutionary, has a precious characteristic, that is, the purity of his revolutionary original intention. Lu Xun leaned towards socialism under the white horror of the low ebb of the Chinese revolution. What's more commendable is that as a sober realist, Lu Xun never conceives any romantic illusions about the revolution. No matter what difficulties the revolution encounters, Lu Xun always has an optimistic belief in the prospects of the revolution.&lt;br /&gt;
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From a general perspective, Lunatic's Diary is more macro and image specific than Kong I-Chi, while Kong I-Chi starts from the micro level, depicting the poor people at the bottom of society who was bullied and oppressed and lost their dignity as human beings. In addition, there are many opinions in the critics. For example, Mr. Lu Xun's Kong I-Chi was written to criticize the feudal imperial examination system, and some people think that it was sent out to criticize the “dark” old society. The famous critic Lin Zhihao believes that this novel is not only to assail at the corruption of the feudal imperial examination system, but also to reveal the persecution of people’s spiritual and ideology by the feudal education system in the dark old society. The social reality was that most scholars had been ruthlessly “eaten” up by the environment. When the shackles of thinking have been broken, we can dig into the deep meaning under the surface of Kong I-Chi, that is, the process of literati's loss of personality and the process of redemption under the background of the dark society of feudalism. Although the tragedy is redemptive, the process is also accompanied by a fall.&lt;br /&gt;
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==== Study on the Translation of ''Kong I-Chi''  ====&lt;br /&gt;
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''Kong I-Chi'' is a masterpiece of Lu Xun. The novel was created in the winter of 1918, published in the sixth volume of &amp;quot;''Italic text''New Youth&amp;quot; in April 1919. (刘家鸣1992: 15). ''Kong I-Chi'' is Lu Xun's most satisfying work (孙伏园等2000: 58), and it is also one of Lu Xun's novels that English translators are vying to translate resulting in an amount of English translation. &lt;br /&gt;
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So far, there are eight translations of ''Kong I-Chi'': 1)A British man E.H.F.Mills translated ''Con Y Ki'' from Jing Yinyu's French translation (Mills 1930: 42-50), included in ''The Tragedy of Ah Q and Other Contemporary Chinese Short Stories'' published by George Rutridge Bookstore in London in 1930; 2) The English translation of ''K’ung I-chi'' by the American Jin Shouzhuo (G.A.Kennedy 1932: 14-15), which was later included in ''Isaacs'' (Isaacs 1974: 25-32) edited by Yi Luosheng; 3) ''K’ung I-chi'' translated by Lin Jijin (Lin 1935:3-4); 4) Unsigned version of The Tragedy of ''K'ung I-Chi'' (Anonymous 1936: 2-3); 5) ''K’ung I-chi'' was co-translated by American journalists Edgar Snow and Yao Xinnong; 6) later comes to Yang Xianyi and Gladys's translation ''K'ung I-chi'' (hereinafter referred to as &amp;quot;Yang Translation&amp;quot;) (Yang &amp;amp; Gladys 1960: 40-46); 7)Then, famous American sinologist William Lyell translated ''Kong Yiji'' (Lyell 1990: 42-48); 8) other translation of ''Kong Yiji'' was produced by British sinologist Lan Shiling ( Lovell 2009: 32-36).&lt;br /&gt;
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This article focuses on Yang's translation, trying to explore Yang and Dai's translation strategies, styles and methods of ''Kong I-Chi'' from the lexical, syntactic and semantic levels, and aims to explain the functional equivalence in the English translation of Lu Xun's short stories.&lt;br /&gt;
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=== Analysis of the Translation of ''Kong I-Chi'' from the Perspective of Functional Equivalence  === &lt;br /&gt;
==== Lexical Analysis ====&lt;br /&gt;
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There are many cultural-loaded words in the original Kong I-Chi text, such as this. Culture-loaded words are deeply imprinted by the region and era of a certain language society which express things and concepts peculiar to a certain culture. Such words as “进学” and “秀才” not only carry rich cultural connotations, but also exist only in a certain culture which may be blank in another culture. It is this characteristic which is “I have and you do not have” that often becomes an obstacle to cross-cultural communication and translation. From the perspective of Functional Equivalence, this thesis will analyze how these words are handled in Yang's translation.&lt;br /&gt;
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In the sentence “幸亏荐头的情面大，辞退不得”, the word “荐头” was translated into “someone influential” by Yang and Dai. “荐头” is the person who introduces works to other people in ancient China. Such person is absolutely influential. But for reader, such influential people may be a nobleman or someone who is very authoritative in the area which may result in discrimination. The job introducers also can be regarded as common people instead of the influential. From the perspective of Functional Equivalence, Yang’s translation explicitly showed the deep meaning with loss of cultural characteristic.&lt;br /&gt;
The phrase “之乎者也” was translated into “archaisms” which stands for the use of an archaic expression. In Chinese, the original meaning of “之乎者也” is four auxiliary words commonly used in classical Chinese. Therefore, the word &amp;quot;之乎&amp;quot; also refers to the basic abilities that a scholar should possess. Later, it is used to ridicule the scholar who only knows how to analyze words while cannot solve practical problems. Functional equivalence theory requires efforts to create translations that not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. The word “archaisms” corresponds exactly to the description of Kong I-Chi in Lu Xun’s story who is a nerd.&lt;br /&gt;
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Other prototypical cultural-loaded word is “进学”. Yang translated it into “pass the official examination”. As a link in the imperial examination system in ancient China, “进学” means that the children of the Qing dynasties who can pass the examination will be admitted to the prefectural and county schools. Such system is unique to China. To achieve functional equivalence, that is, to allow non-native readers to understand this special cultural mark, the translator must explain this cultural phenomenon as much as possible or find a corresponding expression in the foreign language culture. The same in the word “秀才” on this sentence “你怎的连半个秀才也捞不到呢?” “秀才” also belong to the imperial system. “秀才” is a subject for selecting officials in ancient China, and it was once used as a special name for school students. Yang translated it into “passed the lowest official examination”. As the minimum requirement of the ancient imperial examination system, those who passed the selection examination were called  “秀才”. According to Nida’s theory, it perfectly expresses the ancient Chinese imperial examination system, and at the same time allows foreign language readers to understand Kong I-Chi’s knowledge background.&lt;br /&gt;
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==== Syntax Analysis ====&lt;br /&gt;
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In terms of syntax, the differences in sentence patterns between English and Chinese are the most salient. English emphasizes hypothesis while Chinese emphasizes parataxis, which leads to the conversion of sentence patterns in the process of translation. According to Nida's Functional Equivalence Theory, if the change in form is still insufficient to express the meaning and culture of the original text, the translation technique of &amp;quot;reconstruction&amp;quot; can be used to resolve cultural differences and make the source language and the target language equal in meaning. &amp;quot;Reconstruction&amp;quot; refers to the conversion of the deep structure of the source language into the surface structure of the target language (郭建中,2000 , P67), that is, the cultural connotation of the source language article is explained by the vocabulary of the target language.&lt;br /&gt;
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In ''Kong I-Chi'', when Kong I-Chi took our his money and ordered some food, other people started to sneer at his revenue sources and said “你一定又偷了人家东西了!” The exclamatory sentence in the original text showed others' affirmation of Kong I-Chi's theft. Yang translated it into “You must have been stealing again!” Here we can notice the tense of the two sentences. Lu Xun used the past tense in original text, which expresses that Kong I-Chi's stealing is an established fact. However, Yang used the present perfect continuous tense when translating. In English, the present perfect continuous tense manifests that something the subject has done in the past is still being done, and may continue in the future, expressing the continuation of an action. There is no need to add any other additional descriptions, just from this tense, readers can realize everyone's thoughts on Kong I-Chi's theft. Such reconstruction of tense verifies the application of Functional Equivalence Theory in turn.&lt;br /&gt;
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Afterwards, these people who deprecated him refuted Kong I-Chi's maintenance of himself, saying: “什么清白?” In Yang's translation, it is translated as “Pooh, good name indeed!” In the original text, it is originally an interrogative sentence, but Yang transformed it into an exclamation sentence, added English slang “pooh” in it and translated “清白” into good name. If the interrogative sentence in the original text is literally translated into &amp;quot;what’s the innocence&amp;quot;, the comic effect, that is, everyone's disdain for Kong I-Chi in the exclamatory sentence will not be achieved. The sentiment contained in the original text is successfully conveyed through the conversion of sentence patterns.&lt;br /&gt;
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When describing Kong I-Chi’s knowledge background, the original text mentioned: “幸而写得一笔好字，便替人家钞钞书”. In Yang’s translation, he didn’t directly translate it into a verb phrase instead of into a noun phrase which was “Happily, he was a good calligrapher.” Knowing the characteristics of English and Chinese languages, he metonymically recreated dynamic Chinese verb clauses into static noun clauses.&lt;br /&gt;
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==== Semantic Analysis ====&lt;br /&gt;
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How to eliminate cultural differences as much as possible so that the semantics of the original language can be perfectly embodied? From the perspective of Functional Equivalence Theory, the translator needs to transform the deep structure of the source language into the surface structure of the target language which requires translator to use the corresponding vocabulary in the target language to directly explain the connotation of the original text, so that the target readers can accept the translation more easily. For example, in the original text, the sentence “因为他姓孔，别人便从描红纸上的 ‘上大人孔乙己’这半懂不懂的话里，替他取下一个绰号，叫作孔乙己” includes an allusion: 上大人孔乙己 which refers to a character in the card game popular in ancient China. In such card game, the characters always are drawn in a red paper. For children in ancient China, the card game was easy to play and was a childhood memory.&lt;br /&gt;
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In Yang’s translation, he translated it into “As his surname was Kung, he was nicknamed ‘Kung I-chi’, the first three characters in a children's copybook.” Such translation omits a lot of information from the original text, such as “描红纸上” and “半懂不懂”. But Yang gave a substitute for the omission: he explained the game allusion about children which can be regarded as a strategy that helps foreign readers better understand how Kong I-Chi comes. &lt;br /&gt;
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Another illustration is the translation of this sentence: “孔乙己，你当真认识字么？” It seems fairly easy for common people to translate it with “Kong I-Chi, do you really know words?” , while Yang gave a different version: “Kung I-chi, do you really know how to read?” In our cognitive concepts, if a man knows how to read a word, then he must know this word. But if he knows the word, he may not only know how to read it, but even know how to write it. Such special mechanism is called conceptual metonymy. Yang metonymically narrowed the scope of the meaning of the word “认识”and accurately positioned the meaning of this understanding according to the context. The translator abandons the equivalence of form and achieves the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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This article selects Yang’s translation of &amp;quot;''Kong I-Chi''&amp;quot; as the study case, and analyzes the translation effect from three aspects: lexicon, syntax and semantics, combined with Nida’s Functional Equivalence Theory. It is believed that the translator flexibly uses a variety of translation methods to deal with the differences between English and Chinese languages, and the translation has realized functional equivalence as a whole.&lt;br /&gt;
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At the lexical level, the translator adopts the naturalization method when translating the proper nouns of &amp;quot; ''Kong I-Chi'' &amp;quot;, adding notes to individual words. The translation perfectly conveys the meaning of the original vocabulary. &lt;br /&gt;
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At the syntactic level, when there are differences in the expression of English and Chinese sentences, the translator will split the sentence, adjust the subject and object of the sentence, change the sentence structure and the sentence order to make the translation conform to the expression of the target language where the translation is smooth and natural. When translating the allusions of &amp;quot; ''Kong I-Chi'' &amp;quot;, the translator adopts literal translation and annotations. &lt;br /&gt;
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In terms of semantics, the translator uses the mechanism of conceptual metaphors to accurately show the original flavor.&lt;br /&gt;
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This article believes that the success of Yang’s English translation of &amp;quot;''Kong I-Chi''&amp;quot; lies in its fluent, natural language and exotic flavor. The author and translator of &amp;quot; ''Kong I-Chi'' &amp;quot; are both famous artists. The translation case from the English translation of &amp;quot;''Kong I-Chi''&amp;quot; reflects the practical application of the Functional Equivalence Theory in Lu Xun's novels. The writer also hopes that this thesis can provide ideas and inspirations for the English translation of other Lu Xun's novels.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Nida E.A. ''Language and Culture: Contexts in translating''. Shanghai: Shanghai Foreign Language Education Press.2001. &lt;br /&gt;
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[2]Nida, Eugene A.1964. Towardsa ''Science of Translating'', Leiden: E.J.Brill. &lt;br /&gt;
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[3]Nida, Eugene A.&amp;amp;Charles R.Taber, 1969, ''The Theory and Practice of Translation'', Leiden: E.J.Brill&lt;br /&gt;
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[4]鲁迅Lu Xun.鲁迅全集(第一卷)Selected Work of Lu Xun(volume Ⅰ）[M].北京Beijing:人民文学出版社People's Literature Publishing House ,1982.&lt;br /&gt;
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[5]谭载喜Tan Zaixi．新编奈达论翻译New Nida's Translation[M]．北京Beijing：中国对外翻译出版公司China Translation &amp;amp; Publishing Corporation，1999.&lt;br /&gt;
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[6]杨坚定Yang Jianding，孙鸿仁Sun Hongren．鲁迅小说英译版本综述A Summary of the English Versions of Lu Xun's Novels[J]．鲁迅研究月刊Lu Xun Research Monthly，2021(4)．&lt;br /&gt;
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[7]伊塞尔Iser.本文中的读者 Readers in this article[A]．二十世纪西方美学名著选（下）Selected Works of Western Aesthetics in the Twentieth Century (Part 2)[C]．上海Shanghai：复旦大学出版社Fudan University press,1998.&lt;br /&gt;
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[8]杨宪益.Yang Xianyi,戴乃迭 Dai Naidie译.鲁迅选集英文版(一) Selected Works of Lu Xun (1)[M].北京:外文出版社 Beijing: Foreign Languages Press,1980.&lt;br /&gt;
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[9]https://baike.baidu.com/item/%E5%8A%9F%E8%83%BD%E5%AF%B9%E7%AD%89%E7%90%86%E8%AE%BA/3373397?fr=aladdin&lt;br /&gt;
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[10]https://www.zhihu.com/question/29965932&lt;br /&gt;
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=颜子涵 Translation methods and strategies applicable to the style of biographical literature -- Taking Incidents in Life of Slave Girl (excerpt) as an example=&lt;br /&gt;
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[[Trans_Type_EN_8]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
The translated text of this article is a part of the English biography Incidents in Life of Slave Gir. The author of this work is Harriet Jacobs. This translation mainly takes the translation functional equivalence theory of American linguist Eugene A.Nida as the theoretical framework, adopts some translation skills in translation practice, and discusses the translation skills and Strategies of Chinese translation of such texts by analyzing the stylistic characteristics of biographical literature, especially African American autobiography. Through the Chinese translation of this autobiography, we can have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Autobiographical Literature; Black female slaves; Translation methods and Strategies&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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This paper is divided into four parts. The first part is an overview of the translation project, which mainly introduces the relevant situation of the translation project, the author and works of the translated text; The second part is the preliminary preparation of translation, including project text analysis and translation plan formulation; The third part, translation theory and case analysis, including functional equivalence theory, translation strategies and case analysis; The fourth part is the summary of the project, mainly on the problems encountered in translation, the experience and inspiration gained in the process of translation.&lt;br /&gt;
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This work belongs to the category of biographical literature. Biographical literature is a literary genre in which the author reproduces the characters' life stories and experiences, shows the characters' spiritual outlook and values, and depicts the characters' distinct love and hate and vivid personality through documentary writing and a variety of literary and artistic techniques. There are more than 50 characters involved in the biography. In the author's works, these characters are very vivid, such as the forbearance of a strong grandmother to the slave owner, the loyalty of a hard-working aunt to the slave owner, the oppression of female slaves by a crafty and sinister doctor, and the wit of Linda Brent, the heroine who pursues freedom and courage. In particular, the author's description of the heroine's seven years spent in a &amp;quot;cage&amp;quot; like cabin before she fled to the North more ruthlessly castigates the evil of slavery. The heroine's experience deeply moved her relatives and friends, including white slave owners. With the help of her relatives and friends, the heroine was able to escape to the north.&lt;br /&gt;
Taking the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework, this paper adopts the following translation skills in the process of translation: 1. The translation methods of foreignization and domestication are used to achieve partial functional equivalence between the source language and the target language, so as to reduce the lack of culture after translation. 2. According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to make the translation conform to the expression habits of the target language. 3. The methods of addition and subtraction are adopted to make the translation consistent with the original in grammar and language form, as well as in cultural background and word association. 4. The Conversion Transformation is adopted to make the translation more acceptable to the target language readers. By analyzing the stylistic characteristics of biographical literature, especially African American autobiography, the author discusses the translation skills and Strategies of Chinese translation of such texts.&lt;br /&gt;
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=== Text background===&lt;br /&gt;
From the beginning of the British northern colony to the early 20th century, blacks were brutally exploited and oppressed by the slavery system. In particular, female slaves not only had to bear heavy labor, but also suffered the destruction and abuse of supervisors. Since the publication of the first Autobiography of black slaves in 1760, some advanced elements in black slaves denounced and denounced the evils of slavery with their own experience, and made outstanding contributions to the abolition movement. The author of this work is Harriet Jacobs, whose pseudonym is Linda Brent. Born in a slave family, she fought tirelessly because she could not bear the persecution of slave owners on her and her children. After fleeing to the north, the author wrote a biography of his personal experience of being enslaved, exploited, persecuted, fleeing to the north and realizing freedom, which was published in 1861. Through the Chinese translation of this autobiography, more people have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves.&lt;br /&gt;
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===Research Purpose and Significance===&lt;br /&gt;
This autobiography of black women starts from the experience of childhood from the perspectives of black slaves and women. In the process of growing up, the author experienced different masters of good and evil. When she was a child, her hostess let the author learn to read and write. Later, she died of illness. Then the new owner, Dr. flint and his wife tortured and framed her. Later, for the freedom of her children, the author resolutely decided to flee to the north and enjoy the right to freedom with her children. In the process of pursuing freedom, he went through escape, pursuit, hiding until he went north by boat. The author selects simple but typical examples in daily life, through the description of characters' psychology and language, the contradictory struggle between the interests of opposite classes, the criminal complaint of slave trafficking, and the process of slaves fleeing to the north, reveals the slave owner's naked exploitation and fraud of slaves, and reveals the slave's sincerity, courage and longing for freedom. The simple language and narrative techniques of the work fully shape the tenacity, courage, intelligence and clear love and hate of the female slave Linda Brent, and show the readers the misfortune and suffering of many slaves.&lt;br /&gt;
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=== Translation theory and case analysis===&lt;br /&gt;
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3.1 functional equivalence theory&lt;br /&gt;
This translation practice report takes the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework. Eugene Nida is an American linguist and a famous translation theorist. From the perspective of etymology, according to the essence of translation, he put forward the famous dynamic equivalence translation theory, namely &amp;quot;functional equivalence&amp;quot;. In this theory, he pointed out that &amp;quot;translation is to reproduce the information of the source language from semantics to style in the most appropriate, natural and equivalent language&amp;quot;. He believes that translation is not only the equivalence of lexical meaning, but also the equivalence of semantic style and style. The information conveyed by translation includes both surface lexical information and deep cultural information. Equivalence in dynamic equivalence includes lexical equivalence, syntactic equivalence, textual equivalence and stylistic equivalence. Nida pointed out that the translation should be functionally equivalent to the original text. Judging whether the translation is equivalent to the original text should be based on the psychological response of the readers, that is, the translator should not only stay in the equivalence of structure and semantics, but strive to make the target readers produce the functions and effects that the original author wants to achieve through his works, so as to make the target readers after reading the translation, Get the same feelings as the original readers, and make translation really become a converter of thoughts, feelings and cultural information. Therefore, in literary translation, according to Nida's theory, the translator should take the four aspects of dynamic equivalence as the translation principle to accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
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The core of Nida's functional equivalence theory is &amp;quot;content is greater than form&amp;quot;, which emphasizes that when there is a conflict between content and form, content must precede form (Nida, 2004:203). Due to the differences between Chinese and Western ways of thinking and logical habits, in order to make the translation conform to the habits of readers in the target country and make it easier for readers in the target country to accept, the author has adopted different translation methods and strategies. According to the specific content of Nida theory, this paper intends to analyze its application in English-Chinese translation practice from four aspects. 1、 According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to achieve lexical semantic equivalence between the source language and the target language; second, addition and subtraction and part of speech conversion are used to make the translation conform to the expression habits of target slogans in grammar and language form and consistent with the original text in terms of cultural background and word association; third, forward and reverse translation is used to reproduce the original text Fourth, for the long and difficult sentences of the original text, the translation methods such as reorganization, sentence splitting and merging are adopted to make the language expression forms of the translation more rich and diverse, and more easily accepted by the target language readers.&lt;br /&gt;
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3.2 translation skills and case analysis&lt;br /&gt;
When translating vocabulary, the author mostly adopts the literal translation method to convey the information of the original text more accurately. If the meaning of the translation is not accurate enough or does not conform to the Chinese expression habits after the literal translation, the author adopts the free translation method, while for the long and difficult sentences with complex structure, the translational translation method and split method are adopted to make them conform to the Chinese expression habits and more acceptable to the readers.&lt;br /&gt;
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=== Translation skills, methods and case studies===&lt;br /&gt;
Case 1: literal translation and free translation to achieve semantic equivalence in vocabularyIn the process of translation, it is the basic quality of every translator to correctly express the source language in the target language. In order to achieve this goal, the translator must start with the smallest unit of the source language—vocabulary. In project translation, the author follows the functional translation theory and pursues semantic equivalence. First, we must ensure the equivalence of lexical meaning. The author mainly discusses the semantic equivalence of words from two aspects: literal translation and free translation.&lt;br /&gt;
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1. Literal translation  &lt;br /&gt;
Literal translation emphasizes the consistency between the original text and the translation in form and content, which helps to maintain the style of the original text. Literal translation is not a dead translation, a hard translation, or a literal translation. Literal translation emphasizes retaining its form and reaching its meaning.&lt;br /&gt;
The example 1:&lt;br /&gt;
“Nothing could please her better than to see me humbled and trampled upon” is literally translated as ”没有什么比看到我恭顺谦卑、任人践踏更让她快活啦。”&lt;br /&gt;
Analysis: in this sentence, humbled and trampled upon is used to express the due psychology and living state of slaves in the eyes of slave owners. Here, it can be translated into obedience, humility and trampling, which can reflect the coldness of slave owners and the misery of slaves.&lt;br /&gt;
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2. Free translation&lt;br /&gt;
Paraphrase emphasizes divine similarity. When the original text is quite different from the translation in terms of lexical meaning, syntactic structure and style, it can not be confined to the original text. Free translation should be adopted to explain the form of the original language in another language form, so as to correctly express the ideological thrust of the original text. Free translation should conform to the grammatical norms and expression habits of the target language, so as to make the translation more fluent and natural. Free translation is not arbitrary addition and deletion, nor random translation. Free translation emphasizes &amp;quot;preaching its spirit&amp;quot; rather than &amp;quot;retaining its shape&amp;quot;. The work belongs to biographical literature. There are great differences between the source language culture and the target language culture. The translator can not adhere to literal translation from beginning to end, but should carry out free translation according to needs, so as to achieve better translation effect.&lt;br /&gt;
The example 2:&lt;br /&gt;
I resolved to give him no cause to accuse me of being too much of a lady, so far as work was concerned.&lt;br /&gt;
literal translation: 就工作而言，我决心让他找不到口实指责我过分淑女。&lt;br /&gt;
free translation: 就工作而言，我决心让他找不到口实指责我养尊处优。&lt;br /&gt;
Analysis: a lady originally means 女士或优雅的女子. Too much of a lady is often understood as 十分优雅. Because the author could read and write and looked dignified, he had not done heavy work like other slaves before, &amp;quot;I&amp;quot; guessed that the young master was disgusted with it. Here, too much of a lady is translated by free translation, which reflects the inner contempt of the young master for &amp;quot;me&amp;quot;.&lt;br /&gt;
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Case 2: addition, subtraction and part of speech conversion make the translation achieve sentence meaning equivalence, which is in line with the expression habit of the target language.&lt;br /&gt;
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3. Additional translation&lt;br /&gt;
The example 4:&lt;br /&gt;
One day, she sat under the window where I was at work, crying that weary cry which makes a mother's heart bleed. &lt;br /&gt;
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一天，她就坐在我干活的那个房间的窗户外哭，哭得声嘶力竭让任何一个做母亲的心里流血。&lt;br /&gt;
Analysis: A mother literally means &amp;quot;一个母亲&amp;quot;, but the following clause is translated into &amp;quot;哭得声嘶力竭让一个母亲的心里流血&amp;quot;. The emotion of the translation is weak. In this article, &amp;quot;I&amp;quot; as a slave must work and can't take into account children and family affection, because in the slave owner's view, slaves are low animals and don't deserve feelings. Although I heard my daughter crying, I couldn't get over it. Any mother would be distressed to hear her daughter's cry. In order to make up for the lack of emotion in literal translation, the method of additional translation should be adopted here, which is translated as &amp;quot;任何一个母亲&amp;quot;&lt;br /&gt;
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4. Omission &lt;br /&gt;
The example 5:&lt;br /&gt;
The doctor stamped his foot at him in a rage, and exclaimed, &amp;quot;Get out of the way, you little damned rascal! If you don't, I'll cut off your head.&amp;quot;&lt;br /&gt;
translated text：医生愤怒地跺了他一脚，厉声说道：“滚开!他妈的小坏蛋，如果不听话，我把你的头砍下来!”&lt;br /&gt;
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Analysis: Dr. flint twice went to the north to pursue the fugitive slave &amp;quot;I&amp;quot; without success. He spent a lot of money and was full of anger. At this time, my son asked him if he had brought his mother back. Dr. flint stamped his feet angrily, scolded and threatened the child. Through the vivid description of Dr. Flint's body movements and language, his angry image jumped onto the paper,In order to achieve the same effect and achieve the equivalence of language style, the author uses even verbs according to the original &amp;quot;stamped his foot at him in a rage, and exclaimed&amp;quot; and translates it into &amp;quot;stamp his foot angrily and say&amp;quot; you little damned rascal!!! &amp;quot;It is also a typical strong adult's words towards weak children. In order to be concise and powerful, the author omits &amp;quot;you&amp;quot; and translates it into &amp;quot;他妈的小坏蛋&amp;quot;.&lt;br /&gt;
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The example 6:&lt;br /&gt;
But when winter came, the cold penetrated through the thin shingle roof, and I was dreadfully chilled.&lt;br /&gt;
translated text：上次遭遇蛇咬，现在我对蛇更惧怕了，踏上这个藏身的地方，我不由心惊胆颤。&lt;br /&gt;
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Analysis: My fear of snakes is literally translated as &amp;quot;我对蛇的恐惧&amp;quot;, and the subject of the following clause is &amp;quot;我&amp;quot;. In order to give the target readers a unified reading perspective, my fear of snakes had been increased is translated as: 我对蛇更惧怕了. By transforming the noun of fear into a verb, the translation is more concise and more in line with Chinese expression habits than literal translation.&lt;br /&gt;
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Case 3: The stylistic style of the original text is reproduced by positive and negative translation.&lt;br /&gt;
5.The Positive and Negative Translation&lt;br /&gt;
The example 7:Nobody respects a mother who forsakes her children; and if you leave them, you will never have a happy moment.&lt;br /&gt;
translated text 1：没有人尊重抛弃孩子的母亲，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
translated text 2：抛弃孩子的母亲会遭人唾弃，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
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Analysis: This sentence contains a negative indefinite pronoun—nobody. In translation text 1, the first half of the original text (Nobody respects a mother who forsakes her children) is translated into &amp;quot;没有人尊重抛弃孩子的母亲&amp;quot;. Although the meaning is translated, the expression is not authentic. Translation text 2 uses the positive and negative translation method to change negative into positive, and “Nobody respects” into &amp;quot;being despised&amp;quot; can better express the speaker's (my grandmother's) eagerness to oppose &amp;quot;I&amp;quot; to escape.&lt;br /&gt;
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Case 4:The translation methods of reorganization, sentence splitting and merging are adopted to make the translation conform to the expression habits of the target language&lt;br /&gt;
There are great differences between English and Chinese syntactic structures. English is a linear language. Its syntax takes the subject predicate structure as the central axis, while other components form branch lines in the form of branches and connect with the main axis through connectives. The logical relationship between sentences tends to be explicit,; Chinese is more parataxis, and the combination between the components in a sentence or between sentences mostly depends on the connection of semantics and uses fewer connectives. Chinese sentences are arranged under the command of theme, that is, the structure of &amp;quot;topic description&amp;quot; has various forms and free combination. The logical relationship between sentences is more implicit (Yang Lin, 2007: Preface). There are few logical relational words between clauses and between sentences. Therefore, the author adopts the reorganization method, combining syntax and disassembling syntax to realize the semantic equivalence of sentences, and studies the influence of sentence structure on the translation. The significance is to better guide the translation practice.&lt;br /&gt;
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5.Recasting&lt;br /&gt;
The example 7: This was the good old lady who paid fifty dollars for my grandmother, for the purpose of making her free, when she stood on the auction block.&lt;br /&gt;
translated text：这个老太太是个好人，当年外祖母站在拍卖台上，为了让外祖母获得自由她花五十美元买下了我的外祖母。&lt;br /&gt;
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Analysis: The original text contains two compound structures, one is an attributive clause, the other is a time adverbial clause. Because Chinese sentences are constructed according to the law of logical order, the word order is arranged according to the actual sequence and event order, which is divided into sequence in time, and pay attention to the causality in logic. The author adjusts the time adverbial clause to the front, first explain the time, then explain the reason, and finally the result. This reorganized translation plays an important role in shaping the relationship between sentences, which is in line with the characteristics of Chinese sentence structure.&lt;br /&gt;
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6.Sentence-combining&lt;br /&gt;
The example 8: There was joy and there was sadness in the sound. It made my tears flow.&lt;br /&gt;
translated text：无论是哭声还是笑声都会让我泪流满面。&lt;br /&gt;
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Analysis: The original text is two sentences. Considering the close causal relationship between the two sentences, the author adopts the translation method of combined sentence to translate it into one sentence, so that the target language readers can read it more naturally.&lt;br /&gt;
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7.Dismantle the syntactic&lt;br /&gt;
The example 9: My hope was that the doctor would get discouraged, and, for fear of losing my value, and also of subsequently finding my children among the missing, he would consent to sell us; and I knew somebody would buy us.&lt;br /&gt;
translated text：损失一个女奴，再赔上我的两个孩子，这正是弗林特医生所担心的。他会泄气并同意卖掉我们，我知道有人会买下我们，而这正是我所希望的！  &lt;br /&gt;
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Analysis: When dealing with long English sentences, the method of splitting is generally used to divide the original sentence into several parts and combine them according to their internal logical relationship. The adverbial clause after the subject of “My hope” consists of three parallel sentences, the second of which has a more complex cause adverbial. The author first takes apart the subject clause, first translates the clause, and then presents the subject at the end, which is in line with the characteristics of Chinese presentation before topic.&lt;br /&gt;
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Case 5: Stylistic equivalence&lt;br /&gt;
The basic task of translation is to faithfully present the original text, so it is necessary for the translator to pursue the style of the original text. To achieve stylistic equivalence, the translator needs to analyze and identify the stylistic markers in the original. The original text contains national language characteristics, historical allusions and religious beliefs, so it has cultural differences. In translation, it should reflect the style of the original text and optimize it accordingly, so as to realize the re creation of style and adapt to the communication of the target language.&lt;br /&gt;
The original text has strong religious and cultural content, simple and pious faith, and shows their enthusiasm and passion for them. In translation, we should not only show the feeling of religious belief and culture, but also optimize the sentence style and deal with alienation appropriately, so that readers can feel the piety and understand the author's writing intention.&lt;br /&gt;
The key to shaping the problem role lies in its adaptability to the style of the original language. Only by adopting appropriate translation methods, deeply understanding the cultural background of the original text and skillfully changing the style of the original text, can the style meaning of the original text be reproduced in the target language and better reflect its charm and artistic conception.&lt;br /&gt;
In a word, a biographical text should be well expressed first to make it conform to the expression habits of the target language. First, we should deeply understand the creative intention of the original author and think of what we think from the perspective of the original author, so as to realize the central idea of the original text. The premise of translation is that the translator should have profound language and cultural skills and deeply understand the particularity of different background cultures, Have a good command of the target language, and then use it flexibly.&lt;br /&gt;
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The example 10: She hasn't so much feeling for her children as a cow has for its calf. If she had, she would have come back long ago, to get them out of jail, and save all this expense and trouble. &lt;br /&gt;
translated text：她对孩子的感情还不如母牛呢，母牛还知道护犊子。如果她有感情，她很久以前就会回来把他们救出去了，也就没有这些代价和麻烦了。&lt;br /&gt;
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Analysis: This sentence is a complaint made by Dr. Flint's wife—my mistress, about my escape. Considering that cows in Chinese culture also have the image of caring for their cubs, The author translates call “feeling for her children as a cow has for its calf” as：“母牛还知道护犊子”, This not only achieves cultural equivalence, but also sounds colloquial. On the other hand, it is in line with the speaker's identity as a mean slave owner.[He was &amp;quot;a chip of the old block.&amp;quot; If he found any slave out after nine o'clock, he could whip him as much as he liked; and that was a privilege to be coveted.如果他发现任何人九点后（宵禁时刻）跑出去，他就会抓住并鞭打此人，直到他满意为止。这是别人垂涎三尺的特权。]&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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Through the development of this project, the author believes that the translation of biographical works needs to have a full understanding of the differences between Chinese and English languages and cultures, thinking habits and expression methods. Only after having an accurate understanding and grasp of the language characteristics and contents of the original text, can words and sentences be carefully selected and constantly modified and polished in the process of translation, Make it an excellent translation. The author summarizes the following points in the whole translation process:&lt;br /&gt;
The translation method of biographical text. Biographical text has both information function and expression function (Zhang Meifang, 2006). Therefore, in translation, the translator should not only correctly express the information of the original text, but also reflect the literariness of biographical literature. In view of the differences in thinking and logic between Chinese and English, different translation methods should be adopted in the translation process. For example, literal translation can be used in terms of vocabulary, so as to simply, clearly and accurately convey the meaning of the original text. If literal translation is not possible, free translation, addition or subtraction, positive and negative translation, such transformation and other methods should be adopted to strive to achieve literal semantic equivalence. In terms of sentences, according to the respective characteristics of Chinese and English sentence structures, translation skills such as reorganization, disassembly and combination of syntax are adopted in order to meet the reading habits of target language readers. Experience the language style of biographical literature. In this project, the author's narrative language is simple and simple, and do a good job in the analysis of the characteristics of biographical literature materials. For a translator, the types of material translation can be diverse, literary or scientific, so the translator must do a good job in the analysis of text materials when he gets a relatively unfamiliar translated text, Only after analyzing the materials thoroughly and finding out the characteristics can the preparatory work be done adequately. This project adopts biographical text, which is characterized by many names and place names and strong local cultural characteristics. Therefore, in order to improve the accuracy of translation, the author has made a lot of preparations before translation, including finding the author's relevant background information, relevant historical facts, as well as the folk customs at that time. With reference to the new English Chinese dictionary, the names of people and places in the text are translated uniformly. Due to sufficient preparation, these problems encountered in translation have been solved.&lt;br /&gt;
The author has two experiences in maintaining problem awareness in the translation process. &lt;br /&gt;
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First, if you encounter an uncertain word and sentence in the translation process, you should consult the relevant reference books in time or use the Internet. &lt;br /&gt;
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Second, when dealing with cultural problems, I often ask my classmates or experts in this field for advice, so as to solve the problems in time.&lt;br /&gt;
At the same time, there are some problems in the process: My translation experience is still shallow and the cultural knowledge reserve is insufficient. There are some disadvantages in this project.Because my Chinese level needs to be further improved, the translated language is still immature and not concise enough. Second, the lack of relevant knowledge leads to the fact that the unique things of foreign culture can only be translated directly and hard in translation, resulting in the stiff and rigid translation. Such as a box, covered with sheepskin, is called the gumbo box. A dozen beat on this, while other strike triangles and jawbones, to which bands of dancers keep time.&lt;br /&gt;
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Third, in translation, we should not only maintain the meaning of the original text, but also reflect the style of the original text. We can't have both fish and bear's paw—鱼和熊掌不可兼得。Therefore, I believe that only through a lot of translation practice and summing up experience can we improve our translation level.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Beardslee, Karen E. Through Slave Culture's Lens Comes the Abundant Source: Harriet A. Jacobs's Incidents in the Life of a Slave Girl.&amp;quot; MELUS 24 (1999): 37-58.&lt;br /&gt;
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[2]Jacobs Incidents in the life of a Slave Girl: Written by herself.&amp;quot; Languages &amp;amp;Literature 15(2001):314-336.&lt;br /&gt;
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[3]Incidents in Life of a Slave Girl chapters 16 to 30&lt;br /&gt;
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[4]李小春. (2016). 浅析英语翻译技巧及方法的应用. 读天下(20), 1.&lt;br /&gt;
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[5]李亚云.《一名女奴的人生际遇》之黑人女性身份建构[J].文学教育(上),2015(07):30-31.p&lt;br /&gt;
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[6]李亚云. 《一名女奴的人生际遇》之黑人母性分析[D].中央民族大学,2016.&lt;br /&gt;
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[7]付娟. 英汉翻译中拆句法和合并法的有机结合探析[J]. 好家长, 2016(38):1.&lt;br /&gt;
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=邝艳丽 On the Translation Strategies of English Version of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hong-Ming and Xu Yuanchong=&lt;br /&gt;
[[Trans_Type_EN_9]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
''Lun Yu'', one of Chinese classics, records behavior and thoughts of Confucius and his disciples. ''Lun Yu'', intensively reflecting Chinese Confucianism, plays a significant role in Chinese culture. Dating from 1809, there are about sixty translations of ''Lun Yu'' during the two hundred years. This paper will study the two English versions of ''Lun Yu'' by Ku Hung-ming and Xu Yuanchong from the the theory of Horizon Fusion proposed by Hans-Georg Gadamer, mainly the core conceptual words in ''Lun Yu''. Besides, the paper will explore the translation strategies adopted by the two translators from different visions such as the horizons of the original text, the translator and the target culture. The better translation of core conceptual words will come to a conclusion through the contrastive analysis.&lt;br /&gt;
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===Keywords===&lt;br /&gt;
Fusion of horizons; Ku Hong-Ming; ''Lun Yu''; Xu Yuanchong&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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''Lun Yu'', as a carrier of Confucianism, has profound influence on the culture all over the world. Confucianism has largely influenced the development of European philosophy, which provide new theoretical basis for European Enlightenment in the eighteenth century (Li Zongzheng 2016: 112-116). In Voltaire’s opinion, the discovery of Chinese culture is important to the process of European society, just as what what has been discovered by Vasco da Dagama and Magellan to the nature (Bao Xiankuo 2001: 62-67). With the continuing development of China in the recent years, China exerts more and more significant influence on the world. In the meanwhile, more and more people would like to learn Chinese language and cultures. When it comes to Chinese culture, all the people, Chinese and foreigners, nearly think of Confucianism, which is generally regarded as the important components of Chinese traditional culture, as well as the mainstream of the spirit of national modern culture. Moreover, Confucianism is intensively embodied in the ancient work called ''Lun Yu'', which records the behaviors and thoughts of Confucius and his disciples mainly in the form of dialogues. ''Lun Yu'' involves so many aspects such as politics, education and so on. The wide and profound influence of Confucianism on the world attributes the success to the development of translations of ''Lun Yu'' by Chinese or foreign translators.&lt;br /&gt;
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''Lun Yu'' is a classic work. The reason why classics remains classics is that it can be translated and re-translated. The language itself of ''Lun Yu'' is difficult to be understood, and what are reflected by ''Lun Yu'' such as history, thoughts, culture and culture is also hard to be understood. Therefore, translators in different times produce different translations of ''Lun Yu'' due to different constrictions of subjective or objective factors. Derrida, holding the point of hermeneutics, considers that the understanding of works is open and that the understanding of text by the readers is always unfinished and uncertain for reading is the process of creation. ''Lun Yu'', acclaimed as one of the leading classics in the course of Chinese literature’s development, is always given new life by the scholars. Therefore, every translation version of classics deserves to be studiedin the different times. Moreover, the employment of fusion of horizons may not only be a reference for English translation of ancient Chinese classics, but also be beneficial foe the spread of traditional culture. &lt;br /&gt;
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This paper chooses two English translation versions of ''Lun Yu'', one by Ku Hung-ming, the other one by Xu Yuanchong. The paper mainly makes a contrastive study of different translation strategies adopted by the two translators from the perspective of fusion of horizons. In order to make an in-depth study, the thesis will focus on the analysis of the translation of core conceptual words of ''Lun Yu'', and aim to present a more appropriate translation to both fully express the content of Chinese culture and make western readers easier to understand.&lt;br /&gt;
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===Overview on the Theory of Fusion of Horizons===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====Fusion of Hrizons====&lt;br /&gt;
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Hans-Georg Gadamer is the greatest thinker in 20th century when his academic work ''Truth and Method'' was published. The publishment brought about widespread attention in the world and helped him reach the immortal status in the field of philosophy. Actually, the theory used in this paper is originated from ''Truth and Method''. “Horizon” was first proposed by Edmund Husserl, a great German philosopher. For the concept of “Horizon”, Husserl believed that “everything worldly giving is given under the horizon. Finally, everything given by the world itself has the horizon of the world, and it is only for this reason that it is realized as the world.” (Wei Fangyuan 2013: 134-136)&lt;br /&gt;
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It can be seen that “Horizon” in Husserl’s eye is related to consciousness. Husserl’s “Horizon” includes two ones, internal horizon and external horizon. Internal horizon refers to what previous knowledge people have grasped or not. External horizon refers to grasp or experience of another open horizon when people have internal horizon. Martin Heidegger, from the respective of Ontology, believed that “Horizon” is something real which has been known by human and exists previously. This becomes precondition of our understanding. Inspired by Martin Heidegger and Edmund Husserl, Hans-Georg Gadamer affirmed the importance of “Horizon”. In his Hermeneutic, “Horizon” refers to the process of understanding from a specific standpoint. And “Fusion of Horizons” means that the process of understanding in nature is open without fixed pattern and answer. “Fusion of Horizon is not onlly diachronic, but also synchronic. History and present, object and subject, self and other, all form an infinite unified entirety. (Wei Fangyuan 2013: 134-136 ) &lt;br /&gt;
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Gadamer thinks that, both the translator and the object which is explained by the translator have their own horizons. The object-- history, classics, personal life, philosophy or work of art—has its own historical horizons. When we understand historical classical works, philosophy or certain culture with the horizons given by the history, the conflict of two different horizons and historical background will inevitably happen. Translation neither demands the translator to totally give up his own horizon in order to get into the text’s horizons, nor allows the interpreter simply includes the text into his own horizons. Translator, starting from his original horizons, ceaselessly test his own “prejudice” and open his own horizons, in the contact with the object which is interpreted by the interpreter, then two different horizons forming a new horizon. This process is called “fusion of horizons”. The reason why it is possible to interpret historical text is the fusion of horizons of the readers and writers of the original text.&lt;br /&gt;
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====Fusion of Horizons in translation study====&lt;br /&gt;
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In the view of Hans-Georg Gadamer, any understandings is carried out in the stream of history for any interpreter and reader lives in the history in his or her own way. Historicity is the basic fact of human existence. People’s historical particularity and limitations cannot be eliminated and avoided. Both subject and object exist in historicity. History determines that people cannot get rid of historicity. Such question faced by Hermeneutics is not what we carry out but what caused on us by something beyond our willing and behavior. In the research of translation Gadamer’s “Fusion of Horizons” can be borrowed and reformed into views or perspective available to the translation study. (Li Ge 2020:50-63)&lt;br /&gt;
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To achieve such a horizon, means that we learn to see something beyond its restricted horizon. However, the reason why we do this is for watching the things in a more correct angle and in a bigger unity, rather than for avoid seeing it.(Gadamer, H. G. 2004: 304) We need to study translation from a higher point and in a more overall angle. Only in this way can we “full see” the parts of the integrity, which is the enlightenment brought by “fusion of horizons”. The precondition of translation is that the translator and the original text have the common horizons. If the translator does not know medicine, he cannot interpret some books about medicine, and vice versa. The translator need to understand the original text’s meanings at first, which means that he will get into the horizon of the original text, and overcome the difference to form a new horizon. This is the first fusion of horizons. The second one is that the translator gets into the horizons of the target readers. Then the third fusion of horizons, the final interpretation of the translator, is the fusion of the two texts after the first two fusions. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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During the process of translation, the horizons are produced in the history rather than in isolation. In the fusion of horizons, the past and the present, the subject and the object, form a unity. Everything exists in the point of history, and all the interpretation cannot be finished for good. The original text itself is historical. The language, content, thoughts and etc. in it are marked by characteristics of the times. The translator is also historical. He will be influenced by his identity, status and tradition. There does not exist “perfectness” and “standard” in the translation. It will vary with different historical period. So the study of translation also goes on. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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===Overview on the Translations of ''Lun Yu''===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====The history of translations of ''Lun Yu====&lt;br /&gt;
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''Lun Yu'' is as important to Chinese is the Bible is to Westerners. So ''Lun Yu''’s translation is hot in western countries. ''Lun Yu'', whose translation can be traced back as early as the end of 16th century, has been translated by lots of missionary, sinologist, philosopher, litterateur and other scholars. There have been more than 40 translation versions of ''Lun Yu'' so far. Its English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. In 1861 James Legge’s The Confucian Analects became the mark of the English translation of ''Lun Yu''. A Companion for Chinese Translators makes comments on the translation version that James Legge can roughly understand the meaning of the original text and that his enormous notes can show his serious and careful attitude to the translation of our Chinese classics. (Wang Hui 2003: 39-43) &lt;br /&gt;
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In 1898, Ku Hong-ming’s translation of Lun Yu was published in Shanghai. The reason why he retranslated Lun Yu is that he was not content with James Legge’s. Ku Hong-ming use the strategy of foreignization, trying to translate Lun Yu in the same way an educated British express his thoughts. And Ku thought the Chinese proper nouns should be omitted and some European writers’ saying in order to remove the feeling of strangeness of British readers. In 1938, Arthur Waley’s version of Lun Yu was published. Waley wrote long-winded introduction for the translation, which was accompanied by detailed notes for readers and was followed by the footnotes for in-depth discussion on the text. Cui Yonglu thought that Waley’s translation, retaining the original text’s meaning and culture and paying attention to the detail, is beneficial to scholars. In 1998, Roger Ames’ translation of Lun Yu was published. His retranslation, which is based on a philosophical perspective, exerted great influence in the world of translation at home and abroad. In 2005, Xu Yuanchong’s Thus Spoke the Master was published. The book’s title borrowed the name of well-known philosophical translation called Thus Spoke Zarathustra, which shows Chinese translators’ creative spirits. In addition, there are still so many translators, such as Ezra Pound, James Ware, Din Cheuk Lau, Lin Yu tang and so on. (Wang Hui 2003: 39-43) &lt;br /&gt;
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====Different angles of the study on the translations of ''Lun Yu''====&lt;br /&gt;
In the nearly 30 years, the study of ''Lun Yu''’s translation has become hot in the translation studies. Scholars have made lot of studies of ''Lun Yu''’s translation from different angles and theories. From the linguistic point of view, scholars focus on the equivalence of lexicon, syntax, text and style. Professor Liu Chongde wrote “A research into Waley’s English version of The Analects—And some comments on its English versions by Legge and D. C. Lau”. Professor Liu summarized the language features and style of the two translations by Waley and Legge. Besides, he compared James Legge’s version and D. C. Lau’s, and made a conclusion that the former one preferred the written English, complicated sentences and archaic words which were quite similar to the style of the original, while the latter one preferred using spoken English and simple sentences.(Liu Chongde 2001:15-17) &lt;br /&gt;
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From the cultural point of view, Yao Shun in Southwest Jiaotong University did “On English translation of Confucius notions from the perspective of Skopos theory—A case study on Legge’s and Waley’s Translation of ''Lun Yu''”. Yao concluded that translation cannot be measured only by the equivalence with the source text, other elements such as translators’ purposes and expectation of target readers should be taken allowance for and that amongst these factors, the intention of the target text ranks the first.(Yao Shun 2014: 42-43)&lt;br /&gt;
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From the sociological point of view, Zhang Xin in Jiangnan University did “A study on Xu Yuanchong’s English Translation of ''Lun Yu'' from the Sociological Perspective of Bourdieu”.   Zhang draw some tentative conclusions. Firstly, the original text must be valuable and unique with an international reputation to facilitate its dissemination in the world. Secondly, translators should pay full attention to the readability and acceptability of target readers to meet their anticipation. Thirdly, the success of a work is the combination of various social factors.(Zhang Xi 2020:80-89)&lt;br /&gt;
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=== The Translation of ''Lun Yu'' from Fusion of Horizons===&lt;br /&gt;
''Lun Yu'' has always been translated or retranslated into many languages. Before interpretation, interpreters are supposed to try to totally understand ''Lun Yu'' in the first step. However, in the matter of fact, the language of a text is really hard for translators to totally understand. Different cultural background and different translators may produce different translation version.&lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》） [8]”. In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. &lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
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Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》）”.In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. (Yao Sshun 2014:42-43) &lt;br /&gt;
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====Horizon of the translator====&lt;br /&gt;
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Ku Hung-ming (1857-1928) is not only a famous literary figure in modern China, but also a great translator. He became an influential scholar at the turn of the 20th century because of his works that advocated Confucianism. Ku’s traslated works, including Lun Yu and Zhong Yong, played a significant role in spreading traditional Chinese culture to the western world. Ku, well-versed in both Chinese and Western cultures, has a good command of nine languages such as English, French, Germany and so on. He is the first one was proficient in Western science and language in the late Qing Dynasty. Special background of growth and education makes his thoughts combine advantages between Chinese and Western cultures. He tried to translate Lun Yu as a work written by a educated English man in order to promote Chinese traditional culture to spread in Western countries. At the meanwhile, he added his thinking and understanding of Confucianism in order to express the truth and spirit of Confucian classics and Chinese belief system. In order to make Western readers accept to the most extent the Confucian culture, Ku adopted some special methods, such as using extreme translation strategy of Domestication to translate Chinese special expression; borrowing the expression in Western literature to translate some words; applying the strategy of combination of omission and addition.(Niu Xiyu 2021: 89-90)&lt;br /&gt;
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When translating Lun Yu, Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. Western readers are not familiar with Confucian core words whose total equivalence can not be found in the Wesern culture. Ku did not translate the core words according to the literal meaning, but according to his deep understanding of Confucian classics he adopted flexible methods to translate the words in different situation. Besides, in order to make the translation of Lun Yu more readable to Western readers, Ku adopted the stratedy of domestication to interprete Confucian thoughts in Western way of mind. On the one hand, Ku used Western terms to translate those Confucian concept words which is difficult to Western readers. For example, he translates “天” as “God”. On the other hand, he quoted those well-known writers and thinkers who are familiar to Western readers, such as Johann Wolfgang von Goethe, Ralph Waldo Emersonand so on. Ku tries to make the content and form of the translation to accord with the way of thinking and cognitive structure of Western people. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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Xu Yuanchong, professor in Peking University, has been devoting himself in Literature translation study. He accomplished numerous classical translations and proposed many translation theories. He makes contribution to the development of Chinese traditional career.In 1921, Xu Yuanchong was born in Jiangxi Province in China. Since he was a child, Xu Yuanchong had been deeply influenced by his families. His mother was well educated and his uncle worked as a translator. All of these inspired his passion of enjoying literature and going after beauty, as we can see the three-beauty-concept-concept proposed in his later books. His uncle succeeded in translating the play called Wang Baochuan into English, which caused a sensation when it was performed in England. Later on the British dramatist George Bernard Shaw interviewed his uncle, which inspired the great interests of Xu Yuanchong in learning English well. In 1938, he was admitted to the Foreign Languages Department of National Southwest United University with the seventh place. In 1939, he translated the book “别丢掉” written by Lin Huiyin at the first time in order to express his love for a girl. Then he fell in love with translation ever after. Although suffering a lot, he still insisted to be himself. Xu made a great contribution to the development of Chinese translation. Xu introduces the three-beauty-concept to translation theory. The theory of three beauty advocates that a translation should be as beautiful as the original in sense, in sound and in font. These three aspects call also be respectively called Beauty of Sense, Beauty of Sound, and Beauty of Form. Beauty of Sense, emphasizing the deeper meaning, is of the first-rate importance. Beauty of Sound, emphasizing rhyme and rhythm, is of the second-importance. Beauty of Form, emphasizing length, is of the third-rate importance. All of these have great influence on his translation. (Li Mi 2004: 83-84)&lt;br /&gt;
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====Horizon of the target language culture====&lt;br /&gt;
The purpose of translation is to be read by the target readers. However, the target individual is different. They differ from historical background, education, knowledge, and so on. Some foreign readers read Lun Yu just for broaden his vision and know Chinese culture, some study the translation just for doing academic researches. The ages of target readers also influence the translation. Some young readers with less knowledge need translation which can be easily understood. For those aged readers the sophisticated translations are needed. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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===Contrastive Analysis===&lt;br /&gt;
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As Confucian classics recording the words and deeds between Confucius and his disciples, Lun Yu deeply influences generations of Chinese people. Lun Yu combines Chinese rich culture from thousands of years and gathers immortal spirit of Eastern philosophy. Therefore, a number of scholars at home or abroad want to translate Lun Yu. Especially, the various academic conference that has taken place in the recent years attract many scholars to absorb Confucian wisdom and explore Chinese wisdom from the old classics.&lt;br /&gt;
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====Description of key conceptual words====&lt;br /&gt;
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''Lun Yu''’s English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. Since that many other scholars have thrown themselves in the wave of translation of ''Lun Yu''. The scholars at home and abroad attempt to know more about the Chinese society, language, and Chinese culture through ''Lun Yu''. However, in order to really understand and interpret ''Lun Yu'', we must be clear about the meaning of the core conceptual words in ''Lun Yu''. Whether the translation of the core conceptual words is right or not has something to do with whether the readers abroad can understand the real meaning of the classics ''Lun Yu''. The translation of core conceptual words is so critical that has drawn many scholars’ attention. However, in the present situation of translation, one core conceptual word has so many Chinese translation, and some translation is not very accurate, which will cause trouble for foreigner readers to understand the original meaning and its cultural meaning. For those core words concerning Chinese culture, if wrongly translated, will not cause foreigners’ misunderstanding Chinese traditional culture, but also influence the improvement of national cultural soft power. Thus, the discussion of the translation of ''Lun Yu'', especially that of the core words, is very important to the circles of translation and culture. There are lots of core conceptual words in Lun Yu, but This thesis will mainly discuss the five core words: “''ren''”, “''li''”, and “''junzi''”. &lt;br /&gt;
“''Ren''” is the supreme state of moral ideal advocated by Confucius, and the spirit and centre of Confucian theory. Xu Shen in the Eastern Han Dynasty made an explanation of the word “''ren''” in “Shuo-wen chieh-tzu”. He thought “''ren''” is combined by “''ren''”(man) and “er”(number 2), and that “''ren''” does not express the quantitative relation but the interpersonal relationship, more accurately the interpersonal relationship close to friendship. (Xu Shen 2013: 1458) According to The Notes of ''Lun Yu'' by Yang Bojun, “''ren''” appears 109 times in ''Lun Yu'' . (Yang Bojun, 2009)&lt;br /&gt;
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“''Li''” is another important concept in ''Lun Yu'' after “''ren''”. According to The Notes of ''Lun Yu'' by Yang Bojun, “''li''” appears 74 times. Obviously, “''li''” is one of main ideas repeated by Confucius. Its connotation has become one of the objects the scholars of every dynasty attempt to study and understand since the ''Lun Yu'' came out. Both “''ren''” and “''li''” work as the centre of Confucianism. They complement and perfect each other. Just as the saying in Lun Yu, “To Subdue Oneself and Return to the Proprieties is Perfect Virtue”. “Li” refers to external behavior, while “ren” refers to internal morality. “''Li''” is a general term the rules and regulation according to the moral demanding. “''Li''” can restrict personal behavior, improve interpersonal relationship and help building a harmony and orderly society. However, Confucius does not give an accurate explanation of “''li''”, but its meanings can be analyzed from the concrete sentences concerning “''li''”. (Yang Bojun 2009: 23)&lt;br /&gt;
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“''Junzi''”, first found in The Book of Songs, was roughly referred to noble man. Thereafter, “''junzi''” was widely used in many ancient classics such as The Book of Changes, Shangshu and so on. Based on the original meaning “the noble man”, “''junzi''”’s meaning was extended and expanded. In Lun Yu, the word “''junzi''” got extended meaning of morality. The core conceptual word “''junzi''” mainly placed emphasis on moral deeds, then developed into the important cultural icon in Confucianism. According to The Notes of ''Lun Yu'' by Yang Bojun, “''junzi''” appears 107 times in ''Lun Yu'' .(Yang Bojun 2009: 11)&lt;br /&gt;
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====Different translations of key conceptual words====&lt;br /&gt;
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Different translators will have different translation. &lt;br /&gt;
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“Ren” has rich meanings. Its translation will to the certain degree influence the understanding of Lun Yu and Chinese traditional culture. For example:&lt;br /&gt;
子曰：“巧言令色，鲜矣仁！”《学而》&lt;br /&gt;
Ku: Confucius remarked, “With plausible speech and fine manners will seldom be found moral character.” &lt;br /&gt;
Xu: A good man, said the Master, would rarely say what he does not believe, or pretend to appear better than he is.&lt;br /&gt;
From the translation above, it is seen that Ku adopts free translation, and the English sentence is in formal grammer and syntax which accords with Western readers’ language habits. While Xu’s translation is not in the form of direct speech and he changes the order of the target text and use the parenthesis so as to conform to the habits of target language readers. It can be easily seen that Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. And Xu employs free translation to make target readers better understand the meanings. For the translation of “ren”, Ku translated it into “moral character”. He thought “ren” is refers to all the morality, and that “ren” is the highest realm of life. The translation “moral character” is more in line with Western language habits. While Xu interpreted it into “a good person”, of which “good” has broad meanings just like “ren” which is a kind of moral category of extremely broad meanings in ancient China. By comparison, “mental character” is better translation for “ren”. (Yang Bojun 2009: 23) (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Li” is generally thought to have three main meanings. The first one is worshiping the God. The second one refers to a ceremony held to show respect or solemnity. The third one refers to the social and moral norms of the aristocratic hierarchy in slave society of feudal society. For example, &lt;br /&gt;
道之以道，齐之以礼，有耻且格 。（《为政》）&lt;br /&gt;
Ku: If, on the other hand, in government you depend upon the moral sentiment, and maintain order by encouragung education and good manners, the people will have a sense of shame for wrong – doing and, moreover, wil emulate what is good. &lt;br /&gt;
Xu: If they are led by virtue and order is kept by the rites, they would be conscientious and act in agreement with what is right. &lt;br /&gt;
Generally, “li” is rendered as “rites,” “customs,” “propriety,” “ritual,” “moral,” “rules of proper behavior,” and “worship.” However, Ku did not literally translated “li” but to fully understand its original meaning in such concrete situation to translated it into “education and good manners”. While Xu translated it into “rites”. In the Oxford dictionary, “rite” means a ceremony performed by a particular group, often for religious purpose. In Spring and Autumn and Warring States periods of China, the social order was in chaos. Actually, “rite” is a proper word full of Chinese speciality, which is really hard for Western readers to understand. Therefore, Ku’s translation “education and good manners” is better one. It not only convey Confucian thoughts but also make it readable to Western readers. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Junzi” is Confucian ideal character standard. Then what is “junzi”? In Confucian point of view, “junzi” should be erudite, which is an important standard of being “junzi”. First and the most, “junzi” should be a benevolent man. In addition, “junzi” and “xiaoren” form contrast. For example,&lt;br /&gt;
人不知，而不愠，不亦君子乎？（《学而》）&lt;br /&gt;
Ku: But he is truly a wise and good man who fees no discomposure even when he is not noticed of men.&lt;br /&gt;
Xu: Is he not an intelligentleman, who is careless alike of being known or unknown?&lt;br /&gt;
According to Oxford dictionary, the term “exemplary” refers to providing a good example for people to copy. Ku adopted free translation to interprete one word “junzi” into several words “wide and good man”, which is easy for Western peple to understand what “junzi” is. It can be seen that Ku had a thoroungh understanding of Confucian thoughts as well as well-versed in English. While, Xu translated it into “intelligentleman”, which cannot be found in dictionaries. It is a new word created by Xu. “Interlligentleman” is combined by “intelligent” and “gentleman”. In the Oxford dictionary, the term “intelligent” means good at learning, understanding and thinking in a logical way about things. “gentleman” refers to a man who is polite and well educated and who has excellent manners and always behaves well. “Intelligentlemen” seemly attempt to achieve formal equivalence with “junzi”. However, it is unfamiliar to Wetern readers. So Ku’s translation “a wise and goood man”. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
In this paper, we have talked over two translation versions of ''Lun Yu'' written by Ku Hung-ming and Xu Yuanchong, especially the core conceptual words in ''Lun Y''u. In the matter of fact, both of them had good command of Chinese and western cultures. But their interpretation of Lun Yu were quite different from each other. Here we use Gadamer’s “fusion of horizons” to explain why they had different understandings of Lun Yu. Understanding is regarded as the fusion of horizons between translator and the text in the hermeneutics, however, besides, the target readers should also be taken into consideration. Thus, in the paper, the horizons of the original text, two translators and target readers are expounded in detail. Under the contrast between the two translation versions, we could find out that Ku Hung-ming’s translation is better one which can more convey the meaning of original text and can be easier for the readers of the target culture from the perspective of the fusion of horizons. &lt;br /&gt;
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However, this paper could not give an in-depth research on the transaltion of ''Lun Yu'' because of the author’s limited knowledge and not thorough understanding of the theory of “fusion of horizons”. In addition, Confucianism has got more and more important influence on the world in the recent years. However, the study of translation of ''Lun Yu'' has not gone far enough. Though lots of scholars have achieved a lot in the field, there is still much work to do in the future. Written by --[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 03:41, 9 December 2021 (UTC)&lt;br /&gt;
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===Reference===&lt;br /&gt;
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Li Zongzheng, Ma Haidong 李宗政,马海东. (2016)《论语》英译的当代价值研究[J] [A study on the contemporary value of the ''Analects of Confucius''] 112-116.&lt;br /&gt;
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Wei Yuanfang 韦芳元. (2020) 浅析伽达默尔的视域融合理论[J].[On the Gadamer’s Theory Fusion of Horizons] 2013(12):134-136.&lt;br /&gt;
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Gadamer, H. G. Truth and Method[M]. New York: Continuum, 2004: 304.&lt;br /&gt;
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Wang Hui 王辉. (2003) 理雅各与《中国经典》[J]. [James Legge and Chinese Classics] 2003: 39-43.&lt;br /&gt;
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Lieu Chongde 刘重德. (2003)《论语》韦利英译本之研究—兼议里雅各、刘殿爵英译本[J]. [A Study of Lun Yu by Whaley—Discussion on contrastive analysis between James Legge and D.C.Lau)  2001: 15-17.&lt;br /&gt;
&lt;br /&gt;
Yao Shun 姚舜. (2014) 目的论视角下的儒家思想核心概念英译研究—以理雅各和韦利《论语》英译对比分析为例[D]. [A Study of Lun Yu Translated by Xu Yuanchong in the perspective of Skopostheory] 2014: 42-43.&lt;br /&gt;
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Niu Xiyu 牛汐语. (2021) 辜鸿铭《论语》译本中译者主体性的体现[J]. [The Presentation of Translator’s Subjectivity in Ku Hung-ming’s Lun Yu’s Translation] 2021:89-90.&lt;br /&gt;
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Li Mi 李谧. (2004) 许渊冲的诗译“三美”之说[J]. [Three Beauty in Poetic Translation of Xu Yuanchong] 2004: 83-84.&lt;br /&gt;
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Xu Shen 许慎. (2013)《说文解字》[Z]. [Shut-wen chieh-tzu] 2013: 1458&lt;br /&gt;
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Yang Bojun 杨伯峻. (2009)《论语释注》[Z]. [Annotation Analects] 2009: 213, 214, 215,2, 11, 23,&lt;br /&gt;
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Ku Hungming 辜鸿铭.(2011)《辜鸿铭英译&amp;lt;论语&amp;gt;》[M]. [The Discourses And Sayings of Confucius] 2011&lt;br /&gt;
&lt;br /&gt;
Yuanchong, Xu. (2013) Thus Spoke the Master[M]. Beijing: Dolphin Books, 2013: 12, 18.&lt;br /&gt;
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=杨柳青 Bian Zhilin's Literary Translation Theories and Practice  ——Take His Translation of Romantic Poems as examples=&lt;br /&gt;
[[Trans_Type_EN_10]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. He absorbed traditional translation theories dialectically and created translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; from the perspective of literary translation. Specifically, &amp;quot;Replacing foot with dun&amp;quot; is his poetry translation strategy. This paper will analyze Bian Zhilin translations of some romantic poems and shows some critical thinking about his literary translation theories.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Faithfulness, Similarity and Translation&amp;quot;; &amp;quot;Replacing Foot with Dun&amp;quot;; Romantic Poetry&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
&lt;br /&gt;
卞之琳文学翻译理论和实践 ——以其浪漫主义诗歌译作为例&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
卞之林是著名的中国翻译家、诗人。他辩证地吸收传统翻译理论，从文学翻译的角度创立了“信、似、译”的翻译理论。 具体而言，“以顿代步”是他的诗歌翻译策略。本文将对卞之琳的浪漫主义诗歌译作进行分析，并对其文学翻译理论提出一些批判性性思考。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
&lt;br /&gt;
“信、似、译”；“以顿代步”；浪漫主义诗歌&lt;br /&gt;
&lt;br /&gt;
===Chapter 1 Introduction of Bian Zhilin and Romanticism===&lt;br /&gt;
====Introduction of Bian Zhilin====&lt;br /&gt;
Bian Zhilin is a representative of Chinese modernist poetry, a famous literary critic and literary translator. He translated foreign literature especially poetry and Shakespeare's plays. He has devoted his whole life to the literature and cultural exchanges between China and foreign countries. He is known as &amp;quot;the master of Poetry and the leading scholar in translation in China&amp;quot;. He dialectically absorbed previous translation theories and formed his unique translation thoughts. His famous works include ''Leaves of Three Autumns'' which is his first volume of Poetry and contains verses filled with the melancholy and despair, ''Fish Eyes Collection'', ''The Han Garden Collection'' and ''Poems of a Decade'' and so on.&lt;br /&gt;
&lt;br /&gt;
====Introduction of Romanticism====&lt;br /&gt;
Romanticism is a reaction against the Enlightenment and rationalism in 18th century, and a rejection of the precepts of order, calm, harmony, balance, idealization, and rationality that typified in classicism and neoclassicism. English Romanticism is generally defined to begin in 1798 with the publication of William Wordsworth and Samuel Taylor Coleridge's Lyrical Ballads and end in 1832 with Walter Scott's death. Romanticists place the individual at the center of art and make literature most valuable as an expression of his or her unique feelings and particular attitudes and make its accuracy a portraying the individual's experience. &lt;br /&gt;
&lt;br /&gt;
Romanticism is a period of poetry. During this period, many poets created plenty of wonderful poems which vividly show the beauty of nature and humanistic thoughts. English romantic poets contain the elder generation and the younger generation. The elder generation, also called &amp;quot;lake poets&amp;quot; includes William Wordsworth, Samuel Taylor Coleridge and Robert Southey and so on. The younger generation includes George Gordon Byron, Percy Bysshe Shelley and John Keats and so on. Besides, William Blake also deserves attention. He is a pre-romanticist and a forerunner of the romantic poetry of the 19th century. In this paper, I will analyze poems of William Blake, William Wordsworth and Percy Bysshe Shelly to show Bian Zhilin's translation theories.&lt;br /&gt;
&lt;br /&gt;
===Chapter 2 Bian Zhilin's Literary Translation Theories===&lt;br /&gt;
====&amp;quot;Faithfulness, Similarity and Translation&amp;quot;====&lt;br /&gt;
Bian Zhilin is a famous poet, translator and literary researcher in China. For decades, he not only made remarkable achievements in the field of poetry and Chinese and foreign literature studies, but also left a valuable fortune in literary translation, especially in poetry translation. Bian Zhilin has formed clear and instructive translation thoughts and theoretical views through her long-term translation practice. These translation thoughts and theoretical views influenced his translation behavior and effect, formed his exquisite translation art, and also had a great influence in the field of translation. He broke through the traditional translation theories and put forward the translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot; which is based on dialectically absorbing and reasonably sublating the traditional translation theories.&lt;br /&gt;
&lt;br /&gt;
=====Faithfulness=====&lt;br /&gt;
It is well-known that &amp;quot;faithfulness, expressiveness and elegance&amp;quot; created by a modern Chinese translator Yan Fu has become the most widely spread and popular translation standards in history of modern Chinese translation. And it has always been in the mainstream in the field of translation in China. There has been a long debate in Chinese translation field around &amp;quot;faithfulness, expressive and elegance&amp;quot;. However, &amp;quot;faithfulness&amp;quot; put forward by Bian Zhilin has achieved the transcendence and unification of this debate. &lt;br /&gt;
&lt;br /&gt;
======Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
According to Yan Fu, &amp;quot;faithfulness&amp;quot; means a translation should be faithful to the content of the original which is the first requirement of translation. &amp;quot;Expressiveness&amp;quot; means a translation should be fluent and articulate. &amp;quot;Elegance&amp;quot; means a translation should use elegant words so as to make the translation literary (Luo Xinzhang 136). Yan Fu believed that only elegant words can express the essence of original text. And he advocated translator used classical Chinese before Han Dynasty, namely, pre-Qin period. In fact, Yan Fu translated a lot of works in accordance with this criterion. &lt;br /&gt;
&lt;br /&gt;
======Debates around Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
Many speakers thought highly of Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, and this criterion once became the only standard for evaluating the quality of translation. Many literary translators like Liang Qichao, Lu Xun praised this criterion.&lt;br /&gt;
&lt;br /&gt;
Though &amp;quot;Faithfulness, expressiveness and elegance&amp;quot; has been widely accepted, there were still many doubts about this criterion. Most translators acknowledged Yan Fu's &amp;quot;faithfulness,expressiveness and elegance&amp;quot;, but they doubted &amp;quot;elegance&amp;quot;. For example, Chen Xiying, a famous Chinese female translator, opposed &amp;quot;elegance&amp;quot; because she thought &amp;quot;faithfulness and expressiveness&amp;quot; is quite enough for non-literary works and &amp;quot;elegance&amp;quot; is not necessary. Even for literary works, &amp;quot;elegance&amp;quot; is not necessary since some characters in literary works are from countryside and their speeches apparently couldn't be elegant (Luo Xinzhang 401-402). &lt;br /&gt;
&lt;br /&gt;
However, though these opinions are different they have one thing in common: all these opinions divide &amp;quot;faithfulness, expressiveness and elegance&amp;quot; up and judge them separately. &lt;br /&gt;
&lt;br /&gt;
======Bian Zhilin's &amp;quot;faithfulness&amp;quot;======&lt;br /&gt;
Unlike most translators, Bian Zhilin has his own unique view. Bian Zhilin believes there is only one advisable standard in &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, that is &amp;quot;faithfulness&amp;quot;. According to Bian Zhilin, &amp;quot;faithfulness&amp;quot; means being loyal to the original text comprehensively, not only to the content of the original text, but also to the form (Bian Zhilin 503). It seems that there is no apparent difference between Yan Fu's faithfulness and Bian Zhilin's faithfulness. But that's not the case. &lt;br /&gt;
     &lt;br /&gt;
Firstly, Bian Zhilin doesn't totally deny the value of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. His faithfulness is mainly for literary translation which aims to highlight the artistic features of literary translation. Bian Zhilin believes that literary translation is an artistic and creative activity which not only includes language conversion but also involves the knowledge of literature, aesthetics, literature and art. He thinks &amp;quot;faithfulness, expressiveness and elegance&amp;quot; lays too much emphasis on the content and form of language which is not suitable for literary translation. &lt;br /&gt;
&lt;br /&gt;
Secondly, Bian Zhilin opposed the artificial separation of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. He thinks this separation is a kind of false perception which may cause the emphasis of one aspect and the neglect of the others. He thinks that artistic translation standard, strictly speaking, is only &amp;quot;faithfulness&amp;quot; which means the full fidelity to content and form. Actually, Bian Zhilin doesn't deny the existence value of expressiveness and elegance; instead, he seems &amp;quot;faithfulness, expressiveness and elegance&amp;quot; as a whole and &amp;quot;faithfulness&amp;quot; includes &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot;. Therefore, his faithfulness is comprehensive: both &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot; are internalized in &amp;quot;faithfulness&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Thirdly, Bian Zhilin believes &amp;quot;faithfulness&amp;quot; in literary translation means translation should be loyal to original text both in content and form. In others words, it's not desirable that translation be better or worse than the original. Besides, he holds that &amp;quot;faithfulness&amp;quot; in translation is not absolute but relative and it needs artistic creation of translators(Li Changshuan 57). What's more, literary translators should have the confidence in translating the &amp;quot;spirit&amp;quot; of the original so as to make translation vivid and expressive.&lt;br /&gt;
&lt;br /&gt;
All in all, Bian Zhilin believes the content and form of literary works are unified and indivisible, so is &amp;quot;faithfulness, expressiveness and elegance&amp;quot;.  At the same time, he admits &amp;quot;faithfulness&amp;quot; is relative rather than absolute considering difference between language and culture. Therefore, Bian Zhilin's faithfulness is inheritance and innovation of traditional translation theory and has important theoretical value.&lt;br /&gt;
&lt;br /&gt;
=====Similarity=====&lt;br /&gt;
======Formal Similarity and Spiritual Similarity======&lt;br /&gt;
Formal similarity means translation preserves the linguistic form of the original which includes words, grammar, sentence structure, figures of speech and types or forms of literature and so on. Any two languages have something both common and different. Those common features are the bases of formal similarity of translation. &lt;br /&gt;
&lt;br /&gt;
Spiritual similarity, on the contrary to formal similarity, means getting rid of the bondage of language form such as words, grammar when it is necessary. And translators should use authentic translation to convey the artistic features of the original. Spiritual similarity was first put forward by Mao Dun and was further advocated and practiced by Fu Lei. It has become one of the dominant theories in Chinese translation theories.&lt;br /&gt;
&lt;br /&gt;
======Debates around Formal Similarity and Spiritual Similarity======&lt;br /&gt;
In the field of Chinese translation, translators debated a lot around formal translation and spiritual translation. Many translators believe formal translation is more advisable than spirit translation. But others think differently. For instance, Chen Xiying believed there were three kinds of &amp;quot;faithfulness&amp;quot;, namely spiritual similarity, meaning similarity and formal similarity, among which spiritual similarity is superior, meaning similarity is the second and formal similarity is inferior. Chen Xiying held that formal similarity ignores the writing style of the original though it conveys the meaning of the original completely. Meaning translation is better than formal translation because it focuses on not only what the original writer says but also how he says it. But meaning translation is much more like imitation which cannot grasp the &amp;quot;spirit&amp;quot; of the original. Spirit translation, however, is the exact way to convey the &amp;quot;spirit&amp;quot; of the original. Besides, Yan Fu is another representative who pays more attention to spirit similarity than to formal similarity (Luo Xinzhang 694).&lt;br /&gt;
======Bian Zhilin's &amp;quot;Similarity&amp;quot;======&lt;br /&gt;
Bian Zhilin took a stand against the long-standing debate around formal similarity and spiritual similarity. In his opinion, there is only one word between formal similarity and spiritual similarity that is advisable——&amp;quot;Similarity&amp;quot;. Bian Zhilin holds that literary work is a unity of content and form; &amp;quot;form&amp;quot; and &amp;quot;spirit&amp;quot; in literary translation is complementary. On the one hand, &amp;quot;form&amp;quot; is the basis of &amp;quot;spirit&amp;quot; which means without concrete form, the spirit and artistic value of literary works can only be empty talk. On the other hand, &amp;quot;spirit&amp;quot; is the life of &amp;quot;form&amp;quot; which means literary works without &amp;quot;spirit&amp;quot; likes people without soul, which can only be empty body and meaningless form (Bian Zhilin 551).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Similarity&amp;quot; which was put forward by Bian Zhilin, actually contains the similarity both in formal similarity and spiritual similarity. In other words, ideal literary translation should achieve the unity of form and spirit. Bian Zhilin thinks literary translation can only achieve similarity with the original but not sameness (Bian Zhilin 8-9), which not only recognizes the difference between the original and the translation, but also acknowledges translators' creative efforts.&lt;br /&gt;
&lt;br /&gt;
=====Translation=====&lt;br /&gt;
======Literal Translation and Free Translation======&lt;br /&gt;
Literal Translation means expression forms and syntactic structure of the translated text should be as consistent as possible with the original when translators convey the meaning of the original text. Free translation, however, means translators should break the linguistic form of the original text and express the meaning of the original by using the customary expressions of the target language.&lt;br /&gt;
&lt;br /&gt;
======Debates around Literal Translation and Free Translation======&lt;br /&gt;
The debates between literal translation and free translation in the history of western translation can be date back to Cicero (106BC-43BC). Cicero opposed &amp;quot;word for word translation&amp;quot; (literal translation) which was deemed as &amp;quot;interpreter's translation&amp;quot; and advocated &amp;quot;sense for sense translation&amp;quot; (free translation) which was deemed as &amp;quot;orator's translation&amp;quot;(Tan Zaixi 24). Cicero's distinction about translation paved the way for following translators. For example, John Dryden published his views on literal translation and free translation. Dryden made distinction between metaphrase, phrase and imitation which was an extension of literal translation and free translation. What's more, Newmark thinks literal translation is preferred when the effect is the same (Newmark 39). And Nabokov holds that literal translation is true translation because it can convey the exact contextual meaning of the text as accurately as possible (Nabokov viii).&lt;br /&gt;
&lt;br /&gt;
======Bian Zhilin's Translation======&lt;br /&gt;
Bian Zhilin thinks only &amp;quot;translation&amp;quot; is advisable over the long-standing dispute over literal translation and free translation. Translation contains following meanings (Bian Zhilin 8).&lt;br /&gt;
&lt;br /&gt;
Firstly, literal translation and free translation are not contradictory but complementary. Too much emphasis on either side will only have a bad effect on literary translation. Bian Zhilin also criticizes translations that put too much emphasis on the source language or the target language.&lt;br /&gt;
&lt;br /&gt;
Secondly, translation cannot be creation. Translation should be based on the original text, not personal creation. But Bian Zhilin doesn't deny the creativity in translation and thinks the creativity is the life of translation as long as it is based on the original.&lt;br /&gt;
&lt;br /&gt;
====Bian Zhilin's Poetry Translation Strategies====&lt;br /&gt;
Absorbed thoughts from former and contemporary poets, Bian Zhilin created his poetry translation strategies. That is to translate English poetry in a poetical and metrical way and replace foot with dun. These strategies not only consider the western poetry patterns, but also considers the characteristics of Chinese, which has strong feasibility. Bian Zhilin's poetry translation strategies are closely related with his literary translation theory of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
=====Translating Poetry in A Poetical and Metrical Way=====&lt;br /&gt;
Bian Zhilin thinks that poetry is more a unity of content and form than other literary forms. Therefore, poetry translation includes both translation of poetry content and form. Bian Zhilin thinks poetry translation should be loyal to the original poem not only in content but also in form. Poems should be translated into the form of poem rather than prose. If the original poem is free verse, then translated version also should be free verse. If the original poem is metrical poem, then translation also should be a metrical one. (Bian Zhilin, 319) The coincidence between form and content in poetry translation is an embodiment of translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Meter is an important feature of poetry, including rhythm, rhythm and arrangement of words and stanzas. There are many differences in meter among poetry of different languages. And different poets and works use different meters. These become major factors of difficulties in poetry translation. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin thinks translators should preserve the metrical features of the original poems. In other words, translators should translate poetry in a metrical way. Therefore, poems should be translated by using equivalent meter. To be more specific, translators should translate foreign poems by using commonalities between Chinese traditional metrical basis and foreign metrical basis. It's not just simple application of foreign poetry patterns nor of Chinese traditional poetry patterns. Instead, it's the crossover of the two poetry patterns.&lt;br /&gt;
&lt;br /&gt;
=====Replacing Foot with Dun=====&lt;br /&gt;
The key to the metrical problem of poetry translation is what is the metrical unit of the line, &amp;quot;word&amp;quot; (a syllable) as a unit or &amp;quot;dun&amp;quot; (syllables) as a unit. Bian Zhilin believes metrical poems should be translated in equivalent &amp;quot;duns&amp;quot; which can replace meters and this kind of translation is without the limit of word numbers. This theory is well thought out and based on rhythmic characteristics of Chinese. As Bian Zhilin analyzed that when we speak Chinese, we usually say two or three Chinese characters as a &amp;quot;dun&amp;quot; in most cases, one character at least as a &amp;quot;dun&amp;quot; and four characters at most as a &amp;quot;dun&amp;quot;. This is the internal rules of Chinese. Chinese poems constitute stanzas, stanzas constitute lines and lines constitutes &amp;quot;duns&amp;quot;. Therefore, &amp;quot;dun&amp;quot; is the natural rhythmic units of Chinese poetry and reveals poems' &amp;quot;inherent music-like rhythm and beat&amp;quot;.&lt;br /&gt;
 &lt;br /&gt;
However, that &amp;quot;dun&amp;quot; is the basic metrical unit of the Chinese poetry doesn't mean the number of duns in each line is exactly the same. Bian Zhilin advocates dun of two characters and dun of three characters should be arranged alternately and adjusted mutually to meet the needs of poetic expression and produce an effect similar to feet in western poetry.&lt;br /&gt;
&lt;br /&gt;
===Chapter 3 Analyses of Bian Zhilin's Translation Practice===&lt;br /&gt;
Bian Zhilin put his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and poetry translation strategies of &amp;quot;replacing foot with dun&amp;quot; into practice. Here are three poem excerpts of romantic poets and Bian Zhilin's translation of them.&lt;br /&gt;
&lt;br /&gt;
====William Blake's ''The Tiger'' in ''Songs of Experience''====&lt;br /&gt;
William Blake is a representative of English romantic literature. He was hailed by 20th century critics as &amp;quot;the great prophet&amp;quot; who was a pioneer of romanticism. He broke neoclassical traditions in the 18th century and emphasized instinct, passion and imagination. Besides, Blake is a revolutionary poet and expressed strong revolutionary passion and rebellious spirit in his poem. The Tiger is one of his earliest lyrical poems. It eulogizes the shape and strength of the tiger. Here is an excerpt of it:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Tiger! Tiger! Burning bright&lt;br /&gt;
&lt;br /&gt;
In the forests of the night,&lt;br /&gt;
&lt;br /&gt;
What immortal hand or eye&lt;br /&gt;
&lt;br /&gt;
Could frame thy fearful symmetry?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
老虎！|老虎！|火一样的辉煌，&lt;br /&gt;
&lt;br /&gt;
烧穿了|黑夜的|森林和|草莽，&lt;br /&gt;
&lt;br /&gt;
什么样|非凡的|手和|眼睛&lt;br /&gt;
&lt;br /&gt;
能塑造|你一身|惊人的|匀称？&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of dun.)&lt;br /&gt;
&lt;br /&gt;
The excerpt shows the praise for the tiger. In the poem, Blake uses symbolization and compares the tiger to a fire that destroys everything. Bian Zhilin represents the perfect creation of the creator with the symmetry of the tiger. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem on the guidance of his theory of &amp;quot;faithfulness, similarity and translation&amp;quot;. In the first line of the excerpt, the use of &amp;quot;Tiger&amp;quot; with exclamation marks is a kind of call of the tiger——the king of the forest. Bian Zhilin translates them faithfully into &amp;quot;老虎！老虎！&amp;quot;. The third line is a rhetorical sentence that asks without answering, which reminds readers of the Creator——God, thus making the poetry profound. Bian Zhilin follows the rhythmic characteristics of the original poem and translates it artistically.  &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin also makes his translation according to his theory of &amp;quot;replacing foot with dun”. The above stanza consists of four lines of trochaic tetrameter. Therefore, there are four feet in each line. And in translated version, there are four lines of four duns. Each duns contains two or three characters, thus make the structure of the translated poem neat and have a strong rhythm.&lt;br /&gt;
&lt;br /&gt;
====William Wordsworth's ''The“Lucy”Series''====&lt;br /&gt;
William Wordsworth is also an important poet in English romanticism. He was made poet laureate and he strongly promoted the innovation of English poetry and the development of the Romantic movement. He believes &amp;quot;Poetry is the spontaneous overflow of powerful feelings&amp;quot;. The following excerpt is taken from his &amp;quot;Lucy&amp;quot; series:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
A slumber did my spirit seal&lt;br /&gt;
&lt;br /&gt;
I had no human fears&lt;br /&gt;
&lt;br /&gt;
She seemed a thing that could not feel&lt;br /&gt;
&lt;br /&gt;
The touch of earthly years &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
No motion has she now, no force&lt;br /&gt;
&lt;br /&gt;
She neither hears nor sees&lt;br /&gt;
&lt;br /&gt;
Rolled round in earth's diurnal course&lt;br /&gt;
&lt;br /&gt;
With rocks, and stones, and trees.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
迷糊|封住了|我的|精神；&lt;br /&gt;
&lt;br /&gt;
我没有|人世的|忧惶：&lt;br /&gt;
&lt;br /&gt;
她似乎|超然|物外，|不可能&lt;br /&gt;
&lt;br /&gt;
感觉到|岁月的|影响。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
现在|她无力了，|也不能|动弹；&lt;br /&gt;
&lt;br /&gt;
她不再|耳闻|目睹；&lt;br /&gt;
&lt;br /&gt;
卷在|地球的|日程里|滚转，&lt;br /&gt;
&lt;br /&gt;
混同了|岩石、|树木。&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
The above poem was written when Wordsworth went and stayed in Germany with his sister Dorothy in 1798 and 1799. It uses simple words and the meaning of the poems is quite clear. And Bian Zhilin's translation of the poem is quite faithful and vivid. &amp;quot;Slumber&amp;quot; in the first line of the original is translated into &amp;quot;迷糊&amp;quot; rather than &amp;quot;沉睡&amp;quot;, which gives readers a sense of &amp;quot;lazy charm&amp;quot;. And &amp;quot;fears&amp;quot; in the second line was translated into &amp;quot;忧惶&amp;quot;；it’s quite vivid and pertinent. Besides, the original poem consists of two stanzas with four lines of iambus. In each stanza, the first and the third line have four feet and the second and the fourth line have three feet. The whole poem follows the rhyme scheme of &amp;quot;a-b-a-b, c-d-c-d&amp;quot;. Bian Zhilin replaces feet in the poem with duns. There are fours duns in the first and the third lines and three duns in the second and fourth lines in translation. And the translated version follows the same rhyme scheme with the original. The whole poem is translated and expressed in quite appropriate way.&lt;br /&gt;
&lt;br /&gt;
====Percy Bysshe Shelley's ''Song to the Men of England''====&lt;br /&gt;
Percy Bysshe Shelley, as one of the famous romantic poets, pursued freedom and resisted violence in his short life. He encouraged people to stand and fight for a better life and was branded a &amp;quot;complete revolutionary&amp;quot; by Marx. And Song to the Men of England was written by Shelley after &amp;quot;Peterloo incident&amp;quot; in Manchester in 1819 to reveal the cruel nature of reactionary rulers and call on people to revolt bravely. Here is an excerpt of Song to the Men of England:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Men of England, wherefore plough&lt;br /&gt;
&lt;br /&gt;
For the lords who lay ye low?&lt;br /&gt;
&lt;br /&gt;
Wherefore weave with toil and care&lt;br /&gt;
&lt;br /&gt;
The rich robes your tyrants wear?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Wherefore feed and clothe and save&lt;br /&gt;
&lt;br /&gt;
From the cradle to the grave&lt;br /&gt;
&lt;br /&gt;
Those ungrateful drones who would&lt;br /&gt;
&lt;br /&gt;
Drain your sweat——nay, drink your blood?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
英国的|人民，|为什么|犁地&lt;br /&gt;
&lt;br /&gt;
报答|老爷们|踩你们|成泥？&lt;br /&gt;
&lt;br /&gt;
为什么|辛勤|劳苦|去织布，&lt;br /&gt;
&lt;br /&gt;
让那些|恶霸|穿华丽|衣服？&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
为什么|你们|从摇篮|到坟冢&lt;br /&gt;
&lt;br /&gt;
尽供给|和保养|那许多|雄峰？&lt;br /&gt;
&lt;br /&gt;
他们|不感激，|还非常|坚决，&lt;br /&gt;
&lt;br /&gt;
要喝干|你们的汗|——再加|血；&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
This excerpt is about the clash between two classes of society, the poor working class and the rich nobles. The major theme of this poem is exploitation. People plow for the sake of the lords, who are like drone bees that do no work but live off of the works of others. The narrator is urging the workers to make a stand as they are being treated unfairly. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin practices his poetry translation strategies of &amp;quot;translating poetry in metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; in this poem. In the original poem, each of two stanzas consists of four lines of iambic tetrameter, rhyming &amp;quot;a-a-b-b, a-a-b-b&amp;quot;. In the translated version, there are also two stanzas composed of four lines. And in each line, there are four duns which replaces the four feet in the original poem. The rhyme scheme in translated version is the same as that in the original.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translate the poem faithfully and vividly. For example, he translates &amp;quot;lay ye low&amp;quot; into &amp;quot;踩你们成泥&amp;quot; which well preserves the images of the original work. And &amp;quot;tyrants&amp;quot; in the fourth line of the first stanza is translated into &amp;quot;恶霸&amp;quot; which is concise and accurate. In the second stanza, &amp;quot;From the cradle to the grave&amp;quot; modifies &amp;quot;the men of England&amp;quot; rather than those &amp;quot;ungrateful drones&amp;quot;, Bian Zhilin understands the linguistic structure of the poem and translates it into &amp;quot;你们从摇篮到坟冢&amp;quot;. &amp;quot;坟冢&amp;quot; is more formal than &amp;quot;坟墓&amp;quot; and it's suitable for poetry, from which we can see the precision of Bian Zhilin's choose of words. In the last line, Bian Zhilin uses a dash and the words &amp;quot;再加&amp;quot; to highlight the brutal nature of the rulers. Actually, this translation is a good practice of his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===Chapter 4 Critical Thinking of Bian Zhilin's Translation Theories===&lt;br /&gt;
There is no doubt that Bian Zhilin's translation theories greatly promoted the development of English poetry translation in China. His &amp;quot;faithfulness, similarity and translation&amp;quot; is the inheritance and innovation of Chinese traditional translation theories. And it indeed provides a new way for poetry translation. Besides, Bian Zhilin thinks poetry should be translated into poetry rather than prose. In other words, translators should translate poetry in a poetical and metrical way. He stresses the importance of the unity between form and content and thinks high quality translation should be a unity of content and artistic style of the original text.&lt;br /&gt;
&lt;br /&gt;
Despite Bian Zhilin's great contribution to literary translation theories, I think there are still some problems existing in Bian Zhilin's translation strategies. In Bian Zhilin's opinion, translators can replace foot with dun thus achieving similar rhythmical effect in Chinese version with the English original. It seems that it is a quite advisable and feasible method. Bur actually, it cannot be practiced widely. In English poetry, each foot consists of two syllables, which is fixed and regular. But things are changed in Chinese. The character numbers in each dun in Chinese are not fixed. There may be one or two or three or four characters in each dun, so different people may have different divisions of duns based on their different understanding of context. Therefore, the division of duns may be disordered and random, which makes &amp;quot;replacing foot with dun&amp;quot; not advisable in many cases.&lt;br /&gt;
&lt;br /&gt;
Another problem in Bian Zhilin's translation theories is the ignorance of metrical patterns of foot. In English poetry, there are different metrical patterns like iambus, trochee, spondee and pyrrhic and so on. But there are no such meters in Chinese. &amp;quot;Replacing foot with dun&amp;quot; only considers the correspondence of foot but ignores the correspondence of metrical patterns of foot, so Bian Zhilin's &amp;quot;translating poetry in metrical way&amp;quot; actually is not adequate. We know Chinese is a kind of tone language which has four tones. We can use four tones to correspond the metrical patterns of foot in English. But it's quite difficult in so far and still needs more exploration.&lt;br /&gt;
&lt;br /&gt;
===Chapter 5 Conclusion===&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. His literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and &amp;quot;translating poems in a poetical and metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; give us a lot of enlightenment in the translation of poems. This paper analyzes Bian Zhilin's translation of romantic poems to show his translation strategies. However, there are still some problems in his theories, for example, the division of duns are disordered and random which are based on the understanding of translators and there is no correspondence in metrical patterns of foot. These are the problems that are needed to be considered and solved.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Blake, William. Songs of Experience[M]. New York: Dover Publications, Inc., 1971.&lt;br /&gt;
&lt;br /&gt;
Durrant, Geoffrey. William Wordsworth [M]. Cambridge: Cambridge University Press, 1979.&lt;br /&gt;
&lt;br /&gt;
Nabokov, Vladimir. &amp;quot;Forward&amp;quot;, A.S.Pushkin, Eugene Onegin, Nabokov, V.trans. London: Routledge &amp;amp; Kegan Paul, 1964/1975, p.viii.&lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. Approaches to Translation. Oxford: Pergamon, 1981, p39.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2002).《卞之琳文集》（中卷）. 安徽教育出版社, p503.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2000).《卞之琳文集》（上卷）. 安徽教育出版社, p8.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(1994).《从&amp;lt;西窗集&amp;gt;到&amp;lt;西窗小书&amp;gt;》.[英] 克里斯托弗·衣修伍德《紫罗兰姑娘》, 卞之琳译. 中国工人出版社, p8-9.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2007).《人与诗：忆旧说新》（增订本）. 安徽教育出版社, p319.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2005). 《英国诗选》. 商务印书馆, p156.&lt;br /&gt;
&lt;br /&gt;
Chen Xiying陈西滢(1984).《论翻译》. 罗新璋编《翻译论集》. 商务印书馆, p401-402.&lt;br /&gt;
&lt;br /&gt;
Fu Lei傅雷(1984).《论文学翻译书》. 罗新璋编《翻译论集》. 商务印书馆, p694.&lt;br /&gt;
&lt;br /&gt;
Li Changshuan李长栓(2004). 《非文学翻译理论与实践》. 中国对外翻译出版公司, p57.&lt;br /&gt;
&lt;br /&gt;
Shen Suru沈苏儒(1998).《论信达雅：严复翻译理论研究》. 商务印书馆, p8.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜(1991).《西方翻译简史》.商务印书馆, p24.&lt;br /&gt;
&lt;br /&gt;
Yan Fu严复(1984).《&amp;lt;天演论&amp;gt;译例言》.罗新璋编《翻译论集》. 商务印书馆, p136.&lt;br /&gt;
&lt;br /&gt;
=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012, 37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær, 2015, 10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005, 9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004, 1. Translation is essential for cultures and languages to exchange information. Newmark (1988) defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects. Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
&lt;br /&gt;
Nida (1964) indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style. Larson (1998) has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context. &lt;br /&gt;
&lt;br /&gt;
Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”.(Snell-Hornby 1988, 33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957, 167. By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
&lt;br /&gt;
The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003, 16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
&lt;br /&gt;
This study is aimed to probe Newmark's (1988) translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988, 81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.&lt;br /&gt;
&lt;br /&gt;
===Translation and Culture===&lt;br /&gt;
&lt;br /&gt;
2. Translation and Culture &lt;br /&gt;
&lt;br /&gt;
Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.  &lt;br /&gt;
The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988, 7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988, 5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988, 7).  &lt;br /&gt;
&lt;br /&gt;
In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford (1965) defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language” (Catford 1965, 20). According to Venuti’s translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader” (Venuti 1995, 18). Schjoldager stated that “a translation is a text that expresses what another text has expressed in another language” (Schjoldager 2008, 19). Culture is a complex whole which includes knowledge, belief, art, law, morals, customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan (2014), claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014, 2). Hermanns (1999) contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures. Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014, 2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark (2001), illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001, 328). &lt;br /&gt;
&lt;br /&gt;
Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
&lt;br /&gt;
2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
&lt;br /&gt;
Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora, fauna, food, clothes, housing, work, leisure, politics, law, and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988, 327) Christine Nord names them “culturemes” (Nord 1997, 9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012, 1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Aixela, 1997; Davies, 2003), others choose cultural words (Newmark, 2003) or culture-bound phenomena/concepts (Baker, 1992, Newmark, 2003, Robinson, 2003). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker, 1992, 21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988, 94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988, 95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988, 95).&lt;br /&gt;
&lt;br /&gt;
2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
&lt;br /&gt;
The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85, P. 22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003, 16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.&lt;br /&gt;
&lt;br /&gt;
===Types of Translation ===&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
Newmark (1988) determines 8 types of translation which are: &lt;br /&gt;
 &lt;br /&gt;
3.1 Word-for-Word Translation &lt;br /&gt;
&lt;br /&gt;
This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
&lt;br /&gt;
3.2 Literal translation &lt;br /&gt;
&lt;br /&gt;
In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
&lt;br /&gt;
3.4 Semantic Translation &lt;br /&gt;
&lt;br /&gt;
Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
&lt;br /&gt;
3.5 Adaptation &lt;br /&gt;
&lt;br /&gt;
This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015, 15). &lt;br /&gt;
&lt;br /&gt;
3.6 Free Translation &lt;br /&gt;
&lt;br /&gt;
The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
&lt;br /&gt;
3.7 Idiomatic Translation &lt;br /&gt;
&lt;br /&gt;
This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
&lt;br /&gt;
3.8 Communicative Translation &lt;br /&gt;
&lt;br /&gt;
This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
===Translation Strategies  ===&lt;br /&gt;
&lt;br /&gt;
4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
&lt;br /&gt;
4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela (1996), translators need to choose several strategies based on the source language culture and target culture.  He distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, he tries to command by the level of their intercultural intervention. He divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies). &lt;br /&gt;
&lt;br /&gt;
4.1.1. Conservation: &lt;br /&gt;
In conservation, the less compelling process includes repetition, orthographic adaptation, linguistic translation, extratextual gloss and intratextual gloss. &lt;br /&gt;
&lt;br /&gt;
4.1.1.1 Repetition: In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus, the translator keeps as much as possible the original reference (Aixela, 1996, p. 61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
&lt;br /&gt;
4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
&lt;br /&gt;
4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
&lt;br /&gt;
4.1.1.4 Extra-textual Gloss: Here, the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes, endings, words, ideas, translators in dictionaries, italics and so on. &lt;br /&gt;
&lt;br /&gt;
4.1.1.5 Intra-textual Gloss: It's like the past but the translator feels that he/she can include the globe as an indirect part of the text, not to distract the reader. &lt;br /&gt;
&lt;br /&gt;
4.2.1 Substitution &lt;br /&gt;
In substitution, According (Aixela, 1996) “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here”. &lt;br /&gt;
&lt;br /&gt;
4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
&lt;br /&gt;
4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
&lt;br /&gt;
4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela, 1997, p.63). &lt;br /&gt;
&lt;br /&gt;
4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Shokri, Ketabi, 2015, p.8). &lt;br /&gt;
&lt;br /&gt;
4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela, 1996, p. 64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
&lt;br /&gt;
4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela, 1997). &lt;br /&gt;
&lt;br /&gt;
4.3 Mona Baker’s Translation Strategies &lt;br /&gt;
Baker’s strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation. (Baker, 1992). He suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies, which are the following: &lt;br /&gt;
&lt;br /&gt;
4.3.1 Translation by a more general word: According to Baker, this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
&lt;br /&gt;
4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
&lt;br /&gt;
4.3.3 Translation by cultural substitution: This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
&lt;br /&gt;
4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
&lt;br /&gt;
4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
&lt;br /&gt;
4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
&lt;br /&gt;
4.3.7 Translation by omission: Losing phrases or words that are not vital to text development. &lt;br /&gt;
&lt;br /&gt;
4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view, however, Baker's (1992) translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
&lt;br /&gt;
===Cultural Categories  ===&lt;br /&gt;
5. Cultural categories &lt;br /&gt;
 &lt;br /&gt;
5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
5.1.2 Material culture &lt;br /&gt;
Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.” &lt;br /&gt;
5.1.3 Social culture &lt;br /&gt;
The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
5.1.4 Organisation &lt;br /&gt;
Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
 &lt;br /&gt;
5.2 Newmark Classification CSIs &lt;br /&gt;
Newmark (1988) established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items.&lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
 &lt;br /&gt;
Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
&lt;br /&gt;
2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
&lt;br /&gt;
3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
&lt;br /&gt;
4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
&lt;br /&gt;
5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
&lt;br /&gt;
6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
&lt;br /&gt;
7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
&lt;br /&gt;
8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
&lt;br /&gt;
9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
&lt;br /&gt;
10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
&lt;br /&gt;
11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
&lt;br /&gt;
12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
&lt;br /&gt;
13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
&lt;br /&gt;
14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
&lt;br /&gt;
16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
&lt;br /&gt;
17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
&lt;br /&gt;
18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
&lt;br /&gt;
19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
&lt;br /&gt;
20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
&lt;br /&gt;
21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
&lt;br /&gt;
22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
&lt;br /&gt;
23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
&lt;br /&gt;
24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996, 31), “translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by (Newmark 1988, 81), “translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.” &lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation, then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions. &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity, as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts, the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term, and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part, but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark (1988) has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9. &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark’s strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark (1988) were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However, the translator must be competent in using the translation procedures to provide an accurate translation. &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
===An Overview on Translation Studies  ===&lt;br /&gt;
&lt;br /&gt;
===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
&lt;br /&gt;
=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
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In this chapter, the researcher wants to highlight the different concepts about the fundamental question &amp;quot;what is idiomatic expression&amp;quot; of different critics, theorists and linguistic experts, and prominent scholars of translation studies. Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
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Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
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&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda Corelli 2006, 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984, 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992, 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to (Newmark 1981, 11), “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”&lt;br /&gt;
.	The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to (Corelli 2006, 53), English has a sizeable idiomatic base.&lt;br /&gt;
About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.&lt;br /&gt;
The main issue that idiomatic and fixed expressions pose for translators, according to (Baker 1992, 65), is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.&lt;br /&gt;
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Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.&lt;br /&gt;
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===Literature Review ===&lt;br /&gt;
In this chapter, the author/researcher defines the strategy and its different definitions from the perspective of different subjects and fields. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented. Krings defines it as the content of the project, while Seguinet divided the term into three steps. However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. &lt;br /&gt;
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The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward.&lt;br /&gt;
Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint.&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to (Seguinot 1989, 27) (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.&lt;br /&gt;
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Furthermore, (Loescher 1991, 8) defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot; As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998, 4) claim moreover, (Bell 1998, 188) distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.&lt;br /&gt;
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According to (Venuti 1998, 240), &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot; He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to (Jaaskelainen 2005, 15), product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.&lt;br /&gt;
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Furthermore, (Jaaskelainen 2005, 16) distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making. (Newmark 1988, 221) distinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;&lt;br /&gt;
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Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016, 13).&lt;br /&gt;
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The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010, 15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017, 54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
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Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985, 9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female.&lt;br /&gt;
Several research articles are found on translated work (license and khol do) of Urdu famous short stories writer Sadat Hassan Manto's from a different perspective like psychoanalysis, postcolonial, feminist approaches but to explore the problem of translations strategies face by translator Aatish Taseer during the process of translation has not been mention till date. To summarize this, the research includes a critical, in-depth, comprehensive analysis of issues that previously did not address.&lt;br /&gt;
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=== Theoritical Framework ===&lt;br /&gt;
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Different strategies have been used, like using an idiom of similar meaning and similar form, the idiom of similar meaning and different form, translation by Paraphrasing, translation by omission. The approach of employing idioms of similar meaning and form, according to Mona Baker, entails using an idiom in the target language that can express about the same meaning as the source language idiom, as well as having lexical similarity. On the other hand, this type of matching happens periodically as well as regularly.&lt;br /&gt;
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Similarly, employing idioms with similar meanings but different forms means that it is possible to locate an idiom or fixed expression in the target text language that has a similar meaning to the source idiom or expression but is made up of distinct lexical elements. Consider the case of English and French, both of which use the idiom mentioned above. In English, one good deed is rewarded with another, whereas in French, handsome deeds are rewarded with handsome deeds.&lt;br /&gt;
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Furthermore, we did not come across any idioms in the category mentioned above during translating idioms. To deal with this issue, the translators used the most popular approach, known as a translation by paraphrase, which is short, straightforward, and time-saving. When a match cannot be identified in the target language or when it appears improper to employ idiomatic language in target material due to aesthetic differences between the source and target languages, this is the most typical approach for translating an idiom from source to target language. However, one thing to keep in mind is that a perfect translation is not required is necessary or possible.&lt;br /&gt;
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Last but not least, to overcome the problem of idiom translation, the translator employs the strategy of translation by omission. This can be defined as an idiom being omitted entirely in the target text with a single word. This is done because the idiom has no close match in the target language; its meaning cannot be easily paraphrased or due to stylistic reasons. &lt;br /&gt;
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3.4 Data analysis Techniques:&lt;br /&gt;
Textual analysis is the method of data analysis in qualitative research that brings forth the hidden and potent message, structure, and function of research in giving text, Alan Mckee (defines textual analysis as whenever we perform textual analysis on the text, we make an educated guess at some time of the most likely interpretations that might be made of that text (Alan Mckee 2001, 3)&lt;br /&gt;
Analysis of the translation of short stories in light of Mona baker's theory &amp;quot;khol do and license&amp;quot; are short stories written by Sadat Hassan Manto and translated by many translators from Urdu into English. During translation, the translator adopted many strategies for translating idiomatic expression, sometimes by Paraphrasing, sometimes by omission, sometimes using similar idioms of form and meaning while sometimes using different words and the same form, the whole.&lt;br /&gt;
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===Discussion and Analysis===&lt;br /&gt;
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The chapter analyzes and discusses all the data collected by the author/researcher from different sources. All the examples of idioms are first identified, then translated into the target text, and back-translated for the sole purpose of exploring the strategies being used by the translator. A separate section is given to every strategy with its related example. Moreover, the idiomatic expression, the target work for finding, is highlighted through the bold letter.&lt;br /&gt;
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4.1	Translation by Paraphrasing:&lt;br /&gt;
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Based on our findings, the most often used strategy was &amp;quot;translation by paraphrasing.&amp;quot; An inspection also reveals that Aatish Taseer preferred this strategy. Here are some examples applied by the translators, and in the following section, the logic behind their preference towards this strategy is elaborate. The following are examples from two short stories of Sadat Husain Manto's &amp;quot;khol do&amp;quot; and &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 1: &lt;br /&gt;
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ST: Sirajuddin ne subah das baji anki kholi to logo ka ail mutalatam samandar deka.&lt;br /&gt;
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TT: Ten a.m., Siraj Uddin opens his eyes on the cold floor of the camp, seeing the swelling sea of men.&lt;br /&gt;
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BT: sub ke das baji jab Sirajuddin ne apni anki koli to logo ka aik ublaha howa samandar ka nizara dekni laga.&lt;br /&gt;
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So, the above idioms are literal idioms being translated with the help of Paraphrasing because there is no perfect equivalent of mutalatam words in English languages. A similar look at another idiom from short stories &amp;quot;khol do.&amp;quot;&lt;br /&gt;
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Example 2:&lt;br /&gt;
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ST: Khuda tomahra bala kari.&lt;br /&gt;
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TT: Your God will reward&lt;br /&gt;
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BT: Is ka badla khoda tomahi di.&lt;br /&gt;
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Here, the word reward is being used for Bala Kari, an example of transitional by Paraphrasing.&lt;br /&gt;
Let  take another example from &amp;quot;khol do.&amp;quot;&lt;br /&gt;
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Example 3:&lt;br /&gt;
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ST: unkho nai Jan khateli pa rak kar sakena ko donda.&lt;br /&gt;
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TT: even putting their lives online, they search sakina &lt;br /&gt;
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BT: apni zindagio ko khatri me dal kar unkho nai sakina ko dond nekala.&lt;br /&gt;
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The above idioms are examples of pure idiom translated from Urdu into English with the help of paraphrases strategies. However, under the same strategies, the idioms of another short story of Manto,s &amp;quot;license,&amp;quot; are translated by Aatish Taseer. Some of the examples are given below.&lt;br /&gt;
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Example 4:&lt;br /&gt;
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ST: Abu kochwan bara cheel jabela ta. It is the binomial type of idioms taken from the first sentence of the short story &amp;quot;license&amp;quot; by Sadat &lt;br /&gt;
Hasan Manto &lt;br /&gt;
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TT: Abu kochwan is stylish man.&lt;br /&gt;
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BT: Abu kochwan aik wazahdar admi ta.&lt;br /&gt;
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From the above idiom, it is clear that there is no perfect equivalence of cheela chabela idiom in English; that is, the translator goes &lt;br /&gt;
through paraphrasing strategies. Look at another example from &amp;quot;license.&amp;quot;&lt;br /&gt;
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Example 5:&lt;br /&gt;
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ST: Lein har waqat bank bani rekhi ka usi be had showk ta&lt;br /&gt;
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TT: He had a weakness for style and fashion.&lt;br /&gt;
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BT: Dan saj ke rekhna uski kamzori me sai ik ta.&lt;br /&gt;
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So all of the above examples, which are analyzed one by one, are examples of idioms being translated through paraphrasing strategies. (De Beaugrande and Dressler 1981, 50) define paraphrases as &amp;quot;approximate conceptual equivalence among outwardly different material.&amp;quot; Similarly, in this regard, Hirst defines paraphrases as &amp;quot;talk(ing) about the same situation in a different way.&amp;quot; Munday declared that &amp;quot;equivalence is particularly useful in translating idioms and proverbs” For instance, if the English idiom like a bear with a sore head is rendered into Persian as (mesle borje zahremar), meaning like a tower of snake venom, the strategy of equivalence has been applied. &lt;br /&gt;
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According to Leonardi, &amp;quot;Equivalence can be said to be the central issue in translation.&amp;quot; In this regard, house believes that &amp;quot;a translation text should match not only its source text in function but also employ equivalent situational-dimensional means to achieve that function&amp;quot; (Baker 2002, 49).  who shares this approach, states that equivalence is used &amp;quot;for the sake of convenience—because most translators are used to it rather than because it has any theoretical status&amp;quot; (Kenny 1998, 77). &lt;br /&gt;
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Despite different attitudes to the concept of equivalence, most specialists pay much attention to its meaning in the theory of translation. The translation is a form of communication, and that is why it is vital to establish equivalence between the source text and the target text. Although Vinay and Darbelnet believe that equivalence is used differently than in modern translation theory, it is evident that equivalence is one of the basic concepts of translation that cannot be neglected. Consequently, based on the Above mentioned studies using Paraphrasing in translation stands as the core concept in the process of translation, and still, most of the translators cling to it for producing a more comprehensible and explicable text. These language ideas and translation models are ideal constructs, presented abstractly in order to be differentiated precisely. They may exist in an uneasy combination in actual theories and practices, resulting in logical tensions or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation. Theories and actions must be contextualized in historical settings. They've been utilized as analytical tools to describe various topics in section introductions. Theoretical writings and current events these language notions and translation models are ideal constructs expressed in an abstract manner in order to be distinguished precisely in real-life hypotheses they may exist in an uncomfortable mix, resulting in logical conflicts or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation.&lt;br /&gt;
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4.2	Using an idiom of Similar Meaning and Form &lt;br /&gt;
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As mentioned earlier, this strategy type is being used by Aatish Taseer during their translated work of Manto's short stories &amp;quot;khol do&amp;quot; and&amp;quot; license&amp;quot; on an occasional basis. Some examples are mention below.&lt;br /&gt;
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From khol do.&lt;br /&gt;
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Example 6:&lt;br /&gt;
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ST: Larki ka rang zard hogaya.&lt;br /&gt;
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TT: The girl's face became fail&lt;br /&gt;
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BT: larki ka rang zar hogya.&lt;br /&gt;
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Similarly, another example from the license is&lt;br /&gt;
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Example 7:&lt;br /&gt;
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ST: Abu our us ke mat beer hogaie&lt;br /&gt;
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TT: They fall in love with each other.&lt;br /&gt;
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BT: WO ik dosri ke mokhbat me geriftar hogaie&lt;br /&gt;
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The above idioms are pure ones and are being translated with the help of similar meanings and similar forms.&lt;br /&gt;
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The procedures: transposition, modulation, equivalence, and adaptation, and when it comes to defining the term Equivalence, (Vinay and Darbelnet 2000, 90) propose that it consists in rendering &amp;quot;the same situation … by two texts using completely different stylistic and structural methods&amp;quot;, and when it comes to translating idiomatic expressions like &amp;quot;Il pleut à seaux&amp;quot; it can be translated as &amp;quot;It is raining cats and dogs&amp;quot; using the idiom of similar form and meaning in the target language.&lt;br /&gt;
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As (Baker 1992, 12) states, this strategy involves using an idiom in the TL which conveys roughly the same meaning as that of the source language idiom and, in addition, consists of identical lexical items. The salient point is that this kind of match can only occasionally be achieved, which cannot be picked up more often by translators. Accordingly, both translators mentioned in the current study had quite a slim chance of using this strategy type. &lt;br /&gt;
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4.3 Using an idiom of similar meaning but different form:&lt;br /&gt;
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During translating Manto short stories, &amp;quot;khol do&amp;quot; and &amp;quot;license,&amp;quot; some of the idioms are translated with the help of this strategy. Some of the examples are given below from two different short stories.&lt;br /&gt;
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Example number one is from the short story &amp;quot;khol do&amp;quot;&lt;br /&gt;
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Example 8:&lt;br /&gt;
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ST: Aur bolwai gos ayai thee?&lt;br /&gt;
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TT: The roitors come abroad.&lt;br /&gt;
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BT: pasadi bahar agai hai.&lt;br /&gt;
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The above idiom is a pure type of idiom being translated with the help of above mention strategy. The word rioter is being used for bolwai, which is not a perfect word for bolwai. In Urdu bolwai, people believe in violence when minorities or the low population of any country want some rights. These people stop them by using violence, burn down their properties, rapes women, and do things like that. Another example from the license is below.&lt;br /&gt;
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Example 9:&lt;br /&gt;
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ST: Dosri kotwal abu ko dek kar jal ban ho jati.&lt;br /&gt;
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TT: The other coachman burn with envy.&lt;br /&gt;
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BT: Abu ke kamyabi dek kar aur kotwal abu sai khasad karni lagi’&lt;br /&gt;
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The above idioms are a pure idiom that reflects the effect of jealousy between competitors to achieve equivalency. Aatish Taseer uses envy word for jal ban instead of other which have similar meaning but different form. Look at the other example from &amp;quot;license.&amp;quot;&lt;br /&gt;
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Example 10:&lt;br /&gt;
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ST: Dino lat vo lagal se kam karni laga.&lt;br /&gt;
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TT: Dino came with an excuse.&lt;br /&gt;
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BT: Dino abb bahi tarashni laga.&lt;br /&gt;
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The above idioms are types of binomial idioms translated with the help of idioms with similar meanings and different forms. (Newmark 1988, 81) mentions the difference between translation methods and translation procedures. He writes that &amp;quot;[w]hile translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language&amp;quot; (Newmark 1988, 81). Idiomatic translation in his definition reproduces the 'message' of the original. However, it distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original, leading to using an idiom of similar meaning but a different form. Besides, it is often possible to find an idiom or fixed expression in the target language with a meaning similar to that of the source idiom or expression but which consists of different lexical items (Baker 1992, 12). Therefore, translators discover idiomatic expressions in the target language with different forms than in the source language. In the current study, the translators approached this strategy merely for 9% of the total times, which means the frequency of Iranian and English idioms with the same meaning and different forms is not considered high. &lt;br /&gt;
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4.4 Translation by omission:&lt;br /&gt;
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A translator is less using these strategies, and we did not find any clue on this type of strategy in an area under consideration.&lt;br /&gt;
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=== Findings===&lt;br /&gt;
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(Mandelbit 1995) believed that idioms with different cognitive mapping in the target language would be more challenging to translate. After conducting study and data analysis of collected data, the result revealed that the translator frequently used three out of four strategies of the Mona Baker model during the translation process, which is a translation by Paraphrasing, translation by similar meaning and similar form, translation by similar meaning and different form. In contrast, translation by omission does not found in his work.&lt;br /&gt;
After detail and careful analysis of data, more than half of idioms like &amp;quot;swelling sea of man,” my lord break his arrogance, “weakness for style and fashion.&amp;quot; As I mentioned earlier, many more are translated under the umbrella of Paraphrasing, which is considered the most common method used for translating idioms.&lt;br /&gt;
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Similarly, we also reflect strategies like similar meaning and different form and similar meaning and similar form. The idiom &amp;quot;rioter came abroad,” burn with envy,” The girl's face became pale, &amp;quot; They fall in love with each other&amp;quot; are translated with the help of two mention strategies, respectively.&lt;br /&gt;
&lt;br /&gt;
Although translation by omission is a strategy used on rare occasions because of its meaning, its meaning cannot be easily paraphrased or stylistic reason. Here, the researcher also did not find any idiom translated with the help of the omission strategy.&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
Go through detailed discussion and analysis of data collected from my source. We finally concluded that the idioms present in two short stories, &amp;quot;khol do&amp;quot; and &amp;quot;License,&amp;quot; are translated under the frame of Mona Baker's idiomatic model. Translation by Paraphrasing is mainly used while idioms of similar meaning and form and idioms of similar meaning and different forms are used occasionally. The researcher discusses all the strategies with related examples in the order of maximum used to minimum used. The strategy by omission did not find it works. All the data are collected from different sources and analyzed with the help of different researcher tools, and the result is written in light of the finding. Different from previous studies, the writer presents the strategies to translate idioms by each type of idiomatic expression found in the story. From the result, it is considered the translation of idiomatic expressions in the story is quite accurate. As the number of accurate data is more the data which is not related to the translation. We take conclusion from the translation through idiomatic expression and paraphrasing is the best way to translate a novel or a story however it is very difficult job to do because it needs more accurate and precise knowledge about the source language and an inspiring method to express ideas in the target language. However, translation is thing through which we can connect the world with each other and also we can study and observe diverse cultures.            &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abu-Saydeh, A. F. (2004). Translation of English idioms into Arabic. Babel, 114-131.&lt;br /&gt;
&lt;br /&gt;
Ahsan, S. (2020). A comparative study of two translations of manto's short story &amp;quot;Toba Tek&amp;quot;. International Journal of English Language Studies, 12-27.&lt;br /&gt;
&lt;br /&gt;
Alexander, R. J. (1987). Mimeograph. In R. J. Alexander (Ed.) Collocation and Culture. Trier: University of Trier, West Germany.&lt;br /&gt;
&lt;br /&gt;
Al-Qinai, J. (2000). Translation quality assessment. strategies, parameters and procedures. Translator's Journal, 497-519.&lt;br /&gt;
&lt;br /&gt;
Bayashi, J. (2020). Japanese-English translation: An advanced guide. Oxfordshire: Routledge.&lt;br /&gt;
&lt;br /&gt;
Das, V. &amp;amp;. (1995). Critical events: An anthropological perspective on contemporary India. New Delhi: Oxford Printing Press.&lt;br /&gt;
&lt;br /&gt;
Mufti, A. (2007). The Language of English India. In I. &amp;amp;. End (Ed.) Enlightenment in the Colony. Princeton University Press.&lt;br /&gt;
&lt;br /&gt;
Waka Xia, L. (2019). A discourse analysis of news translation in China. Syydney: Routledge.&lt;br /&gt;
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= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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===Key words ===&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
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===Ambiguity===&lt;br /&gt;
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===Lexical and Structural Mismatches===&lt;br /&gt;
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===Multiword units: Idioms and Collocations===&lt;br /&gt;
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===Summary===&lt;br /&gt;
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===Further Reading===&lt;/div&gt;</summary>
		<author><name>Atta Ur Rahman</name></author>
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	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=130906</id>
		<title>Translation types, strategies, styles, methods</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=130906"/>
		<updated>2021-12-10T15:59:28Z</updated>

		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* Analysis and Discussion */&lt;/p&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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==Abstract==&lt;br /&gt;
''Legend of Zhen Huan'', as an excellent Chinese TV series, has successfully entered the American market. However, the American version of Legend of Zhen Huan still has some shortcomings in translation. By comparing and analyzing the subtitle texts of the ''Legend of Zhen Huan'' in China and the United States, this paper aims to discuss the problems existing in the overseas translation of the ''legend of Zhen Huan'' and the translation strategies and methods adopted in the subtitle translation of the American version, so as to provide some enlightenment for Chinese costume dramas to reach the world in the future.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
Translation strategy and translation methods; ''Legend of Zhen Huan''; Subtitle translation&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
The TV series ''Legend of Zhen Huan'' is Imperial-harem competing play produced by the Beijing Television Arts Center in 2011. This play is adapted from a novel of the same name written by Liu Lianzi, which mainly tells the story of the young girl Zhen Huan growing up from an unsophisticated young girl to an empress dowager who is good at politics. Since its debut in China in 2012, ''the Legend of Zhen Huan'' has been a hit among Chinese audiences, with its ratings rising and even forming “Zhen Huan craze” for a time. The reason why the play has received so much praise, on the one hand, is that the film and television script is well-produced; on the other hand, it is because the plots and dialogues of the characters in the play cover a wealth of historical and cultural knowledge, embodying the profundity of Chinese culture.&lt;br /&gt;
Due to its great success in the domestic market, the series finally attracted the attention of foreign producers: the American team adapted the original ''Legend of Zhen Huan'', cutting the 76-episode original drama into six episodes,which was officially launched on Netflix’s paid website in the United States on March 15, 2015. It is the first Chinese TV series to be broadcast on mainstream TV stations in the United States. &lt;br /&gt;
However, the American version of the ''Legend of Zhen Huan'' failed to be sought after by audiences in the US, with most viewers abandoning the show after only one or two episodes.The English lines of the ''Legend of Zhen Huan''’s have ever been criticized by some Chinese audiences. After a deep study of the reason, in addition to the lack of content caused by a large amount of deletion and cutting, another important reason is the insufficiency of subtitle translation. This paper attempts to explore the translation strategies of the subtitle of ''Legend of Zhen Huan'', hoping to provide some inspiration for the subtitle translation of domestic film and television works of the same type.&lt;br /&gt;
&lt;br /&gt;
==Literature Review==&lt;br /&gt;
&lt;br /&gt;
===Previous studies in Subtitle Tranlation abroad===&lt;br /&gt;
In the early 1970s, Doller Up (1974) published a paper entitled “On Subtitle in TV Programs” on Babel, an authoritative journal of the International Association of Translators, which was the first time that scholars paid special attention to subtitle translation. In addition, he creatively pointed out the great value of TV subtitles to foreign language teaching, and then made contributions to the cause of education.&lt;br /&gt;
&lt;br /&gt;
In 1976, Istvan Fodor published a book called Film Dubbing: Aspects of Phonology, Semiotic Aesthetics, and Psychology, which centered on film dubbing from an acoustic perspective. Fodor argues that because each country’s language and culture are unique and irreplaceable, it is almost impossible to achieve perfect “synchronization” in all aspects of the translation of film(Fodor 1976:82).&lt;br /&gt;
&lt;br /&gt;
In 1982, Christopher Titford first proposed the concept of “restricted translation” in his article “Subtitling: Restricted Translation”. He believes that the limitations of film and television as a medium themselves are the main cause of problems encountered by translators in practice (Titford 1982:113).&lt;br /&gt;
&lt;br /&gt;
In 1992, Ivarsson, a Swedish subtitling translation scholar, published his book Subtitling for Media: A Handout of Art, which can be said to be the first comprehensive study of subtitling translation works in Europe. In this book, Ivarsson introduces the development of subtitle translation technology in detail. The most representative subtitle translation scholars are Gambill and Gottlieb, who are two translation theorists. Yves Gambill, a Finnish translator, is a very important expert in the field of film and television translation. Gambill has a wide range of research fields, he has compiled a large number of academic monographs, such as language transfer and Audiovisual Communication: bibliography, which discusses the classification of translation patterns, translation strategies, translation audience and so on (Gambill 1997).&lt;br /&gt;
&lt;br /&gt;
===Previous studies on Subtitle translation at home===&lt;br /&gt;
The research on subtitle translation in China mainly focuses on the English translation of Chinese films, and a large number of such papers and articles have been published, which are also the most representative research results of subtitle translation in China. In addition, with more and more domestic films moving toward the international stage, some attention has been paid to the study of Chinese subtitles.&lt;br /&gt;
&lt;br /&gt;
The study on Chinese and English subtitle translation can be divided into several fields, including film and television language characteristics, subtitle translation methods, subtitle translation history and so on.&lt;br /&gt;
&lt;br /&gt;
Subtitle translation methods can be broadly divided into two categories. One category refers to some practical translation methods and skills summed up by translators based on their years of translation experience, such as the seven kinds of experiences of film and television translation proposed by Qian Shaochang (2000), which stresses the importance of “translation” in the output of films and TV plays. The other is related to domestic MA papers. They usually start with some translation theories, such as German functional translation theory, Eugene Nida’s functional equivalence theory, relevance theory, and Susan Basnett’s cultural translation theory, and finally conclude translation methods such as domestication, foreignization, literal translation, free translation, omission and so on.&lt;br /&gt;
&lt;br /&gt;
In recent years, with the increasing popularity of American TV series in China, the phenomenon of online subtitle translation has begun to attract attention from all sides. As time went by, subtitle translation goes beyond the simple purpose of satisfying the entertainment needs of movie fans, and begin to be applied to teaching practice and students’ self-learning process. This phenomenon is bound to attract academic attention. For example, Wang Hui (2005) discussed this issue in his article “The Impact of Subtitling on Vocabulary Acquisition”. This paper draws some conclusions which are beneficial to foreign language teaching.&lt;br /&gt;
&lt;br /&gt;
However, there are still many deficiencies in the study on subtitle translation. The only literature we can refer to is few books on the translation of film and television subtitle. In other words, subtitle translation is not discussed in detail.&lt;br /&gt;
&lt;br /&gt;
==Subtitle translation features==&lt;br /&gt;
&lt;br /&gt;
===Subtitle translation needs to be brief and comprehensive===&lt;br /&gt;
Subtitle translation should not be lengthy for two reasons: First, because the screen keeps switching, each screen stay can not be very long, the scene with the character’s dialogue switches over more quickly, in a matter of seconds, which is fleeting. Second, whether it is the large screen in the cinema or the small screen in the home, due to space constraints, if the subtitle translation is not simple enough, it will lead to an increase in the number of words in the target language, not to mention the English words that take up more space than Chinese phrases. English words take up more space than Chinese phrases.&lt;br /&gt;
&lt;br /&gt;
Take the Chinese phrase “Computer”for example, the English equivalent word is computer. The Chinese verb “来”corresponds to the English word “Come”. In general, English words have more characters than their Chinese counterparts, except in rare cases. Since the length of the word can not be artificially controlled, subtitle translation will put a higher demand on the number of words. In a typical presentation, Chinese and English subtitles are displayed simultaneously at the bottom of the screen, up to two lines of Chinese and two lines of English.&lt;br /&gt;
&lt;br /&gt;
If there are too many words, the limited space can not accommodate in a few seconds, the audience will have a dazzling feeling as well. Therefore, one of the distinctive features of subtitle translation is its concise use of words.&lt;br /&gt;
&lt;br /&gt;
===Subtitling translation requires natural equivalence===&lt;br /&gt;
The subtitling of the target language should be as natural as the subtitling of the source language. The subtitle translation discussed in this paper is mainly about the dialogue of the characters in the play. On the one hand, the style of dialogue is colloquial, in this sense,It is important   for the translator to pay attention to whether the subtitle translation that the target language audience can hear and see is in line with their daily speaking style.If the original spoken language is translated formally and rigidly, the audience of the target language will feel less natural and fluent, and their movie-watching experience can not be comparable with that of the source language audience. On the other hand, the spoken language features of the characters can clearly shape the characters in the play. If the translator does not grasp the spoken features of the characters, the target audience can not understand the character’s connotation as well as the source audience.&lt;br /&gt;
&lt;br /&gt;
Therefore,if a character needs to say something filthy, or even taboo, to make the character stand out, the subtitle translator must also translate the same filthy and taboo.These taboos should inevitably appear in the subtitle translation, and we should not mince words about them. The same is true of English to Chinese subtitle translation and Chinese to English translation. Because these taboo words are the extension of the role connotation, improper handling will affect the target audience's understanding of the connotation of the role.&lt;br /&gt;
&lt;br /&gt;
===Subtitle translation needs to be easy to understand===&lt;br /&gt;
The film and Television Play is the Popular Entertainment Program, so subtitle translation should be clear at a glance. There are thousands of people watching TV dramas, and their knowledge and cultural level vary widely, and their appreciation level is naturally mixed.Film and TV series have such a wide audience, which requires subtitle translation to take care of the needs of the majority of the audience whether from the perspective of box office and Audience Rating, or from the perspective of cultural communication.&lt;br /&gt;
&lt;br /&gt;
==Theory of Domestication and Foreignization==&lt;br /&gt;
In the process of translation, the translator should determine the general direction of translation, cultivate a good sense of culture, and fully understand that translation is an important feature of information exchange across different languages and cultures. But how to achieve that? There are two opposite strategies in translation: foreignization and domestication. The terms of domestication and foreignization were put forward by Laurence Venutti in his book Translators’ invisibility in 1995:&lt;br /&gt;
&lt;br /&gt;
===Domestication===&lt;br /&gt;
The domestication strategy is to localize the source language, take the target language or target readers as the destination, and convey the content of the original text in the way that the target language readers are accustomed to.Domestication requires the translator to be closer to the target language reader, and the translator must speak like the native author.This translation strategy will often make the translation transparent, smooth, relaxed and natural, close to the reader to the greatest extent, so as to dilute the strangeness brought by the original text.In film and television subtitle translation, domestication is often used in order to make the audience understand the film smoothly.&lt;br /&gt;
&lt;br /&gt;
===Foreignization===&lt;br /&gt;
The foreignization strategy is completely opposite to the domestication strategy, which is oriented by the source language culture and that &amp;quot;the translator should not disturb the author as much as possible to make the reader close to the author&amp;quot;.Foreignization advocates believe that the main purpose of translation is cultural communication, so the translation should try its best to preserve the language and cultural information contained in the source language.Only in this way can the exchange and fusion of source and target cultures be achieved through translation. In addition, they believe that the translator should believe the reader’s imagination and intelligence to the utmost, and believe that when reading the translated version, the reader should not only understand the simple words, but also understand the foreign culture through the words, and they have the capacity to understand the culture. &lt;br /&gt;
&lt;br /&gt;
Of course, as two translation strategies, domestication and foreignization are the unity of opposites and they complement each other. Absolute domestication and absolute foreignization do not exist.&lt;br /&gt;
&lt;br /&gt;
==Case Study==&lt;br /&gt;
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===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
The essence of “foreignization”is “the tendency toward the original author”, that is, the translator tries to be close to the original author in his translation (Xiong Bing, 2014). In the words of the Friedrich Schleiermacher, this means that the translator“Tries not to disturb the original author, but to take the reader to the original author”(Robinson, 2006:229) . Specifically in Translation, the translator tries to retain the original language, literariness, cultural characteristics and exotic customs (Xiong Bing, 2014) . Therefore, the nature of foreignization strategy is mainly in favor of the original author, and its defects are mainly reflected in the readability of the translation. In other words, the translation may be blunt and not well received and understood by the audience. Therefore, the translation effect is not ideal for the target audience.&lt;br /&gt;
&lt;br /&gt;
====Literal Translation====&lt;br /&gt;
Literal translation means keeping both the content and the form of the original text in the translation when the language conditions permit, especially the metaphor, image, national and local color of the original text.The vast majority of subtitle translation of the Us version of ''Legend of Zhen Huan'' adopts literal translation. Look at the following example:&lt;br /&gt;
&lt;br /&gt;
Example 1&lt;br /&gt;
&lt;br /&gt;
Chinese version：嬛嬛一袅楚宫腰。&lt;br /&gt;
&lt;br /&gt;
American version：the slim waist of the concubines of the Chu palace.&lt;br /&gt;
&lt;br /&gt;
For the word “Huan”in the name of Zhen Huan, the American version uses the Foreignization method, which is translated literally as the slim waist of the concubines of the Chu palace.Western audiences may be confused by the subtitles,Western audiences may be confused by the subtitles, because Zhen Huan is clearly a woman from the Qing Dynasty, how come another Chu Palace? In terms of accuracy and the conveying of cultural context, this translation is well-done, but it creates a barrier for the audience to understand. Therefore, the translation can throw out on its real meaning, such as translated into As my name, Huan, means graceful women with slim waist, &amp;quot;Chu palace&amp;quot; here means can be omitted.&lt;br /&gt;
&lt;br /&gt;
Example 2&lt;br /&gt;
&lt;br /&gt;
Chinese version：一片冰心在玉壶&lt;br /&gt;
&lt;br /&gt;
American version：A jade vessel is the symbol of a pure heart.&lt;br /&gt;
&lt;br /&gt;
“Jade Vessel”in Chinese has a unique associative meaning, while the meaning of these words in English is vacant. Western audiences just think that Dr. Wen is evaluating his character, but they can’t hear his pure love for Zhen Huan, so on the basis of foreignization, it’s better to add some domestication translation to make it easier for the audience to understand.&lt;br /&gt;
&lt;br /&gt;
The American versions of examples 1 and 2 are very literal and concise translations, because the original subtitles have no hidden meaning.However, due to the wrong choice of translation methods, a small number of translated subtitles are just like translation cavities.If the cultural significance of the original text is lost, the translation may be regarded as a failure.In a sense, actors’ performances and lines are the &amp;quot;booster&amp;quot; of the plot development of the TV series.However, if the audience can not understand the original meaning, the story will be much less attractive in the eyes of the audience.For example:&lt;br /&gt;
&lt;br /&gt;
Example 3&lt;br /&gt;
&lt;br /&gt;
Chinese version：“赏你一丈红”&lt;br /&gt;
&lt;br /&gt;
American version：Then I will award Attendant Xia the Scarlet Red.&lt;br /&gt;
&lt;br /&gt;
In the original subtitle of example 3, “一丈红” (yi zhang hong,  literally “two-meter-long red”) is used to punish a palace maid or a  concubine who had done something wrong in China’s ancient imperial palace. The specific content of the penalty goes as follows: a two-meter-long and two-inch-thick board was used by the performer to give the guilty palace maid or concubine a good beating on their waist or the place below it until their bones were broken and the blood gushed out.   Looking from the distance, you will see that the blood covered a long distance. Thus, it is called “一丈红”. &lt;br /&gt;
&lt;br /&gt;
In the American version of Legend of Zhen Huan, it is translated into “the Scarlet Red”. the word Scarlet itself means “Lewd and sinful,”as in the Scarlet letter. It is very appropriate to translate &amp;quot;red&amp;quot; with scarlet. However, this partial literal translation runs counter to the American audience’s way of thinking, which they think it as nothing more than a horror show. In this way, the specific penalty content will be lost, and the target audience can't feel that the harem struggle is everywhere in the court, and can't get the equal effect for them.&lt;br /&gt;
&lt;br /&gt;
In this way, the specific content of the penalty will be lost, the target audience can not feel the Harem struggle existed everywhere in the imperial court and the equivalent effects cannot be obtained for them.&lt;br /&gt;
&lt;br /&gt;
====Zero Translation====&lt;br /&gt;
The so-called &amp;quot;zero translation&amp;quot; means that some elements of the source language are directly introduced into the target language without the ready-made words in the target language (Xiong Bing, 2014). This translation method is mainly used to translate the names of people and officials in the English version of the ''Legend of Zhen Huan''. That’s because in ancient China, there was a very strict patriarchal system with the ideas of three cardinal guides and the five constant virtues.&lt;br /&gt;
&lt;br /&gt;
In the eyes of the Chinese people, the distinction between the titles of concubines and concubines is clear at a glance, but it is difficult for foreigners to see these things, because medieval European monarchs were nominally allowed only one wife, there is no such complicated hierarchy of appellation among women. Therefore, such titles as &amp;quot;贵妃&amp;quot;, &amp;quot;妃&amp;quot;, &amp;quot;嫔&amp;quot;, &amp;quot;贵人&amp;quot;, &amp;quot;常在&amp;quot; and &amp;quot;答应&amp;quot; are presented in a dynamic equivalent way (words with similar functions in the source language), for example:&lt;br /&gt;
&lt;br /&gt;
Example 4&lt;br /&gt;
&lt;br /&gt;
熹贵妃——Noble Consort Xi    华妃——Consort Hua&lt;br /&gt;
&lt;br /&gt;
莞嫔 ——Concubine Huan       沈贵人——Lady Shen&lt;br /&gt;
&lt;br /&gt;
夏常在——Attendant Xia       小主——Young Mistress&lt;br /&gt;
&lt;br /&gt;
敦亲王：Prince Dun            舒太妃：Consort Dowager Shu&lt;br /&gt;
&lt;br /&gt;
Example 4 only shows a few official titles of the characters in the ''Legend of Zhen Huan''. However, the translation subtitles in this example reveal a subtitle rule that the American version of the ''Legend of Zhen Huan'' Uses Zero Translation for personal names and free translation for official titles. And we can clearly see the efforts of translators to represent this hierarchical culture in ancient China. However, this method of translation can not meet the needs of the current audience, because the ancient Chinese culture is broad and profound, and the official titles of emperors and concubines in the play conform to the traditional Chinese culture&lt;br /&gt;
&lt;br /&gt;
However, the cultural ideologies of the American people and the Chinese people are very different. Traditional translation can not convey the characteristics of the characters and the intensification of their contradictions. The American people have not experienced the five thousand years of slavery and feudalism in China, nor do English dictionaries or translation related books have Chinese cultural vocabulary. In addition, the current subtitle translation does not advocate the use of a large number of notes, which will have a negative impact on the effect of watching the drama.&lt;br /&gt;
&lt;br /&gt;
Therefore, notes are usually used only for the first appearance of a character, in order to provide the necessary introduction in enough subtitling space.When they appear a second time, the introduction will be omitted.As for the conflicts between the characters and the progress of the plot, it is difficult for the target audience unfamiliar with Chinese History to adapt to the culture and conflict in the play. Therefore, it is hard to arouse their interest in watching this drama.&lt;br /&gt;
&lt;br /&gt;
===Translation Methods under Domesticating Strategy===&lt;br /&gt;
Opposite to the foreignizing strategy, domestication is characterized by the “tendency toward the target recipients” (Xiong Bing, 2014). In other words, the translator tries to be as close to the target recipients in the translation as possible. In Schleiermacher’s words, it means that translators “try not to disturb the reader, but to bring the original author to the reader” (Robinson, 2006: 229). Specifically speaking, in the translation, the translator uses the language, literary devices, cultural elements that the target language readers love to replace the language, literary devices and cultural elements of the original language as much as possible, and abides by the language, literary devices and cultural norms of the original language (Xiong Bing, 2014). &lt;br /&gt;
&lt;br /&gt;
The domesticating strategy is a translation strategy just opposite to the foreignizing strategy. Its advantage is that the translation can be fluent, easy to understand, and easily accepted by the target recipients; or it tries to meet the specific needs of the target audience. However, the domesticating strategy also has some shortcomings. The first weakness of it is the loss of the language, literariness, culture and other important elements of the source text, so that the target audience cannot appreciate the exotic authentic language and cultural practices. This cannot help the cultural exchange and dissemination between different ethnic groups. The second weakness is that the domesticating strategy of the translated text may lead to semantic loss and semantic ambiguity in translated texts.&lt;br /&gt;
&lt;br /&gt;
====Omission====&lt;br /&gt;
Omission is a very important method in domestication strategy.The Syntactic structure of English emphasizes &amp;quot;hypotaxis&amp;quot;, and there are appropriate connecting elements between each component of a sentence to express their mutual relations, which emphasizes the consistency and coordination of grammatical relations.The structure of Chinese sentences is &amp;quot;parataxis&amp;quot;, and the relationship between each component of the sentence depends more on the intention, and less on the linking component. The structure form is relatively relaxed, and the words and sentences are relatively simple.Therefore, Omission is one of the most common methods in Chinese text translation.Word reduction means that in translation, the translator must grasp the differences between Chinese and English, omit the unnecessary linking elements in Chinese, make the translation smooth, avoid stiff and cumbersome, and eliminate unnecessary words and words as far as possible.There are many examples of reducing words in the translation of Legend of Zhen Huan.&lt;br /&gt;
&lt;br /&gt;
Example 1&lt;br /&gt;
&lt;br /&gt;
Chinese version:“先敬罗衣后敬人。” &lt;br /&gt;
&lt;br /&gt;
American version: “The clothing completes the person.”&lt;br /&gt;
&lt;br /&gt;
This Chinese idiom means that people will first look at the clothes they are wearing and judge their social status according to the clothes. There is a derogatory element in it.However, in the translation of this sentence, the translator adopted the word reduction method and did not translate every word.The word &amp;quot;complete&amp;quot; expresses the idea that &amp;quot;clothes make the man&amp;quot;, but fails to express the meaning intended in the original text.Therefore, the author thinks that can continue to use the Omission here, will change its translated into “According to clothing to estimate people’s status.”&lt;br /&gt;
&lt;br /&gt;
Example 2&lt;br /&gt;
&lt;br /&gt;
Chinese version: “花开堪折直须折，莫待无花空折枝。” &lt;br /&gt;
&lt;br /&gt;
American version: One must pick a flower at the prime of its bloom, Do not wait until the blossom fade and falls.&lt;br /&gt;
&lt;br /&gt;
There are three Chinese characters for &amp;quot;折&amp;quot; in this sentence, but the translator did not show any of them in the Process of English translation.Shall we say that he did not translate the Chinese meaning?Of course not. The translator must have noticed these three &amp;quot;fold&amp;quot; characters in the process of translation. If one of them is translated out, the sentence will appear too long-winded and not in line with the characteristics of subtitle translation.Therefore, the translator starts from the meaning of the original text to persuade people to cherish, and cleverly leaves out the word &amp;quot;折&amp;quot;, which not only avoids repetition, but also conveys the meaning of the original text.This reflects the three principles of Skopos theory: &amp;quot;Based on the source language, pay attention to the culture in the target language, the intention of translation activities and the acceptance state of the American audience&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
====Addition====&lt;br /&gt;
Addition is also an important translation method in domestication strategy.Augmentation refers to the use of structural and semantic augmentation to compensate for linguistic and cultural deficiencies in the target text.Structural supplement refers to the addition of omitted words or replaced words to make the content of translation more complete.Semantic supplement refers to the translator's addition of nouns, verbs, summative words, explanatory words and conjunctions to compensate for the lack of language and culture in the target text so that readers can understand the original text.&lt;br /&gt;
&lt;br /&gt;
Example 1&lt;br /&gt;
&lt;br /&gt;
Chinese version:“他不忍叫你明珠暗投。”  &lt;br /&gt;
&lt;br /&gt;
American version:&amp;quot;You will not be granted an ordinary life when you can live an extraordinary one.&lt;br /&gt;
&lt;br /&gt;
In this example, the translator adopted Addition method to make a explanatory translation for &amp;quot;明珠暗投&amp;quot; , the translation of &amp;quot;be granted an ordinary life when you can live an extraordinary one.&amp;quot;As we know, Chinese idioms are one of the wonders of The Han culture, and they often show rich implicit meanings in condensed four-character sentences.In the translation of this sentence, it is easy for us to understand the meaning of &amp;quot; 明珠暗投&amp;quot;&amp;quot;, but how to make the American audience understand, the translator needs to make an explanation, so that the American audience can understand the implicit meaning of the original text, so as to reduce the cultural burden.&lt;br /&gt;
&lt;br /&gt;
Example 2&lt;br /&gt;
&lt;br /&gt;
Chinese version：“臣妾一与社稷无功，二与龙脉无助。” &lt;br /&gt;
&lt;br /&gt;
American version:“Firstly, I have made no contribution to the nation. Secondly, I have begotten no heirs.&lt;br /&gt;
&lt;br /&gt;
In example 2, the translator interprets &amp;quot;社稷&amp;quot; as &amp;quot;nation&amp;quot; for readers to understand.&amp;quot;社稷&amp;quot; has always been a synonym for &amp;quot;nation&amp;quot; in Chinese, just as &amp;quot;White House&amp;quot; is a synonym for &amp;quot;America&amp;quot;. In addition, there is no English equivalent for &amp;quot;nation&amp;quot;, so it is appropriate for the translator to use &amp;quot;nation&amp;quot;.Heirs to dragon vein, a Feng shui concept meaning undulating mountains, succeed.Later, the royal family regarded it as the lifeblood of the country, so they would call the royal blood &amp;quot;dragon vein&amp;quot;.Heirs to dragon Vein, which in this case means heirs to the emperor's children, succeed in translating it into Heirs to the emperor.It's less common and more advanced than the word &amp;quot;children&amp;quot;, which is often thrown around.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
The subtitle translation strategy of Legend of Zhen Huan generally focuses on domestication, and tends to transform implicit meaning into explicit meaning.When the meaning of the source language is complex and difficult to be understood by the target language audience, the translation strategy of domestication is usually adopted, and the expressions used in the target language are adopted.If there is an equivalent or similar expression between the target language and the source language, alienation should be considered, and a concise explanation should be added if conditions permit, so that the cultural essence of the source language can be preserved and the audience can experience the charm and national characteristics of traditional Chinese culture.&lt;br /&gt;
&lt;br /&gt;
As a translation strategy, absolute domestication and absolute foreignization do not exist in translation practice.The task of the translator is to make the best use of the two strategies in practice according to the specific language characteristics, the purpose, the language characteristics of the source language and the target language, and the national culture, so as to bridge the cultural differences between the two countries.&lt;br /&gt;
&lt;br /&gt;
==Reference==&lt;br /&gt;
[１]Dollerup, Cay. On Subtitles in Television Programs[J]. Babel, 1974, (20): 197-202. &lt;br /&gt;
&lt;br /&gt;
[２]Ivstor, Fordor. Film Dubbing: Phonetic Semiotic, Esthetic and Psychological Aspects[C]. John Benjamins, 1976. &lt;br /&gt;
&lt;br /&gt;
[３]Schleiermacher, F. On the Different Methods of Translation[A]. In Robinson, D.(ed.). Western Translation Theory: From Herodotus to Nietzsche[C]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
&lt;br /&gt;
[４]Titford, Christopher.Subtitling: Constrained Translation[J]. Lebende Sprachen, 1982, 27(3):113-116.  &lt;br /&gt;
&lt;br /&gt;
[５]钱绍昌. 影视翻译──翻译园地中愈来愈重要的领域[J]. 中国翻译, 2000(1):61-65.&lt;br /&gt;
&lt;br /&gt;
[６]汪徽.字幕对伴随性词汇习得的影响[J].外语电化教学,2005(2):47-52. &lt;br /&gt;
&lt;br /&gt;
[７]熊兵. 翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J]. 中国翻译, 2014(3):82-88.&lt;br /&gt;
&lt;br /&gt;
=2 刘晓 The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
[[Trans_Type_EN_2]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
With the rapid growth of economy, people's pursuit of life quality is gradually increasing. Travelling abroad has become a hot topic nowadays. The rapid development of overseas travel has increased the market demand for tourism translation, and more stringent requirements for tourism translators. How to deal with the translation problems caused by the cultural differences between Chinese and English during the translation process is of great importance to improve the quality of tourism translation. The communicative translation strategy in Newmark's translation theory focuses on the effect that the translation brings to the target language readers, which is of certain guiding significance to the E-C translation of tourism texts. Therefore, this paper takes ''Everglades National Park, Florida (Excerpt)'' as an example to analyze the specific translation strategies and methods in the application of Newmark's translation theory in tourism texts, so as to provide reference for other translators.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Translation strategy and translation methods; Peter Newmark; Tourism texts&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
This paper is based on the English-Chinese translation of ''Everglades National Park, Florida (Excerpt)''. By analyzing the application of Peter Newmark's communicative transaltion in the translation, the author proposes some translation methods, which can be provided for future references.  This chapter mainly introduces the background information and significance of the report, and the domestic research status.&lt;br /&gt;
&lt;br /&gt;
====Research background====&lt;br /&gt;
&lt;br /&gt;
With the development of the world, various kinds of tourism appear in people’s life, and has unprecedentedly, extremely widely spread a variety of culture and lifestyle. Tourism has become a rising sunrise industry in modern society (Jin Huikang, 2007). To a foreign country to enjoy the beautiful scenery can make people know the colorful world and further know what they want. And this activity also has made tourism translation a reality and a thriving discipline.&lt;br /&gt;
&lt;br /&gt;
However, due to the different geographical environments, cultural differences and historical backgrounds in different countries, many translators often ignore the disadvantages brought by differences in language and cultural habits in the process of translation, so that the original meaning of the original text will be lost in the process of transmission, which may cause confusion for tourists and cannot achieve the purpose of offering them accurate information and stimulating their interest.&lt;br /&gt;
&lt;br /&gt;
Therefore, in order to make it more convenient for domestic citizens to travel abroad, translators should choose appropriate translation strategies and methods according to the cultural differences between China and foreign countries in the process of tourism English translation, so that tourists can form an objective and correct understanding of scenic spots. The semantic translation and communicative translation strategies in Peter Newmark’s Theories respectively focus on whether the meaning of the original text is exactly reproduced and the effect and influence that the translation brings to the target language readers, which are of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
&lt;br /&gt;
====Research significance====&lt;br /&gt;
&lt;br /&gt;
In theory, based on Peter Newmark’s translation theories, this paper chooses the semantic translation strategy and puts forward appropriate translation methods for the English-Chinese translation of tourist text -- the ''Everglades National Park, Florida (Excerpt)'', which is of certain guiding significance for English - Chinese translation of tourist texts.&lt;br /&gt;
Based on the practice of the ''Everglades National Park, Florida (Excerpt)'' English - Chinese translation and the analysis of Newmark’s communicative translation strategy’s application, this paper sums up some translation methods, such as voice change, objective and personal subject changing, adding conjunctions, etc. And these methods can be provided for future references in the translation study and practice of others, which has a certain practical significance.&lt;br /&gt;
&lt;br /&gt;
====Literature review====&lt;br /&gt;
&lt;br /&gt;
Through the analysis of Newmark’s communicative translation in recent years, it can be found that there are many references for the guidance of communicative translation on tourism translation texts. He Xueyun (2005) proposes that the public notices and signs should belong to the vocative functional text and focus on the reader-centered communicative translation, which can give foreigners a better environment for travel, study and work in China. For such a style, the communicative translation theory should be chosen, the target readers put in the first place and always in mind, and their culture and receptivity taken into account. Jin Huikang (2006) believes that tour guide words must have a specific expected function, which are a kind of texts that integrate informative, expressive and vocative functions. Therefore, tourism translation should aim at effective attraction for overseas tourists, and the translator should grasp the group characteristics of overseas tourists and audiences when carrying out tourism propaganda or translating tourism materials. Ma Chen (2010) points out that the tourism text is a kind of article mainly based on vocative function, and the core of which is to accurately convey information for readers. Liu Anhong (2013) proposes tourism text as a kind of publicity material, aiming to stimulate tourists’ interest in visiting. According to the division of Newmark, the tourism text should belong to the text with the vocative function as its main function and the informative function as its secondary function. Therefore, the translation of tourism text should effectively achieve the effects similar to the original text.&lt;br /&gt;
&lt;br /&gt;
From the combing of previous literatures, it can be found that there are many studies on the translation of tourism texts guided by Newmark’s communicative translation strategy. However, at present, there are few studies on the translation of tourism texts from English to Chinese, and more studies focus on the Chinese- English translation. For this reason, this paper is based on the translation practice of ''Everglades National Park, Florida (Excerpt)'' to provide some reference for future English – Chinese translation of tourism.&lt;br /&gt;
&lt;br /&gt;
===Tourism Texts===&lt;br /&gt;
&lt;br /&gt;
====General Introduction====&lt;br /&gt;
&lt;br /&gt;
Tourism text is an important carrier for readers to obtain scenic spot information, and Tourism text is to stimulate readers' desire to travel by introducing tourist attractions and resources, and its ultimate purpose is to meet readers' expectations and arouse readers' enthusiasm by delivering tourism information. In other words, the dominant function of tourism text is vocative function. At the same time, tourism texts also provide readers with information they like, from which people can acquire relevant knowledge such as culture and customs, natural geography, etc. Therefore, informative function is also its important feature. It can be seen that the two most important functions of tourism texts are respectively informative and vocative one, whose premise is to provide information and purpose is to attract tourists. &lt;br /&gt;
&lt;br /&gt;
In addition, we should realize that translation of tourism texts is a professional translation of tourist attractions and resources for target readers, and its essence is a communicative behavior. If the translator fails to properly deal with the differences between cultures, it will often fail to achieve the expected results. Therefore, during the translation process, more attention should be paid to the accuracy and effectiveness of the information, so as to make the translation conform to the target readers’ reading habits and aesthetic expectation (Li Daosheng, 2000). This requires the translator to put the reader's acceptance first in the process of translation. That is, tourism text translation should not only realize the conversion from one language to another, but also take language barriers and cultural differences into account. Therefore, in order to achieve the goal of successful communication, translators should flexibly apply various translation strategies and adopt appropriate translation methods according to the text types of tourism texts.&lt;br /&gt;
&lt;br /&gt;
====Introduction to the ''Everglades National Park, Florida (Excerpt)''====&lt;br /&gt;
&lt;br /&gt;
Established in 1974, Everglades National Park covers 2,354 square miles, or 6,097 square kilometers (1.4 million acres). Located at the tip of southern Florida, it is the largest subtropical wildlife sanctuary in the continental United States. Everglades National Park protects an unparalleled landscape which provides important habitat for numerous rare and endangered species such as the manatee, American crocodile, and the elusive Florida panther.&lt;br /&gt;
&lt;br /&gt;
''Everglades National Park, Florida (Excerpt)'' is excerpted from a notice from U.S. National Park Service about the phased reopening of the park, including alerts of the reopening, activities, safety and accessibility. It can also be regarded as a travel guide, which describes the journey towards people and offers help to the tourists who want to go there, and which often includes the description of the best travel time, transportation, accommodation, scenic spots and matters needing attention. As a practical text, its main purpose is to introduce and promote tourist scenic spots, that is the Everglades National Park in Florida. Its vocative and informative function are very prominent, and it has the characteristics of reader-orientation, the effectiveness of information transmission and timeliness.&lt;br /&gt;
&lt;br /&gt;
===Newmark's Translation Theory===&lt;br /&gt;
&lt;br /&gt;
====General introduction of Peter Newmark's translation theories====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark, a well-known translation theorist, is one of the main figures in the founding of translation studies in the English-speaking world in 20th century. Newmark devoted himself to studying the past and present of Western translation, and put forward his own views on this basis. Newmark’s translation theories mainly include three parts, that is, the classification of text types, translation approaches, and the lately correlative theory of translation.&lt;br /&gt;
&lt;br /&gt;
According to Karl Buhler’s knowledge of language features and Jacobson’s classification of them, Newmark proposed six functions of language informative function, expressive function, vocative function, phatic function, aesthetic function, and lastly metalingual function. (Hou Yingying, 2020) Then Newmark divided text types into three: expressive-functional texts, informative-functional texts, vocative-functional texts.&lt;br /&gt;
&lt;br /&gt;
After putting forward these three text types, Peter Newmark suggested eight translation approaches or strategies. Firstly, from the perspective of focusing on the source language, he suggested word-for-word translation, literal translation, faithful translation and semantic translation; Secondly, from the perspective of focusing on the target language, he suggested adaptation, free translation, idiomatic translation and communicative translation (Newmark, 2001:45).&lt;br /&gt;
&lt;br /&gt;
In 2007, Newmark came up with a new theory, that is, correlative theory of translation, which means that “The more serious and important the language of the original or source text, the more closely it should be translated.” (Newmark, 2007)&lt;br /&gt;
&lt;br /&gt;
In conclusion, Peter Newmark has proposed many significant theories and made extensive discussion on those concepts, which will have a great influence on the translation practice.&lt;br /&gt;
&lt;br /&gt;
====Semantic translation and communicative translation====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark divided text genres into “expressive text”, “informative text” and “vocative text” in his classic work ''Approaches to Translation''. Imaginative literary works, such as poems, songs, novels and dramas, authoritative statements, autobiographies, essays and personal correspondence, etc. are expressive texts. All the formatted texts with science and technology, industry and commerce, and economy as themes belong to informative texts. And vocative text refers to all texts that can infect readers and make them “get information”.&lt;br /&gt;
&lt;br /&gt;
With reference to these three kinds of texts, Newmark further creatively proposed the concepts of semantic translation and communicative translation: “communicative translation” means that the effect of the target text on the reader of the target language is as much as the effect of the original text on the reader of the source language; “semantic translation” refers to the reproduction of the context of the source text as accurately as possible under the premise of the semantic and syntactic structure of the target language. He believed that only communicative translation and semantic translation can achieve the two major goals of translation: being accurate, and being economic (effective).&lt;br /&gt;
&lt;br /&gt;
In ''About Translation'', Newmark made a detailed comparison of the characteristics of semantic translation and communicative translation from different aspects, and pointed out that the fundamental difference between them lies in that when the information and the effect are in conflict, communicative translation lays more emphasis on effect than content, while semantic translation lays more emphasis on content than effect. Communicative translation can give the translator full freedom, the translator can reorganize the syntax, eliminate the original obscure places in the source language, and make the language conform to the standard of the target language. However, semantic translation emphasizes the content of the information itself, tries to make the form of the target text similar to the form of the original text, and retains the language characteristics and expressive style of the original author. Therefore, compared with semantic translation, communicative translation is more subjective and can better reflect the translator’s creativity and it attaches great importance to the communicative effect of translation, the key to which is to convey information, make readers of the target language think, act and feel, and play an inductive role in making the translation natural and smooth, and more readable. &lt;br /&gt;
&lt;br /&gt;
Newmark pointed out that the translation of expressive texts should employ semantic translation, while informative and vocative texts communicative translation which is reader-centered. The most direct purpose of tourism texts translation is to convey information to readers on the premise of attracting readers’ attention and leaving readers with deep memories, so that readers can take actions -- to visit tourist attractions and pay attention to matters that should be paid attention to. Thus, it can be seen that the tourism text belongs to the vocative text and the communicative translation should be applied. &lt;br /&gt;
&lt;br /&gt;
To sum up, Newmark’s communicative translation focus on the effect that the translation brings to the target language readers, which is of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
&lt;br /&gt;
===Case Study===&lt;br /&gt;
&lt;br /&gt;
The purpose of communicative translation is to try to make the translation have the same effect on the target reader as the original does on the source reader. That is to say, the key point of communicative translation is to be loyal to the target language and the target text reader, that is, the source language is required to obey the target language and culture, leaving no doubt or obscurity to the reader, and eliminating difficulties and obstacles in reading or communication for the reader as far as possible.&lt;br /&gt;
&lt;br /&gt;
Because the translator wants to achieve a certain communicative purpose, emphasizes the effect and has a specific target audience, the translation has inevitably broken the restrictions of the original text, pursuing smoothness, clarity, directness and conformity with conventions. In this part, the author analyzes the specific application of communicative translation in the translation practice of the ''Everglades National Park, Florida (Excerpt)'' from three aspects: lexical, syntactic and textual analysis.&lt;br /&gt;
&lt;br /&gt;
====At Lexical Level====&lt;br /&gt;
&lt;br /&gt;
Generally speaking, there is partial equivalence between English and Chinese, that is, similar expressions in Chinese can replace the meaning of English words or phrases (Liu Junping, 2009). In the following, two translation methods used in lexical translation will be introduced: conversion of part of speech and the translation of public signs.&lt;br /&gt;
&lt;br /&gt;
1)Conversion of part of speech&lt;br /&gt;
&lt;br /&gt;
Example 1:&lt;br /&gt;
&lt;br /&gt;
ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors.''&lt;br /&gt;
&lt;br /&gt;
TT: 个人、团体或家庭都能在这找到适合的户外活动。&lt;br /&gt;
&lt;br /&gt;
Analysis: As we all know, English belongs to the Indo-European language family, while Chinese the Sino-Tibetan language family. Many differences exist between English and Chinese in terms of vocabulary and grammatical structure. Therefore, in the process of translating English into Chinese, due to the different ways of expression between English and Chinese some sentences can be translated word by word, while most sentences cannot. In order to make the Chinese translation smooth and natural, some words in the original text need to be converted into different parts of speech in the target text without sticking to the surface structure of the original text. In other words, some words in the original text can be converted into other parts of speech in Chinese on the premise of being faithful to the original meaning and retaining the original effect. &lt;br /&gt;
&lt;br /&gt;
The original sentence uses a nominal phrase “no shortage of” to express the meaning that no matter how many people come together for outdoor activities, there are always options. The translator translates it into a verbal phrase, that is, everyone can find a suitable outdoor activity here, so that the meaning gets across and the whole sentence flows naturally.&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&lt;br /&gt;
ST: ''Accessibility: No immediate trails.''&lt;br /&gt;
&lt;br /&gt;
TT: 如何前往：没有路径可直接到达。&lt;br /&gt;
&lt;br /&gt;
Analysis: As English tends to use more nouns with static narratives, while Chinese tends to use more verbs with dynamic ones. The static tendency of English mainly comes from nominalization, a common phenomenon in English. Nominalization mainly refers to the use of nouns (phrases) to express the information originally expressed by verbs (phrases), such as the use of abstract nouns to express actions, behaviors, changes, states, etc (Lian Shuneng, 1993). For example, “accessibility” in Example 2 is an abstract noun, which is used to show the way to one place. Chinese, on the other hand, tends to use verbs. So, in order to better convey the effect and let the reader read without any doubt or discomfort, the translator converted the noun into a verb phrase, that is “如何前往”. Likewise, in the noun phrase “no immediate trails”, the author wants to say that there is no direct way (to arrive at the destination). When translating, if it is directly translated into a noun phrase “没有直达路”, the reader may feel difficult to read. So, if it is translated into “there is no direct path can reach that place”, the sentence will be more smoothly and convey the original information and the effect is also retained.&lt;br /&gt;
&lt;br /&gt;
2)Public signs&lt;br /&gt;
&lt;br /&gt;
Example 3 &amp;amp; 4:&lt;br /&gt;
&lt;br /&gt;
ST: ''Things To Do'' &lt;br /&gt;
&lt;br /&gt;
TT: 活动介绍&lt;br /&gt;
&lt;br /&gt;
ST: ''What you can do''&lt;br /&gt;
&lt;br /&gt;
TT: 解决措施&lt;br /&gt;
&lt;br /&gt;
Analysis: As mentioned in the theoretical framework above, tourism text belongs to vocative text. As a kind of tourism text, public signs are a special style for specific people to achieve a certain communicative purpose. Its application scope is very wide, almost involved in every aspect of our daily life, such as street signs, billboards, road signs, shop signs, warnings, propaganda, travel briefs and so on. As a communicative tool, it conveys necessary and useful information to the public by means of a few words, simple and easy to understand icons or the combination of both (He Xueyun, 2006). Therefore, it can be seen that public signs feature lots of nouns, verbs, phrases and abbreviations and more often, fixed expression, which means in translation, only concise and idiomatic expression can fully convey the effect of the original text.&lt;br /&gt;
&lt;br /&gt;
Just as the example 3, once the original text is translated literally, that is “要做的事情”, it sounds rather awkward, which not only does not convey the meaning of the source text that was intended as an introduction to the activities that can be done, but also may lead the reader to believe that this section is about what is required. However, if it is translated into “活动介绍”, readers can clearly know the main content of this part and can find out the activities they are interested in. This expression is very concise and also in line with the Chinese language habits. The same is true of example 4.&lt;br /&gt;
&lt;br /&gt;
Example 5 &amp;amp; 6:&lt;br /&gt;
&lt;br /&gt;
ST: ''Alligators and crocodiles - Crocodilians are one of the reasons people visit the park, however, these are wild animals that can be dangerous to humans.''&lt;br /&gt;
&lt;br /&gt;
TT: 小心短吻鳄和鳄鱼——鳄鱼是人们参观公园的原因之一，然而，这些野生动物对人类会很危险。&lt;br /&gt;
&lt;br /&gt;
ST: ''Poisonous plants - The park’s ecosystems support a variety of plant life including some that cause reactions to human skin.''&lt;br /&gt;
&lt;br /&gt;
TT: 警惕有毒植物——公园的生态系统支持多种植物的生长，包括一些会对是人类皮肤过敏的植物。&lt;br /&gt;
&lt;br /&gt;
Analysis: Tourist texts belong to the vocative text, emphasizing the transfer of the effect of the information and the empathy of the reader. This requires the translator to pay attention to the internal logic of the text, modify the translated text to make it clear in the process of tourism translation without sticking to the original form and give full consideration to the core position of readers. &lt;br /&gt;
Examples 5 and 6 are in the same sentence structure -- firstly species are given, and then that the species could be in some danger is pointed out. If it is translated in accordance with the original text word by word, then the front part is just posing out that species. However, if such warning words as “小心” or “警惕” are added, it can let the reader know before he continues reading that this species may be dangerous when visiting, and then with reading below, the reader will know why it is dangerous. This will prepare the reader mentally, and the reading will be smoother.&lt;br /&gt;
&lt;br /&gt;
====At Syntactical Level====&lt;br /&gt;
&lt;br /&gt;
Two aspects are included in syntactic analysis, which are change of subjects and passive voice, and the punctuation.&lt;br /&gt;
&lt;br /&gt;
1)Change of subjects and passive voice&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: ''Wading birds, cormorants, Purple Gallinules, and nesting Anhingas may be found along the path anytime of the day during the winter (dry) season.''&lt;br /&gt;
&lt;br /&gt;
TT: 在冬季（旱季），任何时候您都可以在沿路发现涉水鸟类、鸬鹚、紫雀和筑巢的美洲蛇鸟。&lt;br /&gt;
&lt;br /&gt;
Analysis: English tends to use more impersonal subjects, which means it rarely uses the personal subject to describe but expresses how objective things act on people’s perception to things appear in an objective tone. So, the structure is often like this: inanimate subject + animate subject (Lian Shuneng, 2010). Chinese pays more attention to subjective thinking, and often describes objective things from the point of view of oneself, or tends to describe people and their behavior or state, so the personal subject is often used. When the personal subject is clear, Chinese often implies or omits it.&lt;br /&gt;
Passive voice is a common grammatical phenomenon in English. In some styles, the use of passive sentences has almost become a habit of expression. Passive sentences give rise to the tendency of using impersonal subjects, and vice versa. Chinese uses fewer passive forms. The main reason for this difference is that the use of passive forms in Chinese is limited, and the mark of the passive voice, such as “让”, “给”, “受”, mostly expresses displeasure.&lt;br /&gt;
&lt;br /&gt;
Therefore, in example 7, the translator transformed the passive voice into the active voice and the impersonal subjects “Wading birds, cormorants, Purple Gallinules, and nesting Anhingas” into the personal subjects “您”. What’s more, as this tourism text is written for readers, the use of the second person subject can shorten the distance. &lt;br /&gt;
&lt;br /&gt;
Example 8 &amp;amp; 9: &lt;br /&gt;
&lt;br /&gt;
ST: ''Wading birds, American Coots, Osprey, White-crowned Pigeons, warblers, Red-shouldered Hawks, Anhingas, rails, Painted Buntings and other transients are best viewed here in the morning.''&lt;br /&gt;
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TT: 早晨在这里观赏涉禽、美洲骨顶鸡、鱼鹰、白头鸽、莺、赤肩鹫、美洲蛇鸟、秧鸡、彩绘鹀和其他过路的鸟类的效果最好。&lt;br /&gt;
&lt;br /&gt;
ST: ''In the summer, fewer programs are offered.''&lt;br /&gt;
&lt;br /&gt;
TT: 夏季提供的项目较少。&lt;br /&gt;
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Analysis: Just as what has been said above, English has a tendency to use impersonal subjects and passive voice, while Chinese is exactly the opposite. And when the subject is clear, Chinese often implies or omits it, which is just like example 8 the personal subject “you” is omitted. &lt;br /&gt;
In example 9, the omitted subject is the national park, and the temporal adverbial phrase “in the summer” becomes the subject in form, which is a common expression in Chinese. That is because subjects in Chinese are not only in various forms, but also dispensable: it can denote giving, receiving, time, place.&lt;br /&gt;
 &lt;br /&gt;
2)Punctuation&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: ''Connecting trails through the Pinelands run 7 miles (11 km) west from the Long Pine Key campground to Pine Glades Lake along the main park road.''&lt;br /&gt;
&lt;br /&gt;
TT: 这些小道从长松岛营地向西延伸7英里（11公里），穿过一片松林地，连通公园主路边松林湖。&lt;br /&gt;
&lt;br /&gt;
Analysis: English sentences are complicated, and subordination is one of the most important characteristics of modern English, which features right-branching, sentences long and complex, made in “architecture style”. Conversely, Chinese sentences are relatively short, and commonly use scattered sentences, loose sentences, tight sentences or composite sentences with parallel structure. Chinese features left-branching, and sentences are made in “chronicle style”, using clauses to streamline the thoughts. &lt;br /&gt;
&lt;br /&gt;
So, when there are many prepositional phrases in the original English sentence, the translator can divide the long sentence into several short sentences and recognize those by adding comma, which can help readers to sort out the logic of the original text and get the main information. By using communicative translation, the translator divided the original sentence into three sentences. The logical sequence is that “The trails run seven miles (11 kilometers) west from the Long Pine Key campground. Passing through the Pinelands, they lead to Pine Glades Lake along the main park road.”, which shows the location of both the Long Pine Key campground, the Pinelands and Pine Glades Lake correctly, leaving no doubt to readers of the target language.&lt;br /&gt;
&lt;br /&gt;
Example 11:&lt;br /&gt;
&lt;br /&gt;
ST: ''In keeping with Monroe County’s closure order for beaches, North Nest Key and all waters within 100 yards from the shore will be closed for protection of park resources during the holiday weekend. The closure will begin on Friday, July 3 at 6 a.m.''&lt;br /&gt;
&lt;br /&gt;
TT: 根据门罗县对海滩的关闭安排，为保护公园资源，北巢岛和离海岸100码以内的所有水域将自7月3日星期五早上6点起暂停对外开放。&lt;br /&gt;
&lt;br /&gt;
Analysis: In the original text there are two sentences, which can be combined to make the meaning complete and language pithy in the target language. And it can be taken into consideration to reconstruct them by replacing full stop with comma. By considering communicative translation, the translator put two prepositional phrases in advance as adverbials, which are “in keeping with Monroe County’s closure order for beaches” and “for protection of park resources during the holiday weekend”, and then turned the second sentence into a temporal adverbial phrase and put it in the main clause as an adverbial. So, the whole structure is “In keeping with Monroe County’s closure order for beaches and for protection of park resources during the holiday weekend, North Nest Key and all waters within 100 yards from the shore will be closed from Friday, July 3 at 6 a.m.” By doing so, the information is concisely conveyed, and Chinese readers can well understand it.&lt;br /&gt;
&lt;br /&gt;
====At Textual Level====&lt;br /&gt;
&lt;br /&gt;
Discourse refers to the actual language unit used and is the whole language constituted by a series of consecutive paragraphs or sentences in the communication process. In general, a text consists of words, phrases, sentences and sentence cluster (Lan Lingyan, 2020), among which the components were cohesion in form and coherence in semantics.&lt;br /&gt;
&lt;br /&gt;
Example 12:&lt;br /&gt;
&lt;br /&gt;
ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors. The diverse habitats allow for enjoyable activities ranging from hiking, canoeing, kayaking, biking, fresh and saltwater fishing, and camping in the ultimate wilderness.''&lt;br /&gt;
&lt;br /&gt;
TT: 个人、团体或家庭都能在这找到适合的户外活动。无论是步行、乘坐独木舟、划皮划艇、骑自行车，还是在淡水或海水钓鱼、在终极荒野地露营，您都可以饱览多样的自然环境、尽享快乐。&lt;br /&gt;
&lt;br /&gt;
Analysis: Coherence in a piece of writing refers to the principle that all paragraphs, sentences or ideas are combined so well that they form a united whole. Coherent translation has smooth structural, grammatical, and logical movement from one sentence or idea to the next and the reader does not have to pause and guess at the meaning caused by gaps in development between ideas, sentences and paragraphs. &lt;br /&gt;
&lt;br /&gt;
In example 12, the last topic of the fist sentence in the original sentence is outdoor activities, while the subject of the second sentence is the diverse habitats. This is a shift in the topic, which may make the readers pause and guess at the logical relation between them. Therefore, in translation, guided by communicative translation, the translator needs to mind the text coherence and to make proper adjustments. Out of this, the translator put the activities in the second sentences as the subject of the second sentence in the target text, so that the first sentence can pass through smoothly to the next one, so does the understanding of readers.&lt;br /&gt;
&lt;br /&gt;
Example 13:&lt;br /&gt;
&lt;br /&gt;
ST: ''Everglades National Park is a popular spot for saltwater and freshwater sport fishing. Boats can be chartered at Flamingo. Be sure to check a visitor center for park fishing regulations and closed areas.''&lt;br /&gt;
&lt;br /&gt;
TT: 大沼泽地国家公园是一个很受欢迎的钓海水鱼和淡水鱼的地方。在弗拉明戈可以租船。在钓鱼之前，一定要阅读游客中心的公园捕鱼规定和封闭区域。&lt;br /&gt;
&lt;br /&gt;
Analysis: Cohesion can be thought of as all the grammatical and lexical links that link one part of a text to another. This includes the use of synonyms, lexical sets, pronouns, verb tenses, time references, grammatical reference, etc. For example, ‘it’, ‘neither’ and ‘this’ all refer to an idea previously mentioned.&lt;br /&gt;
&lt;br /&gt;
In example 13, this paragraph mainly talks about fishing in the Everglades National Park, with a topic sentence and two explanatory sentences: one introducing the place for chartering and the other cautions. There are no grammatical or lexical links within these three sentences, and the logic is connected by semantics. Considering well understanding of readers in the target language, the translator added one lexical link “before fishing” between the last two sentences, to make the reader understand that he or she should read the rules and precautions of fishing before going fishing. Also, with repeating the key word “fishing”, the central idea of this whole paragraph is prominent, and the sentences are logically and smoothly linked to express the intended meaning, thus making this paragraph a cohesive group.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
====Major findings====&lt;br /&gt;
For the text, the tourism text belongs to the vocative text, which focuses on conveying the information and effect, so the communicative translation theory should be adopted to this kind of translation. As for this original text, the first part that introduces the outdoor activities belongs to the tourism advertisements, which are descriptive with vivid words. Tourism advertising is infective, with short and concise words, full of creativity, lively and concise sentence structure, and strong attraction. While the announcement that informs of the operating status of the park is a quite different style. The wording is formal, standard, accurate and stylized. Secondly, the source text involves a wide range of knowledge and large vocabulary. For example, “hardwood hammock” for “硬木吊床” and “Geocaching” for “寻宝”. &lt;br /&gt;
&lt;br /&gt;
Based on the analysis of examples from lexical, syntactic and textual levels, some translation methods can be proposed. On one hand, when translating, some words in the target text can be converted into different parts of speech in the original text to make the language natural and idiomatic. On the other hand, when doing English – Chinese translation, in most cases, passive voice should be changed into active voice, personal subject is favored in Chinese, and subjects can also be omitted sometimes. Lastly, as English and Chinese have lots of differences in sentences, the translator should change the order of the sentences sometimes to make them smooth and fluent, and some words can be added to make the meaning coherent.&lt;br /&gt;
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====Limitations====&lt;br /&gt;
&lt;br /&gt;
Besides some major findings, there are also many limitations in this translation practice. Firstly, communicative translation focuses on the effect conveyed by the translation rather than the information, which can easily make the translator ignore some original. So, in the translation, other available translation theories should also be taken into account to achieve best translation. &lt;br /&gt;
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Then, when translating a text, whether it is a tourism text or a literary works, they cannot be translated immediately. Relevant information and background should be collected in advance, and otherwise some mistakes which should be avoided will be made. For example, “Snail Kite (蜗鸢)” might be translated as “蜗牛风筝” if the translator does not look it up in advance.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
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[1] Newmark, Peter. About Translation[M]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
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[2] Newmark. Approaches to translation[M]. Shanghai Foreign Language Education Press, 2001. &lt;br /&gt;
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[3] Newmark, Peter. A New Theory of Translation[J]. Sborník Prací Filozofické Fakulty Brněnské Univerzity, 2007(13)&lt;br /&gt;
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[4] Newmark, Peter. A Textbook of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2001:39-42. &lt;br /&gt;
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[5] 贺学耘.汉英公示语翻译的现状及其交际翻译策略[J].外语与外语教学, 2006(03):57-59.&lt;br /&gt;
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[6] 侯莹莹.凯瑟琳娜·莱斯与彼得·纽马克文本类型翻译理论之比较研究[J].海外英语, 2020(22):49-50+60. &lt;br /&gt;
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[7] 金惠康.跨文化旅游翻译探讨[J].上海翻译, 2007(01):31-34.&lt;br /&gt;
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[8] 兰灵艳.交际翻译理论指导下《家庭生活》（节选）汉译实践报告[D].南昌大学, 2020.&lt;br /&gt;
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[9] 李道胜. 汉英语义对比分析[J]. 语言教育, 2000(4):4-5.&lt;br /&gt;
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[10] 连淑能.《英汉对比研究》[M]. 北京：高等教育出版社, 1993.&lt;br /&gt;
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[11] 刘安洪.跨文化交际视角下的旅游文本翻译策略研究[J].中华文化论坛, 2013(10):160-163. &lt;br /&gt;
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[12] 刘军平，西方翻译理论通史[M]. 武汉：武汉大学出版社, 2009.&lt;br /&gt;
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[13] 马忱.交际翻译策略对汉英旅游翻译的启示[J].郑州航空工业管理学院学报(社会科学版), 2010,29(06):119-121.&lt;br /&gt;
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=3 刘越 Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
[[Trans_Type_EN_3]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
There are many translation practices under the guidance of communicative translation theory, but there are not many translation practices in Korean novels. Through this translation practice, we hope to summarize the translation methods and strategies adopted in the translation of novel subject matter under the guidance of communicative translation theory in terms of vocabulary, sentence and rhetoric. In this paper, under the guidance of communicative translation theory of Korean novels &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; to analyze translation strategies and translation methods, let us hope that through the work of human changes in temperature to realize that the most warm affection and the most simple human feelings, seems to be the fact that more and more far from us, let us together to explore the history of the &amp;quot;family&amp;quot; gradually forgotten by us and meaning, Wake up our sense of affection, cause our emotional resonance.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
Communicative translation theory; Korean novels; Translation methods and strategies&lt;br /&gt;
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===Introduction===&lt;br /&gt;
&lt;br /&gt;
===The emergence and development of communicative translation===&lt;br /&gt;
According to the function of language, i.e. the purpose for which it is used, Newmark proposes the following three text types: expressive function, informative function, and evocative function.&lt;br /&gt;
At the heart of the expressive function is the use of words by the speaker or author to express his or her thoughts and feelings. The author's unique form of language is as important as the content.Expressive function texts emphasise the authority of the original author, and translations should follow the principle of &amp;quot;original author first&amp;quot;, faithful to both the content of the ideas expressed by the original author and the language style of the original author, without regard to the reaction of the target reader. The core of the information function is the external context, i.e. all the information about a topic, or the unspeakable reality. At the heart of the information text is the &amp;quot;authenticity&amp;quot; of the content; the author's language is secondary. Translation should be based on the principle of &amp;quot;authenticity first&amp;quot;. The call to action is reader-centred and aims to &amp;quot;call the reader to action, to think, to feel&amp;quot;. The translation should follow the principle of 'reader first', putting the reader of the target language first. The translator can make full use of the advantages of the incoming language, without adhering to the expressions of the original, so that the translated language can achieve the same effect as the original.&lt;br /&gt;
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On this basis, two translation concepts, communicative translation and semantic translation, are proposed. Newmark believes that the theory of communicative translation focuses on the understanding and reaction of the recipient, the reader of the translation, and more on the effect rather than the content of the translated expression. The translator can give full play to the advantages of the translated language and introduce foreign elements into the culture of the translated language, with the advantages of naturalisation, Italian translation and idiomatic translation. Semantic translation attaches importance to the original text, focuses on its semantic content and strives to preserve the culture of the original text, and has the advantages of word-for-word, word-for-word and faithful translation. Communicative translation is suitable for informative and attractive texts such as autobiographies, personal emotional declarations, important political statements (or other statements), most non-literary texts, news, intellectual articles and books, textbooks, reports, scientific and technical literature, official correspondence, promotional material, advertisements, announcements, popular fiction. ( Yang 1989:68-71)# His communicative and semantic translations have largely enriched the study of translation theory and influenced the field of translation.&lt;br /&gt;
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===The applicability of communicative translation theory to the translation of popular novels===&lt;br /&gt;
First of all, the core content of communicative translation theory is that on the basis of being faithful to the content of the original text, it focuses on the readers' understanding ability and feelings, and pays more attention to the expression effect of the target text than the content. For the translator, the translator can give full play to the advantages of the target language and get rid of the constraints of the language structure of the original text. If the original text is illogical, ambiguous, and there are redundant words and ambiguities in the sentence, as well as dialects, coarse slang and other phenomena in the article, the translator has the right to reorganize the syntax and improve it by using collocation and common sentence patterns in accordance with the habits of the target language, so as to make the language more standardized. Translators also have the right to correct errors and omissions in the original text.( Shuang 1999(05):840）&lt;br /&gt;
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Secondly, according to Newmark's text type, communicative translation theory is applicable to vocative texts, which focus on the inspiring effect and take the target readers as the center. The purpose of translation is to elicit the desired response, including popular books and best-selling novels. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. The novel is mainly composed of characters, plots and descriptions of the environment to reflect the social reality. Novel is a literary genre that conveys thoughts and feelings and arouses readers' resonance. It belongs to appeal text, so communicative translation theory is suitable for novel translation.&lt;br /&gt;
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The most important thing in novel translation is to convey the content of the original text and the author's thoughts and feelings to the readers, and to arouse the readers' deep thinking and empathy. When translating a novel, we should describe the plot of the original text to the readers and try to get close to the literary image described by the author and the literary artistic conception created in the novel.&lt;br /&gt;
If only follow the content style and text structure of the original text, it will violate the original intention of translation, making the translation obscure and unclear. Under the guidance of communicative translation theory, the translator can give full play to the advantages of the target language, modify and polish the original text, adjust the logic of expression, eliminate the differences between the original text and the target text, and get a smooth translation. At the same time, the translator can also pay more attention to the target readers, fully consider the reading habits and thinking mode of the target readers, and use easy to understand language vocabulary to convey the information of the source text and the thoughts and feelings of the source text author to the readers, so that the target text readers and the source text readers get the same effect.&lt;br /&gt;
&lt;br /&gt;
=== Case study under the guidance of communicative translation theory===&lt;br /&gt;
Guided by Peter Newmark's communicative translation theory, the author carries out translation practice on two short stories &amp;quot;The Innocent Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. Under the guidance of communicative translation theory, this section adopts the strategies of translation modification and meaning extension to solve the problems of ambiguous and implicit sentences in novels. At the sentence level, the strategy of paraphrase, syntactic and translation is adopted. In the aspect of rhetoric, this paper adopts the translation strategies of addition and repetition, and makes a case study to explore and summarize the translation methods and strategies applicable to novel subject matter under the guidance of communicative translation theory.&lt;br /&gt;
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=== The application of communicative translation theory at lexical level===&lt;br /&gt;
'''Transliteration'''&lt;br /&gt;
&lt;br /&gt;
The translation method refers to the conversion of parts of speech in the original text, such as changing nouns into verbs, adjectives into verbs, etc., so as to make the translation conform to the expression habits of the target language. Different languages have different linguistic phenomena and cultural backgrounds. In order to make the translation more in line with the language expression habits of The Chinese people and convey the correct meaning of the original text to The Chinese readers, every word in the Korean sentence cannot be translated dead, and some parts of speech in The Korean language have to be changed in translation.(Chen 1994)# The following is a case study of translating a part of speech in the original text into another part of speech in Chinese.&lt;br /&gt;
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Eg.1 그럴 때의 아이는 이제 노인이 아니라 소년가장 같았다.&lt;br /&gt;
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First translation：那一刻我觉得孩子不像老人，而像少年家长。 &lt;br /&gt;
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Retranslation：那一刻我觉得他不像一个历经沧桑的老人，而像一个饱经世故的孩子。&lt;br /&gt;
&lt;br /&gt;
&amp;quot;소 년 가 장&amp;quot; is a noun, the author looked up Chinese dictionary, found &amp;quot;소 년 가 장&amp;quot; in Korean means &amp;quot;가 정 의 생 계 를 실 질 적 으 로 책 임 지 고, 어 렵 게 생 계 를 유 지 하 는 소 년&amp;quot;, at the beginning of translation, in accordance with the original literal translation is &amp;quot;young parents&amp;quot;, but is not in conformity with the Chinese expression habit, it is not easy to let Chinese readers understand, The author in the guidance of communicative translation theory, through the network search and found the dictionary lookup &amp;quot;소 년 가 장&amp;quot; and Chinese proverb &amp;quot;the poor children early master&amp;quot; has the same effect, but here can make statements impassability, in order not to cause the reader to understand the problems, the author give full play to the advantages of the Chinese, the author by using the method of adaptation, Phrases collocation and considering the Chinese habit, the term &amp;quot;소 년 가 장&amp;quot; divided &amp;quot;소 년&amp;quot; and &amp;quot;가 장&amp;quot; two nouns, and the term &amp;quot;가 장&amp;quot; translated into adjectives &amp;quot;world&amp;quot;, the &amp;quot;소 년&amp;quot; translated into &amp;quot;children&amp;quot;, both to convey the meaning of the original, and can make readers easily understand the content.&lt;br /&gt;
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Eg.2：거기에 아이가 자신을 만나려 하지 않기 때문에 돈을 주지 않는 것이라는 비난의 말이 반복해서 쓰여 있었기 때문이다. &lt;br /&gt;
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Translation ：文件上反复指责说孩子不想认他这个父亲，所以不给抚养费。&lt;br /&gt;
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In the original text 비 난&amp;quot; is a noun, the author according to the original text in translation translated into &amp;quot;document and is accused of child, father didn't want to see him the accused, so not to support&amp;quot;, at the same time with the two accused, groundwork or at the back of the verb &amp;quot;blame&amp;quot;, also make the repetitive, so the author under the guidance of communicative translation theory, When translated again, the noun &amp;quot;비 project-oriented&amp;quot; is translated into the verb &amp;quot;blame&amp;quot;, so that the translation is easy to understand.&lt;br /&gt;
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Extension of meaning Extension translation method is refers to according to the specific context of contact and words in the original context, starting from the basic meaning of Korean original words, through the letter of the word or phrase in the sentence, its excellent implied meaning appropriately, use some conforms to the Chinese expression habit of character words, the content of the original essence of accurate expression.&lt;br /&gt;
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Eg.3：①텔레비전을 쳐다보던 아이가 대뜸 내밷었다. ②동식이 집을 나서자마자 엄마는 휴이히히히, 하는 기괴한 한숨을 길게 내뱉었다.&lt;br /&gt;
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Translation：①正在看电视的儿子突然吐槽道：“妈，你快看，电视里那个人真像我爸”。 ②母亲就“唉！”长长地叹了一口气。&lt;br /&gt;
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The author by looking up the dictionary, in the original &amp;quot;내 밷 다&amp;quot; has two meanings: (1) 입 안 에 있 던 것 을 입 밖 으 로 뱉 어 내 보 내 다. (2) 마 음 에 내 키 지 아 니 하 거 나 못 마 땅 한 어 조 로 불 쑥 말 하 다. &lt;br /&gt;
Chinese meaning is &amp;quot;vomit, and said,&amp;quot; the author under the guidance of communicative translation theory, reader's expressions and words in Chinese habit as the center, contact the original context and context, considering the words collocation, adopt the method of the extension, the &amp;quot;내 밷 다&amp;quot; translated into &amp;quot;fun&amp;quot; and &amp;quot;sigh&amp;quot;, not only conforms to the present context, and in accordance with the Chinese language habits.&lt;br /&gt;
&lt;br /&gt;
Eg.4: ①그러니까 엄마는 내가 돈 얘기 할 것을 미리 알고서 지금 차단막을 치는 것이리라. ②형이 옆구리를 툭 치며. ③까지는 살큼 익혀서 찬지름 치고 조선간장으로 조물조물 무쳐노면 고기반찬보다 낫드라. &lt;br /&gt;
&lt;br /&gt;
Translation：①但母亲好像早已看透了我的心思，先堵住了我的口。 ②大哥用胳膊肘戳了我一下。 ③蒸个七八分熟的时候撒上香油好好拌一下就行了，这样比那些荤食都好吃。&lt;br /&gt;
&lt;br /&gt;
The verb &amp;quot;치&amp;quot; would give many different meanings with different words, such as ①&amp;quot;beating, beating, beating, playing&amp;quot;.② take, base, wrap, erect, ③ feed, feed, etc. On the basis of communicative translation theory, and fully understand the original meaning, context, and considering Chinese words collocation is used, depending on the context, the extension method was adopted, will &amp;quot;치 다&amp;quot; translated into &amp;quot;blocking&amp;quot;, &amp;quot;stamp&amp;quot;, &amp;quot;and&amp;quot; verb, such as to conform to the Chinese habits of expression.&lt;br /&gt;
&lt;br /&gt;
===The expression of communicative translation theory at the sentence level===&lt;br /&gt;
Communicative translation theory is pointed out that to the readers, the translator should give full play to the advantages of the target language, to make the translation conform to the target language expression of habit, not to leave any arcane to readers, while Korean and Chinese belong to different language families, there are differences in expression habit, this summary is mainly under the guidance of communicative translation theory, This paper analyzes the translation of sentences in The Pure Man and The Goat Family by means of paraphrase, syntactic and combined translation.&lt;br /&gt;
&lt;br /&gt;
'''Interpretation method'''&lt;br /&gt;
&lt;br /&gt;
Hermeneutic method is also an interpretative translation method. Because Chinese and Korean have different expression habits, in the process of translation, we can use the paraphrase method to explain some ambiguous sentences, which can not only make the translation clear, but also accurately convey the original purpose.&lt;br /&gt;
&lt;br /&gt;
Eg.5：어느날, 아이가 눈에 보이는 사물들을 가리켜 얼마짜리냐고 물었을 때, 어떤 행위를 가리켜 얼마 받느냐고 물었을 때, 나는 어린것이 별걸다 궁금해한다고 면박을 줬다. 면박을 주는 것으로 마음에 이는 민망함을 무마시켰다. 아이의 입에서 처음 돈 얘기가 나왔을 때, 그때 나는 이미 알아챘어야 했는지도 모른다.&lt;br /&gt;
&lt;br /&gt;
First Translation: 当某一天，孩子们指着各种东西问花了多少钱，挣了多少钱时，我当面斥责说“小孩子家家的，真是什么都好奇”。我以这种当面驳斥的方式来掩饰心中的尴尬。当我第一次从孩子嘴里听到关于钱的话题时,我可能就已经觉察到了些什么。&lt;br /&gt;
&lt;br /&gt;
Retranslation: 当某一天，孩子们指着各种东西问价格时，我当面斥责说‘小孩子家的，问这个做什么’，以此来掩饰我内心的尴尬。当我第一次从孩子嘴里听到关于钱的话题时，我可能已经觉察到时代变了，我那‘不知钱为何物’的时代过去了。&lt;br /&gt;
&lt;br /&gt;
The author at the beginning of the translation of &amp;quot;그 때 나 는 이 미 알 아 챘 어 야 했 는 지 도 모 른 다&amp;quot;, literal translation is &amp;quot;I may already have noticed what&amp;quot;, but the specific perceive what is not clear, causing distress to Chinese readers, by contacting the above learned that the &amp;quot;I&amp;quot; as a child is the hairpin, objects such as pottery fragments, But now the child is the &amp;quot;money&amp;quot;, the author under the guidance of communicative translation theory, to the readers, adopting the tactics of interpretation method, interpreted &amp;quot;I perceived that the&amp;quot; content &amp;quot;I might have been aware of The Times have changed, I that 'I don't know the money was the era of the past&amp;quot;, thus the author want to convey the original concept of the era of the change of the clear expression come out.&lt;br /&gt;
&lt;br /&gt;
Eg.6：영호야, 명절 때만이라도 꼭 아빠한데 가봐, 가기 싫으면 연락이라도 드리고.아빠가 아무리 네 맘에 안 들더라도 너는 네 할 도리를 해야 떳떳한 사람이 되는 거야,알았지?&lt;br /&gt;
&lt;br /&gt;
First Translation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。只有做了自已应该做的才能做一个光明磊落的人，知道吗？&lt;br /&gt;
&lt;br /&gt;
Retranslation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。为人处事和忠孝贤良是亘古不变的，要想做一个光明磊落的人，就要做好自己的分内之事，知道吗？阿姨的话要记住哦。&lt;br /&gt;
&lt;br /&gt;
Early in the translation of &amp;quot;너 는 네 할 도 리 를 해 야 떳 떳 한 사 람 이 되 는 거 야&amp;quot;, the corresponding Chinese literal translation is &amp;quot;only do oneself should do can do a aboveboard person&amp;quot;, but &amp;quot;할 도 리&amp;quot; what, did not explain clearly in the original, need the reader to consider, in order not to leave readers obscure place, The author puts the advantage of Chinese into full play and interprets &amp;quot;up 도 wish to be good&amp;quot; into English by means of context and translation theory. At the same time, I also think that this is the advice of adults. It is necessary to tell him this truth in a soft and powerful tone. After this sentence, &amp;quot;Remember what aunt said&amp;quot; is added to make the original meaning clearly conveyed to readers, so that readers can better understand the original content.&lt;br /&gt;
&lt;br /&gt;
'''demolition syntax'''&lt;br /&gt;
&lt;br /&gt;
Deconstruction is the breaking down of a long sentence into several shorter sentences. As Korean and Chinese belong to different language families, there are many differences in syntax. The word order of Korean sentences is the structure of SOV, and narration is the main body and focus of the sentence, and there are a large number of long sentences, which rely on word endings to express various grammatical meanings. No amount of sentence elements will cause meaning confusion.&lt;br /&gt;
&lt;br /&gt;
However, the word order of Chinese sentences is the SVO structure, which depends on vocabulary, function words and word order to distinguish sentence components, so the sentence structure is simple, mainly short sentences. The translation of Korean long sentences into Chinese sentence groups can make the translation logical, smooth and accurate.&lt;br /&gt;
&lt;br /&gt;
Eg.7：동식의 이혼에 책임이 없다고 할 수는 없는 형제들이 돈을 모아 동식에게 새집을 지어줬는데 집안 새것이면 뭐 하냐고 동식이 폭력을 휘두를 조짐을 보이자 그 팔아 종류의 폭력을 아버지에게 당해본 엄마는 지레 겁을 먹고 소를 팔아 동식에게 새장가 갈 자금을 쥐여줄 수밖에 없었다.&lt;br /&gt;
&lt;br /&gt;
First Translation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子。挨过父亲打的母亲因为对东植这种动不动就挥拳头打人的行为心有余悸，并觉得只有新房子没用，就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
&lt;br /&gt;
Retranslation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子，母亲因为挨过父亲的打，所以对东植这种动不动就挥拳头打人的行为心有余悸，觉得只有新房子无济于事，改不了他的暴力行为，索性就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
&lt;br /&gt;
The original text Is a long sentence, &amp;quot;는 데&amp;quot; is a long attributive clause, behind the author under the guidance of communicative translation theory, using the translation, in the resolution of a sentence, adjust the structure of the sentence, but his father mother &amp;quot;dragged&amp;quot; compared to read man translationese is too heavy, have the taste of Korean Chinese, is not in conformity with the Chinese expression habit, the author on the basis of this, The translation has been revised and polished to make it smooth and smooth.&lt;br /&gt;
&lt;br /&gt;
'''Cotranslation'''&lt;br /&gt;
&lt;br /&gt;
Cotranslation refers to the combined translation of two or more sentences in the original text. Using the combined translation method to translate, will reduce the long winded translation, obtain a smooth and smooth translation.&lt;br /&gt;
&lt;br /&gt;
Eg.8 ：나는 큰오빠와 작은오빠가 아버지가 남긴 논을 가져간 것을 알고 있었다. 큰언니, 작은언니가 결혼할 때 밭을 가져 갔다는 것도. 동식은 제 몫이 논도 밭도 아닌 집인 것에 불만을 품고 쓰러져가는 슬레이트집에 불을 질렀다.&lt;br /&gt;
&lt;br /&gt;
First Translation：我知道大哥和二哥结婚时分走了家里的水田，大姐和二姐结婚时分走了家里的旱地，东植因为分到的不是田和地，而是即将坍塌的的石板屋，一气之下就在屋里放了火。&lt;br /&gt;
&lt;br /&gt;
Retranslation：哥哥姐姐们结婚时把家里的水田和旱地都分走了。而东植分到的是即将坍塌的的石板屋，他对此很不满，一气之下就放火烧了房子。&lt;br /&gt;
&lt;br /&gt;
Are two sentences in the original, the author first translation, according to the original text translated into two other subject-predicate bin structure of the sentence, but &amp;quot;big sister&amp;quot; &amp;quot;big brother&amp;quot; &amp;quot;sister&amp;quot; &amp;quot;second brother&amp;quot; will be read repetitive, so the author under the guidance of communicative translation theory, adopt the method of r the appellation of original elements became the &amp;quot;brothers and sisters&amp;quot;, and the two sentence elements into a simple sentence, Reduce redundant redundant.&lt;br /&gt;
&lt;br /&gt;
===The embodiment of communicative translation at the rhetorical level===&lt;br /&gt;
Communicative translation theory points out that should take the readers as heavy, compared to convey to the readers the article content, pay more attention to the expression effect, good expression effect can cause the resonance of the readers, caused the reader's thinking, and good expression effect depends on the use of rhetoric, this summary is mainly under the guidance of communicative translation theory, adopt different translation strategies, The rhetorical translation in The Innocent Man and The Goat Family is analyzed.&lt;br /&gt;
&lt;br /&gt;
'''Addition'''&lt;br /&gt;
&lt;br /&gt;
Addition is a translation method that adds content to the target text in order to accurately express the meaning of the source text, meet the needs of the target text readers and make the target text conform to the expression habits of the target language. Since Chinese and Korean have different pragmatic ways and expressive habits, some words or sentences should be added in the translation to make the translation more consistent with the Chinese context, the reader's expressive habits and the exact meaning of the original text.&lt;br /&gt;
&lt;br /&gt;
Eg.9：나는 아이 아빠의 돈을 ‘그깟 돈’이라고 표현했다.&lt;br /&gt;
&lt;br /&gt;
First Translation：我把孩子爸爸的钱称为“那么点儿钱”。&lt;br /&gt;
&lt;br /&gt;
Retranslation：我把孩子爸爸给的钱称为“塞牙缝的钱”。&lt;br /&gt;
&lt;br /&gt;
&amp;quot;그깟&amp;quot; is a contraction of &amp;quot;그까짓&amp;quot;. It means so little, so little. The amount of money given by the father of the child is very small. The author under the guidance of communicative translation theory, give full play to the advantages of target language, adopt the method of thickening of translation, the use of metaphor, the &amp;quot;그 깟 돈&amp;quot; translated into accord with the readers expression habit &amp;quot;for all of the money&amp;quot;, making it easy to understand, more intuitive said the little amount, so as to impress the reader.&lt;br /&gt;
&lt;br /&gt;
'''Repetition'''&lt;br /&gt;
&lt;br /&gt;
Repetition refers to the translation technique of appropriately repeating a part of words or sentences in translation. The repetition method can make the meaning of the translation more clear, further strengthen the appeal of the article, highlight the thoughts and feelings of the article, and achieve a good rhetorical effect.&lt;br /&gt;
&lt;br /&gt;
Eg.10：아비를 한번도 찾지 않다가 돈 달라고, 그것도 법정에서 애 얼굴을 봐야 하는 아비 된 자의 참담한 심정을 당신들이 아느냐고.&lt;br /&gt;
&lt;br /&gt;
First Translation：孩子一次也没来看过我这个父亲，却开口要钱？而且只有上了法院，我才好不容易看孩子一眼，你们理解我这个做父亲的心情和处境吗！&lt;br /&gt;
&lt;br /&gt;
Retranslation：孩子一次也没来看过我就跟我开口要钱，只有上了法院，我才好不容易看孩子一眼，我这个做父亲的苦楚，悲凉的的心情，你们理解吗！理解吗！&lt;br /&gt;
&lt;br /&gt;
The author by contacting the specific context, as a father, no contact for many years but children themselves to court, the state of mind should be both angry and sad, based on the theory of communicative translation, using the skill of verb repetition, to &amp;quot;알 다&amp;quot; repeated translation, to emphasize my angry tone, in order to make the article more vivid and accurate meaning.&lt;br /&gt;
&lt;br /&gt;
=== conclusion===&lt;br /&gt;
This paper selected the south Korean writer Kong Shanyu stories &amp;quot;well bead film&amp;quot; in the two novel &amp;quot;pure people&amp;quot; and &amp;quot;the goat family&amp;quot; has carried on the translation practice, the two novels are using the simple nature of language and a small amount of dialect vocabulary, shape lifelike characters, are described by family members of the past, let the past and reality contrast, It reflects the social reality that with the development of society, people have become selfish and indifferent, and the most simple family and human feelings seem to be more and more far away from us, so as to explore the history and significance of the &amp;quot;family&amp;quot; and the simple social atmosphere, which are gradually forgotten by Koreans.&lt;br /&gt;
&lt;br /&gt;
The core of Peter Newmark's communicative translation theory is that on the basis of being faithful to the content of the original text, the translator can give full play to the advantages of the target language, get rid of the constraints of the language structure of the original text, and pay attention to the effect of the expression of the target text. According to Newmark's text type, communicative translation theory applies to appeal texts, which focus on the target reader and aim to elicit the desired response, including popular books, popular novels and so on. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. Under the guidance of Peter Newmark's communicative translation theory, the author analyzes and discusses the translation strategies in the Pure Man and The Goat Family, which are complicated sentences, ambiguous meanings and implicit expressions.&lt;br /&gt;
&lt;br /&gt;
From the lexical level analysis, the author mainly combined with the context, to Chinese readers as the center, to comply with the Chinese expression and language habits, consider the reader's understanding ability, on the basis of Chinese used to translation and translation methods of extension, so as to satisfy the to the original readers and the translation of the original dual need of the readers have the same effect, At the same time, it also ensures the accuracy and flexibility of the translation words, so as to conform to the translator's lexical habits.&lt;br /&gt;
From the statement level analysis, &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; appeared in the text of the long sentence and attributive clause, at the same time, some relatively obscure sentences substance, so the author adopted the method of interpretation, syntax and translation of translation strategies, to explain the sentence, split, reorganization, thus reducing the sentence's mad outages and ideographic unclear, The translation is in line with the habits of Chinese readers and effectively conveys the essence of the original text. From the rhetoric analysis, communicative translation theory points out that compared with the content, should attach great importance to the expression of the translation effect, good expression effect depends on the use of rhetoric, so the author USES the translation strategy of work and repetition, has carried on the modification to the original and polishing, to strengthen the artistic effect and influence of the translation, make readers for the characters vivid impression, Arouse readers' reflection and emotional resonance.&lt;br /&gt;
&lt;br /&gt;
Therefore, the results of this study indicate that the communicative translation theory is of guiding significance to the Chinese translation of Korean novels and can provide a reference for similar translation practices. Communicative translation theory is pointed out that to the reader as the center, the translator can get rid of the original text, giving full play to the advantages of target language to adjust the structure and logic, to make the translation easy to understand, but there may be lack of scattering situation, so the translator should properly our subjective initiative, to insure the effect of readers in at the same time, also used to avoid the above situation. In addition, there are also shortcomings in the translation, but the author still hopes that this translation practice can provide reference for the future Korean-Chinese translation practice. At the same time, through this translation practice, the author has realized his own shortcomings. In the future, the author will continue to learn, accumulate practical experience, and strive to improve his literary accomplishment and language foundation, and improve his translation level.&lt;br /&gt;
&lt;br /&gt;
===Reference===&lt;br /&gt;
&lt;br /&gt;
'''English Literature:'''&lt;br /&gt;
&lt;br /&gt;
[1]. GAO Chang. The Application of Peter Newmark's Communicative Translation Theory to the Translation of Chinese Historical Allusions [J]. Overseas English, 2013(11).&lt;br /&gt;
&lt;br /&gt;
[2]. JIAN Fang. Newmark's Translation Theory and Film Names [J]. Overseas English, 2010(08).&lt;br /&gt;
&lt;br /&gt;
[3]. LI Xin, ZHANG Zhe. On Peter Newmark’s Semanic Translation &amp;amp; Communicative Translation[J]. Overseas English, 2015（03）.&lt;br /&gt;
&lt;br /&gt;
'''Korean literature:'''&lt;br /&gt;
&lt;br /&gt;
[4]. Gong Seon-ok. In the 1980s, my literature Gwangju, and my life's hardship [J]. History of Criticism, 1995 (08).&lt;br /&gt;
&lt;br /&gt;
[5]. Kang Young-mi. Preliminary review of the singing movement in the 1970s and 1980s [J]. Mental Culture Research 41(3), 2018.(09).&lt;br /&gt;
&lt;br /&gt;
[6]. Kim Young Hee. Modern and Alternative Experience and Women--Park Wan-seo, Kim In-sook, and Gong Sun-ok's novel [J]. Creation and Criticism 23(3), 1995(09).&lt;br /&gt;
&lt;br /&gt;
[7]. Osunbang. A study of the translation of novels in modern China and the two-way translation of Sino-Korean novels[J]. Seoul: Sungsil University Press, 2008.&lt;br /&gt;
&lt;br /&gt;
'''Chinese Literature:'''&lt;br /&gt;
&lt;br /&gt;
[8]. Chen Lin. A comparison of Eugene A. Naida and Peter Newmark's translation theories [J]. Journal of Xiangtan University (Social Science Edition), 1994,(08): 87-91.&lt;br /&gt;
&lt;br /&gt;
[9]. Si Jitao and Yan Honglan. The translation of split sentences and combined sentences in English-Chinese translation[J]. Journal of Guangxi Right River Nationalities Teachers College,2005(02):21&lt;br /&gt;
&lt;br /&gt;
[10]. Chen Lin. A comparison of Eugene A. Naida and Peter Newmark's translation theory [J]. Journal of Xiangtan University (Social Science Edition), 1994, (08).&lt;br /&gt;
&lt;br /&gt;
[11]. Yang Shi-Zhuo. A brief analysis of Newmark's theory of semantic and communicative translation[J]. Fujian Foreign Language, 1989:68-71.&lt;br /&gt;
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=毛雅文On Translation Strategies and Methods in Chinese Translation of English Prose --- Chinese Translation of Robert Lynd’s &amp;quot;Pleasures of Ignorance&amp;quot; as an example=&lt;br /&gt;
&lt;br /&gt;
'''浅析英语散文汉译中的翻译策略——以罗伯特·林德《无知的乐趣》汉译本为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_4]]&lt;br /&gt;
&lt;br /&gt;
毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
&lt;br /&gt;
Prose, together with poetry, novel and drama, is a kind of literary form. It is not limited to rhythm, plot and characters, flexible in form, real and natural. English prose has a long history and various types, so it becomes an important object in translation practice and research. In China, the most famous English prose writers are Francis Bacon and Charles Lamb, hence, their works can be regarded as the focus of studies on Chinese translation of English prose. In fact, Chinese translation of English prose draws less attention in translation circle of China, compared with that of English poetry and drama. With English prose as the starting point, this paper will introduce the characteristics of English prose and the domestic studies on its Chinese translation, and take the Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, the representative work of English modern prose writer Robert Lynd, as an example to analyze its translation strategies and methods.&lt;br /&gt;
&lt;br /&gt;
==摘要==&lt;br /&gt;
&lt;br /&gt;
散文是与诗歌、小说、戏剧并称的一种文体，不拘泥于韵律、情节、人物，形式灵活，真实自然。英语散文历史悠久，类型多样，是翻译实践与研究中的重要研究对象。在我国，最著名的英语散文家是弗朗西斯·培根和查尔斯·兰姆，他们的作品也因此成为英语散文汉译的重点。而事实上，我国翻译界更加重视的是诗歌与小说的汉译，英语散文汉译的研究相较之下比较滞后。本文将以英语散文为切入点，介绍英语散文的特点及其在我国的汉译研究，并以英国现代散文家罗伯特·林德的代表作《无知的乐趣》汉译本为例，主要分析其中的策略及方法。&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Pleasures of Ignorance&amp;quot;; Chinese translation of English prose; translation strategies; translation methods; translation techniques&lt;br /&gt;
&lt;br /&gt;
==关键词==&lt;br /&gt;
&lt;br /&gt;
《无知的乐趣》；英语散文汉译；翻译策略；翻译方法；翻译技巧&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
&lt;br /&gt;
This chapter will point to the research background and its significance, and briefly set forth the structure of this paper and the methods used.&lt;br /&gt;
&lt;br /&gt;
===Research Background and Significance===&lt;br /&gt;
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In recent years, with the deepening of the reform and opening-up, the channels of international cultural exchange have become increasingly unblocked, and China's translation industry has also flourished. The studies on translation theory, drawing lesson from western translation studies, have yielded fruitful results, and more noteworthily, remarkable achievements have been made in studies on literary translation for all to see. (Hou Qiang 2014: 1)&lt;br /&gt;
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Prose is a basic literary form in written or spoken language that typically exhibits a natural flow of speech and grammatical structure. A large number of works in philosophy, history, economics, journalism, etc, are examples of works written in prose. It can be seen that prose, which is widely used for creation, occupies an important position in literature. However, there are few researchers majoring in prose translation, still fewer ones who specialize in Chinese translation of English prose. In view of the above, this paper, based on previous studies, will study the Chinese translation of English prose, and take the Chinese translation by Liu Bingshan of ''The Pleasures of Ignorance'' created by the English prose writer Robert Lynd, exploring its characteristics in translation strategies and methods, so as to provide better understanding and some reference for the appreciation and translation of English prose. (He Xiuqin 2018: 6) (Song Jie 2018: 1)&lt;br /&gt;
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===Methodology and Structure===&lt;br /&gt;
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This paper will employ the methods of literature research and case analysis. The paper consists of three parts. The first section is literature review, explicating the distinctive properties and linguistic features of English prose, and the prose translation with its principles, as well as introducing the previous studies on Chinese translation of English prose at home. The second part, the core of this paper, will take Liu Bingshan's Chinese translation version of Robert Lynd's prose work &amp;quot;Pleasures of Ignorance&amp;quot; as an example, carry out the interpretation of this translation in terms of its types, styles as well as strategies and methods employed. Lastly, the conclusion will point to the findings in this study and the weaknesses in the paper.&lt;br /&gt;
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==Literature Review==&lt;br /&gt;
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This part will draw into the domestic previous studies on Chinese translation of English prose.&lt;br /&gt;
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With regard to Chinese translation of English prose, at present, there are few domestic scholars dedicated to its systematic research. According to the different perspectives, the relevant researches at home can be roughly divided into three categories.&lt;br /&gt;
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First, concerning research on the theory of Chinese translation of English prose into Chinese, there are relatively small number of studies in this direction. One of the most fruitful works is ''The Study and Translation of British and American Prose'' co-authored by Zhao Xiuming and Zhao Zhangjin (2010), which makes a detailed investigation of the literary characteristics, historical evolution and style evolution of British and American prose. The work also discusses the basic principles of English prose translation in terms of pre-translation text analysis, historical and cultural context, artistic principles, and styles, etc., which can offer a reference for the further study of the theories and practices of English prose translation. (Hou Qiang 2014: 4)&lt;br /&gt;
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Second, regarding research on the famous translators of English and American prose with their translation styles and skills, Xia Ying explored the style of Professor Cao's translation of Francis Bacon with the essay titled &amp;quot;Research on Professor Cao Minglunss Chinese translation of bacon prose&amp;quot;. (Xia Ying, 2012:165-166) Some others probed into Liu Bingshanss and Li Shicong's thoughts on prose translation which have guiding significance for prose translation practice. (Hou Qiang 2014: 4)&lt;br /&gt;
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Third, as regards research on the practice of Chinese translation English prose based on translation theory, Huang Jianling (2021) analyzed the Chinese translation of Bacon's essays from the perspective of translation aesthetics. Hu Hongyun (2013) translates and elaborates on the British prose Farewell in vocabulary, semantics, style and cultural transmission, on the basis of Eugene Nida's Functional Equivalence theory. (Hou Qiang 2014: 5)&lt;br /&gt;
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These researches and investigations have laid a solid foundation for future studies and the analysis in this paper.&lt;br /&gt;
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==Overview of English Prose==&lt;br /&gt;
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Prose can be defined in broad sense and in narrow sense. In broad sense, prose refers to all the written and oral works in a loose form free from parallelism; and in narrow sense, it specifically means the writings with certain literary qualities, such as essays, and a literary genre juxtaposed with poetry, novel, drama and movie-television literature.&lt;br /&gt;
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This section will clarify the distinctive characteristics and linguistic features of English prose, as well as its translation principles.&lt;br /&gt;
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===Distinctive Features of English Prose===&lt;br /&gt;
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As an independent literary genre, English prose has its own distinctive characteristics.&lt;br /&gt;
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The first characteristic is its expression of sincere feeling. Prose mostly depicts the real people, things and scenery, and is generated based on record and recollection of life. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. So in this sense, prose can be considered as an earnest conversation between the author and the readers. (Zhang Baohong 2011: 28)&lt;br /&gt;
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Secondly, English prose is characterized by the wide material selection. In English prose, one detail, episode and facet of life can be used to display the author's specific emotions and circumstances, and all materials related to the theme can also be employed. It places no emphasis on rhythm and rhyme, like poetry, as well as to plot and characters, like drama. (Zhang Baohong 2011: 29)&lt;br /&gt;
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Besides, English prose features the free and loose structure. The structure of prose writings is free and flexible. Prose is elastic and natural and boasts descriptive, argumentative and lyrical qualities, thereof constituting its most distinctive advantage. There are no strict restrictions and fixed patterns in the prose structure, but its flexibility and randomness is not tantamount to disorder and scatter, and its choice of theme and expression of feelings should be closely centered on one main line. (Zhang Baohong 2011: 29)&lt;br /&gt;
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===Linguistic Features of English Prose===&lt;br /&gt;
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Compared with other literary forms, prose has no more skills to resort to. Therefore, as regards the form of artistic expression, English prose mainly has recourse to its own language features.&lt;br /&gt;
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First and foremost, succinctness and fluency characterize English prose language. The concise prose language not only fully delivers the content that the author intends to convey, but effectively shows the author's emotions and attitude towards persons and things. This is not the result of the author's deliberate elaboration, but the natural overflow of his or her plain and pure emotion. The fluency of prose language refers to both the informal use of words and phrases, and the author's sound expression of feelings. (Zhang Baohong 2011: 29)&lt;br /&gt;
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Meanwhile, colloquial style and literary grace are characteristic of prose language. As prose mainly focuses on description of the author's personal stories and sentiments, thus, he speaks or writes with his own posture, style and tone, as if he is confiding to the readers, so as to highlight the agreeable conversation style and unique colloquial style. Colloquial prose language is natural due to its simplicity, friendly owing to its ease of communication, and true thanks to its individuality. (Zhang Baohong 2011: 30)&lt;br /&gt;
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Furthermore, another linguistic feature of English prose is the smooth rhythm and reading. The rhythmic beauty of prose language is reflected in phonetic respect and in sentence patterns. The prose reading is catchy, with no obstacles and awkwardness, and its rhythm is in line with the natural law of oral breathing pauses as well as with the ups and downs of feelings. (Zhang Baohong 2011: 30)&lt;br /&gt;
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===Principles of English Prose Translation===&lt;br /&gt;
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The beauty of prose lies in its language and artistic conception, the two permeating each other and jointly creating the artistic charm of prose. In prose translation practice, the following principles can be observed to reproduce the artistic appeal.&lt;br /&gt;
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Keep an eye on sound and rhythm. Despite that the sound and rhythm of prose are often internal, not as obvious, regular and musical as that of poetry, they are not disordered with no aesthetic purpose. On the contrary, they effectively represent the variation of emotion in the prose, and are consistent with its unique aesthetic interest. This illustrates that in prose translation, on the one hand, the translators should recognize the great value and significance of prose sound and rhythm; on the other hand, with the intention of reproducing the linguistic subtleties of the original text, the translators can fully touch its aesthetic interest from the cadence between the lines, and perceive its inner rhythm from sentence length and speech speed. (Zhang Baohong 2011: 30)&lt;br /&gt;
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Pay attention to personalized mode of discourse. Different writers with various discourse modes bring about manifold writing styles. Not only is the personalized mode of discourse reflected in the author's choice of words and sentences as well as layout of the prose, but also in his thoughts and aesthetic interest. As a result, the translators can start with analyzing the original writer's one classic work and then his anthology and even look closely at the literary features of his age, in order to grasping the writer's personalized discourse mode, which is of particular importance to reproduce his artistic personality and the characteristics of his emotional expression in translation practice. (Zhang Baohong 2011: 31)&lt;br /&gt;
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Place a premium on the unity of scene and emotion. The unity of scene and interest in prose is embodied in diverse ways of language expression and structure, as well as the images or settings created by the author. In translation practice, based on the unity of scene and interest in the prose, it is beneficial to preserve and reproduce the overall aesthetic orientation of the original text through aesthetic reconstruction in word selection and layout, so that the translated text can obtain the aesthetic taste similar to the original prose.(Zhang Baohong 2011: 31)&lt;br /&gt;
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All in all, a general understanding of English prose can facilitate the study of its Chinese translation.&lt;br /&gt;
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==Case Study of Chinese Translation of &amp;quot;Pleasures of Ignorance&amp;quot;==&lt;br /&gt;
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The selected source text is &amp;quot;The Pleasures of Ignorance&amp;quot;, written by Robert Lynd. &lt;br /&gt;
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Robert Lynd (1879-1949), born in Belfast, Northern Ireland, was a modern critic and prose writer. He, together with E. V. Lucas, was a pioneer in reviving the tradition of Charles Lamb's prose. And The Pleasures of Ignorance is one of his notable prose works.&lt;br /&gt;
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This prose points out that it is because ignorance that people are interested in the nature and the world and their pursue knowledge, and the process of seeking knowledge is full of pleasure, by which the author emphasizes the importance of learning more and gaining insight. The article reveals somewhat erudition and aesthetic sensibility, as well as love for nature and and passion for life. From his leisurely writing, the author's maturity of thought and capability in usage of words is unveiled. Though the tone of the original text makes the readers feel that the author is chatting with them, giving people familiarity and closeness, it is not particularly colloquial. On the contrary, there is a kind of exactness and elegance of the learned between the lines, thus it can be seen that the case text is a typical scholar prose. (Zhu Mingju 2007: 326)&lt;br /&gt;
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The translator Professor Liu Bingshan firmly grasps these features of the original text and conveys the original style by carefully choosing words and sentences, with the principles of faithfulness, smoothness and expressiveness. His Chinese translation of &amp;quot;The Pleasures of Ignorance&amp;quot; will be analyzed in terms of translation strategies and methods. (Zhu Mingju 2007: 326)&lt;br /&gt;
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There is the natural connection between translation strategies and translation methods, but the two concepts are often confused. It is generally believed that translation strategies (such as foreignization and domestication) are at the cultural level, while the translation methods (such as literal translation and free translation) are at the textual level. Translation methods are the approaches, steps and techniques used to achieve a specific translation purpose based on a certain translation strategy in translation activities, whereas translation strategies are a collection of principles and methods. Consequently, this paper will enunciate the translation text on the basis of translation methods under foreignization strategy and domestication strategy respectively. (Xiong Bing 2014: 84)&lt;br /&gt;
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===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
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Foreignization is a strategy in which a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. This strategy is &amp;quot;an ethnodeviant pressure on target-language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad&amp;quot; to have alien reading experience. The translation methods under foreignization employed in Professor Liu's target text include literal translation, zero-translation and transliteration. (Venuti, 2004: 20) (Lian Shuneng 2006: 13)&lt;br /&gt;
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====Literal Translation====&lt;br /&gt;
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Literal translation is in fact looser renditions that replace individual source language words with individual target language wors wherever possible, and cling as closely as possible to the source language word order in the target language. (Lian Shuneng 2006: 12)&lt;br /&gt;
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Specifically, in the case translation text, the translator faithfully retains some personal pronouns and demonstrative pronouns in the original text. For example, &lt;br /&gt;
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(1)It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance.&lt;br /&gt;
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同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
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(2)This ignorance, however, is not altogether miserable.&lt;br /&gt;
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不过，这种无知也并非全然不幸。&lt;br /&gt;
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(3)But your and my ignorance is not confined to cuckoos.&lt;br /&gt;
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但是，你我的无知并不仅限于杜鹃这一方面。&lt;br /&gt;
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(4)A contemporary English novelist was once asked by a foreigner what was the most important crop in England.&lt;br /&gt;
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一个外国人问一位当代英国小说家，英国最重要的农作物是什么。&lt;br /&gt;
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The translation of these sentences, though properly altering the word order and voice with the adherence to the target-language syntactic norms, does not adopt the usage of transferred meaning in dealing with lexical sense.&lt;br /&gt;
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The use of literal translation, especially the retaining of the personal pronouns, like &amp;quot;we&amp;quot; and &amp;quot;you and I&amp;quot;, conveys the style of the original text, showing friendliness and intimacy.&lt;br /&gt;
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====Zero-Translation====&lt;br /&gt;
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Zero translation refers to the translation in which the translators do not use the ready-made words in the target language to translate the source language words. This translation phenomenon occurs when adjustments must be made due to the differences in the syntactic structures of the two languages. For example, some articles and personal pronouns are not translated in E-C translation. (Fang Mengzhi 2011: 108)&lt;br /&gt;
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In Professor Liu's Translation, zero-translation is particularly displayed by omission, a translation technique. For instance,&lt;br /&gt;
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Omission of the expletives ''It'' and ''There'':&lt;br /&gt;
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(5)''It'' is impossible to take a walk in the country oneself without being amazed at the vast continent of one's own ignorance.&lt;br /&gt;
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任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
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(6)''There'' are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy.&lt;br /&gt;
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这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。&lt;br /&gt;
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Omission of English articles:&lt;br /&gt;
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(7)Thousands of men and women live and die without knowing the difference between ''a'' beech and ''an'' elm, between ''the'' song of ''a'' thrush and ''the'' song of ''a'' blackbird.&lt;br /&gt;
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成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
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Omission of pronouns:&lt;br /&gt;
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(8)... as she (the cuckoo) lays ''her'' egg on the ground and takes it in ''her'' bill to the nest in which it is destined to breed infanticide.&lt;br /&gt;
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把蛋下到地面上，然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。&lt;br /&gt;
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The application of zero-translation can render the translation text concise, neat and fluent, and make the rhythm of the prose more natural and flexible, conforming to the principle of prose translation.&lt;br /&gt;
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====Transliteration====&lt;br /&gt;
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Proper names such as the names of persons and places of foreign countries, are, as a rule, to be transliterated, i.e., to be translated by using Chinese characters to represent the sound in articulating these names. (Lian Shuneng 2006: 344)&lt;br /&gt;
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In transliteration, the translators should follow the original pronunciation of proper names, in Liu's translation, for example,&lt;br /&gt;
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(9)Hamlet 哈姆雷特 Pickwick 匹克威克 (both transliterated from English)&lt;br /&gt;
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Besides, in transliteration, the translators sometimes should also use the standard pronunciation of the Chinese characters. One of the difficulties in transliterating a foreign name in Chinese characters lies in the lack of many foreign sounds in Chinese, and the variation in the pronunciation of the Chinese characters causes confusion. The remedy is to fix certain Chinese characters for a certain syllable of foreign names. And many long-standing translated names, though not named after the original sounds, have been recognized by the world and are generally invariable. (Lian Shuneng 2006: 346)&lt;br /&gt;
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For example, in the translation in case study. For example, in the translation in case study,&lt;br /&gt;
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(10)Montaigne 蒙田 (not 蒙泰涅)&lt;br /&gt;
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Transliteration plays a crucial role in translation of proper nouns and technical terms, which ensures the correct conveyance of information.&lt;br /&gt;
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The translation methods under foreignization are able to make the translation process more visible, by means of showing how translators are deeply involved in the construction of culture and ideology. The use of these methods can retain the foreignness of the source text and produce on the target-language readers an effect as close as possible to that obtained on the readers of the original, through which the readers can further understand the foreign expressions and cultures, realizing the differences between the two countries.&lt;br /&gt;
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===Translation Methods under Domesticating Strategy===&lt;br /&gt;
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Domestication is a strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for target language readers. This strategy is &amp;quot;an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home&amp;quot;. In other words, as regards the use of domesticating strategy, the translators are required to make target-language readers feel familiar and close through conveying the content of the original text with the expressions to which TL readers are accustomed. And in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, free translation method and imitation method under domestication are used and displayed in several translation techniques. (Venuti 2004: 20) (Lian Shuneng 2006: 14)&lt;br /&gt;
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====Free Translation====&lt;br /&gt;
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Free translation, also known as sense-for-sense translation, emphasizes transfer of the meaning or &amp;quot;spirit&amp;quot; of a source text over accurate reproduction of the original wording. The purpose of this method is to accommodate the needs of the target-language readers by producing a text which conforms to the linguistic and textual norms of the target language and culture which does not therefore sound &amp;quot;foreign&amp;quot;. (Shuttleworth &amp;amp; Cowie, 2014: 59)(Lian Shuneng 2006: 12)&lt;br /&gt;
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Such a method, in this case study, is specifically embodied in the choice of words packed with Chinese characteristics, that is, diction, also a translation technique. For example,&lt;br /&gt;
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(11)Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is ''the exception''.&lt;br /&gt;
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在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是''凤毛麟角''。&lt;br /&gt;
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(12)It is not that we have not seen the birds. It is simply that we ''have not noticed'' them.&lt;br /&gt;
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所以如此，并不是因为这些鸟我们没有见过，而只是因为我们''习焉不察''。&lt;br /&gt;
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(13)When in the oak’s green arms the cuckoo ''sings'', &lt;br /&gt;
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And first delights men in the ''lovely springs''.&lt;br /&gt;
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杜鹃在橡树的绿色怀抱里''啭啼''，&lt;br /&gt;
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第一个为人们带来''欢欣、美好的春意''。&lt;br /&gt;
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In translating these sentences, the translator transfers some words into vocabulary or phrases with conspicuously Chinese features. For instance, the transfer of &amp;quot;the exception&amp;quot; and &amp;quot;have not noticed&amp;quot; to Chinese idioms &amp;quot;凤毛麟角&amp;quot; (that describes rare and precious items) and &amp;quot;习焉不察&amp;quot; (which means that one is too accustomed to something to call it in questions), respectively, exemplifies the typical Chinese four-character structure. Moreover, the verb &amp;quot;sings&amp;quot; is transferred to &amp;quot;啭啼&amp;quot; (that describes birds' melodious chirp), a Chinese term composed of two words with the same left side, which is one of common and special linguistic phenomena in Chinese language. Meanwhile, &amp;quot;the lovely springs&amp;quot; is transferred to &amp;quot;欢欣、美好的春意&amp;quot; (a joyful and wonderful feeling brought by the spring) through abstraction.&lt;br /&gt;
Thus, it can be seen that the application of free translation can reproduce the sense of the original text more smoothly and idiomatically. And the wide adoption of the four-character structures enhance the academic atmosphere of the translation version.&lt;br /&gt;
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====Imitation====&lt;br /&gt;
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With regard to the use of imitation, the translators do not stick to the meaning details of the original text, let alone its vocabulary and syntactic structure, but take the original text as a reference model, either by deleting and condensing to only translate its gist and key information, or by adding and expanding to deliver more information than that in the original text. For instance, (Xiong Bing 2014: 85)&lt;br /&gt;
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(14)Thousands of ''men and women'' ''live and die'' ''without knowing'' the difference between a beech and an elm, between the song of a thrush and the song of a blackbird.&lt;br /&gt;
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成千上万的''男男女女''，''从生到死''，''一辈子''也''说不出''山毛榉和榆树有什么区别，''听不出''画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
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In the translation of this sentence, a variety of translation techniques are employed. &lt;br /&gt;
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①　Conversion:&lt;br /&gt;
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The translator uses conversion to alter the syntactic structure of the original sentence. &lt;br /&gt;
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The predicate &amp;quot;live and die&amp;quot; is converted into the preposition phrase &amp;quot;从生到死&amp;quot; as the adverbial in Chinese.&lt;br /&gt;
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And the adverbial preposition phrase in the source text &amp;quot;without knowing&amp;quot; is converted into the predicate in Chinese translation.&lt;br /&gt;
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②　Division:&lt;br /&gt;
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In accordance with the need of Chinese expression, &amp;quot;without knowing&amp;quot; is divided into two verb phrases &amp;quot;说不出&amp;quot; and &amp;quot;听不出&amp;quot; in Chinese as the predicate.&lt;br /&gt;
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③　Addition:&lt;br /&gt;
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With the addition of the expression &amp;quot;一辈子&amp;quot;, the translator highlights the long time between life and death.&lt;br /&gt;
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④　Repetition:&lt;br /&gt;
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The plural form &amp;quot;men and women&amp;quot; is translated into the reiterative locution &amp;quot;男男女女&amp;quot; by repetition. &lt;br /&gt;
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The change of sentence structure via techniques such as conversion and division as well as of vocabulary via repetition and addition render the translation natural and smooth, showing the translator’s superb handling of the original text.&lt;br /&gt;
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(15)...we are all the ''more'' delighted ''at the spectacle of'' its ''runaway flight'' as it (the cuckoo) ''hurries'' from wood to wood conscious of its crimes ...&lt;br /&gt;
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一日''看见''它（杜鹃）因为自己犯了罪而''煌惶不安地''从这个林子飞''逃''向那个林子 ... 我们才会觉得''大大''开心。&lt;br /&gt;
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In this example, there are also various translation techniques used.&lt;br /&gt;
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①　Conversion:&lt;br /&gt;
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Firstly, the preposition phrase &amp;quot;at the spectacle of&amp;quot; is converted into the verb &amp;quot;看见&amp;quot; in Chinese. &lt;br /&gt;
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Secondly, the noun phrase &amp;quot;runaway flight&amp;quot; is converted into Chinese verbs &amp;quot;飞&amp;quot; (fly) and &amp;quot;逃&amp;quot; (escape). &lt;br /&gt;
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Besides, the verb &amp;quot;hurries&amp;quot; (that means to move quickly in a particular direction) is converted into &amp;quot;惶惶不安地&amp;quot; (which means to feel panic, afraid and utterly uneasy), a Chinese adverb to modify the verbs &amp;quot;飞&amp;quot; and &amp;quot;逃&amp;quot;, which endows the subject cuckoo with somewhat human characteristic.&lt;br /&gt;
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②　Repetition:&lt;br /&gt;
&lt;br /&gt;
The adjective &amp;quot;more&amp;quot; is translated into the reiterative locution &amp;quot;大大&amp;quot;, a Chinese adverb equivalent to &amp;quot;very&amp;quot; or &amp;quot;extremely&amp;quot; in English to modify the adjective &amp;quot;delighted&amp;quot;. &lt;br /&gt;
&lt;br /&gt;
In this example, the adjustment of the sentence order and conversion of parts of speech make the translation more consistent with the word sequence in Chinese. Meanwhile, the choice of words such as the Chinese four-character structure &amp;quot;惶惶不安&amp;quot; conveys the romantic charm beyond the original text. And there are also indicators of use of repetition embodied in the typical Chinese reiterative locutions like &amp;quot;惶惶&amp;quot; and &amp;quot;大大&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
(16)I have myself a ''capricious'' and ''leaking'' memory.&lt;br /&gt;
&lt;br /&gt;
我自己的记忆力也是''漏洞百出''、''不听使唤''。&lt;br /&gt;
&lt;br /&gt;
Although this is a short sentence, it still contains the flexible use of translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
At first, the original object &amp;quot;memory&amp;quot; is converted to the subject in the Chinese translation.&lt;br /&gt;
And then, the subject &amp;quot;I&amp;quot; with its appositive &amp;quot;myself&amp;quot; is converted into the attribute &amp;quot;我自己的&amp;quot; to modify the subject in the translation &amp;quot;记忆&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
On account of the conversion of the subject and the verb, the original predicate &amp;quot;have&amp;quot; is inappropriate. The addition of &amp;quot;也是&amp;quot; that is equivalent to the verb &amp;quot;be&amp;quot; in English enforces the completeness of sentence structure. And this is a structural addition mainly due to the structural difference between Chinese and English.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The two vivid adjective &amp;quot;capricious&amp;quot; and &amp;quot;leaking&amp;quot; are translated as &amp;quot;不听使唤&amp;quot; and &amp;quot;漏洞百出&amp;quot; respectively which are typical Chinese four-character structures. The Chinese adjective &amp;quot;漏洞百出(的)&amp;quot; means that the loopholes appear one after another, which is often used to describe that one's writing or speech is untenable because of lack of sufficient reasons and grounds. And here, this word shows the author's weak memory with which he forgets things time and again. And the other adjective &amp;quot;不听使唤(的)&amp;quot; generally depicts that someone loses control and is not obedient to the rules or instructions. Here, the word properly demonstrates that the author cannot manipulate his memory well and also cannot preclude it from being weaker. The use of these two words conforms to the choice of affective and stylistic meanings.&lt;br /&gt;
&lt;br /&gt;
In this example, the conversion of the subject and object as well as the change of the predicate enable the translation to be more closely accord with the Chinese sentential structure. Moreover, the two figurative adjectives packed with personified traits not only fully  convey the author's intention, but also enhance literariness of the translation and even display a lively mood beyond the original text.&lt;br /&gt;
&lt;br /&gt;
(17)We know, again, that, the blossom precedes and ''not succeeds'' the fruit of the apple-tree, but ''this does not lessen our amazement at'' the beautiful holiday of a May orchard.&lt;br /&gt;
&lt;br /&gt;
另外，我们知道苹果树''先''开花，''后''结果，可是五月''一旦''到来，果园里一片欢闹的花海。''我们不是仍然惊为奇观吗？''&lt;br /&gt;
&lt;br /&gt;
This is a typical example of the imitation method embodied in the use of diverse translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
Regarding the conversion of word classes, the noun &amp;quot;blossom&amp;quot; is converted into the Chinese verb &amp;quot;开花&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Concerning the conversion of sentence members, the object in the clause &amp;quot;apple-tree&amp;quot; is converted into the subject &amp;quot;苹果树&amp;quot; in the Chinese translation. And the attribute &amp;quot;May&amp;quot; is converted into the adverbial in Chinese as &amp;quot;五月一旦到来&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Considering the conversion of sentence patterns, the negative sentence &amp;quot;this does not lessen our amazement at...&amp;quot; is converted into a interrogative sentence &amp;quot;我们不是仍然惊为奇观吗？&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Negation:&lt;br /&gt;
&lt;br /&gt;
The negative form &amp;quot;not succeeds&amp;quot; in English is translated into the affirmative form &amp;quot;后结果&amp;quot; in Chinese, intensifying a positive tone on which Chinese language often places emphasis.&lt;br /&gt;
&lt;br /&gt;
③　Division:&lt;br /&gt;
&lt;br /&gt;
The original complicated sentence in English is divided into several simplex clauses and phrases in Chinese, which underlines the &amp;quot;chronicle style&amp;quot; of Chinese language with frequent use of shorter or composite structures.&lt;br /&gt;
&lt;br /&gt;
④　Addition:&lt;br /&gt;
&lt;br /&gt;
Now that the original sentence is divided into smaller components, it is necessary to supply connectors for better cohesion. The addition of the logical connectors in Chinese such as &amp;quot;先&amp;quot;, &amp;quot;后&amp;quot;, &amp;quot;一旦&amp;quot; and &amp;quot;仍然&amp;quot; render the translation more smooth and expressive.&lt;br /&gt;
&lt;br /&gt;
In this instance, the translator flexibly takes advantage of the techniques such as conversion, negation and division, not only contributing to the diversity of sentence patterns but also adding sense of warmth and vividness of the translation. Additionally, the semantic addition of logical connectors render the translation more cohesive and coherent.&lt;br /&gt;
&lt;br /&gt;
(18)Once more I shall ''see'' the world as a garden through ''the eyes'' of a stranger, ''my breath taken away with surprise by the painted fields''.&lt;br /&gt;
&lt;br /&gt;
那时，我像一个陌生者进人大花园，''放眼四望''，''五色缤纷''的原野再一次使我''目不暇接''，''心迷神醉''。&lt;br /&gt;
&lt;br /&gt;
As regards this example, the translator enriches the meaning of the original text and creates a more balmy atmosphere by employing various translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Division:&lt;br /&gt;
&lt;br /&gt;
The long complex sentence, composed of two clauses, is divided into several separated clauses in arranged in a certain order, which renders the translation rhythmic and highlights the focus of expression.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
The addition of the Chinese set phrase &amp;quot;目不暇接&amp;quot; (which means that so many wonderful things and so swift change of scenery come into sight that the eyes are kept fully occupied) makes the context more coherent, as it echoes &amp;quot;see&amp;quot; and &amp;quot;the eyes&amp;quot; in the preceding and connects the &amp;quot;painted fields&amp;quot; in the following that greet the author's eyes and take his breath away.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The verb &amp;quot;see&amp;quot; is translated into &amp;quot;放眼四望&amp;quot; (to look around), the noun phrase &amp;quot;breath taken away with surprise&amp;quot; into &amp;quot;心醉神迷&amp;quot; (to be thrown into ecstasies), and the adjective &amp;quot;painted&amp;quot; into &amp;quot;五彩缤纷&amp;quot; (colorful). These recurring four-character structures in translation are loaded with positive meanings, and proper to depict the attractive scenery and to be used in scholar prose.&lt;br /&gt;
&lt;br /&gt;
④　Conversion:&lt;br /&gt;
&lt;br /&gt;
The original clause &amp;quot;my breath taken away with surprise by the painted fields&amp;quot; is in passive voice, and is converted into the active voice in Chinese translation &amp;quot;五色缤纷的原野再一次使我目不暇接，心迷神醉&amp;quot;. This kind of conversion is due to the fact that the Chinese passive form marked by &amp;quot;被&amp;quot; is traditionally felt to be an &amp;quot;inflictive voice&amp;quot;, mainly expressing things unpleasant or undesirable, contrasted with the cheerful aura overflowing the original text. &lt;br /&gt;
&lt;br /&gt;
The translator employs short clauses separated from the original complex sentence to bestow smoothness and naturalness on the translation and strengthen its artistic appeal. Furthermore, the translator selects the words that tally with the affective, contextual and stylistic meanings of the original. And the opportune addition of words and change of voice also polish the translation.    &lt;br /&gt;
&lt;br /&gt;
The reasonable use of the imitation translation method can make the translation more idiomatic and vivid, and even enable the translation overshadow the original text in terms of showcasing the artistic and aesthetic charm.&lt;br /&gt;
&lt;br /&gt;
In a word, translation methods under domesticating strategy will involve he careful selection of texts which lend themselves to being translated in this manner, the conscious adoption of a fluent, natural-sounding target language style, the adaptation of target text to conform to target discourse types, the interpolation of explanatory material, the removal of source language REALIA and the general harmonization of target text with target language preconceptions and preferences. These methods can render the translation highly literary, aesthetic and readable, and also can to some extent optimize the source text. The appropriate application of domesticating translation is able to even become a sublimation of the original.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
&lt;br /&gt;
This paper makes an analysis of translation strategies and translation methods in English prose, with translator Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot; created by Robert Lynd as an example. With translation strategies and methods as the starting point, this paper considers Chinese translation of English prose as the research subject. The paper first introduces English prose along with its distinctive properties, linguistics features and principles of its translation. And then this paper carries out the interpretation of translation strategies and methods in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot; in which the application of translation methods as well as techniques under foreignizing and domesticating strategies are elaborated, and the concrete effects they exert are also elucidated.&lt;br /&gt;
&lt;br /&gt;
===Major Findings===&lt;br /&gt;
&lt;br /&gt;
Based on the above study of translation strategies and methods employed in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, the features or common ground of Chinese translation of English prose in terms of translation strategies and methods can be generally summarized.&lt;br /&gt;
&lt;br /&gt;
In Chinese translation of English prose, foreignization strategy and domestication strategy are both used in the light of the style, linguistic features, and syntactic structures of the source text.&lt;br /&gt;
&lt;br /&gt;
But, on the whole, the domesticating translation strategy which includes translation methods such as free translation and imitation is applied more frequently compared with foreignization. This is because that prose translation actually falls into literary translation that is special on the grounds of the unique characteristics of the original literary works. In literary works, or specifically, in English prose, some words are not used with their literal meanings but their connotative or extension meanings, so literal translation under foreignization may not correctly convey the real significance of the original text. Meanwhile, in English prose, there are complex syntactic structures whose translation cannot be carried out with no proper conversion and alteration. Additionally, multiple rhetoric devices such as metaphor, metonymy and allusion are used in English literary works, and the literal translation of these figures of speech may elude the target-language readers because of the cultural differences and the obscurity of the translation. However, the appropriate adoption of translation methods under domestication strategy, to some extent, can give the target-language readers a sense of closeness and deliver the aesthetic charm with the premise that the real meaning of the original text can be ensured.&lt;br /&gt;
&lt;br /&gt;
In terms of translation methods under foreignizing strategy, literal translation is used when the lexical meaning of the source text is lucid and the syntactic structures in it are relatively simple and clear, so the translators need not find a new path in the mode of expression in order to be faithful to the source text. And the use of literal translation can convey the information more objectively and avoid the interference of translators' subjective factors. Meanwhile, in Chinese translation of English prose, the use of zero-translation is frequent but imperceptible, with the omission of some words peculiar to English, such as expletives it and there, English articles and pronouns, but sometimes the English pronouns can also be retained to show a sense of closeness and friendliness. Besides, transliteration is used for the translation of proper nouns and technical terms not only in English prose but also in almost all text types, with conforming to the principles of being named after the original sound and of the translated names accepted through common practice. In a word, translation methods under foreignization can ensure the objective conveyance of information of the original text and preserve its foreignness and unique cultural values that can enrich the target-language readers' knowledge and their languages.&lt;br /&gt;
&lt;br /&gt;
With regard to translation methods under domesticating strategy, in Chinese translation English prose, free translation and imitation method are oftentimes employed. English prose, as one of the English literary genres, boasts distinctive features of literature, such as aesthetic value, language with hidden meanings and the usual use of figures of speech as well as culturally loaded images, which may not be shown vividly and be easily understood by target-language readers via literal or word-for-word translation. Thus, translation methods under domestication, with careful choice of words, proper adjustment of syntactic structures and sentence sequence, and appropriate sublimation of the original text, can express the original author's feelings more lively, render the translation more fluent, idiomatic and expressive, and display the aesthetic charm of the source text.&lt;br /&gt;
&lt;br /&gt;
At the lexical level, in Chinese translation of English prose, the translation techniques --- diction, addition, conversion and repetition --- are usually used. The typical Chinese four-character structures appear time from time in Chinese translation, and the translators choose the words in line with the affectionate, contextual and stylistic meanings of the original prose, which intensify literariness and satisfy the characteristics of scholar prose. Moreover, the addition of Chinese conjunctive words and logical connectors by which sentences in translation are connected into a text can create better cohesion. Furthermore, the conversion of word classes in translation is based on the contrastive studies of English and Chinese, viz., English with its nominal style is static whereas Chinese with its verbal style is dynamic. Besides, it is one of the peculiarities of Chinese to reduplicate characters or words in word-formation and to repeat the similar or same word or expression in a discourse for expressiveness and parallelism, which can render translation more appealing to Chinese readers and produce rhetorical and grammatical effect.&lt;br /&gt;
&lt;br /&gt;
At the syntactic level, the translation techniques --- conversion and division--- are often employed in Chinese translation of English prose. To start with, conversion in the syntactic respect involves conversions of sentence members, sentence patterns and the voice. The conversion of word classes often results in the conversion of sentence members, and the alteration of sentences patterns like the inter-conversion between assertive or negative sentences and question sentences can variegate sentence types in translation. The conversion of passive voice in English prose into active voice in Chinese translation is due to the preference for active forms that can produce positive effect in Chinese language. What's more, part of sentences in English prose are longer and complicated because of subordination, a fundamental feature of English, and it may be hard to reproduce the original thought with following the original sentence structure in translation, hence the division of complex English sentences into word-groups, clauses or simplex sentences in Chinese can endow Chinese translation of English prose with more naturalness, fluency and sense of rhythm.&lt;br /&gt;
&lt;br /&gt;
The research on the features of translation strategies and methods in Chinese translation of English prose, theoretically can offer a deeper insight into English prose and its translation, and practically can help to some extent improve the quality of Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
===Limitations and Suggestions===&lt;br /&gt;
&lt;br /&gt;
There are drawbacks in this paper: firstly, the paper takes only one piece of English prose as an example in case study, so it lacks strong persuasiveness; secondly, since there are few researchers on prose translation at home and abroad, especially those specializing in Chinese translation of English prose, this paper resorts to insufficient literature guidance and reference; thirdly, owing to the confined conditions and narrow academic capacity, this paper is devoid of enough depth and breadth as well as favorable insight and acuity, thus the theoretical support and practical assistance it provides are bound to be limited. As a consequence, it is expected that researchers in this field can cooperate well to build up a system to minimize the possible errors and create more thorough and holistic works to enunciate and improve Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
&lt;br /&gt;
[1] Lawrence Venuti. Rethinking Translation: Discourse, Subjectivity, Ideology [C]. London and New York: Routledge, 1992: 5-20.&lt;br /&gt;
&lt;br /&gt;
[2] Lawrence Venuti. The Translator's Invisibility: A History of Translation [M]. Shanghai: Shanghai Foreign Language Education Press 上海: 上海教育出版社, 2004: 7-25.&lt;br /&gt;
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[3] Mark Shuttleworth. Moira Cowie. Dictionary of Translation Studies [M]. London and New York: Routledge, 2014: 43-44, 59, 144-145.&lt;br /&gt;
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[4] 方梦之. 中国译学大辞典 [M]. 上海: 上海教育出版社, 2011: 108.&lt;br /&gt;
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Fang Mengzhi. Dictionary of Translation Studies in China [M]. Shanghai: Shanghai Foreign Language Education Press, 2011: 108 &lt;br /&gt;
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Hou Qiang. On the Translation Strategies of English Prose: A Case Study of the Chinese version in &amp;quot;Han Suyin Award for Young Translators&amp;quot; [D]. Xiamen: Xiamen University, 2014.&lt;br /&gt;
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&lt;br /&gt;
==Appendix==&lt;br /&gt;
&lt;br /&gt;
(The original text:)&lt;br /&gt;
&lt;br /&gt;
The Pleasures of Ignorance&lt;br /&gt;
&lt;br /&gt;
By Robert Lynd&lt;br /&gt;
&lt;br /&gt;
It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance. It is impossible to take a walk in the country oneself without being amazed at the vast continent of one’s own ignorance. Thousands of men and women live and die without knowing the difference between a beech and an elm, between the song of a thrush and the song of a blackbird. Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is the exception. It is not that we have not seen the birds. It is simply that we have not noticed them. We have been surrounded by birds all our lives, yet so feeble is our observation that many of us could not tell whether or not the chaffinch sings, or the colour of the cuckoo. We argue like small boys as to whether the cuckoo always sings as he flies or sometimes in the branches of a tree-whether Chapman drew on his fancy or his knowledge of nature in the lines:&lt;br /&gt;
&lt;br /&gt;
When in the oak's green arms the cuckoo sings, &lt;br /&gt;
&lt;br /&gt;
And first delights men in the lovely springs.&lt;br /&gt;
&lt;br /&gt;
This ignorance, however, is not altogether miserable. Out of it we get the constant pleasure of discovery. Every fact of nature comes to us each spring, if only we are sufficiently ignorant, with the dew still on it. If we have lived half a lifetime without having ever seen a cuckoo, and know it only as a wandering voice, we are all the more delighted at the spectacle of its runaway flight as it hurries from wood to wood conscious of its crimes and at the way in which it halts hawk-like in the wind, its long tail quivering, before it dares descend on a hillside of fir-trees where avenging presences may lurk. It would be absurd to pretend that the naturalist does not also find pleasure in observing the life of the birds, but his is a steady pleasure, almost a sober and plodding occupation, compared to the morning enthusiasm of the man who sees a cuckoo for the first time, and, behold, the world is made new.&lt;br /&gt;
&lt;br /&gt;
And, as to that, the happiness even of the naturalist depends in some measure upon his ignorance,which still leaves him new worlds of this kind to conquer. He may have reached the very Z of knowledge in the books, but he still feels half ignorant until he has confirmed each bright particular with his eyes. He wishes with his own eyes to see the female cuckoo—rare spectacle!—as she lays her egg on the ground and takes it in her bill to the nest in which it is destined to breed infanticide. He would sit day after day with a field-glass against his eyes in order personally to endorse or refute the evidence suggesting that the cuckoo does lay on the ground and not in a nest.And, if he is so far fortunate as to discover this most secretive of birds in the very act of laying, there still remain for him other fields to conquer in a multitude of such disputed questions as whether the cuckoo’s egg is always of the same colour as the other eggs in the nest in which she abandons it. Assuredly the men of science have no reason as yet to weep over their lost ignorance. If they seem to know everything, it is only because you and I know almost nothing. There will always be a fortune of ignorance waiting for them under every fact they turn up. They will never know what song the Sirens sang to Ulysses any more than Sir Thomas Browne did.&lt;br /&gt;
&lt;br /&gt;
If I have called in the cuckoo to illustrate the ordinary man's ignorance, it is not because I can speak with authority on that bird. It is simply because, passing the spring in a parish that seemed to have been invaded by all the cuckoos of Africa, I realized how exceedingly little I, or anybody else I met, knew about them. But your and my ignorance is not confined to cuckoos. It dabbles in all created things, from the sun and moon down to the names of the flowers. I once heard a clever lady asking whether the new moon always appears on the same day of the week. She added that perhaps it is better not to know, because, if one does not know when or in what part of the sky to expect it,its appearance is always a pleasant surprise. I fancy, however, the new moon always comes as a surprise even to those who are familiar with her time-tables. And it is the same with the coming-in of spring and the waves of the flowers. We are not the less delighted to find an early primrose because we are sufficiently learned in the services of the year to look for it in March or April rather than in October. We know, again, that, the blossom precedes and not succeeds the fruit of the apple-tree, but this does not lessen our amazement at the beautiful holiday of a May orchard.&lt;br /&gt;
&lt;br /&gt;
At the same time there is, perhaps, a special pleasure in relearning the names of many of the flowers every spring. It is like rereading a book that one has almost forgotten. Montaigne tells us that he had so bad a memory that he could always read an old book as though he had never read it before. I have myself a capricious and leaking memory. I can read Hamlet itself and The Pickwick Papers as though they were the work of new authors and had come wet from the press, so much of them fades between one reading and another. There are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy. But this is only when life has an object beyond entertainment. In respect of mere luxury, it may be doubted whether there is not as much to be said for a bad memory as for a good one. With a bad memory one can go on reading Plutarch and The Arabian Nights all one's life. Little shreds and tags, it is probable, will stick even in the worst memory, just as a succession of sheep cannot leap through a gap in a hedge without leaving a few wisps of wool on the thorns. But the sheep themselves escape,and the great authors leap in the same way out of an idle memory and leave little enough behind.&lt;br /&gt;
&lt;br /&gt;
And, if we can forget books, it is as easy to forget the months and what they showed us, when once they are gone. Just for a moment I tell myself that I know May like the multiplication table and could pass an examination on its flowers, their appearance and their order. Today I can affirm confidently that the buttercup has five petals. (Or is it Six? I knew for certain last week.) But next year I shall probably have forgotten my arithmetic, and may have to learn once more not to confuse the buttercup with the celandine. Once more I shall see the world as a garden through the eyes of a stranger, my breath taken away with surprise by the painted fields. I shall find myself wondering whether it is science or ignorance which affirms that the swift (that black exaggeration of the swallow and yet a kinsman of the humming-bird) never settles even on a nest, but disappears at night into the heights of the air. I shall learn with fresh astonishment that it is the male, and not the female,cuckoo that sings. I may have to learn again not to call the champion a wild geranium, and to rediscover whether the ash comes early or late in the etiquette of the trees. A contemporary English novelist was once asked by a foreigner what was the most important crop in England. He answered without a moment's hesitation: &amp;quot;Rye&amp;quot;. Ignorance so complete as this seems to me to be touched with magnificence; but the ignorance even of illiterate persons is enormous. The average man who uses a telephone could not explain how a telephone works. He takes for granted the telephone, the railway train, the linotype, the aeroplane, as our grandfathers took for granted the miracles of the gospels. He neither questions nor understands them. It is as though each of us investigated and made his own only a tiny circle of facts. Knowledge outside the day's work is regarded by most men as a gewgaw. Still we are constantly in reaction against our ignorance. We rouse ourselves at intervals and speculate. We revel in speculations about anything at all—about life after death or about such questions as that which is said to have puzzled Aristotle, &amp;quot;why sneezing from noon to midnight was good, but from night to noon unlucky.&amp;quot; One of the greatest joys known to man is to take such a flight into ignorance in search of knowledge. The great pleasure of ignorance is, after all, the pleasure of asking questions. The man who has lost this pleasure or exchanged it for the pleasure of dogma, which is the pleasure of answering, is already beginning to stiffen. One envies so inquisitive a man as Jowett, who sat down to the study of physiology in his sixties. Most of us have lost the sense of our ignorance long before that age. We even become vain of our squirrel’s hoard of knowledge and regard increasing age itself as a school of omniscience. We forget that Socrates was famed for wisdom not because he was omniscient but because he realized at the age of seventy that he still knew nothing. (Zhu Mingju 2007: 319-322)&lt;br /&gt;
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(Liu Bingshan's Chinese translation:)&lt;br /&gt;
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无知常乐&lt;br /&gt;
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刘炳善 译&lt;br /&gt;
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同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是凤毛麟角。所以如此，并不是因为这些鸟我们没有见过，而只是因为我们习焉不察。在我们一生中，鸟类始终就在我们周围，然而我们对于它们的观察总是那样马马虎虎，所以我们当中许多人都说不清花鸡到底会不会知，也不知道杜鹃究竟是什么颜色。对于有些问题、我们像小孩子一样争论不休、譬如说，杜鹃在飞着或栖身于树枝间的时候，是否一直不停地鸣，而查普曼下面两行诗的灵感究竟是来自他的想像还是来自他的自然知识∶&lt;br /&gt;
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杜鹃在橡树的绿色怀抱里啭啼，&lt;br /&gt;
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第一个为人们带来欢欣、美好的春意。&lt;br /&gt;
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不过，这种无知也并非全然不幸，因为正是由于它，我们才能不断尝到发现的乐趣。只要我们是的的确确地无知，那么每年大地春回，自然界的每一种事物都会带着它那清新的露珠重新出现在我们面前。如果我们活了半辈子，对于杜鹃除了听过它那飘忽不定的叫声，从来没有见过它是什么模样，那么，一日看见它因为自己犯了罪而煌惶不安地从这个林子飞逃向那个林子。或是看见它顶着风、像老鹰似的停留在半空中，它那长长的尾巴颤动着，不敢落下来，生怕有什么鸟儿藏在那山坡上的枞树林里等着要找它报仇。我们才会觉得大大开心。有人想着，博物学家整天观察鸟类，大概就不会觉得有什么趣儿了吧？其实大谬不然--他那持续不断的乐趣几平已经变成一种安详的职业习惯了，不像有人某天早晨突然第一次看见一只杜鹃，不胜雀跃之至，于是，看哪，天地也为之焕然一新了。&lt;br /&gt;
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说到这儿，甚至连博物学家的快乐在一定程度上也有赖于自己的无知；只有如此。才能给他留出一些新的领域有待他去征服。即使他已经攀登了书本知识的顶峰，他仍会感到自己不过是半通不通，每一个引人注目的细节还必须用自己的亲眼观察来加以一一证实。他盼着能亲眼看到雌杜鹃（这可是个稀罕物儿！）把蛋下到地面上。然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。因此，博物学家就要戴上望远镜，日复一日地坐在那里等待着亲眼证实或者否定那种认为杜鹃确实是在地面上而非在窠里下蛋的说法。而日，即使他很幸运，能够发现杜鹃下蛋实况，这个在鸟类来说算是极大的秘密，其他一大批有争议的问题还依然存在。就像新的领土有待他去开拓，例如，杜鹃的蛋跟它占用的窠里其他鸟的蛋是否总是一样颜色？自然，科学家没有理由为了自己失去无知而哭泣。如果他们看起来似乎是精通一切的话，那也不过因为你我差不多是一无所知罢了。实际上，当他们要把一件事实的盖子揭开的时候，某种命定的无知就在等待着他们。海妖们向尤利塞斯唱的究竟是什么歌儿？——他们永远不可能知道，正像托马斯·勃朗爵士也不知道一样。&lt;br /&gt;
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我请杜鹃来做例子以说明普通人的无知，并不是因为我有什么权威可以对这种鸟儿发发议论。不过，我曾在某个教区暂住，而那年春天从非洲飞来的杜鹃似乎全集合在那个地方，因此我也就有机会了解到我自己以及我所碰见的每一个人对于这种鸟儿的知识是如何地微不足道。但是，你我的无知并不仅限于杜鹃这一方面。它涉及到宇宙万物，从太阳、月亮一直到花卉的名字。有一天，我听见一位聪明伶俐的太太提出了这样一个问题∶新月是不是总在星期几露面？她接着又说：不知道倒好，正因为人不知道在什么时候、在天空的哪一带能看见它，新月一出现才给人带来一场惊喜。然而我想、哪怕入把月亮盈亏时间表记得再熟。看见新月出现还是不免又惊又喜，春回大地，花开花落，也莫不如此。尽管我们对一年四季草本节令了如指掌，知道樱草开花在三月四月而不在十月，不过看见一株早开花的樱草，我们还是照样地高兴。另外，我们知道苹果树先开花，后结果，可是五月一旦到来，果园里一片欢闹的花海。我们不是仍然惊为奇观吗？&lt;br /&gt;
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倘在每年春天，把许多花卉之名重温一遍，还另有一番风味。那就像把一本差不多忘得干干净净的书再重新念一遍。蒙田说过，他的记忆力很坏，所以他随时都能拿起一本旧书，像从未读过的新书一样地念。我自己的记忆力也是漏洞百出、不听使唤。我甚至能拿起《哈姆雷特》和《匹克威克外传》，当作是初登文坛的新作家刚刚印成白纸黑字的作品来念，因为自从上回念过以后，这两部书在我脑子里的印象已经模模糊糊了。这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。不过，在这种时候，人不仅想得到娱乐，还追求着什么目的。如果只讲享受的话，记忆力坏比记忆力好究竟差到哪里去，还真是大可怀疑哩。记忆力坏的人可以一辈子不断地念普卢塔克的《英雄传》和《天方夜谭》，而永远感到新鲜。很可能，最坏的记忆力也难免粘粘连连地留下一星半点的印象，恰如一只只绵羊从篱笆洞里接连通过，总不免在那刺条上留下一丝半缕的羊毛。然而，绵羊终归逃出去了，正像伟大的作家从我们不争气的记忆中消失。所留下的东西简直微不足道。&lt;br /&gt;
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既然读过的书我们可以忘得一干二净，那么一年十二个月以及每个月的风物，一旦时过境迁。我们同样可以轻而易举地把它们忘在脑后。在某个短暂时刻，我可以说自己对于五月就像对于乘法表那样熟悉，关于五月里的花木、开花时间乃至前后次序，我能通过考试。今天，我就敢肯定金凤花有五瓣。（难道是六瓣吗？上个礼拜我还记得清清楚楚来着。）可是，到了明年，我也许连算术也忘个干干净净;我得从头学起，以免把金凤花误认成白屈菜。那时，我像一个陌生者进人大花园，放眼四望，五色缤纷的原野再一次使我目不暇接，心迷神醉。那时，我也许要对这么一个问题拿不定注意，就是; 认为雨燕（那种简直像大号小燕子、又和蜂鸟沾点儿亲戚的黑鸟儿）从来不在窠里歇着，一到夜里就飞向高高的天空，到底是一种科学论断，还是一种无知妄说？当我知道了会唱歌的并不是雌杜鹃，而是雄杜鹃。我还要再次感到惊讶。我得重新学习，以免把剪秋罗当作野大竺葵；还要去重新发现白杨在树木生长的习惯法中究章算是早成材还是晚成材。某天。一个外国人问一位当代英国小说家，英国最重要的农作物是什么。他毫不犹豫地回答：“稞麦。”在我看来，这是一种堂而皇之派头的彻头彻尾的无知；不过，大大无知的也包括那些没有文化的人。普通人只会使用电话，却无法解释电话的工作原理。他把电话、火车、铸造排字机、飞机都看作当然之事，就像我们的祖父一代把福音书里的奇迹故事视为理所当然一样。对于这些事，他既不去怀疑，也不去了解。我们每个人似乎只对很小范围内的某几件事才真正下工夫去了解、弄清楚。大部分人把日常工作以外的一切知识统统当作花哨无用的玩意儿。然面，对于我们的无知，我们还是时时抗拒着，我们}有时振作起来，进行思索。我们随便找一个什么题目，对之思考，甚至入迷——关于死后的生命，或者关于某些据说亚里士多德也感到大惑不解的问题，例如“打喷嚏，从中午到子夜则吉，从夜晚至中午则凶，其故安在？”为求知识而陷入无知，这是人类所欣赏的最大乐事之一。归根结底，无知的极大乐趣即在于提出问题。一个人，如果失去了这种提问的乐趣，或者把它换成了教条的答案，并且以此为乐，那么，他的头脑已经开始僵化了。我们羡慕像裘伊特这样勤学好问之人，他到了六十多岁居然还能坐下来研究生理学。我们多数人不到他这么大的岁数就早已丧失了自己无知的感觉了。我们甚全像松鼠似的对自己小小的知识储存感到沾沾自喜，把与日俱增的年龄看作是培养无所不知的天然学堂。我们忘记了∶苏格拉底之所以以智慧名垂后世，并非因为他无所不知，而是因为他到了七十高龄还能明白自己仍然一无所知。 (Zhu Mingju 2007: 322-325)&lt;br /&gt;
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=毛优Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
[[Trans_Type_EN_5]]&lt;br /&gt;
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毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
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=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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[[Trans_Type_EN_6]]&lt;br /&gt;
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彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
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从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。	&lt;br /&gt;
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Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
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Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
翻译风格，巴黎的忧郁，郭宏安，亚丁&lt;br /&gt;
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==Introduction==&lt;br /&gt;
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The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
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Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations. Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
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==Liu Miqing’s theory of translation style==&lt;br /&gt;
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Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
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Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.&lt;br /&gt;
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In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
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==Form Markers==&lt;br /&gt;
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According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
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===Register Markers===&lt;br /&gt;
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“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
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The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
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Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
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Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
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Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
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This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
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===Lexical Markers===&lt;br /&gt;
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Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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'''Eg. (b)'''&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence, translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
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==Non-formal Markers==&lt;br /&gt;
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The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
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Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
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According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
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Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
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The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
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The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
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Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
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Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.&lt;br /&gt;
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==References==&lt;br /&gt;
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[1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[3] 刘宓庆 Liu Mingqing. 新编当代翻译理论[M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp;amp; Publishing Corporation, 2005.&lt;br /&gt;
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[4] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.&lt;br /&gt;
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[5] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.&lt;br /&gt;
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=秦建安 A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
[[Trans_Type_EN_7]]&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Lu Xun, chief commander of China's modern cultural revolution, is not only a great thinker and political commentator but the founder of modern Chinese literature. Kong I-Chi is one of the masterpieces of Lu Xun's novels. Although the total number of characters is less than 3,000 words, Lu Xun exposes the nature of feudal ethics and its negative influence through his character portrayal, which is loved by many readers home and aboard. The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but so as close as possible to the original text in terms of syntactic structure and wording. Therefore, his translations once became the authoritative version of Lu Xun's novels. From the perspective of Nida’s functional equivalence theory, this thesis conducts translation research on the English translation of the famous writer Yang Xianyi, analyzing whether the translation is functionally equivalent to the original text and construe the English translation of prose from the lexical, syntactic, and semantic level to try to explore the translation strategies, styles and methods of Kong I-Chi which aims to explain the functional equivalents in Lu Xun's short novel translation.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Functional Equivalence Theory; Lu Xun; Kong I-Chi;translation method&lt;br /&gt;
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===Introduction===&lt;br /&gt;
This chapter will be expanded with respect to the research background, its significance and the methodology. The literature review will also be included which describes the previous studies on the Functional Equivalence Theory and previous translation versions of ''Kong I-Chi''.&lt;br /&gt;
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'''Research Background and Significance'''&lt;br /&gt;
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As the most famous writer in modern China, Lu Xun has a decisive bearing on the modern history of Chinese literature. Lu Xun settled in a period of transformation in Chinese literature. His short stories are different from modern short stories in terms of text and expression. ''Kong I-Chi'' was written in 1918 when there was a turmoil in China. At that time, although the imperial examination system had been abolished, the education system had not changed, and many scholars had not shaken off the shackles of feudal tenets. &lt;br /&gt;
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''Kong I-Chi'' enjoys high reputation at home and abroad and has been translated into English, Japanese, French, Russian and other languages. Compared with other language versions, the English versions enjoy a wider spread and have deeper influence. In 1954, the couple Yang and Dai translated it into English and published Selected Stories of Lu Xun in which ''Kong I-Chi'' was included. Yang Xianyi and his wife Gladys Yang are great translator beyond all doubt. They are knowledgeable and familiar with Chinese and Western cultures also have devoted their life to translating excellent Chinese and Western literary works. Through their translation, we can better master the author's own novel intentions.&lt;br /&gt;
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'''Methodology'''&lt;br /&gt;
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In recent years, the translation of traditional Chinese literary works was attached great significance by both Chinese and foreign scholars. As an important part of ancient Chinese culture, though, it is a common genre in Chinese and foreign literature, the short novels cannot be neglected. For translators, how to deal with the modern and balance Chinese and Western cultural differences has become a salient problem. It is not only necessary to understand the characteristics of modern Chinese literature, but also to be very familiar with Chinese and Western cultures for the translator. Functional Equivalence Theory is put forward by American linguists Eugene Nida. According to him, two different languages represent two different cultures which will never be the same, but translation is a kind of communication between the two cultures and translators should try their best to achieve functional equivalence between the two languages rather than seek for rigid correspondence when making translation, which can accurately reproduce the source culture in the target language and eliminate cultural differences. It puts forward a new attitude to treat different languages and cultures, promoting language communication and mutual understandings among people. Thus, taking Nida’s theory as guidance, this research is meaningful not only for translation studies, but also for cultural exchanges.&lt;br /&gt;
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'''Literature Review'''&lt;br /&gt;
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As one of Nida’s major contribution to contemporary translation studies, Functional Equivalence Theory has brought about heated discussion among scholars at home and abroad since its birth. Many momentous works of Nida also have been translated and introduced into China, such as Nida on Translation edited and translated by Tan Zaixi (1999) and Language and Translation translated by Cai Yi (1985) which of them aroused great repercussions in Chinese translation field. As the prototypical member of Functional Equivalence Theory, receptor’s response theory draws scholars’ attention. Zhang Xiujuan (2015) points out that “receptor’s response theory breaks the tradition of Chinese translation that translators pay much attention to the text but may ignore the response of readers, and provides a new perspective for Chinese scholars to make studies on translation theories”.&lt;br /&gt;
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Kong I-Chi, as the most typical character in Lu Xun's novels in the teaching textbooks of Chinese junior high school students, has left an indelible impression in the hearts of Chinese people. The most recognized translators of ''Kong I-Chi'' include Yang and Dai, Lyle William and Edgar Snow. The translation of Lu Xun's novels during the period of Yang and Dai reach its heyday. For a long time, domestic and foreign publishing houses have published works translated by the couple. Since Edgar Snow lived in the same age as Lu Xun, his translation is closer to Lu Xun's life background. It wasn't until 1990 that the American scholar William Lyell's new American translation was published, and the new stage of the English translation of Lu Xun's novels began. The British English version translated by Yang and Dai is elegant and idiomatic, giving readers the good impression of pure British English.&lt;br /&gt;
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=== Theoretical Framework: Nida’s Functional Equivalence Theory ===&lt;br /&gt;
==== Introduction of Functional Equivalence Theory ==== &lt;br /&gt;
===== The Original of Functional Equivalence Theory  =====&lt;br /&gt;
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Nida's main academic activities unfold around the translation of the Bible. In the process of &amp;quot;Bible&amp;quot; translation, Nida started from reality and developed a set of his own translation theory, which eventually became one of the classics in translation studies. In 1964, Nida (1964) put forward “dynamic equivalence” in ''Toward a Science of Translating'', and gave it specific definition in ''The Theory and Practice of Translation'' (1969). In the mid-1980s, “dynamic equivalence” was replaced by “functional equivalence” to avoid misunderstandings on the term “dynamic”, which was the origin of Functional Equivalence Theory.&lt;br /&gt;
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=====The Development of Functional Equivalence Theory  =====&lt;br /&gt;
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The most important and the most intractable part in Functional Equivalence Theory is the disposal of message. The theory requires that the message in receptor’s language must be consistent with the source language. In such a translation, translators should strive to “reproduce as literally and meaningfully as possible the form and content of the original” (Nida 1964:159). Later he successfully applied the research results of modern linguistics to translation theory which also reciprocally pushed his theory forward. There are three stages in the development of Functional Equivalence Theory.&lt;br /&gt;
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The first stage is that starting from the essence of language; he used semantic theory to make an objective and accurate analysis of the referent and associative meaning of words. In Nida's point of view, various language structures have great similarities, and the deep structure is far more common than the surface structure. Therefore, the translation of the deep structure between languages can ensure the fidelity of the translation to the greatest extent. At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensue smoothness of the translation as much as possible. The faithful and fluent translation presupposes conditions for the equivalence of receptor’s response, which makes it possible to realize functional equivalence.&lt;br /&gt;
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The second stage is that the theory was prone to lay its foundation on information theory. Nida held the view that translation is the activity of converting information expressed in one language into information in another language, which is, converting information of one code into information of another code. The translation plays a communicative role in transmitting information. Only when the target reader obtains the same amount of information as the original reader can the relationship between the target language recipient and the target language information be basically the same as the relationship between the original language recipient and the original source information. Nida noticed that there is a receptive gap between the original reader and target reader especially when the original language and the target language belong to different language families and different cultures. Thus, in order to improve the amount of the receptor’s information as much as the original reader’s, Nida emphasizes the translator can moderately change the form of the original text to provide a better understanding for receptors.&lt;br /&gt;
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On third stage, Nida tended to embellish his theory from the perspective of social semiotics. Nida insisted that the translation means translation meaning, and semiotics is the most comprehensive system for analyzing meaning. In the book &amp;quot;''Language, Culture, and Translation''&amp;quot;, Nida pointed out that social semiotics studies all codes and codes of human society, and its focus is on the most comprehensive and complex symbol system used by mankind-Language. Therefore, in terms of decoding and encoding, no translation method is as comprehensive as the social semiotic translation method.&lt;br /&gt;
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Nida also recognized that there would never be complete equivalence and it was just a quaesitum. With further development of Functional Equivalence Theory, he thought that it has different degrees of adequacy and on that basis he put forward two levels of functional equivalence — the maximal level and the minimal level of equivalence. The former refers to “the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did” (Nida 1993:118), but this is just an ideal state which cannot be achieved especially when there are huge cultural and aesthetic differences between the two languages. While the latter means “the readers of a translated text should be able to comprehend it to point that they can conceive of how the original readers of the text must have understood and appreciated it” (Nida 1993: 118), and translation below this level can never be accepted. According to Nida, if a translation is between these two levels, it can be regarded as a good one.&lt;br /&gt;
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==== Basics of Functional Equivalence Theory  ==== &lt;br /&gt;
=====Receptor’s Response  =====&lt;br /&gt;
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In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s responce. When translators are working on translation, they are increasingly unable to ignore the reader's feedback on the translation. From the perspective of reception aesthetics, translation theorist Nida said that only when the reader accepts the translation can the translation be truly completed. Therefore, when translating, the translator cannot ignore the acceptability of the translation. The translator builds a bridge between the original author and the reader of the target language through translation, and it is the translation that can clearly reflect this bridge role.&lt;br /&gt;
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Receptor’s Response Theory draws attention to the reader and the reading process, rather than the author or the text. Pat Mora and James Welch define it as: &amp;quot;The theory emphasizes the importance of the reader's role in text understanding.&amp;quot; The same description also appears in many of Nida’s works in which the importance of “receptor’s response” is emphasized repeatedly. &lt;br /&gt;
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There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which was pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information need to be filled in by the reader himself. Such uncertainty occupies another very important position in this theory. This concept includes those vague factors, such as gaps and blanks. This kind of uncertainty encourages readers to add their own ideas when reading, so there is usually more than one understanding of a literal work. The third point is implicit reader also proposed by Isel, as opposed to the actual reader, which refers to the intended reader set by the writer himself who can concretize the text. Isel points out that the implicit reader is not the actual reader, but a reader that the author expects to design in the creative process, that is, the implicit recipient. It is a certain character that the artist conceives and pre-sets based on his experience or hobbies. The forth part is the identity theme. In other words, the work itself has no fixed objective meaning; only when the reader reshapes the work out of his own identity theme and the reader replicates his own fantasies during the reading process, the work can be given meaning. The last point is the interpretative group which was put forward by Stanley Fish. It refers to people who share the same interpretation strategy as we have. In a known context or reader group, the interpretation of the work meaning is the product from the group.&lt;br /&gt;
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===== Principles for Producing Functional Equivalence  =====&lt;br /&gt;
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To achieve the closest natural equivalence between the source language and target language, Nida put forward six principles as the guidance of different kinds and degrees of adjustments:&lt;br /&gt;
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1.	When the translation that strictly keeps the form of the source text makes receptors misunderstand the designative meaning, changes need to be made in the translated text, or a footnote should be added for further explanation if literal translation is still be selected.&lt;br /&gt;
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2.	When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aim to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.&lt;br /&gt;
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3.	When the translation that strictly keeps the form of the source text is so semantically and syntactically difficult that average readers may give up the attempt to understand it, changes should be made in the translated text and the nature of the changes needs to be indicated in the introduction or footnote.&lt;br /&gt;
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4.	When the translation that strictly keeps the form of the source text causes significant misconceptions on the associative meanings of the source text or huge loss in the appreciation for the stylistic values of the source text, changes should be made to reflect the associative meanings of the source text.&lt;br /&gt;
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5.	The way that a translation is to be used (such as a drama to be read or acted on the stage) is of great significance to the extent to which changes are to be made.&lt;br /&gt;
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6.	A source text that must be translated together with accompanying codes (such as songs and operas) generally requires numerous adjustments in all aspects, including phonology, lexicon, syntax, and discourse. (Nida 1993: 125-128).&lt;br /&gt;
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=== Introduction to Lu Xun and ''Kong I-Ch''i  === &lt;br /&gt;
==== Lu Xun and the values of ''Kong I-Chi'' ====&lt;br /&gt;
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To read and translate Kong I-Chi, you must first understand its author-Lu Xun.&lt;br /&gt;
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Lu Xun is a great writer. Mentioning classical literary works, no matter what innovative methods are adopted, whether realistic, romantic, or magical, the content should be close to life, reflect the reality of times and speak for the people. In terms of form, literary works should conform to the inherent rules of literary creation-forming a unique artistic style and achieving the perfect unity of truth, goodness, and beauty. Lu Xun's works fully meet the above requirements. &lt;br /&gt;
Lu Xun is also a famous thinker. Indeed, Lu Xun did not specifically study thinking or modes of thinking, nor did he have advanced theoretical monographs, but he, like thinkers in ancient and modern times, both at home and abroad, used suspicion and criticism as spiritual swords to explore truth and reveal. He held the view that it was his duty to awaken the sleeping souls of the Chinese people with literary works of various genres. The depth and breadth of his thinking is even higher than that of some contemporary thinkers. This is well reflected in his work Kong I-Chi.&lt;br /&gt;
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Lu Xun, who is a revolutionary, has a precious characteristic, that is, the purity of his revolutionary original intention. Lu Xun leaned towards socialism under the white horror of the low ebb of the Chinese revolution. What's more commendable is that as a sober realist, Lu Xun never conceives any romantic illusions about the revolution. No matter what difficulties the revolution encounters, Lu Xun always has an optimistic belief in the prospects of the revolution.&lt;br /&gt;
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From a general perspective, Lunatic's Diary is more macro and image specific than Kong I-Chi, while Kong I-Chi starts from the micro level, depicting the poor people at the bottom of society who was bullied and oppressed and lost their dignity as human beings. In addition, there are many opinions in the critics. For example, Mr. Lu Xun's Kong I-Chi was written to criticize the feudal imperial examination system, and some people think that it was sent out to criticize the “dark” old society. The famous critic Lin Zhihao believes that this novel is not only to assail at the corruption of the feudal imperial examination system, but also to reveal the persecution of people’s spiritual and ideology by the feudal education system in the dark old society. The social reality was that most scholars had been ruthlessly “eaten” up by the environment. When the shackles of thinking have been broken, we can dig into the deep meaning under the surface of Kong I-Chi, that is, the process of literati's loss of personality and the process of redemption under the background of the dark society of feudalism. Although the tragedy is redemptive, the process is also accompanied by a fall.&lt;br /&gt;
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==== Study on the Translation of ''Kong I-Chi''  ====&lt;br /&gt;
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''Kong I-Chi'' is a masterpiece of Lu Xun. The novel was created in the winter of 1918, published in the sixth volume of &amp;quot;''Italic text''New Youth&amp;quot; in April 1919. (刘家鸣1992: 15). ''Kong I-Chi'' is Lu Xun's most satisfying work (孙伏园等2000: 58), and it is also one of Lu Xun's novels that English translators are vying to translate resulting in an amount of English translation. &lt;br /&gt;
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So far, there are eight translations of ''Kong I-Chi'': 1)A British man E.H.F.Mills translated ''Con Y Ki'' from Jing Yinyu's French translation (Mills 1930: 42-50), included in ''The Tragedy of Ah Q and Other Contemporary Chinese Short Stories'' published by George Rutridge Bookstore in London in 1930; 2) The English translation of ''K’ung I-chi'' by the American Jin Shouzhuo (G.A.Kennedy 1932: 14-15), which was later included in ''Isaacs'' (Isaacs 1974: 25-32) edited by Yi Luosheng; 3) ''K’ung I-chi'' translated by Lin Jijin (Lin 1935:3-4); 4) Unsigned version of The Tragedy of ''K'ung I-Chi'' (Anonymous 1936: 2-3); 5) ''K’ung I-chi'' was co-translated by American journalists Edgar Snow and Yao Xinnong; 6) later comes to Yang Xianyi and Gladys's translation ''K'ung I-chi'' (hereinafter referred to as &amp;quot;Yang Translation&amp;quot;) (Yang &amp;amp; Gladys 1960: 40-46); 7)Then, famous American sinologist William Lyell translated ''Kong Yiji'' (Lyell 1990: 42-48); 8) other translation of ''Kong Yiji'' was produced by British sinologist Lan Shiling ( Lovell 2009: 32-36).&lt;br /&gt;
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This article focuses on Yang's translation, trying to explore Yang and Dai's translation strategies, styles and methods of ''Kong I-Chi'' from the lexical, syntactic and semantic levels, and aims to explain the functional equivalence in the English translation of Lu Xun's short stories.&lt;br /&gt;
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=== Analysis of the Translation of ''Kong I-Chi'' from the Perspective of Functional Equivalence  === &lt;br /&gt;
==== Lexical Analysis ====&lt;br /&gt;
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There are many cultural-loaded words in the original Kong I-Chi text, such as this. Culture-loaded words are deeply imprinted by the region and era of a certain language society which express things and concepts peculiar to a certain culture. Such words as “进学” and “秀才” not only carry rich cultural connotations, but also exist only in a certain culture which may be blank in another culture. It is this characteristic which is “I have and you do not have” that often becomes an obstacle to cross-cultural communication and translation. From the perspective of Functional Equivalence, this thesis will analyze how these words are handled in Yang's translation.&lt;br /&gt;
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In the sentence “幸亏荐头的情面大，辞退不得”, the word “荐头” was translated into “someone influential” by Yang and Dai. “荐头” is the person who introduces works to other people in ancient China. Such person is absolutely influential. But for reader, such influential people may be a nobleman or someone who is very authoritative in the area which may result in discrimination. The job introducers also can be regarded as common people instead of the influential. From the perspective of Functional Equivalence, Yang’s translation explicitly showed the deep meaning with loss of cultural characteristic.&lt;br /&gt;
The phrase “之乎者也” was translated into “archaisms” which stands for the use of an archaic expression. In Chinese, the original meaning of “之乎者也” is four auxiliary words commonly used in classical Chinese. Therefore, the word &amp;quot;之乎&amp;quot; also refers to the basic abilities that a scholar should possess. Later, it is used to ridicule the scholar who only knows how to analyze words while cannot solve practical problems. Functional equivalence theory requires efforts to create translations that not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. The word “archaisms” corresponds exactly to the description of Kong I-Chi in Lu Xun’s story who is a nerd.&lt;br /&gt;
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Other prototypical cultural-loaded word is “进学”. Yang translated it into “pass the official examination”. As a link in the imperial examination system in ancient China, “进学” means that the children of the Qing dynasties who can pass the examination will be admitted to the prefectural and county schools. Such system is unique to China. To achieve functional equivalence, that is, to allow non-native readers to understand this special cultural mark, the translator must explain this cultural phenomenon as much as possible or find a corresponding expression in the foreign language culture. The same in the word “秀才” on this sentence “你怎的连半个秀才也捞不到呢?” “秀才” also belong to the imperial system. “秀才” is a subject for selecting officials in ancient China, and it was once used as a special name for school students. Yang translated it into “passed the lowest official examination”. As the minimum requirement of the ancient imperial examination system, those who passed the selection examination were called  “秀才”. According to Nida’s theory, it perfectly expresses the ancient Chinese imperial examination system, and at the same time allows foreign language readers to understand Kong I-Chi’s knowledge background.&lt;br /&gt;
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==== Syntax Analysis ====&lt;br /&gt;
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In terms of syntax, the differences in sentence patterns between English and Chinese are the most salient. English emphasizes hypothesis while Chinese emphasizes parataxis, which leads to the conversion of sentence patterns in the process of translation. According to Nida's Functional Equivalence Theory, if the change in form is still insufficient to express the meaning and culture of the original text, the translation technique of &amp;quot;reconstruction&amp;quot; can be used to resolve cultural differences and make the source language and the target language equal in meaning. &amp;quot;Reconstruction&amp;quot; refers to the conversion of the deep structure of the source language into the surface structure of the target language (郭建中,2000 , P67), that is, the cultural connotation of the source language article is explained by the vocabulary of the target language.&lt;br /&gt;
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In ''Kong I-Chi'', when Kong I-Chi took our his money and ordered some food, other people started to sneer at his revenue sources and said “你一定又偷了人家东西了!” The exclamatory sentence in the original text showed others' affirmation of Kong I-Chi's theft. Yang translated it into “You must have been stealing again!” Here we can notice the tense of the two sentences. Lu Xun used the past tense in original text, which expresses that Kong I-Chi's stealing is an established fact. However, Yang used the present perfect continuous tense when translating. In English, the present perfect continuous tense manifests that something the subject has done in the past is still being done, and may continue in the future, expressing the continuation of an action. There is no need to add any other additional descriptions, just from this tense, readers can realize everyone's thoughts on Kong I-Chi's theft. Such reconstruction of tense verifies the application of Functional Equivalence Theory in turn.&lt;br /&gt;
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Afterwards, these people who deprecated him refuted Kong I-Chi's maintenance of himself, saying: “什么清白?” In Yang's translation, it is translated as “Pooh, good name indeed!” In the original text, it is originally an interrogative sentence, but Yang transformed it into an exclamation sentence, added English slang “pooh” in it and translated “清白” into good name. If the interrogative sentence in the original text is literally translated into &amp;quot;what’s the innocence&amp;quot;, the comic effect, that is, everyone's disdain for Kong I-Chi in the exclamatory sentence will not be achieved. The sentiment contained in the original text is successfully conveyed through the conversion of sentence patterns.&lt;br /&gt;
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When describing Kong I-Chi’s knowledge background, the original text mentioned: “幸而写得一笔好字，便替人家钞钞书”. In Yang’s translation, he didn’t directly translate it into a verb phrase instead of into a noun phrase which was “Happily, he was a good calligrapher.” Knowing the characteristics of English and Chinese languages, he metonymically recreated dynamic Chinese verb clauses into static noun clauses.&lt;br /&gt;
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==== Semantic Analysis ====&lt;br /&gt;
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How to eliminate cultural differences as much as possible so that the semantics of the original language can be perfectly embodied? From the perspective of Functional Equivalence Theory, the translator needs to transform the deep structure of the source language into the surface structure of the target language which requires translator to use the corresponding vocabulary in the target language to directly explain the connotation of the original text, so that the target readers can accept the translation more easily. For example, in the original text, the sentence “因为他姓孔，别人便从描红纸上的 ‘上大人孔乙己’这半懂不懂的话里，替他取下一个绰号，叫作孔乙己” includes an allusion: 上大人孔乙己 which refers to a character in the card game popular in ancient China. In such card game, the characters always are drawn in a red paper. For children in ancient China, the card game was easy to play and was a childhood memory.&lt;br /&gt;
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In Yang’s translation, he translated it into “As his surname was Kung, he was nicknamed ‘Kung I-chi’, the first three characters in a children's copybook.” Such translation omits a lot of information from the original text, such as “描红纸上” and “半懂不懂”. But Yang gave a substitute for the omission: he explained the game allusion about children which can be regarded as a strategy that helps foreign readers better understand how Kong I-Chi comes. &lt;br /&gt;
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Another illustration is the translation of this sentence: “孔乙己，你当真认识字么？” It seems fairly easy for common people to translate it with “Kong I-Chi, do you really know words?” , while Yang gave a different version: “Kung I-chi, do you really know how to read?” In our cognitive concepts, if a man knows how to read a word, then he must know this word. But if he knows the word, he may not only know how to read it, but even know how to write it. Such special mechanism is called conceptual metonymy. Yang metonymically narrowed the scope of the meaning of the word “认识”and accurately positioned the meaning of this understanding according to the context. The translator abandons the equivalence of form and achieves the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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This article selects Yang’s translation of &amp;quot;''Kong I-Chi''&amp;quot; as the study case, and analyzes the translation effect from three aspects: lexicon, syntax and semantics, combined with Nida’s Functional Equivalence Theory. It is believed that the translator flexibly uses a variety of translation methods to deal with the differences between English and Chinese languages, and the translation has realized functional equivalence as a whole.&lt;br /&gt;
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At the lexical level, the translator adopts the naturalization method when translating the proper nouns of &amp;quot; ''Kong I-Chi'' &amp;quot;, adding notes to individual words. The translation perfectly conveys the meaning of the original vocabulary. &lt;br /&gt;
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At the syntactic level, when there are differences in the expression of English and Chinese sentences, the translator will split the sentence, adjust the subject and object of the sentence, change the sentence structure and the sentence order to make the translation conform to the expression of the target language where the translation is smooth and natural. When translating the allusions of &amp;quot; ''Kong I-Chi'' &amp;quot;, the translator adopts literal translation and annotations. &lt;br /&gt;
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In terms of semantics, the translator uses the mechanism of conceptual metaphors to accurately show the original flavor.&lt;br /&gt;
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This article believes that the success of Yang’s English translation of &amp;quot;''Kong I-Chi''&amp;quot; lies in its fluent, natural language and exotic flavor. The author and translator of &amp;quot; ''Kong I-Chi'' &amp;quot; are both famous artists. The translation case from the English translation of &amp;quot;''Kong I-Chi''&amp;quot; reflects the practical application of the Functional Equivalence Theory in Lu Xun's novels. The writer also hopes that this thesis can provide ideas and inspirations for the English translation of other Lu Xun's novels.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Nida E.A. ''Language and Culture: Contexts in translating''. Shanghai: Shanghai Foreign Language Education Press.2001. &lt;br /&gt;
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[2]Nida, Eugene A.1964. Towardsa ''Science of Translating'', Leiden: E.J.Brill. &lt;br /&gt;
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[3]Nida, Eugene A.&amp;amp;Charles R.Taber, 1969, ''The Theory and Practice of Translation'', Leiden: E.J.Brill&lt;br /&gt;
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[4]鲁迅Lu Xun.鲁迅全集(第一卷)Selected Work of Lu Xun(volume Ⅰ）[M].北京Beijing:人民文学出版社People's Literature Publishing House ,1982.&lt;br /&gt;
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[5]谭载喜Tan Zaixi．新编奈达论翻译New Nida's Translation[M]．北京Beijing：中国对外翻译出版公司China Translation &amp;amp; Publishing Corporation，1999.&lt;br /&gt;
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[6]杨坚定Yang Jianding，孙鸿仁Sun Hongren．鲁迅小说英译版本综述A Summary of the English Versions of Lu Xun's Novels[J]．鲁迅研究月刊Lu Xun Research Monthly，2021(4)．&lt;br /&gt;
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[7]伊塞尔Iser.本文中的读者 Readers in this article[A]．二十世纪西方美学名著选（下）Selected Works of Western Aesthetics in the Twentieth Century (Part 2)[C]．上海Shanghai：复旦大学出版社Fudan University press,1998.&lt;br /&gt;
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[8]杨宪益.Yang Xianyi,戴乃迭 Dai Naidie译.鲁迅选集英文版(一) Selected Works of Lu Xun (1)[M].北京:外文出版社 Beijing: Foreign Languages Press,1980.&lt;br /&gt;
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[9]https://baike.baidu.com/item/%E5%8A%9F%E8%83%BD%E5%AF%B9%E7%AD%89%E7%90%86%E8%AE%BA/3373397?fr=aladdin&lt;br /&gt;
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[10]https://www.zhihu.com/question/29965932&lt;br /&gt;
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=颜子涵 Translation methods and strategies applicable to the style of biographical literature -- Taking Incidents in Life of Slave Girl (excerpt) as an example=&lt;br /&gt;
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[[Trans_Type_EN_8]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
The translated text of this article is a part of the English biography Incidents in Life of Slave Gir. The author of this work is Harriet Jacobs. This translation mainly takes the translation functional equivalence theory of American linguist Eugene A.Nida as the theoretical framework, adopts some translation skills in translation practice, and discusses the translation skills and Strategies of Chinese translation of such texts by analyzing the stylistic characteristics of biographical literature, especially African American autobiography. Through the Chinese translation of this autobiography, we can have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Autobiographical Literature; Black female slaves; Translation methods and Strategies&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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This paper is divided into four parts. The first part is an overview of the translation project, which mainly introduces the relevant situation of the translation project, the author and works of the translated text; The second part is the preliminary preparation of translation, including project text analysis and translation plan formulation; The third part, translation theory and case analysis, including functional equivalence theory, translation strategies and case analysis; The fourth part is the summary of the project, mainly on the problems encountered in translation, the experience and inspiration gained in the process of translation.&lt;br /&gt;
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This work belongs to the category of biographical literature. Biographical literature is a literary genre in which the author reproduces the characters' life stories and experiences, shows the characters' spiritual outlook and values, and depicts the characters' distinct love and hate and vivid personality through documentary writing and a variety of literary and artistic techniques. There are more than 50 characters involved in the biography. In the author's works, these characters are very vivid, such as the forbearance of a strong grandmother to the slave owner, the loyalty of a hard-working aunt to the slave owner, the oppression of female slaves by a crafty and sinister doctor, and the wit of Linda Brent, the heroine who pursues freedom and courage. In particular, the author's description of the heroine's seven years spent in a &amp;quot;cage&amp;quot; like cabin before she fled to the North more ruthlessly castigates the evil of slavery. The heroine's experience deeply moved her relatives and friends, including white slave owners. With the help of her relatives and friends, the heroine was able to escape to the north.&lt;br /&gt;
Taking the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework, this paper adopts the following translation skills in the process of translation: 1. The translation methods of foreignization and domestication are used to achieve partial functional equivalence between the source language and the target language, so as to reduce the lack of culture after translation. 2. According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to make the translation conform to the expression habits of the target language. 3. The methods of addition and subtraction are adopted to make the translation consistent with the original in grammar and language form, as well as in cultural background and word association. 4. The Conversion Transformation is adopted to make the translation more acceptable to the target language readers. By analyzing the stylistic characteristics of biographical literature, especially African American autobiography, the author discusses the translation skills and Strategies of Chinese translation of such texts.&lt;br /&gt;
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=== Text background===&lt;br /&gt;
From the beginning of the British northern colony to the early 20th century, blacks were brutally exploited and oppressed by the slavery system. In particular, female slaves not only had to bear heavy labor, but also suffered the destruction and abuse of supervisors. Since the publication of the first Autobiography of black slaves in 1760, some advanced elements in black slaves denounced and denounced the evils of slavery with their own experience, and made outstanding contributions to the abolition movement. The author of this work is Harriet Jacobs, whose pseudonym is Linda Brent. Born in a slave family, she fought tirelessly because she could not bear the persecution of slave owners on her and her children. After fleeing to the north, the author wrote a biography of his personal experience of being enslaved, exploited, persecuted, fleeing to the north and realizing freedom, which was published in 1861. Through the Chinese translation of this autobiography, more people have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves.&lt;br /&gt;
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===Research Purpose and Significance===&lt;br /&gt;
This autobiography of black women starts from the experience of childhood from the perspectives of black slaves and women. In the process of growing up, the author experienced different masters of good and evil. When she was a child, her hostess let the author learn to read and write. Later, she died of illness. Then the new owner, Dr. flint and his wife tortured and framed her. Later, for the freedom of her children, the author resolutely decided to flee to the north and enjoy the right to freedom with her children. In the process of pursuing freedom, he went through escape, pursuit, hiding until he went north by boat. The author selects simple but typical examples in daily life, through the description of characters' psychology and language, the contradictory struggle between the interests of opposite classes, the criminal complaint of slave trafficking, and the process of slaves fleeing to the north, reveals the slave owner's naked exploitation and fraud of slaves, and reveals the slave's sincerity, courage and longing for freedom. The simple language and narrative techniques of the work fully shape the tenacity, courage, intelligence and clear love and hate of the female slave Linda Brent, and show the readers the misfortune and suffering of many slaves.&lt;br /&gt;
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=== Translation theory and case analysis===&lt;br /&gt;
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3.1 functional equivalence theory&lt;br /&gt;
This translation practice report takes the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework. Eugene Nida is an American linguist and a famous translation theorist. From the perspective of etymology, according to the essence of translation, he put forward the famous dynamic equivalence translation theory, namely &amp;quot;functional equivalence&amp;quot;. In this theory, he pointed out that &amp;quot;translation is to reproduce the information of the source language from semantics to style in the most appropriate, natural and equivalent language&amp;quot;. He believes that translation is not only the equivalence of lexical meaning, but also the equivalence of semantic style and style. The information conveyed by translation includes both surface lexical information and deep cultural information. Equivalence in dynamic equivalence includes lexical equivalence, syntactic equivalence, textual equivalence and stylistic equivalence. Nida pointed out that the translation should be functionally equivalent to the original text. Judging whether the translation is equivalent to the original text should be based on the psychological response of the readers, that is, the translator should not only stay in the equivalence of structure and semantics, but strive to make the target readers produce the functions and effects that the original author wants to achieve through his works, so as to make the target readers after reading the translation, Get the same feelings as the original readers, and make translation really become a converter of thoughts, feelings and cultural information. Therefore, in literary translation, according to Nida's theory, the translator should take the four aspects of dynamic equivalence as the translation principle to accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
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The core of Nida's functional equivalence theory is &amp;quot;content is greater than form&amp;quot;, which emphasizes that when there is a conflict between content and form, content must precede form (Nida, 2004:203). Due to the differences between Chinese and Western ways of thinking and logical habits, in order to make the translation conform to the habits of readers in the target country and make it easier for readers in the target country to accept, the author has adopted different translation methods and strategies. According to the specific content of Nida theory, this paper intends to analyze its application in English-Chinese translation practice from four aspects. 1、 According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to achieve lexical semantic equivalence between the source language and the target language; second, addition and subtraction and part of speech conversion are used to make the translation conform to the expression habits of target slogans in grammar and language form and consistent with the original text in terms of cultural background and word association; third, forward and reverse translation is used to reproduce the original text Fourth, for the long and difficult sentences of the original text, the translation methods such as reorganization, sentence splitting and merging are adopted to make the language expression forms of the translation more rich and diverse, and more easily accepted by the target language readers.&lt;br /&gt;
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3.2 translation skills and case analysis&lt;br /&gt;
When translating vocabulary, the author mostly adopts the literal translation method to convey the information of the original text more accurately. If the meaning of the translation is not accurate enough or does not conform to the Chinese expression habits after the literal translation, the author adopts the free translation method, while for the long and difficult sentences with complex structure, the translational translation method and split method are adopted to make them conform to the Chinese expression habits and more acceptable to the readers.&lt;br /&gt;
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=== Translation skills, methods and case studies===&lt;br /&gt;
Case 1: literal translation and free translation to achieve semantic equivalence in vocabularyIn the process of translation, it is the basic quality of every translator to correctly express the source language in the target language. In order to achieve this goal, the translator must start with the smallest unit of the source language—vocabulary. In project translation, the author follows the functional translation theory and pursues semantic equivalence. First, we must ensure the equivalence of lexical meaning. The author mainly discusses the semantic equivalence of words from two aspects: literal translation and free translation.&lt;br /&gt;
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1. Literal translation  &lt;br /&gt;
Literal translation emphasizes the consistency between the original text and the translation in form and content, which helps to maintain the style of the original text. Literal translation is not a dead translation, a hard translation, or a literal translation. Literal translation emphasizes retaining its form and reaching its meaning.&lt;br /&gt;
The example 1:&lt;br /&gt;
“Nothing could please her better than to see me humbled and trampled upon” is literally translated as ”没有什么比看到我恭顺谦卑、任人践踏更让她快活啦。”&lt;br /&gt;
Analysis: in this sentence, humbled and trampled upon is used to express the due psychology and living state of slaves in the eyes of slave owners. Here, it can be translated into obedience, humility and trampling, which can reflect the coldness of slave owners and the misery of slaves.&lt;br /&gt;
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2. Free translation&lt;br /&gt;
Paraphrase emphasizes divine similarity. When the original text is quite different from the translation in terms of lexical meaning, syntactic structure and style, it can not be confined to the original text. Free translation should be adopted to explain the form of the original language in another language form, so as to correctly express the ideological thrust of the original text. Free translation should conform to the grammatical norms and expression habits of the target language, so as to make the translation more fluent and natural. Free translation is not arbitrary addition and deletion, nor random translation. Free translation emphasizes &amp;quot;preaching its spirit&amp;quot; rather than &amp;quot;retaining its shape&amp;quot;. The work belongs to biographical literature. There are great differences between the source language culture and the target language culture. The translator can not adhere to literal translation from beginning to end, but should carry out free translation according to needs, so as to achieve better translation effect.&lt;br /&gt;
The example 2:&lt;br /&gt;
I resolved to give him no cause to accuse me of being too much of a lady, so far as work was concerned.&lt;br /&gt;
literal translation: 就工作而言，我决心让他找不到口实指责我过分淑女。&lt;br /&gt;
free translation: 就工作而言，我决心让他找不到口实指责我养尊处优。&lt;br /&gt;
Analysis: a lady originally means 女士或优雅的女子. Too much of a lady is often understood as 十分优雅. Because the author could read and write and looked dignified, he had not done heavy work like other slaves before, &amp;quot;I&amp;quot; guessed that the young master was disgusted with it. Here, too much of a lady is translated by free translation, which reflects the inner contempt of the young master for &amp;quot;me&amp;quot;.&lt;br /&gt;
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Case 2: addition, subtraction and part of speech conversion make the translation achieve sentence meaning equivalence, which is in line with the expression habit of the target language.&lt;br /&gt;
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3. Additional translation&lt;br /&gt;
The example 4:&lt;br /&gt;
One day, she sat under the window where I was at work, crying that weary cry which makes a mother's heart bleed. &lt;br /&gt;
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一天，她就坐在我干活的那个房间的窗户外哭，哭得声嘶力竭让任何一个做母亲的心里流血。&lt;br /&gt;
Analysis: A mother literally means &amp;quot;一个母亲&amp;quot;, but the following clause is translated into &amp;quot;哭得声嘶力竭让一个母亲的心里流血&amp;quot;. The emotion of the translation is weak. In this article, &amp;quot;I&amp;quot; as a slave must work and can't take into account children and family affection, because in the slave owner's view, slaves are low animals and don't deserve feelings. Although I heard my daughter crying, I couldn't get over it. Any mother would be distressed to hear her daughter's cry. In order to make up for the lack of emotion in literal translation, the method of additional translation should be adopted here, which is translated as &amp;quot;任何一个母亲&amp;quot;&lt;br /&gt;
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4. Omission &lt;br /&gt;
The example 5:&lt;br /&gt;
The doctor stamped his foot at him in a rage, and exclaimed, &amp;quot;Get out of the way, you little damned rascal! If you don't, I'll cut off your head.&amp;quot;&lt;br /&gt;
translated text：医生愤怒地跺了他一脚，厉声说道：“滚开!他妈的小坏蛋，如果不听话，我把你的头砍下来!”&lt;br /&gt;
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Analysis: Dr. flint twice went to the north to pursue the fugitive slave &amp;quot;I&amp;quot; without success. He spent a lot of money and was full of anger. At this time, my son asked him if he had brought his mother back. Dr. flint stamped his feet angrily, scolded and threatened the child. Through the vivid description of Dr. Flint's body movements and language, his angry image jumped onto the paper,In order to achieve the same effect and achieve the equivalence of language style, the author uses even verbs according to the original &amp;quot;stamped his foot at him in a rage, and exclaimed&amp;quot; and translates it into &amp;quot;stamp his foot angrily and say&amp;quot; you little damned rascal!!! &amp;quot;It is also a typical strong adult's words towards weak children. In order to be concise and powerful, the author omits &amp;quot;you&amp;quot; and translates it into &amp;quot;他妈的小坏蛋&amp;quot;.&lt;br /&gt;
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The example 6:&lt;br /&gt;
But when winter came, the cold penetrated through the thin shingle roof, and I was dreadfully chilled.&lt;br /&gt;
translated text：上次遭遇蛇咬，现在我对蛇更惧怕了，踏上这个藏身的地方，我不由心惊胆颤。&lt;br /&gt;
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Analysis: My fear of snakes is literally translated as &amp;quot;我对蛇的恐惧&amp;quot;, and the subject of the following clause is &amp;quot;我&amp;quot;. In order to give the target readers a unified reading perspective, my fear of snakes had been increased is translated as: 我对蛇更惧怕了. By transforming the noun of fear into a verb, the translation is more concise and more in line with Chinese expression habits than literal translation.&lt;br /&gt;
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Case 3: The stylistic style of the original text is reproduced by positive and negative translation.&lt;br /&gt;
5.The Positive and Negative Translation&lt;br /&gt;
The example 7:Nobody respects a mother who forsakes her children; and if you leave them, you will never have a happy moment.&lt;br /&gt;
translated text 1：没有人尊重抛弃孩子的母亲，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
translated text 2：抛弃孩子的母亲会遭人唾弃，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
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Analysis: This sentence contains a negative indefinite pronoun—nobody. In translation text 1, the first half of the original text (Nobody respects a mother who forsakes her children) is translated into &amp;quot;没有人尊重抛弃孩子的母亲&amp;quot;. Although the meaning is translated, the expression is not authentic. Translation text 2 uses the positive and negative translation method to change negative into positive, and “Nobody respects” into &amp;quot;being despised&amp;quot; can better express the speaker's (my grandmother's) eagerness to oppose &amp;quot;I&amp;quot; to escape.&lt;br /&gt;
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Case 4:The translation methods of reorganization, sentence splitting and merging are adopted to make the translation conform to the expression habits of the target language&lt;br /&gt;
There are great differences between English and Chinese syntactic structures. English is a linear language. Its syntax takes the subject predicate structure as the central axis, while other components form branch lines in the form of branches and connect with the main axis through connectives. The logical relationship between sentences tends to be explicit,; Chinese is more parataxis, and the combination between the components in a sentence or between sentences mostly depends on the connection of semantics and uses fewer connectives. Chinese sentences are arranged under the command of theme, that is, the structure of &amp;quot;topic description&amp;quot; has various forms and free combination. The logical relationship between sentences is more implicit (Yang Lin, 2007: Preface). There are few logical relational words between clauses and between sentences. Therefore, the author adopts the reorganization method, combining syntax and disassembling syntax to realize the semantic equivalence of sentences, and studies the influence of sentence structure on the translation. The significance is to better guide the translation practice.&lt;br /&gt;
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5.Recasting&lt;br /&gt;
The example 7: This was the good old lady who paid fifty dollars for my grandmother, for the purpose of making her free, when she stood on the auction block.&lt;br /&gt;
translated text：这个老太太是个好人，当年外祖母站在拍卖台上，为了让外祖母获得自由她花五十美元买下了我的外祖母。&lt;br /&gt;
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Analysis: The original text contains two compound structures, one is an attributive clause, the other is a time adverbial clause. Because Chinese sentences are constructed according to the law of logical order, the word order is arranged according to the actual sequence and event order, which is divided into sequence in time, and pay attention to the causality in logic. The author adjusts the time adverbial clause to the front, first explain the time, then explain the reason, and finally the result. This reorganized translation plays an important role in shaping the relationship between sentences, which is in line with the characteristics of Chinese sentence structure.&lt;br /&gt;
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6.Sentence-combining&lt;br /&gt;
The example 8: There was joy and there was sadness in the sound. It made my tears flow.&lt;br /&gt;
translated text：无论是哭声还是笑声都会让我泪流满面。&lt;br /&gt;
&lt;br /&gt;
Analysis: The original text is two sentences. Considering the close causal relationship between the two sentences, the author adopts the translation method of combined sentence to translate it into one sentence, so that the target language readers can read it more naturally.&lt;br /&gt;
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&lt;br /&gt;
7.Dismantle the syntactic&lt;br /&gt;
The example 9: My hope was that the doctor would get discouraged, and, for fear of losing my value, and also of subsequently finding my children among the missing, he would consent to sell us; and I knew somebody would buy us.&lt;br /&gt;
translated text：损失一个女奴，再赔上我的两个孩子，这正是弗林特医生所担心的。他会泄气并同意卖掉我们，我知道有人会买下我们，而这正是我所希望的！  &lt;br /&gt;
&lt;br /&gt;
Analysis: When dealing with long English sentences, the method of splitting is generally used to divide the original sentence into several parts and combine them according to their internal logical relationship. The adverbial clause after the subject of “My hope” consists of three parallel sentences, the second of which has a more complex cause adverbial. The author first takes apart the subject clause, first translates the clause, and then presents the subject at the end, which is in line with the characteristics of Chinese presentation before topic.&lt;br /&gt;
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Case 5: Stylistic equivalence&lt;br /&gt;
The basic task of translation is to faithfully present the original text, so it is necessary for the translator to pursue the style of the original text. To achieve stylistic equivalence, the translator needs to analyze and identify the stylistic markers in the original. The original text contains national language characteristics, historical allusions and religious beliefs, so it has cultural differences. In translation, it should reflect the style of the original text and optimize it accordingly, so as to realize the re creation of style and adapt to the communication of the target language.&lt;br /&gt;
The original text has strong religious and cultural content, simple and pious faith, and shows their enthusiasm and passion for them. In translation, we should not only show the feeling of religious belief and culture, but also optimize the sentence style and deal with alienation appropriately, so that readers can feel the piety and understand the author's writing intention.&lt;br /&gt;
The key to shaping the problem role lies in its adaptability to the style of the original language. Only by adopting appropriate translation methods, deeply understanding the cultural background of the original text and skillfully changing the style of the original text, can the style meaning of the original text be reproduced in the target language and better reflect its charm and artistic conception.&lt;br /&gt;
In a word, a biographical text should be well expressed first to make it conform to the expression habits of the target language. First, we should deeply understand the creative intention of the original author and think of what we think from the perspective of the original author, so as to realize the central idea of the original text. The premise of translation is that the translator should have profound language and cultural skills and deeply understand the particularity of different background cultures, Have a good command of the target language, and then use it flexibly.&lt;br /&gt;
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The example 10: She hasn't so much feeling for her children as a cow has for its calf. If she had, she would have come back long ago, to get them out of jail, and save all this expense and trouble. &lt;br /&gt;
translated text：她对孩子的感情还不如母牛呢，母牛还知道护犊子。如果她有感情，她很久以前就会回来把他们救出去了，也就没有这些代价和麻烦了。&lt;br /&gt;
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Analysis: This sentence is a complaint made by Dr. Flint's wife—my mistress, about my escape. Considering that cows in Chinese culture also have the image of caring for their cubs, The author translates call “feeling for her children as a cow has for its calf” as：“母牛还知道护犊子”, This not only achieves cultural equivalence, but also sounds colloquial. On the other hand, it is in line with the speaker's identity as a mean slave owner.[He was &amp;quot;a chip of the old block.&amp;quot; If he found any slave out after nine o'clock, he could whip him as much as he liked; and that was a privilege to be coveted.如果他发现任何人九点后（宵禁时刻）跑出去，他就会抓住并鞭打此人，直到他满意为止。这是别人垂涎三尺的特权。]&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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Through the development of this project, the author believes that the translation of biographical works needs to have a full understanding of the differences between Chinese and English languages and cultures, thinking habits and expression methods. Only after having an accurate understanding and grasp of the language characteristics and contents of the original text, can words and sentences be carefully selected and constantly modified and polished in the process of translation, Make it an excellent translation. The author summarizes the following points in the whole translation process:&lt;br /&gt;
The translation method of biographical text. Biographical text has both information function and expression function (Zhang Meifang, 2006). Therefore, in translation, the translator should not only correctly express the information of the original text, but also reflect the literariness of biographical literature. In view of the differences in thinking and logic between Chinese and English, different translation methods should be adopted in the translation process. For example, literal translation can be used in terms of vocabulary, so as to simply, clearly and accurately convey the meaning of the original text. If literal translation is not possible, free translation, addition or subtraction, positive and negative translation, such transformation and other methods should be adopted to strive to achieve literal semantic equivalence. In terms of sentences, according to the respective characteristics of Chinese and English sentence structures, translation skills such as reorganization, disassembly and combination of syntax are adopted in order to meet the reading habits of target language readers. Experience the language style of biographical literature. In this project, the author's narrative language is simple and simple, and do a good job in the analysis of the characteristics of biographical literature materials. For a translator, the types of material translation can be diverse, literary or scientific, so the translator must do a good job in the analysis of text materials when he gets a relatively unfamiliar translated text, Only after analyzing the materials thoroughly and finding out the characteristics can the preparatory work be done adequately. This project adopts biographical text, which is characterized by many names and place names and strong local cultural characteristics. Therefore, in order to improve the accuracy of translation, the author has made a lot of preparations before translation, including finding the author's relevant background information, relevant historical facts, as well as the folk customs at that time. With reference to the new English Chinese dictionary, the names of people and places in the text are translated uniformly. Due to sufficient preparation, these problems encountered in translation have been solved.&lt;br /&gt;
The author has two experiences in maintaining problem awareness in the translation process. &lt;br /&gt;
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First, if you encounter an uncertain word and sentence in the translation process, you should consult the relevant reference books in time or use the Internet. &lt;br /&gt;
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Second, when dealing with cultural problems, I often ask my classmates or experts in this field for advice, so as to solve the problems in time.&lt;br /&gt;
At the same time, there are some problems in the process: My translation experience is still shallow and the cultural knowledge reserve is insufficient. There are some disadvantages in this project.Because my Chinese level needs to be further improved, the translated language is still immature and not concise enough. Second, the lack of relevant knowledge leads to the fact that the unique things of foreign culture can only be translated directly and hard in translation, resulting in the stiff and rigid translation. Such as a box, covered with sheepskin, is called the gumbo box. A dozen beat on this, while other strike triangles and jawbones, to which bands of dancers keep time.&lt;br /&gt;
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Third, in translation, we should not only maintain the meaning of the original text, but also reflect the style of the original text. We can't have both fish and bear's paw—鱼和熊掌不可兼得。Therefore, I believe that only through a lot of translation practice and summing up experience can we improve our translation level.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Beardslee, Karen E. Through Slave Culture's Lens Comes the Abundant Source: Harriet A. Jacobs's Incidents in the Life of a Slave Girl.&amp;quot; MELUS 24 (1999): 37-58.&lt;br /&gt;
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[2]Jacobs Incidents in the life of a Slave Girl: Written by herself.&amp;quot; Languages &amp;amp;Literature 15(2001):314-336.&lt;br /&gt;
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[3]Incidents in Life of a Slave Girl chapters 16 to 30&lt;br /&gt;
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[4]李小春. (2016). 浅析英语翻译技巧及方法的应用. 读天下(20), 1.&lt;br /&gt;
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[5]李亚云.《一名女奴的人生际遇》之黑人女性身份建构[J].文学教育(上),2015(07):30-31.p&lt;br /&gt;
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[6]李亚云. 《一名女奴的人生际遇》之黑人母性分析[D].中央民族大学,2016.&lt;br /&gt;
&lt;br /&gt;
[7]付娟. 英汉翻译中拆句法和合并法的有机结合探析[J]. 好家长, 2016(38):1.&lt;br /&gt;
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=邝艳丽 On the Translation Strategies of English Version of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hong-Ming and Xu Yuanchong=&lt;br /&gt;
[[Trans_Type_EN_9]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
''Lun Yu'', one of Chinese classics, records behavior and thoughts of Confucius and his disciples. ''Lun Yu'', intensively reflecting Chinese Confucianism, plays a significant role in Chinese culture. Dating from 1809, there are about sixty translations of ''Lun Yu'' during the two hundred years. This paper will study the two English versions of ''Lun Yu'' by Ku Hung-ming and Xu Yuanchong from the the theory of Horizon Fusion proposed by Hans-Georg Gadamer, mainly the core conceptual words in ''Lun Yu''. Besides, the paper will explore the translation strategies adopted by the two translators from different visions such as the horizons of the original text, the translator and the target culture. The better translation of core conceptual words will come to a conclusion through the contrastive analysis.&lt;br /&gt;
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===Keywords===&lt;br /&gt;
Fusion of horizons; Ku Hong-Ming; ''Lun Yu''; Xu Yuanchong&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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''Lun Yu'', as a carrier of Confucianism, has profound influence on the culture all over the world. Confucianism has largely influenced the development of European philosophy, which provide new theoretical basis for European Enlightenment in the eighteenth century (Li Zongzheng 2016: 112-116). In Voltaire’s opinion, the discovery of Chinese culture is important to the process of European society, just as what what has been discovered by Vasco da Dagama and Magellan to the nature (Bao Xiankuo 2001: 62-67). With the continuing development of China in the recent years, China exerts more and more significant influence on the world. In the meanwhile, more and more people would like to learn Chinese language and cultures. When it comes to Chinese culture, all the people, Chinese and foreigners, nearly think of Confucianism, which is generally regarded as the important components of Chinese traditional culture, as well as the mainstream of the spirit of national modern culture. Moreover, Confucianism is intensively embodied in the ancient work called ''Lun Yu'', which records the behaviors and thoughts of Confucius and his disciples mainly in the form of dialogues. ''Lun Yu'' involves so many aspects such as politics, education and so on. The wide and profound influence of Confucianism on the world attributes the success to the development of translations of ''Lun Yu'' by Chinese or foreign translators.&lt;br /&gt;
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''Lun Yu'' is a classic work. The reason why classics remains classics is that it can be translated and re-translated. The language itself of ''Lun Yu'' is difficult to be understood, and what are reflected by ''Lun Yu'' such as history, thoughts, culture and culture is also hard to be understood. Therefore, translators in different times produce different translations of ''Lun Yu'' due to different constrictions of subjective or objective factors. Derrida, holding the point of hermeneutics, considers that the understanding of works is open and that the understanding of text by the readers is always unfinished and uncertain for reading is the process of creation. ''Lun Yu'', acclaimed as one of the leading classics in the course of Chinese literature’s development, is always given new life by the scholars. Therefore, every translation version of classics deserves to be studiedin the different times. Moreover, the employment of fusion of horizons may not only be a reference for English translation of ancient Chinese classics, but also be beneficial foe the spread of traditional culture. &lt;br /&gt;
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This paper chooses two English translation versions of ''Lun Yu'', one by Ku Hung-ming, the other one by Xu Yuanchong. The paper mainly makes a contrastive study of different translation strategies adopted by the two translators from the perspective of fusion of horizons. In order to make an in-depth study, the thesis will focus on the analysis of the translation of core conceptual words of ''Lun Yu'', and aim to present a more appropriate translation to both fully express the content of Chinese culture and make western readers easier to understand.&lt;br /&gt;
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===Overview on the Theory of Fusion of Horizons===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====Fusion of Hrizons====&lt;br /&gt;
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Hans-Georg Gadamer is the greatest thinker in 20th century when his academic work ''Truth and Method'' was published. The publishment brought about widespread attention in the world and helped him reach the immortal status in the field of philosophy. Actually, the theory used in this paper is originated from ''Truth and Method''. “Horizon” was first proposed by Edmund Husserl, a great German philosopher. For the concept of “Horizon”, Husserl believed that “everything worldly giving is given under the horizon. Finally, everything given by the world itself has the horizon of the world, and it is only for this reason that it is realized as the world.” (Wei Fangyuan 2013: 134-136)&lt;br /&gt;
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It can be seen that “Horizon” in Husserl’s eye is related to consciousness. Husserl’s “Horizon” includes two ones, internal horizon and external horizon. Internal horizon refers to what previous knowledge people have grasped or not. External horizon refers to grasp or experience of another open horizon when people have internal horizon. Martin Heidegger, from the respective of Ontology, believed that “Horizon” is something real which has been known by human and exists previously. This becomes precondition of our understanding. Inspired by Martin Heidegger and Edmund Husserl, Hans-Georg Gadamer affirmed the importance of “Horizon”. In his Hermeneutic, “Horizon” refers to the process of understanding from a specific standpoint. And “Fusion of Horizons” means that the process of understanding in nature is open without fixed pattern and answer. “Fusion of Horizon is not onlly diachronic, but also synchronic. History and present, object and subject, self and other, all form an infinite unified entirety. (Wei Fangyuan 2013: 134-136 ) &lt;br /&gt;
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Gadamer thinks that, both the translator and the object which is explained by the translator have their own horizons. The object-- history, classics, personal life, philosophy or work of art—has its own historical horizons. When we understand historical classical works, philosophy or certain culture with the horizons given by the history, the conflict of two different horizons and historical background will inevitably happen. Translation neither demands the translator to totally give up his own horizon in order to get into the text’s horizons, nor allows the interpreter simply includes the text into his own horizons. Translator, starting from his original horizons, ceaselessly test his own “prejudice” and open his own horizons, in the contact with the object which is interpreted by the interpreter, then two different horizons forming a new horizon. This process is called “fusion of horizons”. The reason why it is possible to interpret historical text is the fusion of horizons of the readers and writers of the original text.&lt;br /&gt;
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====Fusion of Horizons in translation study====&lt;br /&gt;
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In the view of Hans-Georg Gadamer, any understandings is carried out in the stream of history for any interpreter and reader lives in the history in his or her own way. Historicity is the basic fact of human existence. People’s historical particularity and limitations cannot be eliminated and avoided. Both subject and object exist in historicity. History determines that people cannot get rid of historicity. Such question faced by Hermeneutics is not what we carry out but what caused on us by something beyond our willing and behavior. In the research of translation Gadamer’s “Fusion of Horizons” can be borrowed and reformed into views or perspective available to the translation study. (Li Ge 2020:50-63)&lt;br /&gt;
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To achieve such a horizon, means that we learn to see something beyond its restricted horizon. However, the reason why we do this is for watching the things in a more correct angle and in a bigger unity, rather than for avoid seeing it.(Gadamer, H. G. 2004: 304) We need to study translation from a higher point and in a more overall angle. Only in this way can we “full see” the parts of the integrity, which is the enlightenment brought by “fusion of horizons”. The precondition of translation is that the translator and the original text have the common horizons. If the translator does not know medicine, he cannot interpret some books about medicine, and vice versa. The translator need to understand the original text’s meanings at first, which means that he will get into the horizon of the original text, and overcome the difference to form a new horizon. This is the first fusion of horizons. The second one is that the translator gets into the horizons of the target readers. Then the third fusion of horizons, the final interpretation of the translator, is the fusion of the two texts after the first two fusions. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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During the process of translation, the horizons are produced in the history rather than in isolation. In the fusion of horizons, the past and the present, the subject and the object, form a unity. Everything exists in the point of history, and all the interpretation cannot be finished for good. The original text itself is historical. The language, content, thoughts and etc. in it are marked by characteristics of the times. The translator is also historical. He will be influenced by his identity, status and tradition. There does not exist “perfectness” and “standard” in the translation. It will vary with different historical period. So the study of translation also goes on. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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===Overview on the Translations of ''Lun Yu''===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====The history of translations of ''Lun Yu====&lt;br /&gt;
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''Lun Yu'' is as important to Chinese is the Bible is to Westerners. So ''Lun Yu''’s translation is hot in western countries. ''Lun Yu'', whose translation can be traced back as early as the end of 16th century, has been translated by lots of missionary, sinologist, philosopher, litterateur and other scholars. There have been more than 40 translation versions of ''Lun Yu'' so far. Its English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. In 1861 James Legge’s The Confucian Analects became the mark of the English translation of ''Lun Yu''. A Companion for Chinese Translators makes comments on the translation version that James Legge can roughly understand the meaning of the original text and that his enormous notes can show his serious and careful attitude to the translation of our Chinese classics. (Wang Hui 2003: 39-43) &lt;br /&gt;
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In 1898, Ku Hong-ming’s translation of Lun Yu was published in Shanghai. The reason why he retranslated Lun Yu is that he was not content with James Legge’s. Ku Hong-ming use the strategy of foreignization, trying to translate Lun Yu in the same way an educated British express his thoughts. And Ku thought the Chinese proper nouns should be omitted and some European writers’ saying in order to remove the feeling of strangeness of British readers. In 1938, Arthur Waley’s version of Lun Yu was published. Waley wrote long-winded introduction for the translation, which was accompanied by detailed notes for readers and was followed by the footnotes for in-depth discussion on the text. Cui Yonglu thought that Waley’s translation, retaining the original text’s meaning and culture and paying attention to the detail, is beneficial to scholars. In 1998, Roger Ames’ translation of Lun Yu was published. His retranslation, which is based on a philosophical perspective, exerted great influence in the world of translation at home and abroad. In 2005, Xu Yuanchong’s Thus Spoke the Master was published. The book’s title borrowed the name of well-known philosophical translation called Thus Spoke Zarathustra, which shows Chinese translators’ creative spirits. In addition, there are still so many translators, such as Ezra Pound, James Ware, Din Cheuk Lau, Lin Yu tang and so on. (Wang Hui 2003: 39-43) &lt;br /&gt;
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====Different angles of the study on the translations of ''Lun Yu''====&lt;br /&gt;
In the nearly 30 years, the study of ''Lun Yu''’s translation has become hot in the translation studies. Scholars have made lot of studies of ''Lun Yu''’s translation from different angles and theories. From the linguistic point of view, scholars focus on the equivalence of lexicon, syntax, text and style. Professor Liu Chongde wrote “A research into Waley’s English version of The Analects—And some comments on its English versions by Legge and D. C. Lau”. Professor Liu summarized the language features and style of the two translations by Waley and Legge. Besides, he compared James Legge’s version and D. C. Lau’s, and made a conclusion that the former one preferred the written English, complicated sentences and archaic words which were quite similar to the style of the original, while the latter one preferred using spoken English and simple sentences.(Liu Chongde 2001:15-17) &lt;br /&gt;
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From the cultural point of view, Yao Shun in Southwest Jiaotong University did “On English translation of Confucius notions from the perspective of Skopos theory—A case study on Legge’s and Waley’s Translation of ''Lun Yu''”. Yao concluded that translation cannot be measured only by the equivalence with the source text, other elements such as translators’ purposes and expectation of target readers should be taken allowance for and that amongst these factors, the intention of the target text ranks the first.(Yao Shun 2014: 42-43)&lt;br /&gt;
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From the sociological point of view, Zhang Xin in Jiangnan University did “A study on Xu Yuanchong’s English Translation of ''Lun Yu'' from the Sociological Perspective of Bourdieu”.   Zhang draw some tentative conclusions. Firstly, the original text must be valuable and unique with an international reputation to facilitate its dissemination in the world. Secondly, translators should pay full attention to the readability and acceptability of target readers to meet their anticipation. Thirdly, the success of a work is the combination of various social factors.(Zhang Xi 2020:80-89)&lt;br /&gt;
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=== The Translation of ''Lun Yu'' from Fusion of Horizons===&lt;br /&gt;
''Lun Yu'' has always been translated or retranslated into many languages. Before interpretation, interpreters are supposed to try to totally understand ''Lun Yu'' in the first step. However, in the matter of fact, the language of a text is really hard for translators to totally understand. Different cultural background and different translators may produce different translation version.&lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》） [8]”. In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. &lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
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Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》）”.In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. (Yao Sshun 2014:42-43) &lt;br /&gt;
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====Horizon of the translator====&lt;br /&gt;
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Ku Hung-ming (1857-1928) is not only a famous literary figure in modern China, but also a great translator. He became an influential scholar at the turn of the 20th century because of his works that advocated Confucianism. Ku’s traslated works, including Lun Yu and Zhong Yong, played a significant role in spreading traditional Chinese culture to the western world. Ku, well-versed in both Chinese and Western cultures, has a good command of nine languages such as English, French, Germany and so on. He is the first one was proficient in Western science and language in the late Qing Dynasty. Special background of growth and education makes his thoughts combine advantages between Chinese and Western cultures. He tried to translate Lun Yu as a work written by a educated English man in order to promote Chinese traditional culture to spread in Western countries. At the meanwhile, he added his thinking and understanding of Confucianism in order to express the truth and spirit of Confucian classics and Chinese belief system. In order to make Western readers accept to the most extent the Confucian culture, Ku adopted some special methods, such as using extreme translation strategy of Domestication to translate Chinese special expression; borrowing the expression in Western literature to translate some words; applying the strategy of combination of omission and addition.(Niu Xiyu 2021: 89-90)&lt;br /&gt;
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When translating Lun Yu, Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. Western readers are not familiar with Confucian core words whose total equivalence can not be found in the Wesern culture. Ku did not translate the core words according to the literal meaning, but according to his deep understanding of Confucian classics he adopted flexible methods to translate the words in different situation. Besides, in order to make the translation of Lun Yu more readable to Western readers, Ku adopted the stratedy of domestication to interprete Confucian thoughts in Western way of mind. On the one hand, Ku used Western terms to translate those Confucian concept words which is difficult to Western readers. For example, he translates “天” as “God”. On the other hand, he quoted those well-known writers and thinkers who are familiar to Western readers, such as Johann Wolfgang von Goethe, Ralph Waldo Emersonand so on. Ku tries to make the content and form of the translation to accord with the way of thinking and cognitive structure of Western people. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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Xu Yuanchong, professor in Peking University, has been devoting himself in Literature translation study. He accomplished numerous classical translations and proposed many translation theories. He makes contribution to the development of Chinese traditional career.In 1921, Xu Yuanchong was born in Jiangxi Province in China. Since he was a child, Xu Yuanchong had been deeply influenced by his families. His mother was well educated and his uncle worked as a translator. All of these inspired his passion of enjoying literature and going after beauty, as we can see the three-beauty-concept-concept proposed in his later books. His uncle succeeded in translating the play called Wang Baochuan into English, which caused a sensation when it was performed in England. Later on the British dramatist George Bernard Shaw interviewed his uncle, which inspired the great interests of Xu Yuanchong in learning English well. In 1938, he was admitted to the Foreign Languages Department of National Southwest United University with the seventh place. In 1939, he translated the book “别丢掉” written by Lin Huiyin at the first time in order to express his love for a girl. Then he fell in love with translation ever after. Although suffering a lot, he still insisted to be himself. Xu made a great contribution to the development of Chinese translation. Xu introduces the three-beauty-concept to translation theory. The theory of three beauty advocates that a translation should be as beautiful as the original in sense, in sound and in font. These three aspects call also be respectively called Beauty of Sense, Beauty of Sound, and Beauty of Form. Beauty of Sense, emphasizing the deeper meaning, is of the first-rate importance. Beauty of Sound, emphasizing rhyme and rhythm, is of the second-importance. Beauty of Form, emphasizing length, is of the third-rate importance. All of these have great influence on his translation. (Li Mi 2004: 83-84)&lt;br /&gt;
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====Horizon of the target language culture====&lt;br /&gt;
The purpose of translation is to be read by the target readers. However, the target individual is different. They differ from historical background, education, knowledge, and so on. Some foreign readers read Lun Yu just for broaden his vision and know Chinese culture, some study the translation just for doing academic researches. The ages of target readers also influence the translation. Some young readers with less knowledge need translation which can be easily understood. For those aged readers the sophisticated translations are needed. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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===Contrastive Analysis===&lt;br /&gt;
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As Confucian classics recording the words and deeds between Confucius and his disciples, Lun Yu deeply influences generations of Chinese people. Lun Yu combines Chinese rich culture from thousands of years and gathers immortal spirit of Eastern philosophy. Therefore, a number of scholars at home or abroad want to translate Lun Yu. Especially, the various academic conference that has taken place in the recent years attract many scholars to absorb Confucian wisdom and explore Chinese wisdom from the old classics.&lt;br /&gt;
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====Description of key conceptual words====&lt;br /&gt;
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''Lun Yu''’s English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. Since that many other scholars have thrown themselves in the wave of translation of ''Lun Yu''. The scholars at home and abroad attempt to know more about the Chinese society, language, and Chinese culture through ''Lun Yu''. However, in order to really understand and interpret ''Lun Yu'', we must be clear about the meaning of the core conceptual words in ''Lun Yu''. Whether the translation of the core conceptual words is right or not has something to do with whether the readers abroad can understand the real meaning of the classics ''Lun Yu''. The translation of core conceptual words is so critical that has drawn many scholars’ attention. However, in the present situation of translation, one core conceptual word has so many Chinese translation, and some translation is not very accurate, which will cause trouble for foreigner readers to understand the original meaning and its cultural meaning. For those core words concerning Chinese culture, if wrongly translated, will not cause foreigners’ misunderstanding Chinese traditional culture, but also influence the improvement of national cultural soft power. Thus, the discussion of the translation of ''Lun Yu'', especially that of the core words, is very important to the circles of translation and culture. There are lots of core conceptual words in Lun Yu, but This thesis will mainly discuss the five core words: “''ren''”, “''li''”, and “''junzi''”. &lt;br /&gt;
“''Ren''” is the supreme state of moral ideal advocated by Confucius, and the spirit and centre of Confucian theory. Xu Shen in the Eastern Han Dynasty made an explanation of the word “''ren''” in “Shuo-wen chieh-tzu”. He thought “''ren''” is combined by “''ren''”(man) and “er”(number 2), and that “''ren''” does not express the quantitative relation but the interpersonal relationship, more accurately the interpersonal relationship close to friendship. (Xu Shen 2013: 1458) According to The Notes of ''Lun Yu'' by Yang Bojun, “''ren''” appears 109 times in ''Lun Yu'' . (Yang Bojun, 2009)&lt;br /&gt;
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“''Li''” is another important concept in ''Lun Yu'' after “''ren''”. According to The Notes of ''Lun Yu'' by Yang Bojun, “''li''” appears 74 times. Obviously, “''li''” is one of main ideas repeated by Confucius. Its connotation has become one of the objects the scholars of every dynasty attempt to study and understand since the ''Lun Yu'' came out. Both “''ren''” and “''li''” work as the centre of Confucianism. They complement and perfect each other. Just as the saying in Lun Yu, “To Subdue Oneself and Return to the Proprieties is Perfect Virtue”. “Li” refers to external behavior, while “ren” refers to internal morality. “''Li''” is a general term the rules and regulation according to the moral demanding. “''Li''” can restrict personal behavior, improve interpersonal relationship and help building a harmony and orderly society. However, Confucius does not give an accurate explanation of “''li''”, but its meanings can be analyzed from the concrete sentences concerning “''li''”. (Yang Bojun 2009: 23)&lt;br /&gt;
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“''Junzi''”, first found in The Book of Songs, was roughly referred to noble man. Thereafter, “''junzi''” was widely used in many ancient classics such as The Book of Changes, Shangshu and so on. Based on the original meaning “the noble man”, “''junzi''”’s meaning was extended and expanded. In Lun Yu, the word “''junzi''” got extended meaning of morality. The core conceptual word “''junzi''” mainly placed emphasis on moral deeds, then developed into the important cultural icon in Confucianism. According to The Notes of ''Lun Yu'' by Yang Bojun, “''junzi''” appears 107 times in ''Lun Yu'' .(Yang Bojun 2009: 11)&lt;br /&gt;
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====Different translations of key conceptual words====&lt;br /&gt;
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Different translators will have different translation. &lt;br /&gt;
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“Ren” has rich meanings. Its translation will to the certain degree influence the understanding of Lun Yu and Chinese traditional culture. For example:&lt;br /&gt;
子曰：“巧言令色，鲜矣仁！”《学而》&lt;br /&gt;
Ku: Confucius remarked, “With plausible speech and fine manners will seldom be found moral character.” &lt;br /&gt;
Xu: A good man, said the Master, would rarely say what he does not believe, or pretend to appear better than he is.&lt;br /&gt;
From the translation above, it is seen that Ku adopts free translation, and the English sentence is in formal grammer and syntax which accords with Western readers’ language habits. While Xu’s translation is not in the form of direct speech and he changes the order of the target text and use the parenthesis so as to conform to the habits of target language readers. It can be easily seen that Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. And Xu employs free translation to make target readers better understand the meanings. For the translation of “ren”, Ku translated it into “moral character”. He thought “ren” is refers to all the morality, and that “ren” is the highest realm of life. The translation “moral character” is more in line with Western language habits. While Xu interpreted it into “a good person”, of which “good” has broad meanings just like “ren” which is a kind of moral category of extremely broad meanings in ancient China. By comparison, “mental character” is better translation for “ren”. (Yang Bojun 2009: 23) (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
&lt;br /&gt;
“Li” is generally thought to have three main meanings. The first one is worshiping the God. The second one refers to a ceremony held to show respect or solemnity. The third one refers to the social and moral norms of the aristocratic hierarchy in slave society of feudal society. For example, &lt;br /&gt;
道之以道，齐之以礼，有耻且格 。（《为政》）&lt;br /&gt;
Ku: If, on the other hand, in government you depend upon the moral sentiment, and maintain order by encouragung education and good manners, the people will have a sense of shame for wrong – doing and, moreover, wil emulate what is good. &lt;br /&gt;
Xu: If they are led by virtue and order is kept by the rites, they would be conscientious and act in agreement with what is right. &lt;br /&gt;
Generally, “li” is rendered as “rites,” “customs,” “propriety,” “ritual,” “moral,” “rules of proper behavior,” and “worship.” However, Ku did not literally translated “li” but to fully understand its original meaning in such concrete situation to translated it into “education and good manners”. While Xu translated it into “rites”. In the Oxford dictionary, “rite” means a ceremony performed by a particular group, often for religious purpose. In Spring and Autumn and Warring States periods of China, the social order was in chaos. Actually, “rite” is a proper word full of Chinese speciality, which is really hard for Western readers to understand. Therefore, Ku’s translation “education and good manners” is better one. It not only convey Confucian thoughts but also make it readable to Western readers. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
&lt;br /&gt;
“Junzi” is Confucian ideal character standard. Then what is “junzi”? In Confucian point of view, “junzi” should be erudite, which is an important standard of being “junzi”. First and the most, “junzi” should be a benevolent man. In addition, “junzi” and “xiaoren” form contrast. For example,&lt;br /&gt;
人不知，而不愠，不亦君子乎？（《学而》）&lt;br /&gt;
Ku: But he is truly a wise and good man who fees no discomposure even when he is not noticed of men.&lt;br /&gt;
Xu: Is he not an intelligentleman, who is careless alike of being known or unknown?&lt;br /&gt;
According to Oxford dictionary, the term “exemplary” refers to providing a good example for people to copy. Ku adopted free translation to interprete one word “junzi” into several words “wide and good man”, which is easy for Western peple to understand what “junzi” is. It can be seen that Ku had a thoroungh understanding of Confucian thoughts as well as well-versed in English. While, Xu translated it into “intelligentleman”, which cannot be found in dictionaries. It is a new word created by Xu. “Interlligentleman” is combined by “intelligent” and “gentleman”. In the Oxford dictionary, the term “intelligent” means good at learning, understanding and thinking in a logical way about things. “gentleman” refers to a man who is polite and well educated and who has excellent manners and always behaves well. “Intelligentlemen” seemly attempt to achieve formal equivalence with “junzi”. However, it is unfamiliar to Wetern readers. So Ku’s translation “a wise and goood man”. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
In this paper, we have talked over two translation versions of ''Lun Yu'' written by Ku Hung-ming and Xu Yuanchong, especially the core conceptual words in ''Lun Y''u. In the matter of fact, both of them had good command of Chinese and western cultures. But their interpretation of Lun Yu were quite different from each other. Here we use Gadamer’s “fusion of horizons” to explain why they had different understandings of Lun Yu. Understanding is regarded as the fusion of horizons between translator and the text in the hermeneutics, however, besides, the target readers should also be taken into consideration. Thus, in the paper, the horizons of the original text, two translators and target readers are expounded in detail. Under the contrast between the two translation versions, we could find out that Ku Hung-ming’s translation is better one which can more convey the meaning of original text and can be easier for the readers of the target culture from the perspective of the fusion of horizons. &lt;br /&gt;
&lt;br /&gt;
However, this paper could not give an in-depth research on the transaltion of ''Lun Yu'' because of the author’s limited knowledge and not thorough understanding of the theory of “fusion of horizons”. In addition, Confucianism has got more and more important influence on the world in the recent years. However, the study of translation of ''Lun Yu'' has not gone far enough. Though lots of scholars have achieved a lot in the field, there is still much work to do in the future. Written by --[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 03:41, 9 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
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Li Zongzheng, Ma Haidong 李宗政,马海东. (2016)《论语》英译的当代价值研究[J] [A study on the contemporary value of the ''Analects of Confucius''] 112-116.&lt;br /&gt;
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Wei Yuanfang 韦芳元. (2020) 浅析伽达默尔的视域融合理论[J].[On the Gadamer’s Theory Fusion of Horizons] 2013(12):134-136.&lt;br /&gt;
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Gadamer, H. G. Truth and Method[M]. New York: Continuum, 2004: 304.&lt;br /&gt;
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Wang Hui 王辉. (2003) 理雅各与《中国经典》[J]. [James Legge and Chinese Classics] 2003: 39-43.&lt;br /&gt;
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Lieu Chongde 刘重德. (2003)《论语》韦利英译本之研究—兼议里雅各、刘殿爵英译本[J]. [A Study of Lun Yu by Whaley—Discussion on contrastive analysis between James Legge and D.C.Lau)  2001: 15-17.&lt;br /&gt;
&lt;br /&gt;
Yao Shun 姚舜. (2014) 目的论视角下的儒家思想核心概念英译研究—以理雅各和韦利《论语》英译对比分析为例[D]. [A Study of Lun Yu Translated by Xu Yuanchong in the perspective of Skopostheory] 2014: 42-43.&lt;br /&gt;
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Niu Xiyu 牛汐语. (2021) 辜鸿铭《论语》译本中译者主体性的体现[J]. [The Presentation of Translator’s Subjectivity in Ku Hung-ming’s Lun Yu’s Translation] 2021:89-90.&lt;br /&gt;
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Li Mi 李谧. (2004) 许渊冲的诗译“三美”之说[J]. [Three Beauty in Poetic Translation of Xu Yuanchong] 2004: 83-84.&lt;br /&gt;
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Xu Shen 许慎. (2013)《说文解字》[Z]. [Shut-wen chieh-tzu] 2013: 1458&lt;br /&gt;
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Yang Bojun 杨伯峻. (2009)《论语释注》[Z]. [Annotation Analects] 2009: 213, 214, 215,2, 11, 23,&lt;br /&gt;
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Ku Hungming 辜鸿铭.(2011)《辜鸿铭英译&amp;lt;论语&amp;gt;》[M]. [The Discourses And Sayings of Confucius] 2011&lt;br /&gt;
&lt;br /&gt;
Yuanchong, Xu. (2013) Thus Spoke the Master[M]. Beijing: Dolphin Books, 2013: 12, 18.&lt;br /&gt;
&lt;br /&gt;
=杨柳青 Bian Zhilin's Literary Translation Theories and Practice  ——Take His Translation of Romantic Poems as examples=&lt;br /&gt;
[[Trans_Type_EN_10]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. He absorbed traditional translation theories dialectically and created translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; from the perspective of literary translation. Specifically, &amp;quot;Replacing foot with dun&amp;quot; is his poetry translation strategy. This paper will analyze Bian Zhilin translations of some romantic poems and shows some critical thinking about his literary translation theories.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Faithfulness, Similarity and Translation&amp;quot;; &amp;quot;Replacing Foot with Dun&amp;quot;; Romantic Poetry&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
&lt;br /&gt;
卞之琳文学翻译理论和实践 ——以其浪漫主义诗歌译作为例&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
卞之林是著名的中国翻译家、诗人。他辩证地吸收传统翻译理论，从文学翻译的角度创立了“信、似、译”的翻译理论。 具体而言，“以顿代步”是他的诗歌翻译策略。本文将对卞之琳的浪漫主义诗歌译作进行分析，并对其文学翻译理论提出一些批判性性思考。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
&lt;br /&gt;
“信、似、译”；“以顿代步”；浪漫主义诗歌&lt;br /&gt;
&lt;br /&gt;
===Chapter 1 Introduction of Bian Zhilin and Romanticism===&lt;br /&gt;
====Introduction of Bian Zhilin====&lt;br /&gt;
Bian Zhilin is a representative of Chinese modernist poetry, a famous literary critic and literary translator. He translated foreign literature especially poetry and Shakespeare's plays. He has devoted his whole life to the literature and cultural exchanges between China and foreign countries. He is known as &amp;quot;the master of Poetry and the leading scholar in translation in China&amp;quot;. He dialectically absorbed previous translation theories and formed his unique translation thoughts. His famous works include ''Leaves of Three Autumns'' which is his first volume of Poetry and contains verses filled with the melancholy and despair, ''Fish Eyes Collection'', ''The Han Garden Collection'' and ''Poems of a Decade'' and so on.&lt;br /&gt;
&lt;br /&gt;
====Introduction of Romanticism====&lt;br /&gt;
Romanticism is a reaction against the Enlightenment and rationalism in 18th century, and a rejection of the precepts of order, calm, harmony, balance, idealization, and rationality that typified in classicism and neoclassicism. English Romanticism is generally defined to begin in 1798 with the publication of William Wordsworth and Samuel Taylor Coleridge's Lyrical Ballads and end in 1832 with Walter Scott's death. Romanticists place the individual at the center of art and make literature most valuable as an expression of his or her unique feelings and particular attitudes and make its accuracy a portraying the individual's experience. &lt;br /&gt;
&lt;br /&gt;
Romanticism is a period of poetry. During this period, many poets created plenty of wonderful poems which vividly show the beauty of nature and humanistic thoughts. English romantic poets contain the elder generation and the younger generation. The elder generation, also called &amp;quot;lake poets&amp;quot; includes William Wordsworth, Samuel Taylor Coleridge and Robert Southey and so on. The younger generation includes George Gordon Byron, Percy Bysshe Shelley and John Keats and so on. Besides, William Blake also deserves attention. He is a pre-romanticist and a forerunner of the romantic poetry of the 19th century. In this paper, I will analyze poems of William Blake, William Wordsworth and Percy Bysshe Shelly to show Bian Zhilin's translation theories.&lt;br /&gt;
&lt;br /&gt;
===Chapter 2 Bian Zhilin's Literary Translation Theories===&lt;br /&gt;
====&amp;quot;Faithfulness, Similarity and Translation&amp;quot;====&lt;br /&gt;
Bian Zhilin is a famous poet, translator and literary researcher in China. For decades, he not only made remarkable achievements in the field of poetry and Chinese and foreign literature studies, but also left a valuable fortune in literary translation, especially in poetry translation. Bian Zhilin has formed clear and instructive translation thoughts and theoretical views through her long-term translation practice. These translation thoughts and theoretical views influenced his translation behavior and effect, formed his exquisite translation art, and also had a great influence in the field of translation. He broke through the traditional translation theories and put forward the translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot; which is based on dialectically absorbing and reasonably sublating the traditional translation theories.&lt;br /&gt;
&lt;br /&gt;
=====Faithfulness=====&lt;br /&gt;
It is well-known that &amp;quot;faithfulness, expressiveness and elegance&amp;quot; created by a modern Chinese translator Yan Fu has become the most widely spread and popular translation standards in history of modern Chinese translation. And it has always been in the mainstream in the field of translation in China. There has been a long debate in Chinese translation field around &amp;quot;faithfulness, expressive and elegance&amp;quot;. However, &amp;quot;faithfulness&amp;quot; put forward by Bian Zhilin has achieved the transcendence and unification of this debate. &lt;br /&gt;
&lt;br /&gt;
======Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
According to Yan Fu, &amp;quot;faithfulness&amp;quot; means a translation should be faithful to the content of the original which is the first requirement of translation. &amp;quot;Expressiveness&amp;quot; means a translation should be fluent and articulate. &amp;quot;Elegance&amp;quot; means a translation should use elegant words so as to make the translation literary (Luo Xinzhang 136). Yan Fu believed that only elegant words can express the essence of original text. And he advocated translator used classical Chinese before Han Dynasty, namely, pre-Qin period. In fact, Yan Fu translated a lot of works in accordance with this criterion. &lt;br /&gt;
&lt;br /&gt;
======Debates around Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
Many speakers thought highly of Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, and this criterion once became the only standard for evaluating the quality of translation. Many literary translators like Liang Qichao, Lu Xun praised this criterion.&lt;br /&gt;
&lt;br /&gt;
Though &amp;quot;Faithfulness, expressiveness and elegance&amp;quot; has been widely accepted, there were still many doubts about this criterion. Most translators acknowledged Yan Fu's &amp;quot;faithfulness,expressiveness and elegance&amp;quot;, but they doubted &amp;quot;elegance&amp;quot;. For example, Chen Xiying, a famous Chinese female translator, opposed &amp;quot;elegance&amp;quot; because she thought &amp;quot;faithfulness and expressiveness&amp;quot; is quite enough for non-literary works and &amp;quot;elegance&amp;quot; is not necessary. Even for literary works, &amp;quot;elegance&amp;quot; is not necessary since some characters in literary works are from countryside and their speeches apparently couldn't be elegant (Luo Xinzhang 401-402). &lt;br /&gt;
&lt;br /&gt;
However, though these opinions are different they have one thing in common: all these opinions divide &amp;quot;faithfulness, expressiveness and elegance&amp;quot; up and judge them separately. &lt;br /&gt;
&lt;br /&gt;
======Bian Zhilin's &amp;quot;faithfulness&amp;quot;======&lt;br /&gt;
Unlike most translators, Bian Zhilin has his own unique view. Bian Zhilin believes there is only one advisable standard in &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, that is &amp;quot;faithfulness&amp;quot;. According to Bian Zhilin, &amp;quot;faithfulness&amp;quot; means being loyal to the original text comprehensively, not only to the content of the original text, but also to the form (Bian Zhilin 503). It seems that there is no apparent difference between Yan Fu's faithfulness and Bian Zhilin's faithfulness. But that's not the case. &lt;br /&gt;
     &lt;br /&gt;
Firstly, Bian Zhilin doesn't totally deny the value of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. His faithfulness is mainly for literary translation which aims to highlight the artistic features of literary translation. Bian Zhilin believes that literary translation is an artistic and creative activity which not only includes language conversion but also involves the knowledge of literature, aesthetics, literature and art. He thinks &amp;quot;faithfulness, expressiveness and elegance&amp;quot; lays too much emphasis on the content and form of language which is not suitable for literary translation. &lt;br /&gt;
&lt;br /&gt;
Secondly, Bian Zhilin opposed the artificial separation of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. He thinks this separation is a kind of false perception which may cause the emphasis of one aspect and the neglect of the others. He thinks that artistic translation standard, strictly speaking, is only &amp;quot;faithfulness&amp;quot; which means the full fidelity to content and form. Actually, Bian Zhilin doesn't deny the existence value of expressiveness and elegance; instead, he seems &amp;quot;faithfulness, expressiveness and elegance&amp;quot; as a whole and &amp;quot;faithfulness&amp;quot; includes &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot;. Therefore, his faithfulness is comprehensive: both &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot; are internalized in &amp;quot;faithfulness&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Thirdly, Bian Zhilin believes &amp;quot;faithfulness&amp;quot; in literary translation means translation should be loyal to original text both in content and form. In others words, it's not desirable that translation be better or worse than the original. Besides, he holds that &amp;quot;faithfulness&amp;quot; in translation is not absolute but relative and it needs artistic creation of translators(Li Changshuan 57). What's more, literary translators should have the confidence in translating the &amp;quot;spirit&amp;quot; of the original so as to make translation vivid and expressive.&lt;br /&gt;
&lt;br /&gt;
All in all, Bian Zhilin believes the content and form of literary works are unified and indivisible, so is &amp;quot;faithfulness, expressiveness and elegance&amp;quot;.  At the same time, he admits &amp;quot;faithfulness&amp;quot; is relative rather than absolute considering difference between language and culture. Therefore, Bian Zhilin's faithfulness is inheritance and innovation of traditional translation theory and has important theoretical value.&lt;br /&gt;
&lt;br /&gt;
=====Similarity=====&lt;br /&gt;
======Formal Similarity and Spiritual Similarity======&lt;br /&gt;
Formal similarity means translation preserves the linguistic form of the original which includes words, grammar, sentence structure, figures of speech and types or forms of literature and so on. Any two languages have something both common and different. Those common features are the bases of formal similarity of translation. &lt;br /&gt;
&lt;br /&gt;
Spiritual similarity, on the contrary to formal similarity, means getting rid of the bondage of language form such as words, grammar when it is necessary. And translators should use authentic translation to convey the artistic features of the original. Spiritual similarity was first put forward by Mao Dun and was further advocated and practiced by Fu Lei. It has become one of the dominant theories in Chinese translation theories.&lt;br /&gt;
&lt;br /&gt;
======Debates around Formal Similarity and Spiritual Similarity======&lt;br /&gt;
In the field of Chinese translation, translators debated a lot around formal translation and spiritual translation. Many translators believe formal translation is more advisable than spirit translation. But others think differently. For instance, Chen Xiying believed there were three kinds of &amp;quot;faithfulness&amp;quot;, namely spiritual similarity, meaning similarity and formal similarity, among which spiritual similarity is superior, meaning similarity is the second and formal similarity is inferior. Chen Xiying held that formal similarity ignores the writing style of the original though it conveys the meaning of the original completely. Meaning translation is better than formal translation because it focuses on not only what the original writer says but also how he says it. But meaning translation is much more like imitation which cannot grasp the &amp;quot;spirit&amp;quot; of the original. Spirit translation, however, is the exact way to convey the &amp;quot;spirit&amp;quot; of the original. Besides, Yan Fu is another representative who pays more attention to spirit similarity than to formal similarity (Luo Xinzhang 694).&lt;br /&gt;
======Bian Zhilin's &amp;quot;Similarity&amp;quot;======&lt;br /&gt;
Bian Zhilin took a stand against the long-standing debate around formal similarity and spiritual similarity. In his opinion, there is only one word between formal similarity and spiritual similarity that is advisable——&amp;quot;Similarity&amp;quot;. Bian Zhilin holds that literary work is a unity of content and form; &amp;quot;form&amp;quot; and &amp;quot;spirit&amp;quot; in literary translation is complementary. On the one hand, &amp;quot;form&amp;quot; is the basis of &amp;quot;spirit&amp;quot; which means without concrete form, the spirit and artistic value of literary works can only be empty talk. On the other hand, &amp;quot;spirit&amp;quot; is the life of &amp;quot;form&amp;quot; which means literary works without &amp;quot;spirit&amp;quot; likes people without soul, which can only be empty body and meaningless form (Bian Zhilin 551).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Similarity&amp;quot; which was put forward by Bian Zhilin, actually contains the similarity both in formal similarity and spiritual similarity. In other words, ideal literary translation should achieve the unity of form and spirit. Bian Zhilin thinks literary translation can only achieve similarity with the original but not sameness (Bian Zhilin 8-9), which not only recognizes the difference between the original and the translation, but also acknowledges translators' creative efforts.&lt;br /&gt;
&lt;br /&gt;
=====Translation=====&lt;br /&gt;
======Literal Translation and Free Translation======&lt;br /&gt;
Literal Translation means expression forms and syntactic structure of the translated text should be as consistent as possible with the original when translators convey the meaning of the original text. Free translation, however, means translators should break the linguistic form of the original text and express the meaning of the original by using the customary expressions of the target language.&lt;br /&gt;
&lt;br /&gt;
======Debates around Literal Translation and Free Translation======&lt;br /&gt;
The debates between literal translation and free translation in the history of western translation can be date back to Cicero (106BC-43BC). Cicero opposed &amp;quot;word for word translation&amp;quot; (literal translation) which was deemed as &amp;quot;interpreter's translation&amp;quot; and advocated &amp;quot;sense for sense translation&amp;quot; (free translation) which was deemed as &amp;quot;orator's translation&amp;quot;(Tan Zaixi 24). Cicero's distinction about translation paved the way for following translators. For example, John Dryden published his views on literal translation and free translation. Dryden made distinction between metaphrase, phrase and imitation which was an extension of literal translation and free translation. What's more, Newmark thinks literal translation is preferred when the effect is the same (Newmark 39). And Nabokov holds that literal translation is true translation because it can convey the exact contextual meaning of the text as accurately as possible (Nabokov viii).&lt;br /&gt;
&lt;br /&gt;
======Bian Zhilin's Translation======&lt;br /&gt;
Bian Zhilin thinks only &amp;quot;translation&amp;quot; is advisable over the long-standing dispute over literal translation and free translation. Translation contains following meanings (Bian Zhilin 8).&lt;br /&gt;
&lt;br /&gt;
Firstly, literal translation and free translation are not contradictory but complementary. Too much emphasis on either side will only have a bad effect on literary translation. Bian Zhilin also criticizes translations that put too much emphasis on the source language or the target language.&lt;br /&gt;
&lt;br /&gt;
Secondly, translation cannot be creation. Translation should be based on the original text, not personal creation. But Bian Zhilin doesn't deny the creativity in translation and thinks the creativity is the life of translation as long as it is based on the original.&lt;br /&gt;
&lt;br /&gt;
====Bian Zhilin's Poetry Translation Strategies====&lt;br /&gt;
Absorbed thoughts from former and contemporary poets, Bian Zhilin created his poetry translation strategies. That is to translate English poetry in a poetical and metrical way and replace foot with dun. These strategies not only consider the western poetry patterns, but also considers the characteristics of Chinese, which has strong feasibility. Bian Zhilin's poetry translation strategies are closely related with his literary translation theory of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
=====Translating Poetry in A Poetical and Metrical Way=====&lt;br /&gt;
Bian Zhilin thinks that poetry is more a unity of content and form than other literary forms. Therefore, poetry translation includes both translation of poetry content and form. Bian Zhilin thinks poetry translation should be loyal to the original poem not only in content but also in form. Poems should be translated into the form of poem rather than prose. If the original poem is free verse, then translated version also should be free verse. If the original poem is metrical poem, then translation also should be a metrical one. (Bian Zhilin, 319) The coincidence between form and content in poetry translation is an embodiment of translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Meter is an important feature of poetry, including rhythm, rhythm and arrangement of words and stanzas. There are many differences in meter among poetry of different languages. And different poets and works use different meters. These become major factors of difficulties in poetry translation. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin thinks translators should preserve the metrical features of the original poems. In other words, translators should translate poetry in a metrical way. Therefore, poems should be translated by using equivalent meter. To be more specific, translators should translate foreign poems by using commonalities between Chinese traditional metrical basis and foreign metrical basis. It's not just simple application of foreign poetry patterns nor of Chinese traditional poetry patterns. Instead, it's the crossover of the two poetry patterns.&lt;br /&gt;
&lt;br /&gt;
=====Replacing Foot with Dun=====&lt;br /&gt;
The key to the metrical problem of poetry translation is what is the metrical unit of the line, &amp;quot;word&amp;quot; (a syllable) as a unit or &amp;quot;dun&amp;quot; (syllables) as a unit. Bian Zhilin believes metrical poems should be translated in equivalent &amp;quot;duns&amp;quot; which can replace meters and this kind of translation is without the limit of word numbers. This theory is well thought out and based on rhythmic characteristics of Chinese. As Bian Zhilin analyzed that when we speak Chinese, we usually say two or three Chinese characters as a &amp;quot;dun&amp;quot; in most cases, one character at least as a &amp;quot;dun&amp;quot; and four characters at most as a &amp;quot;dun&amp;quot;. This is the internal rules of Chinese. Chinese poems constitute stanzas, stanzas constitute lines and lines constitutes &amp;quot;duns&amp;quot;. Therefore, &amp;quot;dun&amp;quot; is the natural rhythmic units of Chinese poetry and reveals poems' &amp;quot;inherent music-like rhythm and beat&amp;quot;.&lt;br /&gt;
 &lt;br /&gt;
However, that &amp;quot;dun&amp;quot; is the basic metrical unit of the Chinese poetry doesn't mean the number of duns in each line is exactly the same. Bian Zhilin advocates dun of two characters and dun of three characters should be arranged alternately and adjusted mutually to meet the needs of poetic expression and produce an effect similar to feet in western poetry.&lt;br /&gt;
&lt;br /&gt;
===Chapter 3 Analyses of Bian Zhilin's Translation Practice===&lt;br /&gt;
Bian Zhilin put his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and poetry translation strategies of &amp;quot;replacing foot with dun&amp;quot; into practice. Here are three poem excerpts of romantic poets and Bian Zhilin's translation of them.&lt;br /&gt;
&lt;br /&gt;
====William Blake's ''The Tiger'' in ''Songs of Experience''====&lt;br /&gt;
William Blake is a representative of English romantic literature. He was hailed by 20th century critics as &amp;quot;the great prophet&amp;quot; who was a pioneer of romanticism. He broke neoclassical traditions in the 18th century and emphasized instinct, passion and imagination. Besides, Blake is a revolutionary poet and expressed strong revolutionary passion and rebellious spirit in his poem. The Tiger is one of his earliest lyrical poems. It eulogizes the shape and strength of the tiger. Here is an excerpt of it:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Tiger! Tiger! Burning bright&lt;br /&gt;
&lt;br /&gt;
In the forests of the night,&lt;br /&gt;
&lt;br /&gt;
What immortal hand or eye&lt;br /&gt;
&lt;br /&gt;
Could frame thy fearful symmetry?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
老虎！|老虎！|火一样的辉煌，&lt;br /&gt;
&lt;br /&gt;
烧穿了|黑夜的|森林和|草莽，&lt;br /&gt;
&lt;br /&gt;
什么样|非凡的|手和|眼睛&lt;br /&gt;
&lt;br /&gt;
能塑造|你一身|惊人的|匀称？&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of dun.)&lt;br /&gt;
&lt;br /&gt;
The excerpt shows the praise for the tiger. In the poem, Blake uses symbolization and compares the tiger to a fire that destroys everything. Bian Zhilin represents the perfect creation of the creator with the symmetry of the tiger. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem on the guidance of his theory of &amp;quot;faithfulness, similarity and translation&amp;quot;. In the first line of the excerpt, the use of &amp;quot;Tiger&amp;quot; with exclamation marks is a kind of call of the tiger——the king of the forest. Bian Zhilin translates them faithfully into &amp;quot;老虎！老虎！&amp;quot;. The third line is a rhetorical sentence that asks without answering, which reminds readers of the Creator——God, thus making the poetry profound. Bian Zhilin follows the rhythmic characteristics of the original poem and translates it artistically.  &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin also makes his translation according to his theory of &amp;quot;replacing foot with dun”. The above stanza consists of four lines of trochaic tetrameter. Therefore, there are four feet in each line. And in translated version, there are four lines of four duns. Each duns contains two or three characters, thus make the structure of the translated poem neat and have a strong rhythm.&lt;br /&gt;
&lt;br /&gt;
====William Wordsworth's ''The“Lucy”Series''====&lt;br /&gt;
William Wordsworth is also an important poet in English romanticism. He was made poet laureate and he strongly promoted the innovation of English poetry and the development of the Romantic movement. He believes &amp;quot;Poetry is the spontaneous overflow of powerful feelings&amp;quot;. The following excerpt is taken from his &amp;quot;Lucy&amp;quot; series:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
A slumber did my spirit seal&lt;br /&gt;
&lt;br /&gt;
I had no human fears&lt;br /&gt;
&lt;br /&gt;
She seemed a thing that could not feel&lt;br /&gt;
&lt;br /&gt;
The touch of earthly years &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
No motion has she now, no force&lt;br /&gt;
&lt;br /&gt;
She neither hears nor sees&lt;br /&gt;
&lt;br /&gt;
Rolled round in earth's diurnal course&lt;br /&gt;
&lt;br /&gt;
With rocks, and stones, and trees.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
迷糊|封住了|我的|精神；&lt;br /&gt;
&lt;br /&gt;
我没有|人世的|忧惶：&lt;br /&gt;
&lt;br /&gt;
她似乎|超然|物外，|不可能&lt;br /&gt;
&lt;br /&gt;
感觉到|岁月的|影响。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
现在|她无力了，|也不能|动弹；&lt;br /&gt;
&lt;br /&gt;
她不再|耳闻|目睹；&lt;br /&gt;
&lt;br /&gt;
卷在|地球的|日程里|滚转，&lt;br /&gt;
&lt;br /&gt;
混同了|岩石、|树木。&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
The above poem was written when Wordsworth went and stayed in Germany with his sister Dorothy in 1798 and 1799. It uses simple words and the meaning of the poems is quite clear. And Bian Zhilin's translation of the poem is quite faithful and vivid. &amp;quot;Slumber&amp;quot; in the first line of the original is translated into &amp;quot;迷糊&amp;quot; rather than &amp;quot;沉睡&amp;quot;, which gives readers a sense of &amp;quot;lazy charm&amp;quot;. And &amp;quot;fears&amp;quot; in the second line was translated into &amp;quot;忧惶&amp;quot;；it’s quite vivid and pertinent. Besides, the original poem consists of two stanzas with four lines of iambus. In each stanza, the first and the third line have four feet and the second and the fourth line have three feet. The whole poem follows the rhyme scheme of &amp;quot;a-b-a-b, c-d-c-d&amp;quot;. Bian Zhilin replaces feet in the poem with duns. There are fours duns in the first and the third lines and three duns in the second and fourth lines in translation. And the translated version follows the same rhyme scheme with the original. The whole poem is translated and expressed in quite appropriate way.&lt;br /&gt;
&lt;br /&gt;
====Percy Bysshe Shelley's ''Song to the Men of England''====&lt;br /&gt;
Percy Bysshe Shelley, as one of the famous romantic poets, pursued freedom and resisted violence in his short life. He encouraged people to stand and fight for a better life and was branded a &amp;quot;complete revolutionary&amp;quot; by Marx. And Song to the Men of England was written by Shelley after &amp;quot;Peterloo incident&amp;quot; in Manchester in 1819 to reveal the cruel nature of reactionary rulers and call on people to revolt bravely. Here is an excerpt of Song to the Men of England:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Men of England, wherefore plough&lt;br /&gt;
&lt;br /&gt;
For the lords who lay ye low?&lt;br /&gt;
&lt;br /&gt;
Wherefore weave with toil and care&lt;br /&gt;
&lt;br /&gt;
The rich robes your tyrants wear?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Wherefore feed and clothe and save&lt;br /&gt;
&lt;br /&gt;
From the cradle to the grave&lt;br /&gt;
&lt;br /&gt;
Those ungrateful drones who would&lt;br /&gt;
&lt;br /&gt;
Drain your sweat——nay, drink your blood?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
英国的|人民，|为什么|犁地&lt;br /&gt;
&lt;br /&gt;
报答|老爷们|踩你们|成泥？&lt;br /&gt;
&lt;br /&gt;
为什么|辛勤|劳苦|去织布，&lt;br /&gt;
&lt;br /&gt;
让那些|恶霸|穿华丽|衣服？&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
为什么|你们|从摇篮|到坟冢&lt;br /&gt;
&lt;br /&gt;
尽供给|和保养|那许多|雄峰？&lt;br /&gt;
&lt;br /&gt;
他们|不感激，|还非常|坚决，&lt;br /&gt;
&lt;br /&gt;
要喝干|你们的汗|——再加|血；&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
This excerpt is about the clash between two classes of society, the poor working class and the rich nobles. The major theme of this poem is exploitation. People plow for the sake of the lords, who are like drone bees that do no work but live off of the works of others. The narrator is urging the workers to make a stand as they are being treated unfairly. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin practices his poetry translation strategies of &amp;quot;translating poetry in metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; in this poem. In the original poem, each of two stanzas consists of four lines of iambic tetrameter, rhyming &amp;quot;a-a-b-b, a-a-b-b&amp;quot;. In the translated version, there are also two stanzas composed of four lines. And in each line, there are four duns which replaces the four feet in the original poem. The rhyme scheme in translated version is the same as that in the original.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translate the poem faithfully and vividly. For example, he translates &amp;quot;lay ye low&amp;quot; into &amp;quot;踩你们成泥&amp;quot; which well preserves the images of the original work. And &amp;quot;tyrants&amp;quot; in the fourth line of the first stanza is translated into &amp;quot;恶霸&amp;quot; which is concise and accurate. In the second stanza, &amp;quot;From the cradle to the grave&amp;quot; modifies &amp;quot;the men of England&amp;quot; rather than those &amp;quot;ungrateful drones&amp;quot;, Bian Zhilin understands the linguistic structure of the poem and translates it into &amp;quot;你们从摇篮到坟冢&amp;quot;. &amp;quot;坟冢&amp;quot; is more formal than &amp;quot;坟墓&amp;quot; and it's suitable for poetry, from which we can see the precision of Bian Zhilin's choose of words. In the last line, Bian Zhilin uses a dash and the words &amp;quot;再加&amp;quot; to highlight the brutal nature of the rulers. Actually, this translation is a good practice of his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===Chapter 4 Critical Thinking of Bian Zhilin's Translation Theories===&lt;br /&gt;
There is no doubt that Bian Zhilin's translation theories greatly promoted the development of English poetry translation in China. His &amp;quot;faithfulness, similarity and translation&amp;quot; is the inheritance and innovation of Chinese traditional translation theories. And it indeed provides a new way for poetry translation. Besides, Bian Zhilin thinks poetry should be translated into poetry rather than prose. In other words, translators should translate poetry in a poetical and metrical way. He stresses the importance of the unity between form and content and thinks high quality translation should be a unity of content and artistic style of the original text.&lt;br /&gt;
&lt;br /&gt;
Despite Bian Zhilin's great contribution to literary translation theories, I think there are still some problems existing in Bian Zhilin's translation strategies. In Bian Zhilin's opinion, translators can replace foot with dun thus achieving similar rhythmical effect in Chinese version with the English original. It seems that it is a quite advisable and feasible method. Bur actually, it cannot be practiced widely. In English poetry, each foot consists of two syllables, which is fixed and regular. But things are changed in Chinese. The character numbers in each dun in Chinese are not fixed. There may be one or two or three or four characters in each dun, so different people may have different divisions of duns based on their different understanding of context. Therefore, the division of duns may be disordered and random, which makes &amp;quot;replacing foot with dun&amp;quot; not advisable in many cases.&lt;br /&gt;
&lt;br /&gt;
Another problem in Bian Zhilin's translation theories is the ignorance of metrical patterns of foot. In English poetry, there are different metrical patterns like iambus, trochee, spondee and pyrrhic and so on. But there are no such meters in Chinese. &amp;quot;Replacing foot with dun&amp;quot; only considers the correspondence of foot but ignores the correspondence of metrical patterns of foot, so Bian Zhilin's &amp;quot;translating poetry in metrical way&amp;quot; actually is not adequate. We know Chinese is a kind of tone language which has four tones. We can use four tones to correspond the metrical patterns of foot in English. But it's quite difficult in so far and still needs more exploration.&lt;br /&gt;
&lt;br /&gt;
===Chapter 5 Conclusion===&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. His literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and &amp;quot;translating poems in a poetical and metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; give us a lot of enlightenment in the translation of poems. This paper analyzes Bian Zhilin's translation of romantic poems to show his translation strategies. However, there are still some problems in his theories, for example, the division of duns are disordered and random which are based on the understanding of translators and there is no correspondence in metrical patterns of foot. These are the problems that are needed to be considered and solved.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Blake, William. Songs of Experience[M]. New York: Dover Publications, Inc., 1971.&lt;br /&gt;
&lt;br /&gt;
Durrant, Geoffrey. William Wordsworth [M]. Cambridge: Cambridge University Press, 1979.&lt;br /&gt;
&lt;br /&gt;
Nabokov, Vladimir. &amp;quot;Forward&amp;quot;, A.S.Pushkin, Eugene Onegin, Nabokov, V.trans. London: Routledge &amp;amp; Kegan Paul, 1964/1975, p.viii.&lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. Approaches to Translation. Oxford: Pergamon, 1981, p39.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2002).《卞之琳文集》（中卷）. 安徽教育出版社, p503.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2000).《卞之琳文集》（上卷）. 安徽教育出版社, p8.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(1994).《从&amp;lt;西窗集&amp;gt;到&amp;lt;西窗小书&amp;gt;》.[英] 克里斯托弗·衣修伍德《紫罗兰姑娘》, 卞之琳译. 中国工人出版社, p8-9.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2007).《人与诗：忆旧说新》（增订本）. 安徽教育出版社, p319.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2005). 《英国诗选》. 商务印书馆, p156.&lt;br /&gt;
&lt;br /&gt;
Chen Xiying陈西滢(1984).《论翻译》. 罗新璋编《翻译论集》. 商务印书馆, p401-402.&lt;br /&gt;
&lt;br /&gt;
Fu Lei傅雷(1984).《论文学翻译书》. 罗新璋编《翻译论集》. 商务印书馆, p694.&lt;br /&gt;
&lt;br /&gt;
Li Changshuan李长栓(2004). 《非文学翻译理论与实践》. 中国对外翻译出版公司, p57.&lt;br /&gt;
&lt;br /&gt;
Shen Suru沈苏儒(1998).《论信达雅：严复翻译理论研究》. 商务印书馆, p8.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜(1991).《西方翻译简史》.商务印书馆, p24.&lt;br /&gt;
&lt;br /&gt;
Yan Fu严复(1984).《&amp;lt;天演论&amp;gt;译例言》.罗新璋编《翻译论集》. 商务印书馆, p136.&lt;br /&gt;
&lt;br /&gt;
=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday, 2012) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær, 2015; von Flotow, 2010). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh (2015) argues that translation is one of the traditional communicating methods between communities all around the world. Jothiraj (2004) states that “translation plays an important role in the inter-lingual process of communication” (p. 1). Translation is essential for cultures and languages to exchange information. Newmark (1988) defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects. Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
&lt;br /&gt;
Nida (1964) indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style. Larson (1998) has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context. &lt;br /&gt;
&lt;br /&gt;
Culture plays a considerable role, Snell-Hornby (1988, p. 33) assumed that “Culture refers to all socially conditioned aspects of human life”. Another definition of culture is formulated by Goodenough (1957, p. 167). For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term. By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
&lt;br /&gt;
The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline (2003, p.16) thought that “religion is an important institutional network that binds people to one another.” But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
&lt;br /&gt;
This study is aimed to probe Newmark's (1988) translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion (1988, p. 81), seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL. &lt;br /&gt;
&lt;br /&gt;
===Translation and Culture===&lt;br /&gt;
&lt;br /&gt;
2. Translation and Culture &lt;br /&gt;
&lt;br /&gt;
Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.  &lt;br /&gt;
The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988, 7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988, 5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988, 7).  &lt;br /&gt;
&lt;br /&gt;
In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford (1965) defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language” (Catford 1965, 20). According to Venuti’s translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader” (Venuti 1995, 18). Schjoldager stated that “a translation is a text that expresses what another text has expressed in another language” (Schjoldager 2008, 19). Culture is a complex whole which includes knowledge, belief, art, law, morals, customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan (2014), claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014, 2). Hermanns (1999) contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures. Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014, 2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark (2001), illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001, 328). &lt;br /&gt;
&lt;br /&gt;
Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
&lt;br /&gt;
2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
&lt;br /&gt;
Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora, fauna, food, clothes, housing, work, leisure, politics, law, and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988, 327) Christine Nord names them “culturemes” (Nord 1997, 9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012, 1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Aixela, 1997; Davies, 2003), others choose cultural words (Newmark, 2003) or culture-bound phenomena/concepts (Baker, 1992, Newmark, 2003, Robinson, 2003). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker, 1992, 21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988, 94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988, 95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988, 95).&lt;br /&gt;
&lt;br /&gt;
2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
&lt;br /&gt;
The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85, P. 22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003, 16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.&lt;br /&gt;
&lt;br /&gt;
===Types of Translation ===&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
Newmark (1988) determines 8 types of translation which are: &lt;br /&gt;
 &lt;br /&gt;
3.1 Word-for-Word Translation &lt;br /&gt;
&lt;br /&gt;
This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
&lt;br /&gt;
3.2 Literal translation &lt;br /&gt;
&lt;br /&gt;
In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
&lt;br /&gt;
3.4 Semantic Translation &lt;br /&gt;
&lt;br /&gt;
Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
&lt;br /&gt;
3.5 Adaptation &lt;br /&gt;
&lt;br /&gt;
This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015, 15). &lt;br /&gt;
&lt;br /&gt;
3.6 Free Translation &lt;br /&gt;
&lt;br /&gt;
The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
&lt;br /&gt;
3.7 Idiomatic Translation &lt;br /&gt;
&lt;br /&gt;
This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
&lt;br /&gt;
3.8 Communicative Translation &lt;br /&gt;
&lt;br /&gt;
This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
===Translation Strategies  ===&lt;br /&gt;
&lt;br /&gt;
4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
&lt;br /&gt;
4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela (1996), translators need to choose several strategies based on the source language culture and target culture.  He distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, he tries to command by the level of their intercultural intervention. He divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies). &lt;br /&gt;
&lt;br /&gt;
4.1.1. Conservation: &lt;br /&gt;
In conservation, the less compelling process includes repetition, orthographic adaptation, linguistic translation, extratextual gloss and intratextual gloss. &lt;br /&gt;
&lt;br /&gt;
4.1.1.1 Repetition: In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus, the translator keeps as much as possible the original reference (Aixela, 1996, p. 61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
&lt;br /&gt;
4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
&lt;br /&gt;
4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
&lt;br /&gt;
4.1.1.4 Extra-textual Gloss: Here, the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes, endings, words, ideas, translators in dictionaries, italics and so on. &lt;br /&gt;
&lt;br /&gt;
4.1.1.5 Intra-textual Gloss: It's like the past but the translator feels that he/she can include the globe as an indirect part of the text, not to distract the reader. &lt;br /&gt;
&lt;br /&gt;
4.2.1 Substitution &lt;br /&gt;
In substitution, According (Aixela, 1996) “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here”. &lt;br /&gt;
&lt;br /&gt;
4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
&lt;br /&gt;
4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
&lt;br /&gt;
4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela, 1997, p.63). &lt;br /&gt;
&lt;br /&gt;
4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Shokri, Ketabi, 2015, p.8). &lt;br /&gt;
&lt;br /&gt;
4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela, 1996, p. 64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
&lt;br /&gt;
4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela, 1997). &lt;br /&gt;
&lt;br /&gt;
4.3 Mona Baker’s Translation Strategies &lt;br /&gt;
Baker’s strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation. (Baker, 1992). He suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies, which are the following: &lt;br /&gt;
&lt;br /&gt;
4.3.1 Translation by a more general word: According to Baker, this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
&lt;br /&gt;
4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
&lt;br /&gt;
4.3.3 Translation by cultural substitution: This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
&lt;br /&gt;
4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
&lt;br /&gt;
4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
&lt;br /&gt;
4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
&lt;br /&gt;
4.3.7 Translation by omission: Losing phrases or words that are not vital to text development. &lt;br /&gt;
&lt;br /&gt;
4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view, however, Baker's (1992) translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
&lt;br /&gt;
===Cultural Categories  ===&lt;br /&gt;
5. Cultural categories &lt;br /&gt;
 &lt;br /&gt;
5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
5.1.2 Material culture &lt;br /&gt;
Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.” &lt;br /&gt;
5.1.3 Social culture &lt;br /&gt;
The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
5.1.4 Organisation &lt;br /&gt;
Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
 &lt;br /&gt;
5.2 Newmark Classification CSIs &lt;br /&gt;
Newmark (1988) established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items.&lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
 &lt;br /&gt;
Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
&lt;br /&gt;
2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
&lt;br /&gt;
3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
&lt;br /&gt;
4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
&lt;br /&gt;
5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
&lt;br /&gt;
6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
&lt;br /&gt;
7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
&lt;br /&gt;
8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
&lt;br /&gt;
9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
&lt;br /&gt;
10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
&lt;br /&gt;
11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
&lt;br /&gt;
12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
&lt;br /&gt;
13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
&lt;br /&gt;
14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
&lt;br /&gt;
16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
&lt;br /&gt;
17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
&lt;br /&gt;
18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
&lt;br /&gt;
19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
&lt;br /&gt;
20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
&lt;br /&gt;
21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
&lt;br /&gt;
22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
&lt;br /&gt;
23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
&lt;br /&gt;
24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996, 31), “translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by (Newmark 1988, 81), “translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.” &lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation, then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions. &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity, as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts, the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term, and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part, but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark (1988) has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9. &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark’s strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark (1988) were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However, the translator must be competent in using the translation procedures to provide an accurate translation. &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
Aguado-Gimenez, P., &amp;amp; Pérez-Paredes, P. F. (2005). Translation-strategies use: A classroombased examination of Baker’s taxonomy. Meta: journal des traducteurs/Meta: &lt;br /&gt;
Translators' Journal, 50(1), 294-311. &lt;br /&gt;
&lt;br /&gt;
Ahmadi, M. R.S and Nosrati, Fatemah. (2012). Domestication and Foreignization Strategies in Translation of Culture-Specific Items. Translations of English-Persian Children’s Literature. San Francisco: Grin Publishing. Google Books. &lt;br /&gt;
&lt;br /&gt;
Al Saleh, R. A. (2019). An Application of Newmark's Procedures to Muhammad Abul Quasem's Alleman, J. C. Bee. W. Ulitkin, I. Files, F., Zetzsche, J., Chatonnet-Marton, P. &amp;amp; y del Árbol, E. V. Translation Strategies. &lt;br /&gt;
&lt;br /&gt;
Al-Sofi, B. B. M. A., &amp;amp; Abouabdulqader, H. (2020). Bridging the gap between translation and culture: towards a cultural dimension of translation. International journal of linguistics, literature and culture, 6(1), 1-13. &lt;br /&gt;
&lt;br /&gt;
Baker, M., 1992. In Other Words: A Coursebook on Translation. London: Routledge, p.20–42. &lt;br /&gt;
&lt;br /&gt;
Blažytė, D., &amp;amp; Liubinienė, V. (2016). Culture-specific items (CSI) and their translation strategies in Martin Lindstrom’s&amp;quot; Brand sense&amp;quot;. Kalbų studijos, (29), 42-57. &lt;br /&gt;
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Bush, P. (1998) &amp;quot;Literary Translation.&amp;quot; In: M. Baker, ed. Routledge Encyclopedia of Translation Studies, London: Routledge, pp.127-130. &lt;br /&gt;
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Catford. J. C. (1965). A linguistic theory of translation. Oxford: Oxford University Press. &lt;br /&gt;
English Translation of Mohammad Al-Ghazali's Islamic Guidance.Literature and Culture, 6(1), 1-13. &lt;br /&gt;
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Gečaitė, L. (2020). Culture-Specific Items and Their Translation Strategies in Victoria Hislop's Novel The Sunrise.” (2020). &lt;br /&gt;
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Hassan, B. E. A. (2014). Between English and Arabic: A practical course in translation. &lt;br /&gt;
Cambridge Scholars Publishing. &lt;br /&gt;
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Hermans, T. (1999). Translation in systems. Manchester: St. Jerome Publication  House, J. (Ed.). (2014). Translation: a multidisciplinary approach. Springer. &lt;br /&gt;
Issa, A. L. S. M., &amp;amp; Hammood, L. H. R.- Quranic-Specific Phrases under the Study of Translation; Significance and Applications. &lt;br /&gt;
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Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. (33), p. 83-87). &lt;br /&gt;
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Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. 33, p. 83-87). &lt;br /&gt;
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Lambert, J. (1998) Literary Translation. In: M. Baker, ed. Routledge Encyclopedia of Translation Studies. London: Routledge, 130-134. &lt;br /&gt;
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Landers, Clifford E. (2001) Literary Translation: A practical guide. New Jersey University Press: Multilingual Maters. &lt;br /&gt;
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Lustig, Myron, W. and Koeser, Joline  (2003), Intercultural Competence: Interpersonal Communication Across Cultures, Boston: Allyn and Bacon. &lt;br /&gt;
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Malmkjær, K. (1993). Who Can Make Nice A Better Word Than Pretty? Collocation, Translation, and Psycholoinguistics. In: Baker, M., Francis, G. and Tognini-Bonelli, E. &lt;br /&gt;
eds. Text and Technology. Philadelphia/Amsterdam: John Benjamins Publishing Company. pp.213-32. &lt;br /&gt;
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Mosavat, S., &amp;amp; Rahimpour, S. (2016). The Most and Least Used Translation Strategies for &lt;br /&gt;
Conveying Culture-Specific-Items in Young Adult Literature from English into Persian. International Journal of Humanities and Cultural Studies (IJHCS) ISSN 23565926, 1853-1873. &lt;br /&gt;
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Munday, J. (1997). Systems in Translation: A computer-assisted systemic approach to the analysis of translation of García Márquez. Ph.D thesis, University of Bradford. &lt;br /&gt;
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Newmark, P. (2001). A Textbook of Translation. Shanghai: Shanghai Foreign Language &lt;br /&gt;
Education Press &lt;br /&gt;
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Newmark, Peter. (1988). A Textbook of Translation. New Jersey: Prentice-Halls &lt;br /&gt;
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Nord, Christiane. (1997). Translating as a Purposeful Activity: Functionalist Approaches &lt;br /&gt;
Explained. Manchester: St. Jerome. Accessed 10 November. 2018. Google Books Schjoldager, A. (2008). Understanding translation. Academica: Århus. &lt;br /&gt;
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Silalahi, M., &amp;amp; Lubis, S. (2013). Translation Procedures of Cultural Terms Found In Sejarah Bilingual For Students of Senior High School. &lt;br /&gt;
Valipoor, K., &amp;amp; andAzizeh Chalak, H. H. T. (2019). Cultural-specific items in translation of the Holy Quran by Irving: 43-51. &lt;br /&gt;
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Venuti, L. (1995). The translator’s invisibility: A history of translation. London and New York: &lt;br /&gt;
Routledge &lt;br /&gt;
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Widiarto, O. V. V. (2016). The translation procedures of cultural expressions applied in a game of thrones translated into Perebutan Tahta novel by Barokah Ruziati (Doctoral dissertation, Dian Nuswantoro University).&lt;br /&gt;
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=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
===An Overview on Translation Studies  ===&lt;br /&gt;
&lt;br /&gt;
===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
&lt;br /&gt;
=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the researcher wants to highlight the different concepts about the fundamental question &amp;quot;what is idiomatic expression&amp;quot; of different critics, theorists and linguistic experts, and prominent scholars of translation studies. Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
&lt;br /&gt;
Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda Corelli 2006, 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984, 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992, 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to (Newmark 1981, 11), “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”&lt;br /&gt;
.	The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to (Corelli 2006, 53), English has a sizeable idiomatic base.&lt;br /&gt;
About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.&lt;br /&gt;
The main issue that idiomatic and fixed expressions pose for translators, according to (Baker 1992, 65), is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.&lt;br /&gt;
&lt;br /&gt;
Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.&lt;br /&gt;
&lt;br /&gt;
===Literature Review ===&lt;br /&gt;
In this chapter, the author/researcher defines the strategy and its different definitions from the perspective of different subjects and fields. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented. Krings defines it as the content of the project, while Seguinet divided the term into three steps. However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. &lt;br /&gt;
&lt;br /&gt;
The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward.&lt;br /&gt;
Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint.&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to (Seguinot 1989, 27) (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.&lt;br /&gt;
&lt;br /&gt;
Furthermore, (Loescher 1991, 8) defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot; As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998, 4) claim moreover, (Bell 1998, 188) distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.&lt;br /&gt;
&lt;br /&gt;
According to (Venuti 1998, 240), &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot; He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to (Jaaskelainen 2005, 15), product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.&lt;br /&gt;
&lt;br /&gt;
Furthermore, (Jaaskelainen 2005, 16) distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making. (Newmark 1988, 221) distinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016, 13).&lt;br /&gt;
&lt;br /&gt;
The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010, 15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017, 54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
&lt;br /&gt;
Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985, 9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female.&lt;br /&gt;
Several research articles are found on translated work (license and khol do) of Urdu famous short stories writer Sadat Hassan Manto's from a different perspective like psychoanalysis, postcolonial, feminist approaches but to explore the problem of translations strategies face by translator Aatish Taseer during the process of translation has not been mention till date. To summarize this, the research includes a critical, in-depth, comprehensive analysis of issues that previously did not address.&lt;br /&gt;
&lt;br /&gt;
=== Theoritical Framework ===&lt;br /&gt;
&lt;br /&gt;
Different strategies have been used, like using an idiom of similar meaning and similar form, the idiom of similar meaning and different form, translation by Paraphrasing, translation by omission. The approach of employing idioms of similar meaning and form, according to Mona Baker, entails using an idiom in the target language that can express about the same meaning as the source language idiom, as well as having lexical similarity. On the other hand, this type of matching happens periodically as well as regularly.&lt;br /&gt;
&lt;br /&gt;
Similarly, employing idioms with similar meanings but different forms means that it is possible to locate an idiom or fixed expression in the target text language that has a similar meaning to the source idiom or expression but is made up of distinct lexical elements. Consider the case of English and French, both of which use the idiom mentioned above. In English, one good deed is rewarded with another, whereas in French, handsome deeds are rewarded with handsome deeds.&lt;br /&gt;
&lt;br /&gt;
Furthermore, we did not come across any idioms in the category mentioned above during translating idioms. To deal with this issue, the translators used the most popular approach, known as a translation by paraphrase, which is short, straightforward, and time-saving. When a match cannot be identified in the target language or when it appears improper to employ idiomatic language in target material due to aesthetic differences between the source and target languages, this is the most typical approach for translating an idiom from source to target language. However, one thing to keep in mind is that a perfect translation is not required is necessary or possible.&lt;br /&gt;
&lt;br /&gt;
Last but not least, to overcome the problem of idiom translation, the translator employs the strategy of translation by omission. This can be defined as an idiom being omitted entirely in the target text with a single word. This is done because the idiom has no close match in the target language; its meaning cannot be easily paraphrased or due to stylistic reasons. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
3.4 Data analysis Techniques:&lt;br /&gt;
Textual analysis is the method of data analysis in qualitative research that brings forth the hidden and potent message, structure, and function of research in giving text, Alan Mckee (defines textual analysis as whenever we perform textual analysis on the text, we make an educated guess at some time of the most likely interpretations that might be made of that text (Alan Mckee 2001, 3)&lt;br /&gt;
Analysis of the translation of short stories in light of Mona baker's theory &amp;quot;khol do and license&amp;quot; are short stories written by Sadat Hassan Manto and translated by many translators from Urdu into English. During translation, the translator adopted many strategies for translating idiomatic expression, sometimes by Paraphrasing, sometimes by omission, sometimes using similar idioms of form and meaning while sometimes using different words and the same form, the whole.&lt;br /&gt;
&lt;br /&gt;
===Discussion and Analysis===&lt;br /&gt;
&lt;br /&gt;
The chapter analyzes and discusses all the data collected by the author/researcher from different sources. All the examples of idioms are first identified, then translated into the target text, and back-translated for the sole purpose of exploring the strategies being used by the translator. A separate section is given to every strategy with its related example. Moreover, the idiomatic expression, the target work for finding, is highlighted through the bold letter.&lt;br /&gt;
&lt;br /&gt;
4.1	Translation by Paraphrasing:&lt;br /&gt;
&lt;br /&gt;
Based on our findings, the most often used strategy was &amp;quot;translation by paraphrasing.&amp;quot; An inspection also reveals that Aatish Taseer preferred this strategy. Here are some examples applied by the translators, and in the following section, the logic behind their preference towards this strategy is elaborate. The following are examples from two short stories of Sadat Husain Manto's &amp;quot;khol do&amp;quot; and &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 1: &lt;br /&gt;
&lt;br /&gt;
ST: Sirajuddin ne subah das baji anki kholi to logo ka ail mutalatam samandar deka.&lt;br /&gt;
&lt;br /&gt;
TT: Ten a.m., Siraj Uddin opens his eyes on the cold floor of the camp, seeing the swelling sea of men.&lt;br /&gt;
&lt;br /&gt;
BT: sub ke das baji jab Sirajuddin ne apni anki koli to logo ka aik ublaha howa samandar ka nizara dekni laga.&lt;br /&gt;
&lt;br /&gt;
So, the above idioms are literal idioms being translated with the help of Paraphrasing because there is no perfect equivalent of mutalatam words in English languages. A similar look at another idiom from short stories &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&lt;br /&gt;
ST: Khuda tomahra bala kari.&lt;br /&gt;
&lt;br /&gt;
TT: Your God will reward&lt;br /&gt;
&lt;br /&gt;
BT: Is ka badla khoda tomahi di.&lt;br /&gt;
&lt;br /&gt;
Here, the word reward is being used for Bala Kari, an example of transitional by Paraphrasing.&lt;br /&gt;
Let  take another example from &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
&lt;br /&gt;
ST: unkho nai Jan khateli pa rak kar sakena ko donda.&lt;br /&gt;
&lt;br /&gt;
TT: even putting their lives online, they search sakina &lt;br /&gt;
&lt;br /&gt;
BT: apni zindagio ko khatri me dal kar unkho nai sakina ko dond nekala.&lt;br /&gt;
&lt;br /&gt;
The above idioms are examples of pure idiom translated from Urdu into English with the help of paraphrases strategies. However, under the same strategies, the idioms of another short story of Manto,s &amp;quot;license,&amp;quot; are translated by Aatish Taseer. Some of the examples are given below.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
ST: Abu kochwan bara cheel jabela ta. It is the binomial type of idioms taken from the first sentence of the short story &amp;quot;license&amp;quot; by Sadat &lt;br /&gt;
Hasan Manto &lt;br /&gt;
&lt;br /&gt;
TT: Abu kochwan is stylish man.&lt;br /&gt;
&lt;br /&gt;
BT: Abu kochwan aik wazahdar admi ta.&lt;br /&gt;
&lt;br /&gt;
From the above idiom, it is clear that there is no perfect equivalence of cheela chabela idiom in English; that is, the translator goes &lt;br /&gt;
through paraphrasing strategies. Look at another example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
ST: Lein har waqat bank bani rekhi ka usi be had showk ta&lt;br /&gt;
&lt;br /&gt;
TT: He had a weakness for style and fashion.&lt;br /&gt;
&lt;br /&gt;
BT: Dan saj ke rekhna uski kamzori me sai ik ta.&lt;br /&gt;
&lt;br /&gt;
So all of the above examples, which are analyzed one by one, are examples of idioms being translated through paraphrasing strategies. (De Beaugrande and Dressler 1981, 50) define paraphrases as &amp;quot;approximate conceptual equivalence among outwardly different material.&amp;quot; Similarly, in this regard, Hirst defines paraphrases as &amp;quot;talk(ing) about the same situation in a different way.&amp;quot; Munday declared that &amp;quot;equivalence is particularly useful in translating idioms and proverbs” For instance, if the English idiom like a bear with a sore head is rendered into Persian as (mesle borje zahremar), meaning like a tower of snake venom, the strategy of equivalence has been applied. &lt;br /&gt;
&lt;br /&gt;
According to Leonardi, &amp;quot;Equivalence can be said to be the central issue in translation.&amp;quot; In this regard, house believes that &amp;quot;a translation text should match not only its source text in function but also employ equivalent situational-dimensional means to achieve that function&amp;quot; (Baker 2002, 49).  who shares this approach, states that equivalence is used &amp;quot;for the sake of convenience—because most translators are used to it rather than because it has any theoretical status&amp;quot; (Kenny 1998, 77). &lt;br /&gt;
&lt;br /&gt;
Despite different attitudes to the concept of equivalence, most specialists pay much attention to its meaning in the theory of translation. The translation is a form of communication, and that is why it is vital to establish equivalence between the source text and the target text. Although Vinay and Darbelnet believe that equivalence is used differently than in modern translation theory, it is evident that equivalence is one of the basic concepts of translation that cannot be neglected. Consequently, based on the Above mentioned studies using Paraphrasing in translation stands as the core concept in the process of translation, and still, most of the translators cling to it for producing a more comprehensible and explicable text. These language ideas and translation models are ideal constructs, presented abstractly in order to be differentiated precisely. They may exist in an uneasy combination in actual theories and practices, resulting in logical tensions or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation. Theories and actions must be contextualized in historical settings. They've been utilized as analytical tools to describe various topics in section introductions. Theoretical writings and current events these language notions and translation models are ideal constructs expressed in an abstract manner in order to be distinguished precisely in real-life hypotheses they may exist in an uncomfortable mix, resulting in logical conflicts or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
4.2	Using an idiom of Similar Meaning and Form &lt;br /&gt;
&lt;br /&gt;
As mentioned earlier, this strategy type is being used by Aatish Taseer during their translated work of Manto's short stories &amp;quot;khol do&amp;quot; and&amp;quot; license&amp;quot; on an occasional basis. Some examples are mention below.&lt;br /&gt;
&lt;br /&gt;
From khol do.&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
ST: Larki ka rang zard hogaya.&lt;br /&gt;
&lt;br /&gt;
TT: The girl's face became fail&lt;br /&gt;
&lt;br /&gt;
BT: larki ka rang zar hogya.&lt;br /&gt;
&lt;br /&gt;
Similarly, another example from the license is&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: Abu our us ke mat beer hogaie&lt;br /&gt;
&lt;br /&gt;
TT: They fall in love with each other.&lt;br /&gt;
&lt;br /&gt;
BT: WO ik dosri ke mokhbat me geriftar hogaie&lt;br /&gt;
&lt;br /&gt;
The above idioms are pure ones and are being translated with the help of similar meanings and similar forms.&lt;br /&gt;
&lt;br /&gt;
The procedures: transposition, modulation, equivalence, and adaptation, and when it comes to defining the term Equivalence, (Vinay and Darbelnet 2000, 90) propose that it consists in rendering &amp;quot;the same situation … by two texts using completely different stylistic and structural methods&amp;quot;, and when it comes to translating idiomatic expressions like &amp;quot;Il pleut à seaux&amp;quot; it can be translated as &amp;quot;It is raining cats and dogs&amp;quot; using the idiom of similar form and meaning in the target language.&lt;br /&gt;
&lt;br /&gt;
As (Baker 1992, 12) states, this strategy involves using an idiom in the TL which conveys roughly the same meaning as that of the source language idiom and, in addition, consists of identical lexical items. The salient point is that this kind of match can only occasionally be achieved, which cannot be picked up more often by translators. Accordingly, both translators mentioned in the current study had quite a slim chance of using this strategy type. &lt;br /&gt;
&lt;br /&gt;
4.3 Using an idiom of similar meaning but different form:&lt;br /&gt;
&lt;br /&gt;
During translating Manto short stories, &amp;quot;khol do&amp;quot; and &amp;quot;license,&amp;quot; some of the idioms are translated with the help of this strategy. Some of the examples are given below from two different short stories.&lt;br /&gt;
&lt;br /&gt;
Example number one is from the short story &amp;quot;khol do&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
ST: Aur bolwai gos ayai thee?&lt;br /&gt;
&lt;br /&gt;
TT: The roitors come abroad.&lt;br /&gt;
&lt;br /&gt;
BT: pasadi bahar agai hai.&lt;br /&gt;
&lt;br /&gt;
The above idiom is a pure type of idiom being translated with the help of above mention strategy. The word rioter is being used for bolwai, which is not a perfect word for bolwai. In Urdu bolwai, people believe in violence when minorities or the low population of any country want some rights. These people stop them by using violence, burn down their properties, rapes women, and do things like that. Another example from the license is below.&lt;br /&gt;
&lt;br /&gt;
Example 9:&lt;br /&gt;
&lt;br /&gt;
ST: Dosri kotwal abu ko dek kar jal ban ho jati.&lt;br /&gt;
&lt;br /&gt;
TT: The other coachman burn with envy.&lt;br /&gt;
&lt;br /&gt;
BT: Abu ke kamyabi dek kar aur kotwal abu sai khasad karni lagi’&lt;br /&gt;
&lt;br /&gt;
The above idioms are a pure idiom that reflects the effect of jealousy between competitors to achieve equivalency. Aatish Taseer uses envy word for jal ban instead of other which have similar meaning but different form. Look at the other example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: Dino lat vo lagal se kam karni laga.&lt;br /&gt;
&lt;br /&gt;
TT: Dino came with an excuse.&lt;br /&gt;
&lt;br /&gt;
BT: Dino abb bahi tarashni laga.&lt;br /&gt;
	&lt;br /&gt;
The above idioms are types of binomial idioms translated with the help of idioms with similar meanings and different forms. (Newmark 1988, 81) mentions the difference between translation methods and translation procedures. He writes that &amp;quot;[w]hile translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language&amp;quot; (Newmark 1988, 81). Idiomatic translation in his definition reproduces the 'message' of the original. However, it distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original, leading to using an idiom of similar meaning but a different form. Besides, it is often possible to find an idiom or fixed expression in the target language with a meaning similar to that of the source idiom or expression but which consists of different lexical items (Baker 1992, 12). Therefore, translators discover idiomatic expressions in the target language with different forms than in the source language. In the current study, the translators approached this strategy merely for 9% of the total times, which means the frequency of Iranian and English idioms with the same meaning and different forms is not considered high. &lt;br /&gt;
&lt;br /&gt;
4.4 Translation by omission:&lt;br /&gt;
&lt;br /&gt;
A translator is less using these strategies, and we did not find any clue on this type of strategy in an area under consideration.&lt;br /&gt;
&lt;br /&gt;
=== Findings===&lt;br /&gt;
&lt;br /&gt;
(Mandelbit 1995) believed that idioms with different cognitive mapping in the target language would be more challenging to translate. After conducting study and data analysis of collected data, the result revealed that the translator frequently used three out of four strategies of the Mona Baker model during the translation process, which is a translation by Paraphrasing, translation by similar meaning and similar form, translation by similar meaning and different form. In contrast, translation by omission does not found in his work.&lt;br /&gt;
After detail and careful analysis of data, more than half of idioms like &amp;quot;swelling sea of man,” my lord break his arrogance, “weakness for style and fashion.&amp;quot; As I mentioned earlier, many more are translated under the umbrella of Paraphrasing, which is considered the most common method used for translating idioms.&lt;br /&gt;
&lt;br /&gt;
Similarly, we also reflect strategies like similar meaning and different form and similar meaning and similar form. The idiom &amp;quot;rioter came abroad,” burn with envy,” The girl's face became pale, &amp;quot; They fall in love with each other&amp;quot; are translated with the help of two mention strategies, respectively.&lt;br /&gt;
&lt;br /&gt;
Although translation by omission is a strategy used on rare occasions because of its meaning, its meaning cannot be easily paraphrased or stylistic reason. Here, the researcher also did not find any idiom translated with the help of the omission strategy.&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
Go through detailed discussion and analysis of data collected from my source. We finally concluded that the idioms present in two short stories, &amp;quot;khol do&amp;quot; and &amp;quot;License,&amp;quot; are translated under the frame of Mona Baker's idiomatic model. Translation by Paraphrasing is mainly used while idioms of similar meaning and form and idioms of similar meaning and different forms are used occasionally. The researcher discusses all the strategies with related examples in the order of maximum used to minimum used. The strategy by omission did not find it works. All the data are collected from different sources and analyzed with the help of different researcher tools, and the result is written in light of the finding. Different from previous studies, the writer presents the strategies to translate idioms by each type of idiomatic expression found in the story. From the result, it is considered the translation of idiomatic expressions in the story is quite accurate. As the number of accurate data is more the data which is not related to the translation. We take conclusion from the translation through idiomatic expression and paraphrasing is the best way to translate a novel or a story however it is very difficult job to do because it needs more accurate and precise knowledge about the source language and an inspiring method to express ideas in the target language. However, translation is thing through which we can connect the world with each other and also we can study and observe diverse cultures.            &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abu-Saydeh, A. F. (2004). Translation of English idioms into Arabic. Babel, 114-131.&lt;br /&gt;
&lt;br /&gt;
Ahsan, S. (2020). A comparative study of two translations of manto's short story &amp;quot;Toba Tek&amp;quot;. International Journal of English Language Studies, 12-27.&lt;br /&gt;
&lt;br /&gt;
Alexander, R. J. (1987). Mimeograph. In R. J. Alexander (Ed.) Collocation and Culture. Trier: University of Trier, West Germany.&lt;br /&gt;
&lt;br /&gt;
Al-Qinai, J. (2000). Translation quality assessment. strategies, parameters and procedures. Translator's Journal, 497-519.&lt;br /&gt;
&lt;br /&gt;
Bayashi, J. (2020). Japanese-English translation: An advanced guide. Oxfordshire: Routledge.&lt;br /&gt;
&lt;br /&gt;
Das, V. &amp;amp;. (1995). Critical events: An anthropological perspective on contemporary India. New Delhi: Oxford Printing Press.&lt;br /&gt;
&lt;br /&gt;
Mufti, A. (2007). The Language of English India. In I. &amp;amp;. End (Ed.) Enlightenment in the Colony. Princeton University Press.&lt;br /&gt;
&lt;br /&gt;
Waka Xia, L. (2019). A discourse analysis of news translation in China. Syydney: Routledge.&lt;br /&gt;
&lt;br /&gt;
= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
===Ambiguity===&lt;br /&gt;
&lt;br /&gt;
===Lexical and Structural Mismatches===&lt;br /&gt;
&lt;br /&gt;
===Multiword units: Idioms and Collocations===&lt;br /&gt;
&lt;br /&gt;
===Summary===&lt;br /&gt;
&lt;br /&gt;
===Further Reading===&lt;/div&gt;</summary>
		<author><name>Atta Ur Rahman</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=130905</id>
		<title>Translation types, strategies, styles, methods</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=130905"/>
		<updated>2021-12-10T15:57:19Z</updated>

		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* Analysis and Discussion */&lt;/p&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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==Abstract==&lt;br /&gt;
''Legend of Zhen Huan'', as an excellent Chinese TV series, has successfully entered the American market. However, the American version of Legend of Zhen Huan still has some shortcomings in translation. By comparing and analyzing the subtitle texts of the ''Legend of Zhen Huan'' in China and the United States, this paper aims to discuss the problems existing in the overseas translation of the ''legend of Zhen Huan'' and the translation strategies and methods adopted in the subtitle translation of the American version, so as to provide some enlightenment for Chinese costume dramas to reach the world in the future.&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
Translation strategy and translation methods; ''Legend of Zhen Huan''; Subtitle translation&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
The TV series ''Legend of Zhen Huan'' is Imperial-harem competing play produced by the Beijing Television Arts Center in 2011. This play is adapted from a novel of the same name written by Liu Lianzi, which mainly tells the story of the young girl Zhen Huan growing up from an unsophisticated young girl to an empress dowager who is good at politics. Since its debut in China in 2012, ''the Legend of Zhen Huan'' has been a hit among Chinese audiences, with its ratings rising and even forming “Zhen Huan craze” for a time. The reason why the play has received so much praise, on the one hand, is that the film and television script is well-produced; on the other hand, it is because the plots and dialogues of the characters in the play cover a wealth of historical and cultural knowledge, embodying the profundity of Chinese culture.&lt;br /&gt;
Due to its great success in the domestic market, the series finally attracted the attention of foreign producers: the American team adapted the original ''Legend of Zhen Huan'', cutting the 76-episode original drama into six episodes,which was officially launched on Netflix’s paid website in the United States on March 15, 2015. It is the first Chinese TV series to be broadcast on mainstream TV stations in the United States. &lt;br /&gt;
However, the American version of the ''Legend of Zhen Huan'' failed to be sought after by audiences in the US, with most viewers abandoning the show after only one or two episodes.The English lines of the ''Legend of Zhen Huan''’s have ever been criticized by some Chinese audiences. After a deep study of the reason, in addition to the lack of content caused by a large amount of deletion and cutting, another important reason is the insufficiency of subtitle translation. This paper attempts to explore the translation strategies of the subtitle of ''Legend of Zhen Huan'', hoping to provide some inspiration for the subtitle translation of domestic film and television works of the same type.&lt;br /&gt;
&lt;br /&gt;
==Literature Review==&lt;br /&gt;
&lt;br /&gt;
===Previous studies in Subtitle Tranlation abroad===&lt;br /&gt;
In the early 1970s, Doller Up (1974) published a paper entitled “On Subtitle in TV Programs” on Babel, an authoritative journal of the International Association of Translators, which was the first time that scholars paid special attention to subtitle translation. In addition, he creatively pointed out the great value of TV subtitles to foreign language teaching, and then made contributions to the cause of education.&lt;br /&gt;
&lt;br /&gt;
In 1976, Istvan Fodor published a book called Film Dubbing: Aspects of Phonology, Semiotic Aesthetics, and Psychology, which centered on film dubbing from an acoustic perspective. Fodor argues that because each country’s language and culture are unique and irreplaceable, it is almost impossible to achieve perfect “synchronization” in all aspects of the translation of film(Fodor 1976:82).&lt;br /&gt;
&lt;br /&gt;
In 1982, Christopher Titford first proposed the concept of “restricted translation” in his article “Subtitling: Restricted Translation”. He believes that the limitations of film and television as a medium themselves are the main cause of problems encountered by translators in practice (Titford 1982:113).&lt;br /&gt;
&lt;br /&gt;
In 1992, Ivarsson, a Swedish subtitling translation scholar, published his book Subtitling for Media: A Handout of Art, which can be said to be the first comprehensive study of subtitling translation works in Europe. In this book, Ivarsson introduces the development of subtitle translation technology in detail. The most representative subtitle translation scholars are Gambill and Gottlieb, who are two translation theorists. Yves Gambill, a Finnish translator, is a very important expert in the field of film and television translation. Gambill has a wide range of research fields, he has compiled a large number of academic monographs, such as language transfer and Audiovisual Communication: bibliography, which discusses the classification of translation patterns, translation strategies, translation audience and so on (Gambill 1997).&lt;br /&gt;
&lt;br /&gt;
===Previous studies on Subtitle translation at home===&lt;br /&gt;
The research on subtitle translation in China mainly focuses on the English translation of Chinese films, and a large number of such papers and articles have been published, which are also the most representative research results of subtitle translation in China. In addition, with more and more domestic films moving toward the international stage, some attention has been paid to the study of Chinese subtitles.&lt;br /&gt;
&lt;br /&gt;
The study on Chinese and English subtitle translation can be divided into several fields, including film and television language characteristics, subtitle translation methods, subtitle translation history and so on.&lt;br /&gt;
&lt;br /&gt;
Subtitle translation methods can be broadly divided into two categories. One category refers to some practical translation methods and skills summed up by translators based on their years of translation experience, such as the seven kinds of experiences of film and television translation proposed by Qian Shaochang (2000), which stresses the importance of “translation” in the output of films and TV plays. The other is related to domestic MA papers. They usually start with some translation theories, such as German functional translation theory, Eugene Nida’s functional equivalence theory, relevance theory, and Susan Basnett’s cultural translation theory, and finally conclude translation methods such as domestication, foreignization, literal translation, free translation, omission and so on.&lt;br /&gt;
&lt;br /&gt;
In recent years, with the increasing popularity of American TV series in China, the phenomenon of online subtitle translation has begun to attract attention from all sides. As time went by, subtitle translation goes beyond the simple purpose of satisfying the entertainment needs of movie fans, and begin to be applied to teaching practice and students’ self-learning process. This phenomenon is bound to attract academic attention. For example, Wang Hui (2005) discussed this issue in his article “The Impact of Subtitling on Vocabulary Acquisition”. This paper draws some conclusions which are beneficial to foreign language teaching.&lt;br /&gt;
&lt;br /&gt;
However, there are still many deficiencies in the study on subtitle translation. The only literature we can refer to is few books on the translation of film and television subtitle. In other words, subtitle translation is not discussed in detail.&lt;br /&gt;
&lt;br /&gt;
==Subtitle translation features==&lt;br /&gt;
&lt;br /&gt;
===Subtitle translation needs to be brief and comprehensive===&lt;br /&gt;
Subtitle translation should not be lengthy for two reasons: First, because the screen keeps switching, each screen stay can not be very long, the scene with the character’s dialogue switches over more quickly, in a matter of seconds, which is fleeting. Second, whether it is the large screen in the cinema or the small screen in the home, due to space constraints, if the subtitle translation is not simple enough, it will lead to an increase in the number of words in the target language, not to mention the English words that take up more space than Chinese phrases. English words take up more space than Chinese phrases.&lt;br /&gt;
&lt;br /&gt;
Take the Chinese phrase “Computer”for example, the English equivalent word is computer. The Chinese verb “来”corresponds to the English word “Come”. In general, English words have more characters than their Chinese counterparts, except in rare cases. Since the length of the word can not be artificially controlled, subtitle translation will put a higher demand on the number of words. In a typical presentation, Chinese and English subtitles are displayed simultaneously at the bottom of the screen, up to two lines of Chinese and two lines of English.&lt;br /&gt;
&lt;br /&gt;
If there are too many words, the limited space can not accommodate in a few seconds, the audience will have a dazzling feeling as well. Therefore, one of the distinctive features of subtitle translation is its concise use of words.&lt;br /&gt;
&lt;br /&gt;
===Subtitling translation requires natural equivalence===&lt;br /&gt;
The subtitling of the target language should be as natural as the subtitling of the source language. The subtitle translation discussed in this paper is mainly about the dialogue of the characters in the play. On the one hand, the style of dialogue is colloquial, in this sense,It is important   for the translator to pay attention to whether the subtitle translation that the target language audience can hear and see is in line with their daily speaking style.If the original spoken language is translated formally and rigidly, the audience of the target language will feel less natural and fluent, and their movie-watching experience can not be comparable with that of the source language audience. On the other hand, the spoken language features of the characters can clearly shape the characters in the play. If the translator does not grasp the spoken features of the characters, the target audience can not understand the character’s connotation as well as the source audience.&lt;br /&gt;
&lt;br /&gt;
Therefore,if a character needs to say something filthy, or even taboo, to make the character stand out, the subtitle translator must also translate the same filthy and taboo.These taboos should inevitably appear in the subtitle translation, and we should not mince words about them. The same is true of English to Chinese subtitle translation and Chinese to English translation. Because these taboo words are the extension of the role connotation, improper handling will affect the target audience's understanding of the connotation of the role.&lt;br /&gt;
&lt;br /&gt;
===Subtitle translation needs to be easy to understand===&lt;br /&gt;
The film and Television Play is the Popular Entertainment Program, so subtitle translation should be clear at a glance. There are thousands of people watching TV dramas, and their knowledge and cultural level vary widely, and their appreciation level is naturally mixed.Film and TV series have such a wide audience, which requires subtitle translation to take care of the needs of the majority of the audience whether from the perspective of box office and Audience Rating, or from the perspective of cultural communication.&lt;br /&gt;
&lt;br /&gt;
==Theory of Domestication and Foreignization==&lt;br /&gt;
In the process of translation, the translator should determine the general direction of translation, cultivate a good sense of culture, and fully understand that translation is an important feature of information exchange across different languages and cultures. But how to achieve that? There are two opposite strategies in translation: foreignization and domestication. The terms of domestication and foreignization were put forward by Laurence Venutti in his book Translators’ invisibility in 1995:&lt;br /&gt;
&lt;br /&gt;
===Domestication===&lt;br /&gt;
The domestication strategy is to localize the source language, take the target language or target readers as the destination, and convey the content of the original text in the way that the target language readers are accustomed to.Domestication requires the translator to be closer to the target language reader, and the translator must speak like the native author.This translation strategy will often make the translation transparent, smooth, relaxed and natural, close to the reader to the greatest extent, so as to dilute the strangeness brought by the original text.In film and television subtitle translation, domestication is often used in order to make the audience understand the film smoothly.&lt;br /&gt;
&lt;br /&gt;
===Foreignization===&lt;br /&gt;
The foreignization strategy is completely opposite to the domestication strategy, which is oriented by the source language culture and that &amp;quot;the translator should not disturb the author as much as possible to make the reader close to the author&amp;quot;.Foreignization advocates believe that the main purpose of translation is cultural communication, so the translation should try its best to preserve the language and cultural information contained in the source language.Only in this way can the exchange and fusion of source and target cultures be achieved through translation. In addition, they believe that the translator should believe the reader’s imagination and intelligence to the utmost, and believe that when reading the translated version, the reader should not only understand the simple words, but also understand the foreign culture through the words, and they have the capacity to understand the culture. &lt;br /&gt;
&lt;br /&gt;
Of course, as two translation strategies, domestication and foreignization are the unity of opposites and they complement each other. Absolute domestication and absolute foreignization do not exist.&lt;br /&gt;
&lt;br /&gt;
==Case Study==&lt;br /&gt;
&lt;br /&gt;
===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
The essence of “foreignization”is “the tendency toward the original author”, that is, the translator tries to be close to the original author in his translation (Xiong Bing, 2014). In the words of the Friedrich Schleiermacher, this means that the translator“Tries not to disturb the original author, but to take the reader to the original author”(Robinson, 2006:229) . Specifically in Translation, the translator tries to retain the original language, literariness, cultural characteristics and exotic customs (Xiong Bing, 2014) . Therefore, the nature of foreignization strategy is mainly in favor of the original author, and its defects are mainly reflected in the readability of the translation. In other words, the translation may be blunt and not well received and understood by the audience. Therefore, the translation effect is not ideal for the target audience.&lt;br /&gt;
&lt;br /&gt;
====Literal Translation====&lt;br /&gt;
Literal translation means keeping both the content and the form of the original text in the translation when the language conditions permit, especially the metaphor, image, national and local color of the original text.The vast majority of subtitle translation of the Us version of ''Legend of Zhen Huan'' adopts literal translation. Look at the following example:&lt;br /&gt;
&lt;br /&gt;
Example 1&lt;br /&gt;
&lt;br /&gt;
Chinese version：嬛嬛一袅楚宫腰。&lt;br /&gt;
&lt;br /&gt;
American version：the slim waist of the concubines of the Chu palace.&lt;br /&gt;
&lt;br /&gt;
For the word “Huan”in the name of Zhen Huan, the American version uses the Foreignization method, which is translated literally as the slim waist of the concubines of the Chu palace.Western audiences may be confused by the subtitles,Western audiences may be confused by the subtitles, because Zhen Huan is clearly a woman from the Qing Dynasty, how come another Chu Palace? In terms of accuracy and the conveying of cultural context, this translation is well-done, but it creates a barrier for the audience to understand. Therefore, the translation can throw out on its real meaning, such as translated into As my name, Huan, means graceful women with slim waist, &amp;quot;Chu palace&amp;quot; here means can be omitted.&lt;br /&gt;
&lt;br /&gt;
Example 2&lt;br /&gt;
&lt;br /&gt;
Chinese version：一片冰心在玉壶&lt;br /&gt;
&lt;br /&gt;
American version：A jade vessel is the symbol of a pure heart.&lt;br /&gt;
&lt;br /&gt;
“Jade Vessel”in Chinese has a unique associative meaning, while the meaning of these words in English is vacant. Western audiences just think that Dr. Wen is evaluating his character, but they can’t hear his pure love for Zhen Huan, so on the basis of foreignization, it’s better to add some domestication translation to make it easier for the audience to understand.&lt;br /&gt;
&lt;br /&gt;
The American versions of examples 1 and 2 are very literal and concise translations, because the original subtitles have no hidden meaning.However, due to the wrong choice of translation methods, a small number of translated subtitles are just like translation cavities.If the cultural significance of the original text is lost, the translation may be regarded as a failure.In a sense, actors’ performances and lines are the &amp;quot;booster&amp;quot; of the plot development of the TV series.However, if the audience can not understand the original meaning, the story will be much less attractive in the eyes of the audience.For example:&lt;br /&gt;
&lt;br /&gt;
Example 3&lt;br /&gt;
&lt;br /&gt;
Chinese version：“赏你一丈红”&lt;br /&gt;
&lt;br /&gt;
American version：Then I will award Attendant Xia the Scarlet Red.&lt;br /&gt;
&lt;br /&gt;
In the original subtitle of example 3, “一丈红” (yi zhang hong,  literally “two-meter-long red”) is used to punish a palace maid or a  concubine who had done something wrong in China’s ancient imperial palace. The specific content of the penalty goes as follows: a two-meter-long and two-inch-thick board was used by the performer to give the guilty palace maid or concubine a good beating on their waist or the place below it until their bones were broken and the blood gushed out.   Looking from the distance, you will see that the blood covered a long distance. Thus, it is called “一丈红”. &lt;br /&gt;
&lt;br /&gt;
In the American version of Legend of Zhen Huan, it is translated into “the Scarlet Red”. the word Scarlet itself means “Lewd and sinful,”as in the Scarlet letter. It is very appropriate to translate &amp;quot;red&amp;quot; with scarlet. However, this partial literal translation runs counter to the American audience’s way of thinking, which they think it as nothing more than a horror show. In this way, the specific penalty content will be lost, and the target audience can't feel that the harem struggle is everywhere in the court, and can't get the equal effect for them.&lt;br /&gt;
&lt;br /&gt;
In this way, the specific content of the penalty will be lost, the target audience can not feel the Harem struggle existed everywhere in the imperial court and the equivalent effects cannot be obtained for them.&lt;br /&gt;
&lt;br /&gt;
====Zero Translation====&lt;br /&gt;
The so-called &amp;quot;zero translation&amp;quot; means that some elements of the source language are directly introduced into the target language without the ready-made words in the target language (Xiong Bing, 2014). This translation method is mainly used to translate the names of people and officials in the English version of the ''Legend of Zhen Huan''. That’s because in ancient China, there was a very strict patriarchal system with the ideas of three cardinal guides and the five constant virtues.&lt;br /&gt;
&lt;br /&gt;
In the eyes of the Chinese people, the distinction between the titles of concubines and concubines is clear at a glance, but it is difficult for foreigners to see these things, because medieval European monarchs were nominally allowed only one wife, there is no such complicated hierarchy of appellation among women. Therefore, such titles as &amp;quot;贵妃&amp;quot;, &amp;quot;妃&amp;quot;, &amp;quot;嫔&amp;quot;, &amp;quot;贵人&amp;quot;, &amp;quot;常在&amp;quot; and &amp;quot;答应&amp;quot; are presented in a dynamic equivalent way (words with similar functions in the source language), for example:&lt;br /&gt;
&lt;br /&gt;
Example 4&lt;br /&gt;
&lt;br /&gt;
熹贵妃——Noble Consort Xi    华妃——Consort Hua&lt;br /&gt;
&lt;br /&gt;
莞嫔 ——Concubine Huan       沈贵人——Lady Shen&lt;br /&gt;
&lt;br /&gt;
夏常在——Attendant Xia       小主——Young Mistress&lt;br /&gt;
&lt;br /&gt;
敦亲王：Prince Dun            舒太妃：Consort Dowager Shu&lt;br /&gt;
&lt;br /&gt;
Example 4 only shows a few official titles of the characters in the ''Legend of Zhen Huan''. However, the translation subtitles in this example reveal a subtitle rule that the American version of the ''Legend of Zhen Huan'' Uses Zero Translation for personal names and free translation for official titles. And we can clearly see the efforts of translators to represent this hierarchical culture in ancient China. However, this method of translation can not meet the needs of the current audience, because the ancient Chinese culture is broad and profound, and the official titles of emperors and concubines in the play conform to the traditional Chinese culture&lt;br /&gt;
&lt;br /&gt;
However, the cultural ideologies of the American people and the Chinese people are very different. Traditional translation can not convey the characteristics of the characters and the intensification of their contradictions. The American people have not experienced the five thousand years of slavery and feudalism in China, nor do English dictionaries or translation related books have Chinese cultural vocabulary. In addition, the current subtitle translation does not advocate the use of a large number of notes, which will have a negative impact on the effect of watching the drama.&lt;br /&gt;
&lt;br /&gt;
Therefore, notes are usually used only for the first appearance of a character, in order to provide the necessary introduction in enough subtitling space.When they appear a second time, the introduction will be omitted.As for the conflicts between the characters and the progress of the plot, it is difficult for the target audience unfamiliar with Chinese History to adapt to the culture and conflict in the play. Therefore, it is hard to arouse their interest in watching this drama.&lt;br /&gt;
&lt;br /&gt;
===Translation Methods under Domesticating Strategy===&lt;br /&gt;
Opposite to the foreignizing strategy, domestication is characterized by the “tendency toward the target recipients” (Xiong Bing, 2014). In other words, the translator tries to be as close to the target recipients in the translation as possible. In Schleiermacher’s words, it means that translators “try not to disturb the reader, but to bring the original author to the reader” (Robinson, 2006: 229). Specifically speaking, in the translation, the translator uses the language, literary devices, cultural elements that the target language readers love to replace the language, literary devices and cultural elements of the original language as much as possible, and abides by the language, literary devices and cultural norms of the original language (Xiong Bing, 2014). &lt;br /&gt;
&lt;br /&gt;
The domesticating strategy is a translation strategy just opposite to the foreignizing strategy. Its advantage is that the translation can be fluent, easy to understand, and easily accepted by the target recipients; or it tries to meet the specific needs of the target audience. However, the domesticating strategy also has some shortcomings. The first weakness of it is the loss of the language, literariness, culture and other important elements of the source text, so that the target audience cannot appreciate the exotic authentic language and cultural practices. This cannot help the cultural exchange and dissemination between different ethnic groups. The second weakness is that the domesticating strategy of the translated text may lead to semantic loss and semantic ambiguity in translated texts.&lt;br /&gt;
&lt;br /&gt;
====Omission====&lt;br /&gt;
Omission is a very important method in domestication strategy.The Syntactic structure of English emphasizes &amp;quot;hypotaxis&amp;quot;, and there are appropriate connecting elements between each component of a sentence to express their mutual relations, which emphasizes the consistency and coordination of grammatical relations.The structure of Chinese sentences is &amp;quot;parataxis&amp;quot;, and the relationship between each component of the sentence depends more on the intention, and less on the linking component. The structure form is relatively relaxed, and the words and sentences are relatively simple.Therefore, Omission is one of the most common methods in Chinese text translation.Word reduction means that in translation, the translator must grasp the differences between Chinese and English, omit the unnecessary linking elements in Chinese, make the translation smooth, avoid stiff and cumbersome, and eliminate unnecessary words and words as far as possible.There are many examples of reducing words in the translation of Legend of Zhen Huan.&lt;br /&gt;
&lt;br /&gt;
Example 1&lt;br /&gt;
&lt;br /&gt;
Chinese version:“先敬罗衣后敬人。” &lt;br /&gt;
&lt;br /&gt;
American version: “The clothing completes the person.”&lt;br /&gt;
&lt;br /&gt;
This Chinese idiom means that people will first look at the clothes they are wearing and judge their social status according to the clothes. There is a derogatory element in it.However, in the translation of this sentence, the translator adopted the word reduction method and did not translate every word.The word &amp;quot;complete&amp;quot; expresses the idea that &amp;quot;clothes make the man&amp;quot;, but fails to express the meaning intended in the original text.Therefore, the author thinks that can continue to use the Omission here, will change its translated into “According to clothing to estimate people’s status.”&lt;br /&gt;
&lt;br /&gt;
Example 2&lt;br /&gt;
&lt;br /&gt;
Chinese version: “花开堪折直须折，莫待无花空折枝。” &lt;br /&gt;
&lt;br /&gt;
American version: One must pick a flower at the prime of its bloom, Do not wait until the blossom fade and falls.&lt;br /&gt;
&lt;br /&gt;
There are three Chinese characters for &amp;quot;折&amp;quot; in this sentence, but the translator did not show any of them in the Process of English translation.Shall we say that he did not translate the Chinese meaning?Of course not. The translator must have noticed these three &amp;quot;fold&amp;quot; characters in the process of translation. If one of them is translated out, the sentence will appear too long-winded and not in line with the characteristics of subtitle translation.Therefore, the translator starts from the meaning of the original text to persuade people to cherish, and cleverly leaves out the word &amp;quot;折&amp;quot;, which not only avoids repetition, but also conveys the meaning of the original text.This reflects the three principles of Skopos theory: &amp;quot;Based on the source language, pay attention to the culture in the target language, the intention of translation activities and the acceptance state of the American audience&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
====Addition====&lt;br /&gt;
Addition is also an important translation method in domestication strategy.Augmentation refers to the use of structural and semantic augmentation to compensate for linguistic and cultural deficiencies in the target text.Structural supplement refers to the addition of omitted words or replaced words to make the content of translation more complete.Semantic supplement refers to the translator's addition of nouns, verbs, summative words, explanatory words and conjunctions to compensate for the lack of language and culture in the target text so that readers can understand the original text.&lt;br /&gt;
&lt;br /&gt;
Example 1&lt;br /&gt;
&lt;br /&gt;
Chinese version:“他不忍叫你明珠暗投。”  &lt;br /&gt;
&lt;br /&gt;
American version:&amp;quot;You will not be granted an ordinary life when you can live an extraordinary one.&lt;br /&gt;
&lt;br /&gt;
In this example, the translator adopted Addition method to make a explanatory translation for &amp;quot;明珠暗投&amp;quot; , the translation of &amp;quot;be granted an ordinary life when you can live an extraordinary one.&amp;quot;As we know, Chinese idioms are one of the wonders of The Han culture, and they often show rich implicit meanings in condensed four-character sentences.In the translation of this sentence, it is easy for us to understand the meaning of &amp;quot; 明珠暗投&amp;quot;&amp;quot;, but how to make the American audience understand, the translator needs to make an explanation, so that the American audience can understand the implicit meaning of the original text, so as to reduce the cultural burden.&lt;br /&gt;
&lt;br /&gt;
Example 2&lt;br /&gt;
&lt;br /&gt;
Chinese version：“臣妾一与社稷无功，二与龙脉无助。” &lt;br /&gt;
&lt;br /&gt;
American version:“Firstly, I have made no contribution to the nation. Secondly, I have begotten no heirs.&lt;br /&gt;
&lt;br /&gt;
In example 2, the translator interprets &amp;quot;社稷&amp;quot; as &amp;quot;nation&amp;quot; for readers to understand.&amp;quot;社稷&amp;quot; has always been a synonym for &amp;quot;nation&amp;quot; in Chinese, just as &amp;quot;White House&amp;quot; is a synonym for &amp;quot;America&amp;quot;. In addition, there is no English equivalent for &amp;quot;nation&amp;quot;, so it is appropriate for the translator to use &amp;quot;nation&amp;quot;.Heirs to dragon vein, a Feng shui concept meaning undulating mountains, succeed.Later, the royal family regarded it as the lifeblood of the country, so they would call the royal blood &amp;quot;dragon vein&amp;quot;.Heirs to dragon Vein, which in this case means heirs to the emperor's children, succeed in translating it into Heirs to the emperor.It's less common and more advanced than the word &amp;quot;children&amp;quot;, which is often thrown around.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
The subtitle translation strategy of Legend of Zhen Huan generally focuses on domestication, and tends to transform implicit meaning into explicit meaning.When the meaning of the source language is complex and difficult to be understood by the target language audience, the translation strategy of domestication is usually adopted, and the expressions used in the target language are adopted.If there is an equivalent or similar expression between the target language and the source language, alienation should be considered, and a concise explanation should be added if conditions permit, so that the cultural essence of the source language can be preserved and the audience can experience the charm and national characteristics of traditional Chinese culture.&lt;br /&gt;
&lt;br /&gt;
As a translation strategy, absolute domestication and absolute foreignization do not exist in translation practice.The task of the translator is to make the best use of the two strategies in practice according to the specific language characteristics, the purpose, the language characteristics of the source language and the target language, and the national culture, so as to bridge the cultural differences between the two countries.&lt;br /&gt;
&lt;br /&gt;
==Reference==&lt;br /&gt;
[１]Dollerup, Cay. On Subtitles in Television Programs[J]. Babel, 1974, (20): 197-202. &lt;br /&gt;
&lt;br /&gt;
[２]Ivstor, Fordor. Film Dubbing: Phonetic Semiotic, Esthetic and Psychological Aspects[C]. John Benjamins, 1976. &lt;br /&gt;
&lt;br /&gt;
[３]Schleiermacher, F. On the Different Methods of Translation[A]. In Robinson, D.(ed.). Western Translation Theory: From Herodotus to Nietzsche[C]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
&lt;br /&gt;
[４]Titford, Christopher.Subtitling: Constrained Translation[J]. Lebende Sprachen, 1982, 27(3):113-116.  &lt;br /&gt;
&lt;br /&gt;
[５]钱绍昌. 影视翻译──翻译园地中愈来愈重要的领域[J]. 中国翻译, 2000(1):61-65.&lt;br /&gt;
&lt;br /&gt;
[６]汪徽.字幕对伴随性词汇习得的影响[J].外语电化教学,2005(2):47-52. &lt;br /&gt;
&lt;br /&gt;
[７]熊兵. 翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J]. 中国翻译, 2014(3):82-88.&lt;br /&gt;
&lt;br /&gt;
=2 刘晓 The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
[[Trans_Type_EN_2]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
With the rapid growth of economy, people's pursuit of life quality is gradually increasing. Travelling abroad has become a hot topic nowadays. The rapid development of overseas travel has increased the market demand for tourism translation, and more stringent requirements for tourism translators. How to deal with the translation problems caused by the cultural differences between Chinese and English during the translation process is of great importance to improve the quality of tourism translation. The communicative translation strategy in Newmark's translation theory focuses on the effect that the translation brings to the target language readers, which is of certain guiding significance to the E-C translation of tourism texts. Therefore, this paper takes ''Everglades National Park, Florida (Excerpt)'' as an example to analyze the specific translation strategies and methods in the application of Newmark's translation theory in tourism texts, so as to provide reference for other translators.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Translation strategy and translation methods; Peter Newmark; Tourism texts&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
This paper is based on the English-Chinese translation of ''Everglades National Park, Florida (Excerpt)''. By analyzing the application of Peter Newmark's communicative transaltion in the translation, the author proposes some translation methods, which can be provided for future references.  This chapter mainly introduces the background information and significance of the report, and the domestic research status.&lt;br /&gt;
&lt;br /&gt;
====Research background====&lt;br /&gt;
&lt;br /&gt;
With the development of the world, various kinds of tourism appear in people’s life, and has unprecedentedly, extremely widely spread a variety of culture and lifestyle. Tourism has become a rising sunrise industry in modern society (Jin Huikang, 2007). To a foreign country to enjoy the beautiful scenery can make people know the colorful world and further know what they want. And this activity also has made tourism translation a reality and a thriving discipline.&lt;br /&gt;
&lt;br /&gt;
However, due to the different geographical environments, cultural differences and historical backgrounds in different countries, many translators often ignore the disadvantages brought by differences in language and cultural habits in the process of translation, so that the original meaning of the original text will be lost in the process of transmission, which may cause confusion for tourists and cannot achieve the purpose of offering them accurate information and stimulating their interest.&lt;br /&gt;
&lt;br /&gt;
Therefore, in order to make it more convenient for domestic citizens to travel abroad, translators should choose appropriate translation strategies and methods according to the cultural differences between China and foreign countries in the process of tourism English translation, so that tourists can form an objective and correct understanding of scenic spots. The semantic translation and communicative translation strategies in Peter Newmark’s Theories respectively focus on whether the meaning of the original text is exactly reproduced and the effect and influence that the translation brings to the target language readers, which are of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
&lt;br /&gt;
====Research significance====&lt;br /&gt;
&lt;br /&gt;
In theory, based on Peter Newmark’s translation theories, this paper chooses the semantic translation strategy and puts forward appropriate translation methods for the English-Chinese translation of tourist text -- the ''Everglades National Park, Florida (Excerpt)'', which is of certain guiding significance for English - Chinese translation of tourist texts.&lt;br /&gt;
Based on the practice of the ''Everglades National Park, Florida (Excerpt)'' English - Chinese translation and the analysis of Newmark’s communicative translation strategy’s application, this paper sums up some translation methods, such as voice change, objective and personal subject changing, adding conjunctions, etc. And these methods can be provided for future references in the translation study and practice of others, which has a certain practical significance.&lt;br /&gt;
&lt;br /&gt;
====Literature review====&lt;br /&gt;
&lt;br /&gt;
Through the analysis of Newmark’s communicative translation in recent years, it can be found that there are many references for the guidance of communicative translation on tourism translation texts. He Xueyun (2005) proposes that the public notices and signs should belong to the vocative functional text and focus on the reader-centered communicative translation, which can give foreigners a better environment for travel, study and work in China. For such a style, the communicative translation theory should be chosen, the target readers put in the first place and always in mind, and their culture and receptivity taken into account. Jin Huikang (2006) believes that tour guide words must have a specific expected function, which are a kind of texts that integrate informative, expressive and vocative functions. Therefore, tourism translation should aim at effective attraction for overseas tourists, and the translator should grasp the group characteristics of overseas tourists and audiences when carrying out tourism propaganda or translating tourism materials. Ma Chen (2010) points out that the tourism text is a kind of article mainly based on vocative function, and the core of which is to accurately convey information for readers. Liu Anhong (2013) proposes tourism text as a kind of publicity material, aiming to stimulate tourists’ interest in visiting. According to the division of Newmark, the tourism text should belong to the text with the vocative function as its main function and the informative function as its secondary function. Therefore, the translation of tourism text should effectively achieve the effects similar to the original text.&lt;br /&gt;
&lt;br /&gt;
From the combing of previous literatures, it can be found that there are many studies on the translation of tourism texts guided by Newmark’s communicative translation strategy. However, at present, there are few studies on the translation of tourism texts from English to Chinese, and more studies focus on the Chinese- English translation. For this reason, this paper is based on the translation practice of ''Everglades National Park, Florida (Excerpt)'' to provide some reference for future English – Chinese translation of tourism.&lt;br /&gt;
&lt;br /&gt;
===Tourism Texts===&lt;br /&gt;
&lt;br /&gt;
====General Introduction====&lt;br /&gt;
&lt;br /&gt;
Tourism text is an important carrier for readers to obtain scenic spot information, and Tourism text is to stimulate readers' desire to travel by introducing tourist attractions and resources, and its ultimate purpose is to meet readers' expectations and arouse readers' enthusiasm by delivering tourism information. In other words, the dominant function of tourism text is vocative function. At the same time, tourism texts also provide readers with information they like, from which people can acquire relevant knowledge such as culture and customs, natural geography, etc. Therefore, informative function is also its important feature. It can be seen that the two most important functions of tourism texts are respectively informative and vocative one, whose premise is to provide information and purpose is to attract tourists. &lt;br /&gt;
&lt;br /&gt;
In addition, we should realize that translation of tourism texts is a professional translation of tourist attractions and resources for target readers, and its essence is a communicative behavior. If the translator fails to properly deal with the differences between cultures, it will often fail to achieve the expected results. Therefore, during the translation process, more attention should be paid to the accuracy and effectiveness of the information, so as to make the translation conform to the target readers’ reading habits and aesthetic expectation (Li Daosheng, 2000). This requires the translator to put the reader's acceptance first in the process of translation. That is, tourism text translation should not only realize the conversion from one language to another, but also take language barriers and cultural differences into account. Therefore, in order to achieve the goal of successful communication, translators should flexibly apply various translation strategies and adopt appropriate translation methods according to the text types of tourism texts.&lt;br /&gt;
&lt;br /&gt;
====Introduction to the ''Everglades National Park, Florida (Excerpt)''====&lt;br /&gt;
&lt;br /&gt;
Established in 1974, Everglades National Park covers 2,354 square miles, or 6,097 square kilometers (1.4 million acres). Located at the tip of southern Florida, it is the largest subtropical wildlife sanctuary in the continental United States. Everglades National Park protects an unparalleled landscape which provides important habitat for numerous rare and endangered species such as the manatee, American crocodile, and the elusive Florida panther.&lt;br /&gt;
&lt;br /&gt;
''Everglades National Park, Florida (Excerpt)'' is excerpted from a notice from U.S. National Park Service about the phased reopening of the park, including alerts of the reopening, activities, safety and accessibility. It can also be regarded as a travel guide, which describes the journey towards people and offers help to the tourists who want to go there, and which often includes the description of the best travel time, transportation, accommodation, scenic spots and matters needing attention. As a practical text, its main purpose is to introduce and promote tourist scenic spots, that is the Everglades National Park in Florida. Its vocative and informative function are very prominent, and it has the characteristics of reader-orientation, the effectiveness of information transmission and timeliness.&lt;br /&gt;
&lt;br /&gt;
===Newmark's Translation Theory===&lt;br /&gt;
&lt;br /&gt;
====General introduction of Peter Newmark's translation theories====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark, a well-known translation theorist, is one of the main figures in the founding of translation studies in the English-speaking world in 20th century. Newmark devoted himself to studying the past and present of Western translation, and put forward his own views on this basis. Newmark’s translation theories mainly include three parts, that is, the classification of text types, translation approaches, and the lately correlative theory of translation.&lt;br /&gt;
&lt;br /&gt;
According to Karl Buhler’s knowledge of language features and Jacobson’s classification of them, Newmark proposed six functions of language informative function, expressive function, vocative function, phatic function, aesthetic function, and lastly metalingual function. (Hou Yingying, 2020) Then Newmark divided text types into three: expressive-functional texts, informative-functional texts, vocative-functional texts.&lt;br /&gt;
&lt;br /&gt;
After putting forward these three text types, Peter Newmark suggested eight translation approaches or strategies. Firstly, from the perspective of focusing on the source language, he suggested word-for-word translation, literal translation, faithful translation and semantic translation; Secondly, from the perspective of focusing on the target language, he suggested adaptation, free translation, idiomatic translation and communicative translation (Newmark, 2001:45).&lt;br /&gt;
&lt;br /&gt;
In 2007, Newmark came up with a new theory, that is, correlative theory of translation, which means that “The more serious and important the language of the original or source text, the more closely it should be translated.” (Newmark, 2007)&lt;br /&gt;
&lt;br /&gt;
In conclusion, Peter Newmark has proposed many significant theories and made extensive discussion on those concepts, which will have a great influence on the translation practice.&lt;br /&gt;
&lt;br /&gt;
====Semantic translation and communicative translation====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark divided text genres into “expressive text”, “informative text” and “vocative text” in his classic work ''Approaches to Translation''. Imaginative literary works, such as poems, songs, novels and dramas, authoritative statements, autobiographies, essays and personal correspondence, etc. are expressive texts. All the formatted texts with science and technology, industry and commerce, and economy as themes belong to informative texts. And vocative text refers to all texts that can infect readers and make them “get information”.&lt;br /&gt;
&lt;br /&gt;
With reference to these three kinds of texts, Newmark further creatively proposed the concepts of semantic translation and communicative translation: “communicative translation” means that the effect of the target text on the reader of the target language is as much as the effect of the original text on the reader of the source language; “semantic translation” refers to the reproduction of the context of the source text as accurately as possible under the premise of the semantic and syntactic structure of the target language. He believed that only communicative translation and semantic translation can achieve the two major goals of translation: being accurate, and being economic (effective).&lt;br /&gt;
&lt;br /&gt;
In ''About Translation'', Newmark made a detailed comparison of the characteristics of semantic translation and communicative translation from different aspects, and pointed out that the fundamental difference between them lies in that when the information and the effect are in conflict, communicative translation lays more emphasis on effect than content, while semantic translation lays more emphasis on content than effect. Communicative translation can give the translator full freedom, the translator can reorganize the syntax, eliminate the original obscure places in the source language, and make the language conform to the standard of the target language. However, semantic translation emphasizes the content of the information itself, tries to make the form of the target text similar to the form of the original text, and retains the language characteristics and expressive style of the original author. Therefore, compared with semantic translation, communicative translation is more subjective and can better reflect the translator’s creativity and it attaches great importance to the communicative effect of translation, the key to which is to convey information, make readers of the target language think, act and feel, and play an inductive role in making the translation natural and smooth, and more readable. &lt;br /&gt;
&lt;br /&gt;
Newmark pointed out that the translation of expressive texts should employ semantic translation, while informative and vocative texts communicative translation which is reader-centered. The most direct purpose of tourism texts translation is to convey information to readers on the premise of attracting readers’ attention and leaving readers with deep memories, so that readers can take actions -- to visit tourist attractions and pay attention to matters that should be paid attention to. Thus, it can be seen that the tourism text belongs to the vocative text and the communicative translation should be applied. &lt;br /&gt;
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To sum up, Newmark’s communicative translation focus on the effect that the translation brings to the target language readers, which is of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
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===Case Study===&lt;br /&gt;
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The purpose of communicative translation is to try to make the translation have the same effect on the target reader as the original does on the source reader. That is to say, the key point of communicative translation is to be loyal to the target language and the target text reader, that is, the source language is required to obey the target language and culture, leaving no doubt or obscurity to the reader, and eliminating difficulties and obstacles in reading or communication for the reader as far as possible.&lt;br /&gt;
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Because the translator wants to achieve a certain communicative purpose, emphasizes the effect and has a specific target audience, the translation has inevitably broken the restrictions of the original text, pursuing smoothness, clarity, directness and conformity with conventions. In this part, the author analyzes the specific application of communicative translation in the translation practice of the ''Everglades National Park, Florida (Excerpt)'' from three aspects: lexical, syntactic and textual analysis.&lt;br /&gt;
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====At Lexical Level====&lt;br /&gt;
&lt;br /&gt;
Generally speaking, there is partial equivalence between English and Chinese, that is, similar expressions in Chinese can replace the meaning of English words or phrases (Liu Junping, 2009). In the following, two translation methods used in lexical translation will be introduced: conversion of part of speech and the translation of public signs.&lt;br /&gt;
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1)Conversion of part of speech&lt;br /&gt;
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Example 1:&lt;br /&gt;
&lt;br /&gt;
ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors.''&lt;br /&gt;
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TT: 个人、团体或家庭都能在这找到适合的户外活动。&lt;br /&gt;
&lt;br /&gt;
Analysis: As we all know, English belongs to the Indo-European language family, while Chinese the Sino-Tibetan language family. Many differences exist between English and Chinese in terms of vocabulary and grammatical structure. Therefore, in the process of translating English into Chinese, due to the different ways of expression between English and Chinese some sentences can be translated word by word, while most sentences cannot. In order to make the Chinese translation smooth and natural, some words in the original text need to be converted into different parts of speech in the target text without sticking to the surface structure of the original text. In other words, some words in the original text can be converted into other parts of speech in Chinese on the premise of being faithful to the original meaning and retaining the original effect. &lt;br /&gt;
&lt;br /&gt;
The original sentence uses a nominal phrase “no shortage of” to express the meaning that no matter how many people come together for outdoor activities, there are always options. The translator translates it into a verbal phrase, that is, everyone can find a suitable outdoor activity here, so that the meaning gets across and the whole sentence flows naturally.&lt;br /&gt;
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Example 2:&lt;br /&gt;
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ST: ''Accessibility: No immediate trails.''&lt;br /&gt;
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TT: 如何前往：没有路径可直接到达。&lt;br /&gt;
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Analysis: As English tends to use more nouns with static narratives, while Chinese tends to use more verbs with dynamic ones. The static tendency of English mainly comes from nominalization, a common phenomenon in English. Nominalization mainly refers to the use of nouns (phrases) to express the information originally expressed by verbs (phrases), such as the use of abstract nouns to express actions, behaviors, changes, states, etc (Lian Shuneng, 1993). For example, “accessibility” in Example 2 is an abstract noun, which is used to show the way to one place. Chinese, on the other hand, tends to use verbs. So, in order to better convey the effect and let the reader read without any doubt or discomfort, the translator converted the noun into a verb phrase, that is “如何前往”. Likewise, in the noun phrase “no immediate trails”, the author wants to say that there is no direct way (to arrive at the destination). When translating, if it is directly translated into a noun phrase “没有直达路”, the reader may feel difficult to read. So, if it is translated into “there is no direct path can reach that place”, the sentence will be more smoothly and convey the original information and the effect is also retained.&lt;br /&gt;
&lt;br /&gt;
2)Public signs&lt;br /&gt;
&lt;br /&gt;
Example 3 &amp;amp; 4:&lt;br /&gt;
&lt;br /&gt;
ST: ''Things To Do'' &lt;br /&gt;
&lt;br /&gt;
TT: 活动介绍&lt;br /&gt;
&lt;br /&gt;
ST: ''What you can do''&lt;br /&gt;
&lt;br /&gt;
TT: 解决措施&lt;br /&gt;
&lt;br /&gt;
Analysis: As mentioned in the theoretical framework above, tourism text belongs to vocative text. As a kind of tourism text, public signs are a special style for specific people to achieve a certain communicative purpose. Its application scope is very wide, almost involved in every aspect of our daily life, such as street signs, billboards, road signs, shop signs, warnings, propaganda, travel briefs and so on. As a communicative tool, it conveys necessary and useful information to the public by means of a few words, simple and easy to understand icons or the combination of both (He Xueyun, 2006). Therefore, it can be seen that public signs feature lots of nouns, verbs, phrases and abbreviations and more often, fixed expression, which means in translation, only concise and idiomatic expression can fully convey the effect of the original text.&lt;br /&gt;
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Just as the example 3, once the original text is translated literally, that is “要做的事情”, it sounds rather awkward, which not only does not convey the meaning of the source text that was intended as an introduction to the activities that can be done, but also may lead the reader to believe that this section is about what is required. However, if it is translated into “活动介绍”, readers can clearly know the main content of this part and can find out the activities they are interested in. This expression is very concise and also in line with the Chinese language habits. The same is true of example 4.&lt;br /&gt;
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Example 5 &amp;amp; 6:&lt;br /&gt;
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ST: ''Alligators and crocodiles - Crocodilians are one of the reasons people visit the park, however, these are wild animals that can be dangerous to humans.''&lt;br /&gt;
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TT: 小心短吻鳄和鳄鱼——鳄鱼是人们参观公园的原因之一，然而，这些野生动物对人类会很危险。&lt;br /&gt;
&lt;br /&gt;
ST: ''Poisonous plants - The park’s ecosystems support a variety of plant life including some that cause reactions to human skin.''&lt;br /&gt;
&lt;br /&gt;
TT: 警惕有毒植物——公园的生态系统支持多种植物的生长，包括一些会对是人类皮肤过敏的植物。&lt;br /&gt;
&lt;br /&gt;
Analysis: Tourist texts belong to the vocative text, emphasizing the transfer of the effect of the information and the empathy of the reader. This requires the translator to pay attention to the internal logic of the text, modify the translated text to make it clear in the process of tourism translation without sticking to the original form and give full consideration to the core position of readers. &lt;br /&gt;
Examples 5 and 6 are in the same sentence structure -- firstly species are given, and then that the species could be in some danger is pointed out. If it is translated in accordance with the original text word by word, then the front part is just posing out that species. However, if such warning words as “小心” or “警惕” are added, it can let the reader know before he continues reading that this species may be dangerous when visiting, and then with reading below, the reader will know why it is dangerous. This will prepare the reader mentally, and the reading will be smoother.&lt;br /&gt;
&lt;br /&gt;
====At Syntactical Level====&lt;br /&gt;
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Two aspects are included in syntactic analysis, which are change of subjects and passive voice, and the punctuation.&lt;br /&gt;
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1)Change of subjects and passive voice&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: ''Wading birds, cormorants, Purple Gallinules, and nesting Anhingas may be found along the path anytime of the day during the winter (dry) season.''&lt;br /&gt;
&lt;br /&gt;
TT: 在冬季（旱季），任何时候您都可以在沿路发现涉水鸟类、鸬鹚、紫雀和筑巢的美洲蛇鸟。&lt;br /&gt;
&lt;br /&gt;
Analysis: English tends to use more impersonal subjects, which means it rarely uses the personal subject to describe but expresses how objective things act on people’s perception to things appear in an objective tone. So, the structure is often like this: inanimate subject + animate subject (Lian Shuneng, 2010). Chinese pays more attention to subjective thinking, and often describes objective things from the point of view of oneself, or tends to describe people and their behavior or state, so the personal subject is often used. When the personal subject is clear, Chinese often implies or omits it.&lt;br /&gt;
Passive voice is a common grammatical phenomenon in English. In some styles, the use of passive sentences has almost become a habit of expression. Passive sentences give rise to the tendency of using impersonal subjects, and vice versa. Chinese uses fewer passive forms. The main reason for this difference is that the use of passive forms in Chinese is limited, and the mark of the passive voice, such as “让”, “给”, “受”, mostly expresses displeasure.&lt;br /&gt;
&lt;br /&gt;
Therefore, in example 7, the translator transformed the passive voice into the active voice and the impersonal subjects “Wading birds, cormorants, Purple Gallinules, and nesting Anhingas” into the personal subjects “您”. What’s more, as this tourism text is written for readers, the use of the second person subject can shorten the distance. &lt;br /&gt;
&lt;br /&gt;
Example 8 &amp;amp; 9: &lt;br /&gt;
&lt;br /&gt;
ST: ''Wading birds, American Coots, Osprey, White-crowned Pigeons, warblers, Red-shouldered Hawks, Anhingas, rails, Painted Buntings and other transients are best viewed here in the morning.''&lt;br /&gt;
&lt;br /&gt;
TT: 早晨在这里观赏涉禽、美洲骨顶鸡、鱼鹰、白头鸽、莺、赤肩鹫、美洲蛇鸟、秧鸡、彩绘鹀和其他过路的鸟类的效果最好。&lt;br /&gt;
&lt;br /&gt;
ST: ''In the summer, fewer programs are offered.''&lt;br /&gt;
&lt;br /&gt;
TT: 夏季提供的项目较少。&lt;br /&gt;
&lt;br /&gt;
Analysis: Just as what has been said above, English has a tendency to use impersonal subjects and passive voice, while Chinese is exactly the opposite. And when the subject is clear, Chinese often implies or omits it, which is just like example 8 the personal subject “you” is omitted. &lt;br /&gt;
In example 9, the omitted subject is the national park, and the temporal adverbial phrase “in the summer” becomes the subject in form, which is a common expression in Chinese. That is because subjects in Chinese are not only in various forms, but also dispensable: it can denote giving, receiving, time, place.&lt;br /&gt;
 &lt;br /&gt;
2)Punctuation&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: ''Connecting trails through the Pinelands run 7 miles (11 km) west from the Long Pine Key campground to Pine Glades Lake along the main park road.''&lt;br /&gt;
&lt;br /&gt;
TT: 这些小道从长松岛营地向西延伸7英里（11公里），穿过一片松林地，连通公园主路边松林湖。&lt;br /&gt;
&lt;br /&gt;
Analysis: English sentences are complicated, and subordination is one of the most important characteristics of modern English, which features right-branching, sentences long and complex, made in “architecture style”. Conversely, Chinese sentences are relatively short, and commonly use scattered sentences, loose sentences, tight sentences or composite sentences with parallel structure. Chinese features left-branching, and sentences are made in “chronicle style”, using clauses to streamline the thoughts. &lt;br /&gt;
&lt;br /&gt;
So, when there are many prepositional phrases in the original English sentence, the translator can divide the long sentence into several short sentences and recognize those by adding comma, which can help readers to sort out the logic of the original text and get the main information. By using communicative translation, the translator divided the original sentence into three sentences. The logical sequence is that “The trails run seven miles (11 kilometers) west from the Long Pine Key campground. Passing through the Pinelands, they lead to Pine Glades Lake along the main park road.”, which shows the location of both the Long Pine Key campground, the Pinelands and Pine Glades Lake correctly, leaving no doubt to readers of the target language.&lt;br /&gt;
&lt;br /&gt;
Example 11:&lt;br /&gt;
&lt;br /&gt;
ST: ''In keeping with Monroe County’s closure order for beaches, North Nest Key and all waters within 100 yards from the shore will be closed for protection of park resources during the holiday weekend. The closure will begin on Friday, July 3 at 6 a.m.''&lt;br /&gt;
&lt;br /&gt;
TT: 根据门罗县对海滩的关闭安排，为保护公园资源，北巢岛和离海岸100码以内的所有水域将自7月3日星期五早上6点起暂停对外开放。&lt;br /&gt;
&lt;br /&gt;
Analysis: In the original text there are two sentences, which can be combined to make the meaning complete and language pithy in the target language. And it can be taken into consideration to reconstruct them by replacing full stop with comma. By considering communicative translation, the translator put two prepositional phrases in advance as adverbials, which are “in keeping with Monroe County’s closure order for beaches” and “for protection of park resources during the holiday weekend”, and then turned the second sentence into a temporal adverbial phrase and put it in the main clause as an adverbial. So, the whole structure is “In keeping with Monroe County’s closure order for beaches and for protection of park resources during the holiday weekend, North Nest Key and all waters within 100 yards from the shore will be closed from Friday, July 3 at 6 a.m.” By doing so, the information is concisely conveyed, and Chinese readers can well understand it.&lt;br /&gt;
&lt;br /&gt;
====At Textual Level====&lt;br /&gt;
&lt;br /&gt;
Discourse refers to the actual language unit used and is the whole language constituted by a series of consecutive paragraphs or sentences in the communication process. In general, a text consists of words, phrases, sentences and sentence cluster (Lan Lingyan, 2020), among which the components were cohesion in form and coherence in semantics.&lt;br /&gt;
&lt;br /&gt;
Example 12:&lt;br /&gt;
&lt;br /&gt;
ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors. The diverse habitats allow for enjoyable activities ranging from hiking, canoeing, kayaking, biking, fresh and saltwater fishing, and camping in the ultimate wilderness.''&lt;br /&gt;
&lt;br /&gt;
TT: 个人、团体或家庭都能在这找到适合的户外活动。无论是步行、乘坐独木舟、划皮划艇、骑自行车，还是在淡水或海水钓鱼、在终极荒野地露营，您都可以饱览多样的自然环境、尽享快乐。&lt;br /&gt;
&lt;br /&gt;
Analysis: Coherence in a piece of writing refers to the principle that all paragraphs, sentences or ideas are combined so well that they form a united whole. Coherent translation has smooth structural, grammatical, and logical movement from one sentence or idea to the next and the reader does not have to pause and guess at the meaning caused by gaps in development between ideas, sentences and paragraphs. &lt;br /&gt;
&lt;br /&gt;
In example 12, the last topic of the fist sentence in the original sentence is outdoor activities, while the subject of the second sentence is the diverse habitats. This is a shift in the topic, which may make the readers pause and guess at the logical relation between them. Therefore, in translation, guided by communicative translation, the translator needs to mind the text coherence and to make proper adjustments. Out of this, the translator put the activities in the second sentences as the subject of the second sentence in the target text, so that the first sentence can pass through smoothly to the next one, so does the understanding of readers.&lt;br /&gt;
&lt;br /&gt;
Example 13:&lt;br /&gt;
&lt;br /&gt;
ST: ''Everglades National Park is a popular spot for saltwater and freshwater sport fishing. Boats can be chartered at Flamingo. Be sure to check a visitor center for park fishing regulations and closed areas.''&lt;br /&gt;
&lt;br /&gt;
TT: 大沼泽地国家公园是一个很受欢迎的钓海水鱼和淡水鱼的地方。在弗拉明戈可以租船。在钓鱼之前，一定要阅读游客中心的公园捕鱼规定和封闭区域。&lt;br /&gt;
&lt;br /&gt;
Analysis: Cohesion can be thought of as all the grammatical and lexical links that link one part of a text to another. This includes the use of synonyms, lexical sets, pronouns, verb tenses, time references, grammatical reference, etc. For example, ‘it’, ‘neither’ and ‘this’ all refer to an idea previously mentioned.&lt;br /&gt;
&lt;br /&gt;
In example 13, this paragraph mainly talks about fishing in the Everglades National Park, with a topic sentence and two explanatory sentences: one introducing the place for chartering and the other cautions. There are no grammatical or lexical links within these three sentences, and the logic is connected by semantics. Considering well understanding of readers in the target language, the translator added one lexical link “before fishing” between the last two sentences, to make the reader understand that he or she should read the rules and precautions of fishing before going fishing. Also, with repeating the key word “fishing”, the central idea of this whole paragraph is prominent, and the sentences are logically and smoothly linked to express the intended meaning, thus making this paragraph a cohesive group.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
&lt;br /&gt;
====Major findings====&lt;br /&gt;
For the text, the tourism text belongs to the vocative text, which focuses on conveying the information and effect, so the communicative translation theory should be adopted to this kind of translation. As for this original text, the first part that introduces the outdoor activities belongs to the tourism advertisements, which are descriptive with vivid words. Tourism advertising is infective, with short and concise words, full of creativity, lively and concise sentence structure, and strong attraction. While the announcement that informs of the operating status of the park is a quite different style. The wording is formal, standard, accurate and stylized. Secondly, the source text involves a wide range of knowledge and large vocabulary. For example, “hardwood hammock” for “硬木吊床” and “Geocaching” for “寻宝”. &lt;br /&gt;
&lt;br /&gt;
Based on the analysis of examples from lexical, syntactic and textual levels, some translation methods can be proposed. On one hand, when translating, some words in the target text can be converted into different parts of speech in the original text to make the language natural and idiomatic. On the other hand, when doing English – Chinese translation, in most cases, passive voice should be changed into active voice, personal subject is favored in Chinese, and subjects can also be omitted sometimes. Lastly, as English and Chinese have lots of differences in sentences, the translator should change the order of the sentences sometimes to make them smooth and fluent, and some words can be added to make the meaning coherent.&lt;br /&gt;
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====Limitations====&lt;br /&gt;
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Besides some major findings, there are also many limitations in this translation practice. Firstly, communicative translation focuses on the effect conveyed by the translation rather than the information, which can easily make the translator ignore some original. So, in the translation, other available translation theories should also be taken into account to achieve best translation. &lt;br /&gt;
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Then, when translating a text, whether it is a tourism text or a literary works, they cannot be translated immediately. Relevant information and background should be collected in advance, and otherwise some mistakes which should be avoided will be made. For example, “Snail Kite (蜗鸢)” might be translated as “蜗牛风筝” if the translator does not look it up in advance.&lt;br /&gt;
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===References===&lt;br /&gt;
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[1] Newmark, Peter. About Translation[M]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
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[2] Newmark. Approaches to translation[M]. Shanghai Foreign Language Education Press, 2001. &lt;br /&gt;
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[3] Newmark, Peter. A New Theory of Translation[J]. Sborník Prací Filozofické Fakulty Brněnské Univerzity, 2007(13)&lt;br /&gt;
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[4] Newmark, Peter. A Textbook of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2001:39-42. &lt;br /&gt;
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[5] 贺学耘.汉英公示语翻译的现状及其交际翻译策略[J].外语与外语教学, 2006(03):57-59.&lt;br /&gt;
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[6] 侯莹莹.凯瑟琳娜·莱斯与彼得·纽马克文本类型翻译理论之比较研究[J].海外英语, 2020(22):49-50+60. &lt;br /&gt;
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[7] 金惠康.跨文化旅游翻译探讨[J].上海翻译, 2007(01):31-34.&lt;br /&gt;
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[8] 兰灵艳.交际翻译理论指导下《家庭生活》（节选）汉译实践报告[D].南昌大学, 2020.&lt;br /&gt;
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[9] 李道胜. 汉英语义对比分析[J]. 语言教育, 2000(4):4-5.&lt;br /&gt;
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[10] 连淑能.《英汉对比研究》[M]. 北京：高等教育出版社, 1993.&lt;br /&gt;
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[11] 刘安洪.跨文化交际视角下的旅游文本翻译策略研究[J].中华文化论坛, 2013(10):160-163. &lt;br /&gt;
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[12] 刘军平，西方翻译理论通史[M]. 武汉：武汉大学出版社, 2009.&lt;br /&gt;
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[13] 马忱.交际翻译策略对汉英旅游翻译的启示[J].郑州航空工业管理学院学报(社会科学版), 2010,29(06):119-121.&lt;br /&gt;
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=3 刘越 Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
[[Trans_Type_EN_3]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
There are many translation practices under the guidance of communicative translation theory, but there are not many translation practices in Korean novels. Through this translation practice, we hope to summarize the translation methods and strategies adopted in the translation of novel subject matter under the guidance of communicative translation theory in terms of vocabulary, sentence and rhetoric. In this paper, under the guidance of communicative translation theory of Korean novels &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; to analyze translation strategies and translation methods, let us hope that through the work of human changes in temperature to realize that the most warm affection and the most simple human feelings, seems to be the fact that more and more far from us, let us together to explore the history of the &amp;quot;family&amp;quot; gradually forgotten by us and meaning, Wake up our sense of affection, cause our emotional resonance.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
Communicative translation theory; Korean novels; Translation methods and strategies&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
===The emergence and development of communicative translation===&lt;br /&gt;
According to the function of language, i.e. the purpose for which it is used, Newmark proposes the following three text types: expressive function, informative function, and evocative function.&lt;br /&gt;
At the heart of the expressive function is the use of words by the speaker or author to express his or her thoughts and feelings. The author's unique form of language is as important as the content.Expressive function texts emphasise the authority of the original author, and translations should follow the principle of &amp;quot;original author first&amp;quot;, faithful to both the content of the ideas expressed by the original author and the language style of the original author, without regard to the reaction of the target reader. The core of the information function is the external context, i.e. all the information about a topic, or the unspeakable reality. At the heart of the information text is the &amp;quot;authenticity&amp;quot; of the content; the author's language is secondary. Translation should be based on the principle of &amp;quot;authenticity first&amp;quot;. The call to action is reader-centred and aims to &amp;quot;call the reader to action, to think, to feel&amp;quot;. The translation should follow the principle of 'reader first', putting the reader of the target language first. The translator can make full use of the advantages of the incoming language, without adhering to the expressions of the original, so that the translated language can achieve the same effect as the original.&lt;br /&gt;
&lt;br /&gt;
On this basis, two translation concepts, communicative translation and semantic translation, are proposed. Newmark believes that the theory of communicative translation focuses on the understanding and reaction of the recipient, the reader of the translation, and more on the effect rather than the content of the translated expression. The translator can give full play to the advantages of the translated language and introduce foreign elements into the culture of the translated language, with the advantages of naturalisation, Italian translation and idiomatic translation. Semantic translation attaches importance to the original text, focuses on its semantic content and strives to preserve the culture of the original text, and has the advantages of word-for-word, word-for-word and faithful translation. Communicative translation is suitable for informative and attractive texts such as autobiographies, personal emotional declarations, important political statements (or other statements), most non-literary texts, news, intellectual articles and books, textbooks, reports, scientific and technical literature, official correspondence, promotional material, advertisements, announcements, popular fiction. ( Yang 1989:68-71)# His communicative and semantic translations have largely enriched the study of translation theory and influenced the field of translation.&lt;br /&gt;
&lt;br /&gt;
===The applicability of communicative translation theory to the translation of popular novels===&lt;br /&gt;
First of all, the core content of communicative translation theory is that on the basis of being faithful to the content of the original text, it focuses on the readers' understanding ability and feelings, and pays more attention to the expression effect of the target text than the content. For the translator, the translator can give full play to the advantages of the target language and get rid of the constraints of the language structure of the original text. If the original text is illogical, ambiguous, and there are redundant words and ambiguities in the sentence, as well as dialects, coarse slang and other phenomena in the article, the translator has the right to reorganize the syntax and improve it by using collocation and common sentence patterns in accordance with the habits of the target language, so as to make the language more standardized. Translators also have the right to correct errors and omissions in the original text.( Shuang 1999(05):840）&lt;br /&gt;
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Secondly, according to Newmark's text type, communicative translation theory is applicable to vocative texts, which focus on the inspiring effect and take the target readers as the center. The purpose of translation is to elicit the desired response, including popular books and best-selling novels. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. The novel is mainly composed of characters, plots and descriptions of the environment to reflect the social reality. Novel is a literary genre that conveys thoughts and feelings and arouses readers' resonance. It belongs to appeal text, so communicative translation theory is suitable for novel translation.&lt;br /&gt;
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The most important thing in novel translation is to convey the content of the original text and the author's thoughts and feelings to the readers, and to arouse the readers' deep thinking and empathy. When translating a novel, we should describe the plot of the original text to the readers and try to get close to the literary image described by the author and the literary artistic conception created in the novel.&lt;br /&gt;
If only follow the content style and text structure of the original text, it will violate the original intention of translation, making the translation obscure and unclear. Under the guidance of communicative translation theory, the translator can give full play to the advantages of the target language, modify and polish the original text, adjust the logic of expression, eliminate the differences between the original text and the target text, and get a smooth translation. At the same time, the translator can also pay more attention to the target readers, fully consider the reading habits and thinking mode of the target readers, and use easy to understand language vocabulary to convey the information of the source text and the thoughts and feelings of the source text author to the readers, so that the target text readers and the source text readers get the same effect.&lt;br /&gt;
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=== Case study under the guidance of communicative translation theory===&lt;br /&gt;
Guided by Peter Newmark's communicative translation theory, the author carries out translation practice on two short stories &amp;quot;The Innocent Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. Under the guidance of communicative translation theory, this section adopts the strategies of translation modification and meaning extension to solve the problems of ambiguous and implicit sentences in novels. At the sentence level, the strategy of paraphrase, syntactic and translation is adopted. In the aspect of rhetoric, this paper adopts the translation strategies of addition and repetition, and makes a case study to explore and summarize the translation methods and strategies applicable to novel subject matter under the guidance of communicative translation theory.&lt;br /&gt;
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=== The application of communicative translation theory at lexical level===&lt;br /&gt;
'''Transliteration'''&lt;br /&gt;
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The translation method refers to the conversion of parts of speech in the original text, such as changing nouns into verbs, adjectives into verbs, etc., so as to make the translation conform to the expression habits of the target language. Different languages have different linguistic phenomena and cultural backgrounds. In order to make the translation more in line with the language expression habits of The Chinese people and convey the correct meaning of the original text to The Chinese readers, every word in the Korean sentence cannot be translated dead, and some parts of speech in The Korean language have to be changed in translation.(Chen 1994)# The following is a case study of translating a part of speech in the original text into another part of speech in Chinese.&lt;br /&gt;
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Eg.1 그럴 때의 아이는 이제 노인이 아니라 소년가장 같았다.&lt;br /&gt;
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First translation：那一刻我觉得孩子不像老人，而像少年家长。 &lt;br /&gt;
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Retranslation：那一刻我觉得他不像一个历经沧桑的老人，而像一个饱经世故的孩子。&lt;br /&gt;
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&amp;quot;소 년 가 장&amp;quot; is a noun, the author looked up Chinese dictionary, found &amp;quot;소 년 가 장&amp;quot; in Korean means &amp;quot;가 정 의 생 계 를 실 질 적 으 로 책 임 지 고, 어 렵 게 생 계 를 유 지 하 는 소 년&amp;quot;, at the beginning of translation, in accordance with the original literal translation is &amp;quot;young parents&amp;quot;, but is not in conformity with the Chinese expression habit, it is not easy to let Chinese readers understand, The author in the guidance of communicative translation theory, through the network search and found the dictionary lookup &amp;quot;소 년 가 장&amp;quot; and Chinese proverb &amp;quot;the poor children early master&amp;quot; has the same effect, but here can make statements impassability, in order not to cause the reader to understand the problems, the author give full play to the advantages of the Chinese, the author by using the method of adaptation, Phrases collocation and considering the Chinese habit, the term &amp;quot;소 년 가 장&amp;quot; divided &amp;quot;소 년&amp;quot; and &amp;quot;가 장&amp;quot; two nouns, and the term &amp;quot;가 장&amp;quot; translated into adjectives &amp;quot;world&amp;quot;, the &amp;quot;소 년&amp;quot; translated into &amp;quot;children&amp;quot;, both to convey the meaning of the original, and can make readers easily understand the content.&lt;br /&gt;
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Eg.2：거기에 아이가 자신을 만나려 하지 않기 때문에 돈을 주지 않는 것이라는 비난의 말이 반복해서 쓰여 있었기 때문이다. &lt;br /&gt;
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Translation ：文件上反复指责说孩子不想认他这个父亲，所以不给抚养费。&lt;br /&gt;
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In the original text 비 난&amp;quot; is a noun, the author according to the original text in translation translated into &amp;quot;document and is accused of child, father didn't want to see him the accused, so not to support&amp;quot;, at the same time with the two accused, groundwork or at the back of the verb &amp;quot;blame&amp;quot;, also make the repetitive, so the author under the guidance of communicative translation theory, When translated again, the noun &amp;quot;비 project-oriented&amp;quot; is translated into the verb &amp;quot;blame&amp;quot;, so that the translation is easy to understand.&lt;br /&gt;
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Extension of meaning Extension translation method is refers to according to the specific context of contact and words in the original context, starting from the basic meaning of Korean original words, through the letter of the word or phrase in the sentence, its excellent implied meaning appropriately, use some conforms to the Chinese expression habit of character words, the content of the original essence of accurate expression.&lt;br /&gt;
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Eg.3：①텔레비전을 쳐다보던 아이가 대뜸 내밷었다. ②동식이 집을 나서자마자 엄마는 휴이히히히, 하는 기괴한 한숨을 길게 내뱉었다.&lt;br /&gt;
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Translation：①正在看电视的儿子突然吐槽道：“妈，你快看，电视里那个人真像我爸”。 ②母亲就“唉！”长长地叹了一口气。&lt;br /&gt;
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The author by looking up the dictionary, in the original &amp;quot;내 밷 다&amp;quot; has two meanings: (1) 입 안 에 있 던 것 을 입 밖 으 로 뱉 어 내 보 내 다. (2) 마 음 에 내 키 지 아 니 하 거 나 못 마 땅 한 어 조 로 불 쑥 말 하 다. &lt;br /&gt;
Chinese meaning is &amp;quot;vomit, and said,&amp;quot; the author under the guidance of communicative translation theory, reader's expressions and words in Chinese habit as the center, contact the original context and context, considering the words collocation, adopt the method of the extension, the &amp;quot;내 밷 다&amp;quot; translated into &amp;quot;fun&amp;quot; and &amp;quot;sigh&amp;quot;, not only conforms to the present context, and in accordance with the Chinese language habits.&lt;br /&gt;
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Eg.4: ①그러니까 엄마는 내가 돈 얘기 할 것을 미리 알고서 지금 차단막을 치는 것이리라. ②형이 옆구리를 툭 치며. ③까지는 살큼 익혀서 찬지름 치고 조선간장으로 조물조물 무쳐노면 고기반찬보다 낫드라. &lt;br /&gt;
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Translation：①但母亲好像早已看透了我的心思，先堵住了我的口。 ②大哥用胳膊肘戳了我一下。 ③蒸个七八分熟的时候撒上香油好好拌一下就行了，这样比那些荤食都好吃。&lt;br /&gt;
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The verb &amp;quot;치&amp;quot; would give many different meanings with different words, such as ①&amp;quot;beating, beating, beating, playing&amp;quot;.② take, base, wrap, erect, ③ feed, feed, etc. On the basis of communicative translation theory, and fully understand the original meaning, context, and considering Chinese words collocation is used, depending on the context, the extension method was adopted, will &amp;quot;치 다&amp;quot; translated into &amp;quot;blocking&amp;quot;, &amp;quot;stamp&amp;quot;, &amp;quot;and&amp;quot; verb, such as to conform to the Chinese habits of expression.&lt;br /&gt;
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===The expression of communicative translation theory at the sentence level===&lt;br /&gt;
Communicative translation theory is pointed out that to the readers, the translator should give full play to the advantages of the target language, to make the translation conform to the target language expression of habit, not to leave any arcane to readers, while Korean and Chinese belong to different language families, there are differences in expression habit, this summary is mainly under the guidance of communicative translation theory, This paper analyzes the translation of sentences in The Pure Man and The Goat Family by means of paraphrase, syntactic and combined translation.&lt;br /&gt;
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'''Interpretation method'''&lt;br /&gt;
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Hermeneutic method is also an interpretative translation method. Because Chinese and Korean have different expression habits, in the process of translation, we can use the paraphrase method to explain some ambiguous sentences, which can not only make the translation clear, but also accurately convey the original purpose.&lt;br /&gt;
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Eg.5：어느날, 아이가 눈에 보이는 사물들을 가리켜 얼마짜리냐고 물었을 때, 어떤 행위를 가리켜 얼마 받느냐고 물었을 때, 나는 어린것이 별걸다 궁금해한다고 면박을 줬다. 면박을 주는 것으로 마음에 이는 민망함을 무마시켰다. 아이의 입에서 처음 돈 얘기가 나왔을 때, 그때 나는 이미 알아챘어야 했는지도 모른다.&lt;br /&gt;
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First Translation: 当某一天，孩子们指着各种东西问花了多少钱，挣了多少钱时，我当面斥责说“小孩子家家的，真是什么都好奇”。我以这种当面驳斥的方式来掩饰心中的尴尬。当我第一次从孩子嘴里听到关于钱的话题时,我可能就已经觉察到了些什么。&lt;br /&gt;
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Retranslation: 当某一天，孩子们指着各种东西问价格时，我当面斥责说‘小孩子家的，问这个做什么’，以此来掩饰我内心的尴尬。当我第一次从孩子嘴里听到关于钱的话题时，我可能已经觉察到时代变了，我那‘不知钱为何物’的时代过去了。&lt;br /&gt;
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The author at the beginning of the translation of &amp;quot;그 때 나 는 이 미 알 아 챘 어 야 했 는 지 도 모 른 다&amp;quot;, literal translation is &amp;quot;I may already have noticed what&amp;quot;, but the specific perceive what is not clear, causing distress to Chinese readers, by contacting the above learned that the &amp;quot;I&amp;quot; as a child is the hairpin, objects such as pottery fragments, But now the child is the &amp;quot;money&amp;quot;, the author under the guidance of communicative translation theory, to the readers, adopting the tactics of interpretation method, interpreted &amp;quot;I perceived that the&amp;quot; content &amp;quot;I might have been aware of The Times have changed, I that 'I don't know the money was the era of the past&amp;quot;, thus the author want to convey the original concept of the era of the change of the clear expression come out.&lt;br /&gt;
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Eg.6：영호야, 명절 때만이라도 꼭 아빠한데 가봐, 가기 싫으면 연락이라도 드리고.아빠가 아무리 네 맘에 안 들더라도 너는 네 할 도리를 해야 떳떳한 사람이 되는 거야,알았지?&lt;br /&gt;
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First Translation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。只有做了自已应该做的才能做一个光明磊落的人，知道吗？&lt;br /&gt;
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Retranslation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。为人处事和忠孝贤良是亘古不变的，要想做一个光明磊落的人，就要做好自己的分内之事，知道吗？阿姨的话要记住哦。&lt;br /&gt;
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Early in the translation of &amp;quot;너 는 네 할 도 리 를 해 야 떳 떳 한 사 람 이 되 는 거 야&amp;quot;, the corresponding Chinese literal translation is &amp;quot;only do oneself should do can do a aboveboard person&amp;quot;, but &amp;quot;할 도 리&amp;quot; what, did not explain clearly in the original, need the reader to consider, in order not to leave readers obscure place, The author puts the advantage of Chinese into full play and interprets &amp;quot;up 도 wish to be good&amp;quot; into English by means of context and translation theory. At the same time, I also think that this is the advice of adults. It is necessary to tell him this truth in a soft and powerful tone. After this sentence, &amp;quot;Remember what aunt said&amp;quot; is added to make the original meaning clearly conveyed to readers, so that readers can better understand the original content.&lt;br /&gt;
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'''demolition syntax'''&lt;br /&gt;
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Deconstruction is the breaking down of a long sentence into several shorter sentences. As Korean and Chinese belong to different language families, there are many differences in syntax. The word order of Korean sentences is the structure of SOV, and narration is the main body and focus of the sentence, and there are a large number of long sentences, which rely on word endings to express various grammatical meanings. No amount of sentence elements will cause meaning confusion.&lt;br /&gt;
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However, the word order of Chinese sentences is the SVO structure, which depends on vocabulary, function words and word order to distinguish sentence components, so the sentence structure is simple, mainly short sentences. The translation of Korean long sentences into Chinese sentence groups can make the translation logical, smooth and accurate.&lt;br /&gt;
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Eg.7：동식의 이혼에 책임이 없다고 할 수는 없는 형제들이 돈을 모아 동식에게 새집을 지어줬는데 집안 새것이면 뭐 하냐고 동식이 폭력을 휘두를 조짐을 보이자 그 팔아 종류의 폭력을 아버지에게 당해본 엄마는 지레 겁을 먹고 소를 팔아 동식에게 새장가 갈 자금을 쥐여줄 수밖에 없었다.&lt;br /&gt;
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First Translation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子。挨过父亲打的母亲因为对东植这种动不动就挥拳头打人的行为心有余悸，并觉得只有新房子没用，就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
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Retranslation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子，母亲因为挨过父亲的打，所以对东植这种动不动就挥拳头打人的行为心有余悸，觉得只有新房子无济于事，改不了他的暴力行为，索性就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
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The original text Is a long sentence, &amp;quot;는 데&amp;quot; is a long attributive clause, behind the author under the guidance of communicative translation theory, using the translation, in the resolution of a sentence, adjust the structure of the sentence, but his father mother &amp;quot;dragged&amp;quot; compared to read man translationese is too heavy, have the taste of Korean Chinese, is not in conformity with the Chinese expression habit, the author on the basis of this, The translation has been revised and polished to make it smooth and smooth.&lt;br /&gt;
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'''Cotranslation'''&lt;br /&gt;
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Cotranslation refers to the combined translation of two or more sentences in the original text. Using the combined translation method to translate, will reduce the long winded translation, obtain a smooth and smooth translation.&lt;br /&gt;
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Eg.8 ：나는 큰오빠와 작은오빠가 아버지가 남긴 논을 가져간 것을 알고 있었다. 큰언니, 작은언니가 결혼할 때 밭을 가져 갔다는 것도. 동식은 제 몫이 논도 밭도 아닌 집인 것에 불만을 품고 쓰러져가는 슬레이트집에 불을 질렀다.&lt;br /&gt;
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First Translation：我知道大哥和二哥结婚时分走了家里的水田，大姐和二姐结婚时分走了家里的旱地，东植因为分到的不是田和地，而是即将坍塌的的石板屋，一气之下就在屋里放了火。&lt;br /&gt;
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Retranslation：哥哥姐姐们结婚时把家里的水田和旱地都分走了。而东植分到的是即将坍塌的的石板屋，他对此很不满，一气之下就放火烧了房子。&lt;br /&gt;
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Are two sentences in the original, the author first translation, according to the original text translated into two other subject-predicate bin structure of the sentence, but &amp;quot;big sister&amp;quot; &amp;quot;big brother&amp;quot; &amp;quot;sister&amp;quot; &amp;quot;second brother&amp;quot; will be read repetitive, so the author under the guidance of communicative translation theory, adopt the method of r the appellation of original elements became the &amp;quot;brothers and sisters&amp;quot;, and the two sentence elements into a simple sentence, Reduce redundant redundant.&lt;br /&gt;
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===The embodiment of communicative translation at the rhetorical level===&lt;br /&gt;
Communicative translation theory points out that should take the readers as heavy, compared to convey to the readers the article content, pay more attention to the expression effect, good expression effect can cause the resonance of the readers, caused the reader's thinking, and good expression effect depends on the use of rhetoric, this summary is mainly under the guidance of communicative translation theory, adopt different translation strategies, The rhetorical translation in The Innocent Man and The Goat Family is analyzed.&lt;br /&gt;
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'''Addition'''&lt;br /&gt;
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Addition is a translation method that adds content to the target text in order to accurately express the meaning of the source text, meet the needs of the target text readers and make the target text conform to the expression habits of the target language. Since Chinese and Korean have different pragmatic ways and expressive habits, some words or sentences should be added in the translation to make the translation more consistent with the Chinese context, the reader's expressive habits and the exact meaning of the original text.&lt;br /&gt;
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Eg.9：나는 아이 아빠의 돈을 ‘그깟 돈’이라고 표현했다.&lt;br /&gt;
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First Translation：我把孩子爸爸的钱称为“那么点儿钱”。&lt;br /&gt;
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Retranslation：我把孩子爸爸给的钱称为“塞牙缝的钱”。&lt;br /&gt;
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&amp;quot;그깟&amp;quot; is a contraction of &amp;quot;그까짓&amp;quot;. It means so little, so little. The amount of money given by the father of the child is very small. The author under the guidance of communicative translation theory, give full play to the advantages of target language, adopt the method of thickening of translation, the use of metaphor, the &amp;quot;그 깟 돈&amp;quot; translated into accord with the readers expression habit &amp;quot;for all of the money&amp;quot;, making it easy to understand, more intuitive said the little amount, so as to impress the reader.&lt;br /&gt;
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'''Repetition'''&lt;br /&gt;
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Repetition refers to the translation technique of appropriately repeating a part of words or sentences in translation. The repetition method can make the meaning of the translation more clear, further strengthen the appeal of the article, highlight the thoughts and feelings of the article, and achieve a good rhetorical effect.&lt;br /&gt;
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Eg.10：아비를 한번도 찾지 않다가 돈 달라고, 그것도 법정에서 애 얼굴을 봐야 하는 아비 된 자의 참담한 심정을 당신들이 아느냐고.&lt;br /&gt;
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First Translation：孩子一次也没来看过我这个父亲，却开口要钱？而且只有上了法院，我才好不容易看孩子一眼，你们理解我这个做父亲的心情和处境吗！&lt;br /&gt;
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Retranslation：孩子一次也没来看过我就跟我开口要钱，只有上了法院，我才好不容易看孩子一眼，我这个做父亲的苦楚，悲凉的的心情，你们理解吗！理解吗！&lt;br /&gt;
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The author by contacting the specific context, as a father, no contact for many years but children themselves to court, the state of mind should be both angry and sad, based on the theory of communicative translation, using the skill of verb repetition, to &amp;quot;알 다&amp;quot; repeated translation, to emphasize my angry tone, in order to make the article more vivid and accurate meaning.&lt;br /&gt;
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=== conclusion===&lt;br /&gt;
This paper selected the south Korean writer Kong Shanyu stories &amp;quot;well bead film&amp;quot; in the two novel &amp;quot;pure people&amp;quot; and &amp;quot;the goat family&amp;quot; has carried on the translation practice, the two novels are using the simple nature of language and a small amount of dialect vocabulary, shape lifelike characters, are described by family members of the past, let the past and reality contrast, It reflects the social reality that with the development of society, people have become selfish and indifferent, and the most simple family and human feelings seem to be more and more far away from us, so as to explore the history and significance of the &amp;quot;family&amp;quot; and the simple social atmosphere, which are gradually forgotten by Koreans.&lt;br /&gt;
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The core of Peter Newmark's communicative translation theory is that on the basis of being faithful to the content of the original text, the translator can give full play to the advantages of the target language, get rid of the constraints of the language structure of the original text, and pay attention to the effect of the expression of the target text. According to Newmark's text type, communicative translation theory applies to appeal texts, which focus on the target reader and aim to elicit the desired response, including popular books, popular novels and so on. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. Under the guidance of Peter Newmark's communicative translation theory, the author analyzes and discusses the translation strategies in the Pure Man and The Goat Family, which are complicated sentences, ambiguous meanings and implicit expressions.&lt;br /&gt;
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From the lexical level analysis, the author mainly combined with the context, to Chinese readers as the center, to comply with the Chinese expression and language habits, consider the reader's understanding ability, on the basis of Chinese used to translation and translation methods of extension, so as to satisfy the to the original readers and the translation of the original dual need of the readers have the same effect, At the same time, it also ensures the accuracy and flexibility of the translation words, so as to conform to the translator's lexical habits.&lt;br /&gt;
From the statement level analysis, &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; appeared in the text of the long sentence and attributive clause, at the same time, some relatively obscure sentences substance, so the author adopted the method of interpretation, syntax and translation of translation strategies, to explain the sentence, split, reorganization, thus reducing the sentence's mad outages and ideographic unclear, The translation is in line with the habits of Chinese readers and effectively conveys the essence of the original text. From the rhetoric analysis, communicative translation theory points out that compared with the content, should attach great importance to the expression of the translation effect, good expression effect depends on the use of rhetoric, so the author USES the translation strategy of work and repetition, has carried on the modification to the original and polishing, to strengthen the artistic effect and influence of the translation, make readers for the characters vivid impression, Arouse readers' reflection and emotional resonance.&lt;br /&gt;
&lt;br /&gt;
Therefore, the results of this study indicate that the communicative translation theory is of guiding significance to the Chinese translation of Korean novels and can provide a reference for similar translation practices. Communicative translation theory is pointed out that to the reader as the center, the translator can get rid of the original text, giving full play to the advantages of target language to adjust the structure and logic, to make the translation easy to understand, but there may be lack of scattering situation, so the translator should properly our subjective initiative, to insure the effect of readers in at the same time, also used to avoid the above situation. In addition, there are also shortcomings in the translation, but the author still hopes that this translation practice can provide reference for the future Korean-Chinese translation practice. At the same time, through this translation practice, the author has realized his own shortcomings. In the future, the author will continue to learn, accumulate practical experience, and strive to improve his literary accomplishment and language foundation, and improve his translation level.&lt;br /&gt;
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===Reference===&lt;br /&gt;
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'''English Literature:'''&lt;br /&gt;
&lt;br /&gt;
[1]. GAO Chang. The Application of Peter Newmark's Communicative Translation Theory to the Translation of Chinese Historical Allusions [J]. Overseas English, 2013(11).&lt;br /&gt;
&lt;br /&gt;
[2]. JIAN Fang. Newmark's Translation Theory and Film Names [J]. Overseas English, 2010(08).&lt;br /&gt;
&lt;br /&gt;
[3]. LI Xin, ZHANG Zhe. On Peter Newmark’s Semanic Translation &amp;amp; Communicative Translation[J]. Overseas English, 2015（03）.&lt;br /&gt;
&lt;br /&gt;
'''Korean literature:'''&lt;br /&gt;
&lt;br /&gt;
[4]. Gong Seon-ok. In the 1980s, my literature Gwangju, and my life's hardship [J]. History of Criticism, 1995 (08).&lt;br /&gt;
&lt;br /&gt;
[5]. Kang Young-mi. Preliminary review of the singing movement in the 1970s and 1980s [J]. Mental Culture Research 41(3), 2018.(09).&lt;br /&gt;
&lt;br /&gt;
[6]. Kim Young Hee. Modern and Alternative Experience and Women--Park Wan-seo, Kim In-sook, and Gong Sun-ok's novel [J]. Creation and Criticism 23(3), 1995(09).&lt;br /&gt;
&lt;br /&gt;
[7]. Osunbang. A study of the translation of novels in modern China and the two-way translation of Sino-Korean novels[J]. Seoul: Sungsil University Press, 2008.&lt;br /&gt;
&lt;br /&gt;
'''Chinese Literature:'''&lt;br /&gt;
&lt;br /&gt;
[8]. Chen Lin. A comparison of Eugene A. Naida and Peter Newmark's translation theories [J]. Journal of Xiangtan University (Social Science Edition), 1994,(08): 87-91.&lt;br /&gt;
&lt;br /&gt;
[9]. Si Jitao and Yan Honglan. The translation of split sentences and combined sentences in English-Chinese translation[J]. Journal of Guangxi Right River Nationalities Teachers College,2005(02):21&lt;br /&gt;
&lt;br /&gt;
[10]. Chen Lin. A comparison of Eugene A. Naida and Peter Newmark's translation theory [J]. Journal of Xiangtan University (Social Science Edition), 1994, (08).&lt;br /&gt;
&lt;br /&gt;
[11]. Yang Shi-Zhuo. A brief analysis of Newmark's theory of semantic and communicative translation[J]. Fujian Foreign Language, 1989:68-71.&lt;br /&gt;
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=毛雅文On Translation Strategies and Methods in Chinese Translation of English Prose --- Chinese Translation of Robert Lynd’s &amp;quot;Pleasures of Ignorance&amp;quot; as an example=&lt;br /&gt;
&lt;br /&gt;
'''浅析英语散文汉译中的翻译策略——以罗伯特·林德《无知的乐趣》汉译本为例'''&lt;br /&gt;
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[[Trans_Type_EN_4]]&lt;br /&gt;
&lt;br /&gt;
毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
&lt;br /&gt;
Prose, together with poetry, novel and drama, is a kind of literary form. It is not limited to rhythm, plot and characters, flexible in form, real and natural. English prose has a long history and various types, so it becomes an important object in translation practice and research. In China, the most famous English prose writers are Francis Bacon and Charles Lamb, hence, their works can be regarded as the focus of studies on Chinese translation of English prose. In fact, Chinese translation of English prose draws less attention in translation circle of China, compared with that of English poetry and drama. With English prose as the starting point, this paper will introduce the characteristics of English prose and the domestic studies on its Chinese translation, and take the Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, the representative work of English modern prose writer Robert Lynd, as an example to analyze its translation strategies and methods.&lt;br /&gt;
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==摘要==&lt;br /&gt;
&lt;br /&gt;
散文是与诗歌、小说、戏剧并称的一种文体，不拘泥于韵律、情节、人物，形式灵活，真实自然。英语散文历史悠久，类型多样，是翻译实践与研究中的重要研究对象。在我国，最著名的英语散文家是弗朗西斯·培根和查尔斯·兰姆，他们的作品也因此成为英语散文汉译的重点。而事实上，我国翻译界更加重视的是诗歌与小说的汉译，英语散文汉译的研究相较之下比较滞后。本文将以英语散文为切入点，介绍英语散文的特点及其在我国的汉译研究，并以英国现代散文家罗伯特·林德的代表作《无知的乐趣》汉译本为例，主要分析其中的策略及方法。&lt;br /&gt;
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==Key Words==&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Pleasures of Ignorance&amp;quot;; Chinese translation of English prose; translation strategies; translation methods; translation techniques&lt;br /&gt;
&lt;br /&gt;
==关键词==&lt;br /&gt;
&lt;br /&gt;
《无知的乐趣》；英语散文汉译；翻译策略；翻译方法；翻译技巧&lt;br /&gt;
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==Introduction==&lt;br /&gt;
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This chapter will point to the research background and its significance, and briefly set forth the structure of this paper and the methods used.&lt;br /&gt;
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===Research Background and Significance===&lt;br /&gt;
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In recent years, with the deepening of the reform and opening-up, the channels of international cultural exchange have become increasingly unblocked, and China's translation industry has also flourished. The studies on translation theory, drawing lesson from western translation studies, have yielded fruitful results, and more noteworthily, remarkable achievements have been made in studies on literary translation for all to see. (Hou Qiang 2014: 1)&lt;br /&gt;
&lt;br /&gt;
Prose is a basic literary form in written or spoken language that typically exhibits a natural flow of speech and grammatical structure. A large number of works in philosophy, history, economics, journalism, etc, are examples of works written in prose. It can be seen that prose, which is widely used for creation, occupies an important position in literature. However, there are few researchers majoring in prose translation, still fewer ones who specialize in Chinese translation of English prose. In view of the above, this paper, based on previous studies, will study the Chinese translation of English prose, and take the Chinese translation by Liu Bingshan of ''The Pleasures of Ignorance'' created by the English prose writer Robert Lynd, exploring its characteristics in translation strategies and methods, so as to provide better understanding and some reference for the appreciation and translation of English prose. (He Xiuqin 2018: 6) (Song Jie 2018: 1)&lt;br /&gt;
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===Methodology and Structure===&lt;br /&gt;
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This paper will employ the methods of literature research and case analysis. The paper consists of three parts. The first section is literature review, explicating the distinctive properties and linguistic features of English prose, and the prose translation with its principles, as well as introducing the previous studies on Chinese translation of English prose at home. The second part, the core of this paper, will take Liu Bingshan's Chinese translation version of Robert Lynd's prose work &amp;quot;Pleasures of Ignorance&amp;quot; as an example, carry out the interpretation of this translation in terms of its types, styles as well as strategies and methods employed. Lastly, the conclusion will point to the findings in this study and the weaknesses in the paper.&lt;br /&gt;
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==Literature Review==&lt;br /&gt;
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This part will draw into the domestic previous studies on Chinese translation of English prose.&lt;br /&gt;
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With regard to Chinese translation of English prose, at present, there are few domestic scholars dedicated to its systematic research. According to the different perspectives, the relevant researches at home can be roughly divided into three categories.&lt;br /&gt;
&lt;br /&gt;
First, concerning research on the theory of Chinese translation of English prose into Chinese, there are relatively small number of studies in this direction. One of the most fruitful works is ''The Study and Translation of British and American Prose'' co-authored by Zhao Xiuming and Zhao Zhangjin (2010), which makes a detailed investigation of the literary characteristics, historical evolution and style evolution of British and American prose. The work also discusses the basic principles of English prose translation in terms of pre-translation text analysis, historical and cultural context, artistic principles, and styles, etc., which can offer a reference for the further study of the theories and practices of English prose translation. (Hou Qiang 2014: 4)&lt;br /&gt;
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Second, regarding research on the famous translators of English and American prose with their translation styles and skills, Xia Ying explored the style of Professor Cao's translation of Francis Bacon with the essay titled &amp;quot;Research on Professor Cao Minglunss Chinese translation of bacon prose&amp;quot;. (Xia Ying, 2012:165-166) Some others probed into Liu Bingshanss and Li Shicong's thoughts on prose translation which have guiding significance for prose translation practice. (Hou Qiang 2014: 4)&lt;br /&gt;
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Third, as regards research on the practice of Chinese translation English prose based on translation theory, Huang Jianling (2021) analyzed the Chinese translation of Bacon's essays from the perspective of translation aesthetics. Hu Hongyun (2013) translates and elaborates on the British prose Farewell in vocabulary, semantics, style and cultural transmission, on the basis of Eugene Nida's Functional Equivalence theory. (Hou Qiang 2014: 5)&lt;br /&gt;
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These researches and investigations have laid a solid foundation for future studies and the analysis in this paper.&lt;br /&gt;
&lt;br /&gt;
==Overview of English Prose==&lt;br /&gt;
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Prose can be defined in broad sense and in narrow sense. In broad sense, prose refers to all the written and oral works in a loose form free from parallelism; and in narrow sense, it specifically means the writings with certain literary qualities, such as essays, and a literary genre juxtaposed with poetry, novel, drama and movie-television literature.&lt;br /&gt;
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This section will clarify the distinctive characteristics and linguistic features of English prose, as well as its translation principles.&lt;br /&gt;
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===Distinctive Features of English Prose===&lt;br /&gt;
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As an independent literary genre, English prose has its own distinctive characteristics.&lt;br /&gt;
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The first characteristic is its expression of sincere feeling. Prose mostly depicts the real people, things and scenery, and is generated based on record and recollection of life. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. So in this sense, prose can be considered as an earnest conversation between the author and the readers. (Zhang Baohong 2011: 28)&lt;br /&gt;
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Secondly, English prose is characterized by the wide material selection. In English prose, one detail, episode and facet of life can be used to display the author's specific emotions and circumstances, and all materials related to the theme can also be employed. It places no emphasis on rhythm and rhyme, like poetry, as well as to plot and characters, like drama. (Zhang Baohong 2011: 29)&lt;br /&gt;
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Besides, English prose features the free and loose structure. The structure of prose writings is free and flexible. Prose is elastic and natural and boasts descriptive, argumentative and lyrical qualities, thereof constituting its most distinctive advantage. There are no strict restrictions and fixed patterns in the prose structure, but its flexibility and randomness is not tantamount to disorder and scatter, and its choice of theme and expression of feelings should be closely centered on one main line. (Zhang Baohong 2011: 29)&lt;br /&gt;
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===Linguistic Features of English Prose===&lt;br /&gt;
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Compared with other literary forms, prose has no more skills to resort to. Therefore, as regards the form of artistic expression, English prose mainly has recourse to its own language features.&lt;br /&gt;
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First and foremost, succinctness and fluency characterize English prose language. The concise prose language not only fully delivers the content that the author intends to convey, but effectively shows the author's emotions and attitude towards persons and things. This is not the result of the author's deliberate elaboration, but the natural overflow of his or her plain and pure emotion. The fluency of prose language refers to both the informal use of words and phrases, and the author's sound expression of feelings. (Zhang Baohong 2011: 29)&lt;br /&gt;
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Meanwhile, colloquial style and literary grace are characteristic of prose language. As prose mainly focuses on description of the author's personal stories and sentiments, thus, he speaks or writes with his own posture, style and tone, as if he is confiding to the readers, so as to highlight the agreeable conversation style and unique colloquial style. Colloquial prose language is natural due to its simplicity, friendly owing to its ease of communication, and true thanks to its individuality. (Zhang Baohong 2011: 30)&lt;br /&gt;
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Furthermore, another linguistic feature of English prose is the smooth rhythm and reading. The rhythmic beauty of prose language is reflected in phonetic respect and in sentence patterns. The prose reading is catchy, with no obstacles and awkwardness, and its rhythm is in line with the natural law of oral breathing pauses as well as with the ups and downs of feelings. (Zhang Baohong 2011: 30)&lt;br /&gt;
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===Principles of English Prose Translation===&lt;br /&gt;
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The beauty of prose lies in its language and artistic conception, the two permeating each other and jointly creating the artistic charm of prose. In prose translation practice, the following principles can be observed to reproduce the artistic appeal.&lt;br /&gt;
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Keep an eye on sound and rhythm. Despite that the sound and rhythm of prose are often internal, not as obvious, regular and musical as that of poetry, they are not disordered with no aesthetic purpose. On the contrary, they effectively represent the variation of emotion in the prose, and are consistent with its unique aesthetic interest. This illustrates that in prose translation, on the one hand, the translators should recognize the great value and significance of prose sound and rhythm; on the other hand, with the intention of reproducing the linguistic subtleties of the original text, the translators can fully touch its aesthetic interest from the cadence between the lines, and perceive its inner rhythm from sentence length and speech speed. (Zhang Baohong 2011: 30)&lt;br /&gt;
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Pay attention to personalized mode of discourse. Different writers with various discourse modes bring about manifold writing styles. Not only is the personalized mode of discourse reflected in the author's choice of words and sentences as well as layout of the prose, but also in his thoughts and aesthetic interest. As a result, the translators can start with analyzing the original writer's one classic work and then his anthology and even look closely at the literary features of his age, in order to grasping the writer's personalized discourse mode, which is of particular importance to reproduce his artistic personality and the characteristics of his emotional expression in translation practice. (Zhang Baohong 2011: 31)&lt;br /&gt;
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Place a premium on the unity of scene and emotion. The unity of scene and interest in prose is embodied in diverse ways of language expression and structure, as well as the images or settings created by the author. In translation practice, based on the unity of scene and interest in the prose, it is beneficial to preserve and reproduce the overall aesthetic orientation of the original text through aesthetic reconstruction in word selection and layout, so that the translated text can obtain the aesthetic taste similar to the original prose.(Zhang Baohong 2011: 31)&lt;br /&gt;
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All in all, a general understanding of English prose can facilitate the study of its Chinese translation.&lt;br /&gt;
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==Case Study of Chinese Translation of &amp;quot;Pleasures of Ignorance&amp;quot;==&lt;br /&gt;
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The selected source text is &amp;quot;The Pleasures of Ignorance&amp;quot;, written by Robert Lynd. &lt;br /&gt;
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Robert Lynd (1879-1949), born in Belfast, Northern Ireland, was a modern critic and prose writer. He, together with E. V. Lucas, was a pioneer in reviving the tradition of Charles Lamb's prose. And The Pleasures of Ignorance is one of his notable prose works.&lt;br /&gt;
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This prose points out that it is because ignorance that people are interested in the nature and the world and their pursue knowledge, and the process of seeking knowledge is full of pleasure, by which the author emphasizes the importance of learning more and gaining insight. The article reveals somewhat erudition and aesthetic sensibility, as well as love for nature and and passion for life. From his leisurely writing, the author's maturity of thought and capability in usage of words is unveiled. Though the tone of the original text makes the readers feel that the author is chatting with them, giving people familiarity and closeness, it is not particularly colloquial. On the contrary, there is a kind of exactness and elegance of the learned between the lines, thus it can be seen that the case text is a typical scholar prose. (Zhu Mingju 2007: 326)&lt;br /&gt;
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The translator Professor Liu Bingshan firmly grasps these features of the original text and conveys the original style by carefully choosing words and sentences, with the principles of faithfulness, smoothness and expressiveness. His Chinese translation of &amp;quot;The Pleasures of Ignorance&amp;quot; will be analyzed in terms of translation strategies and methods. (Zhu Mingju 2007: 326)&lt;br /&gt;
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There is the natural connection between translation strategies and translation methods, but the two concepts are often confused. It is generally believed that translation strategies (such as foreignization and domestication) are at the cultural level, while the translation methods (such as literal translation and free translation) are at the textual level. Translation methods are the approaches, steps and techniques used to achieve a specific translation purpose based on a certain translation strategy in translation activities, whereas translation strategies are a collection of principles and methods. Consequently, this paper will enunciate the translation text on the basis of translation methods under foreignization strategy and domestication strategy respectively. (Xiong Bing 2014: 84)&lt;br /&gt;
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===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
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Foreignization is a strategy in which a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. This strategy is &amp;quot;an ethnodeviant pressure on target-language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad&amp;quot; to have alien reading experience. The translation methods under foreignization employed in Professor Liu's target text include literal translation, zero-translation and transliteration. (Venuti, 2004: 20) (Lian Shuneng 2006: 13)&lt;br /&gt;
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====Literal Translation====&lt;br /&gt;
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Literal translation is in fact looser renditions that replace individual source language words with individual target language wors wherever possible, and cling as closely as possible to the source language word order in the target language. (Lian Shuneng 2006: 12)&lt;br /&gt;
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Specifically, in the case translation text, the translator faithfully retains some personal pronouns and demonstrative pronouns in the original text. For example, &lt;br /&gt;
&lt;br /&gt;
(1)It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance.&lt;br /&gt;
&lt;br /&gt;
同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
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(2)This ignorance, however, is not altogether miserable.&lt;br /&gt;
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不过，这种无知也并非全然不幸。&lt;br /&gt;
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(3)But your and my ignorance is not confined to cuckoos.&lt;br /&gt;
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但是，你我的无知并不仅限于杜鹃这一方面。&lt;br /&gt;
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(4)A contemporary English novelist was once asked by a foreigner what was the most important crop in England.&lt;br /&gt;
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一个外国人问一位当代英国小说家，英国最重要的农作物是什么。&lt;br /&gt;
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The translation of these sentences, though properly altering the word order and voice with the adherence to the target-language syntactic norms, does not adopt the usage of transferred meaning in dealing with lexical sense.&lt;br /&gt;
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The use of literal translation, especially the retaining of the personal pronouns, like &amp;quot;we&amp;quot; and &amp;quot;you and I&amp;quot;, conveys the style of the original text, showing friendliness and intimacy.&lt;br /&gt;
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====Zero-Translation====&lt;br /&gt;
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Zero translation refers to the translation in which the translators do not use the ready-made words in the target language to translate the source language words. This translation phenomenon occurs when adjustments must be made due to the differences in the syntactic structures of the two languages. For example, some articles and personal pronouns are not translated in E-C translation. (Fang Mengzhi 2011: 108)&lt;br /&gt;
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In Professor Liu's Translation, zero-translation is particularly displayed by omission, a translation technique. For instance,&lt;br /&gt;
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Omission of the expletives ''It'' and ''There'':&lt;br /&gt;
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(5)''It'' is impossible to take a walk in the country oneself without being amazed at the vast continent of one's own ignorance.&lt;br /&gt;
&lt;br /&gt;
任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
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(6)''There'' are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy.&lt;br /&gt;
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这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。&lt;br /&gt;
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Omission of English articles:&lt;br /&gt;
&lt;br /&gt;
(7)Thousands of men and women live and die without knowing the difference between ''a'' beech and ''an'' elm, between ''the'' song of ''a'' thrush and ''the'' song of ''a'' blackbird.&lt;br /&gt;
&lt;br /&gt;
成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
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Omission of pronouns:&lt;br /&gt;
&lt;br /&gt;
(8)... as she (the cuckoo) lays ''her'' egg on the ground and takes it in ''her'' bill to the nest in which it is destined to breed infanticide.&lt;br /&gt;
&lt;br /&gt;
把蛋下到地面上，然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。&lt;br /&gt;
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The application of zero-translation can render the translation text concise, neat and fluent, and make the rhythm of the prose more natural and flexible, conforming to the principle of prose translation.&lt;br /&gt;
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====Transliteration====&lt;br /&gt;
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Proper names such as the names of persons and places of foreign countries, are, as a rule, to be transliterated, i.e., to be translated by using Chinese characters to represent the sound in articulating these names. (Lian Shuneng 2006: 344)&lt;br /&gt;
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In transliteration, the translators should follow the original pronunciation of proper names, in Liu's translation, for example,&lt;br /&gt;
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(9)Hamlet 哈姆雷特 Pickwick 匹克威克 (both transliterated from English)&lt;br /&gt;
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Besides, in transliteration, the translators sometimes should also use the standard pronunciation of the Chinese characters. One of the difficulties in transliterating a foreign name in Chinese characters lies in the lack of many foreign sounds in Chinese, and the variation in the pronunciation of the Chinese characters causes confusion. The remedy is to fix certain Chinese characters for a certain syllable of foreign names. And many long-standing translated names, though not named after the original sounds, have been recognized by the world and are generally invariable. (Lian Shuneng 2006: 346)&lt;br /&gt;
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For example, in the translation in case study. For example, in the translation in case study,&lt;br /&gt;
&lt;br /&gt;
(10)Montaigne 蒙田 (not 蒙泰涅)&lt;br /&gt;
&lt;br /&gt;
Transliteration plays a crucial role in translation of proper nouns and technical terms, which ensures the correct conveyance of information.&lt;br /&gt;
&lt;br /&gt;
The translation methods under foreignization are able to make the translation process more visible, by means of showing how translators are deeply involved in the construction of culture and ideology. The use of these methods can retain the foreignness of the source text and produce on the target-language readers an effect as close as possible to that obtained on the readers of the original, through which the readers can further understand the foreign expressions and cultures, realizing the differences between the two countries.&lt;br /&gt;
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===Translation Methods under Domesticating Strategy===&lt;br /&gt;
&lt;br /&gt;
Domestication is a strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for target language readers. This strategy is &amp;quot;an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home&amp;quot;. In other words, as regards the use of domesticating strategy, the translators are required to make target-language readers feel familiar and close through conveying the content of the original text with the expressions to which TL readers are accustomed. And in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, free translation method and imitation method under domestication are used and displayed in several translation techniques. (Venuti 2004: 20) (Lian Shuneng 2006: 14)&lt;br /&gt;
&lt;br /&gt;
====Free Translation====&lt;br /&gt;
&lt;br /&gt;
Free translation, also known as sense-for-sense translation, emphasizes transfer of the meaning or &amp;quot;spirit&amp;quot; of a source text over accurate reproduction of the original wording. The purpose of this method is to accommodate the needs of the target-language readers by producing a text which conforms to the linguistic and textual norms of the target language and culture which does not therefore sound &amp;quot;foreign&amp;quot;. (Shuttleworth &amp;amp; Cowie, 2014: 59)(Lian Shuneng 2006: 12)&lt;br /&gt;
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Such a method, in this case study, is specifically embodied in the choice of words packed with Chinese characteristics, that is, diction, also a translation technique. For example,&lt;br /&gt;
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(11)Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is ''the exception''.&lt;br /&gt;
&lt;br /&gt;
在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是''凤毛麟角''。&lt;br /&gt;
&lt;br /&gt;
(12)It is not that we have not seen the birds. It is simply that we ''have not noticed'' them.&lt;br /&gt;
&lt;br /&gt;
所以如此，并不是因为这些鸟我们没有见过，而只是因为我们''习焉不察''。&lt;br /&gt;
&lt;br /&gt;
(13)When in the oak’s green arms the cuckoo ''sings'', &lt;br /&gt;
&lt;br /&gt;
And first delights men in the ''lovely springs''.&lt;br /&gt;
&lt;br /&gt;
杜鹃在橡树的绿色怀抱里''啭啼''，&lt;br /&gt;
&lt;br /&gt;
第一个为人们带来''欢欣、美好的春意''。&lt;br /&gt;
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In translating these sentences, the translator transfers some words into vocabulary or phrases with conspicuously Chinese features. For instance, the transfer of &amp;quot;the exception&amp;quot; and &amp;quot;have not noticed&amp;quot; to Chinese idioms &amp;quot;凤毛麟角&amp;quot; (that describes rare and precious items) and &amp;quot;习焉不察&amp;quot; (which means that one is too accustomed to something to call it in questions), respectively, exemplifies the typical Chinese four-character structure. Moreover, the verb &amp;quot;sings&amp;quot; is transferred to &amp;quot;啭啼&amp;quot; (that describes birds' melodious chirp), a Chinese term composed of two words with the same left side, which is one of common and special linguistic phenomena in Chinese language. Meanwhile, &amp;quot;the lovely springs&amp;quot; is transferred to &amp;quot;欢欣、美好的春意&amp;quot; (a joyful and wonderful feeling brought by the spring) through abstraction.&lt;br /&gt;
Thus, it can be seen that the application of free translation can reproduce the sense of the original text more smoothly and idiomatically. And the wide adoption of the four-character structures enhance the academic atmosphere of the translation version.&lt;br /&gt;
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====Imitation====&lt;br /&gt;
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With regard to the use of imitation, the translators do not stick to the meaning details of the original text, let alone its vocabulary and syntactic structure, but take the original text as a reference model, either by deleting and condensing to only translate its gist and key information, or by adding and expanding to deliver more information than that in the original text. For instance, (Xiong Bing 2014: 85)&lt;br /&gt;
&lt;br /&gt;
(14)Thousands of ''men and women'' ''live and die'' ''without knowing'' the difference between a beech and an elm, between the song of a thrush and the song of a blackbird.&lt;br /&gt;
 &lt;br /&gt;
成千上万的''男男女女''，''从生到死''，''一辈子''也''说不出''山毛榉和榆树有什么区别，''听不出''画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
&lt;br /&gt;
In the translation of this sentence, a variety of translation techniques are employed. &lt;br /&gt;
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①　Conversion:&lt;br /&gt;
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The translator uses conversion to alter the syntactic structure of the original sentence. &lt;br /&gt;
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The predicate &amp;quot;live and die&amp;quot; is converted into the preposition phrase &amp;quot;从生到死&amp;quot; as the adverbial in Chinese.&lt;br /&gt;
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And the adverbial preposition phrase in the source text &amp;quot;without knowing&amp;quot; is converted into the predicate in Chinese translation.&lt;br /&gt;
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②　Division:&lt;br /&gt;
&lt;br /&gt;
In accordance with the need of Chinese expression, &amp;quot;without knowing&amp;quot; is divided into two verb phrases &amp;quot;说不出&amp;quot; and &amp;quot;听不出&amp;quot; in Chinese as the predicate.&lt;br /&gt;
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③　Addition:&lt;br /&gt;
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With the addition of the expression &amp;quot;一辈子&amp;quot;, the translator highlights the long time between life and death.&lt;br /&gt;
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④　Repetition:&lt;br /&gt;
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The plural form &amp;quot;men and women&amp;quot; is translated into the reiterative locution &amp;quot;男男女女&amp;quot; by repetition. &lt;br /&gt;
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The change of sentence structure via techniques such as conversion and division as well as of vocabulary via repetition and addition render the translation natural and smooth, showing the translator’s superb handling of the original text.&lt;br /&gt;
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(15)...we are all the ''more'' delighted ''at the spectacle of'' its ''runaway flight'' as it (the cuckoo) ''hurries'' from wood to wood conscious of its crimes ...&lt;br /&gt;
&lt;br /&gt;
一日''看见''它（杜鹃）因为自己犯了罪而''煌惶不安地''从这个林子飞''逃''向那个林子 ... 我们才会觉得''大大''开心。&lt;br /&gt;
&lt;br /&gt;
In this example, there are also various translation techniques used.&lt;br /&gt;
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①　Conversion:&lt;br /&gt;
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Firstly, the preposition phrase &amp;quot;at the spectacle of&amp;quot; is converted into the verb &amp;quot;看见&amp;quot; in Chinese. &lt;br /&gt;
&lt;br /&gt;
Secondly, the noun phrase &amp;quot;runaway flight&amp;quot; is converted into Chinese verbs &amp;quot;飞&amp;quot; (fly) and &amp;quot;逃&amp;quot; (escape). &lt;br /&gt;
&lt;br /&gt;
Besides, the verb &amp;quot;hurries&amp;quot; (that means to move quickly in a particular direction) is converted into &amp;quot;惶惶不安地&amp;quot; (which means to feel panic, afraid and utterly uneasy), a Chinese adverb to modify the verbs &amp;quot;飞&amp;quot; and &amp;quot;逃&amp;quot;, which endows the subject cuckoo with somewhat human characteristic.&lt;br /&gt;
&lt;br /&gt;
②　Repetition:&lt;br /&gt;
&lt;br /&gt;
The adjective &amp;quot;more&amp;quot; is translated into the reiterative locution &amp;quot;大大&amp;quot;, a Chinese adverb equivalent to &amp;quot;very&amp;quot; or &amp;quot;extremely&amp;quot; in English to modify the adjective &amp;quot;delighted&amp;quot;. &lt;br /&gt;
&lt;br /&gt;
In this example, the adjustment of the sentence order and conversion of parts of speech make the translation more consistent with the word sequence in Chinese. Meanwhile, the choice of words such as the Chinese four-character structure &amp;quot;惶惶不安&amp;quot; conveys the romantic charm beyond the original text. And there are also indicators of use of repetition embodied in the typical Chinese reiterative locutions like &amp;quot;惶惶&amp;quot; and &amp;quot;大大&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
(16)I have myself a ''capricious'' and ''leaking'' memory.&lt;br /&gt;
&lt;br /&gt;
我自己的记忆力也是''漏洞百出''、''不听使唤''。&lt;br /&gt;
&lt;br /&gt;
Although this is a short sentence, it still contains the flexible use of translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
At first, the original object &amp;quot;memory&amp;quot; is converted to the subject in the Chinese translation.&lt;br /&gt;
And then, the subject &amp;quot;I&amp;quot; with its appositive &amp;quot;myself&amp;quot; is converted into the attribute &amp;quot;我自己的&amp;quot; to modify the subject in the translation &amp;quot;记忆&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
On account of the conversion of the subject and the verb, the original predicate &amp;quot;have&amp;quot; is inappropriate. The addition of &amp;quot;也是&amp;quot; that is equivalent to the verb &amp;quot;be&amp;quot; in English enforces the completeness of sentence structure. And this is a structural addition mainly due to the structural difference between Chinese and English.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The two vivid adjective &amp;quot;capricious&amp;quot; and &amp;quot;leaking&amp;quot; are translated as &amp;quot;不听使唤&amp;quot; and &amp;quot;漏洞百出&amp;quot; respectively which are typical Chinese four-character structures. The Chinese adjective &amp;quot;漏洞百出(的)&amp;quot; means that the loopholes appear one after another, which is often used to describe that one's writing or speech is untenable because of lack of sufficient reasons and grounds. And here, this word shows the author's weak memory with which he forgets things time and again. And the other adjective &amp;quot;不听使唤(的)&amp;quot; generally depicts that someone loses control and is not obedient to the rules or instructions. Here, the word properly demonstrates that the author cannot manipulate his memory well and also cannot preclude it from being weaker. The use of these two words conforms to the choice of affective and stylistic meanings.&lt;br /&gt;
&lt;br /&gt;
In this example, the conversion of the subject and object as well as the change of the predicate enable the translation to be more closely accord with the Chinese sentential structure. Moreover, the two figurative adjectives packed with personified traits not only fully  convey the author's intention, but also enhance literariness of the translation and even display a lively mood beyond the original text.&lt;br /&gt;
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(17)We know, again, that, the blossom precedes and ''not succeeds'' the fruit of the apple-tree, but ''this does not lessen our amazement at'' the beautiful holiday of a May orchard.&lt;br /&gt;
&lt;br /&gt;
另外，我们知道苹果树''先''开花，''后''结果，可是五月''一旦''到来，果园里一片欢闹的花海。''我们不是仍然惊为奇观吗？''&lt;br /&gt;
&lt;br /&gt;
This is a typical example of the imitation method embodied in the use of diverse translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
Regarding the conversion of word classes, the noun &amp;quot;blossom&amp;quot; is converted into the Chinese verb &amp;quot;开花&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Concerning the conversion of sentence members, the object in the clause &amp;quot;apple-tree&amp;quot; is converted into the subject &amp;quot;苹果树&amp;quot; in the Chinese translation. And the attribute &amp;quot;May&amp;quot; is converted into the adverbial in Chinese as &amp;quot;五月一旦到来&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Considering the conversion of sentence patterns, the negative sentence &amp;quot;this does not lessen our amazement at...&amp;quot; is converted into a interrogative sentence &amp;quot;我们不是仍然惊为奇观吗？&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Negation:&lt;br /&gt;
&lt;br /&gt;
The negative form &amp;quot;not succeeds&amp;quot; in English is translated into the affirmative form &amp;quot;后结果&amp;quot; in Chinese, intensifying a positive tone on which Chinese language often places emphasis.&lt;br /&gt;
&lt;br /&gt;
③　Division:&lt;br /&gt;
&lt;br /&gt;
The original complicated sentence in English is divided into several simplex clauses and phrases in Chinese, which underlines the &amp;quot;chronicle style&amp;quot; of Chinese language with frequent use of shorter or composite structures.&lt;br /&gt;
&lt;br /&gt;
④　Addition:&lt;br /&gt;
&lt;br /&gt;
Now that the original sentence is divided into smaller components, it is necessary to supply connectors for better cohesion. The addition of the logical connectors in Chinese such as &amp;quot;先&amp;quot;, &amp;quot;后&amp;quot;, &amp;quot;一旦&amp;quot; and &amp;quot;仍然&amp;quot; render the translation more smooth and expressive.&lt;br /&gt;
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In this instance, the translator flexibly takes advantage of the techniques such as conversion, negation and division, not only contributing to the diversity of sentence patterns but also adding sense of warmth and vividness of the translation. Additionally, the semantic addition of logical connectors render the translation more cohesive and coherent.&lt;br /&gt;
&lt;br /&gt;
(18)Once more I shall ''see'' the world as a garden through ''the eyes'' of a stranger, ''my breath taken away with surprise by the painted fields''.&lt;br /&gt;
&lt;br /&gt;
那时，我像一个陌生者进人大花园，''放眼四望''，''五色缤纷''的原野再一次使我''目不暇接''，''心迷神醉''。&lt;br /&gt;
&lt;br /&gt;
As regards this example, the translator enriches the meaning of the original text and creates a more balmy atmosphere by employing various translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Division:&lt;br /&gt;
&lt;br /&gt;
The long complex sentence, composed of two clauses, is divided into several separated clauses in arranged in a certain order, which renders the translation rhythmic and highlights the focus of expression.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
The addition of the Chinese set phrase &amp;quot;目不暇接&amp;quot; (which means that so many wonderful things and so swift change of scenery come into sight that the eyes are kept fully occupied) makes the context more coherent, as it echoes &amp;quot;see&amp;quot; and &amp;quot;the eyes&amp;quot; in the preceding and connects the &amp;quot;painted fields&amp;quot; in the following that greet the author's eyes and take his breath away.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The verb &amp;quot;see&amp;quot; is translated into &amp;quot;放眼四望&amp;quot; (to look around), the noun phrase &amp;quot;breath taken away with surprise&amp;quot; into &amp;quot;心醉神迷&amp;quot; (to be thrown into ecstasies), and the adjective &amp;quot;painted&amp;quot; into &amp;quot;五彩缤纷&amp;quot; (colorful). These recurring four-character structures in translation are loaded with positive meanings, and proper to depict the attractive scenery and to be used in scholar prose.&lt;br /&gt;
&lt;br /&gt;
④　Conversion:&lt;br /&gt;
&lt;br /&gt;
The original clause &amp;quot;my breath taken away with surprise by the painted fields&amp;quot; is in passive voice, and is converted into the active voice in Chinese translation &amp;quot;五色缤纷的原野再一次使我目不暇接，心迷神醉&amp;quot;. This kind of conversion is due to the fact that the Chinese passive form marked by &amp;quot;被&amp;quot; is traditionally felt to be an &amp;quot;inflictive voice&amp;quot;, mainly expressing things unpleasant or undesirable, contrasted with the cheerful aura overflowing the original text. &lt;br /&gt;
&lt;br /&gt;
The translator employs short clauses separated from the original complex sentence to bestow smoothness and naturalness on the translation and strengthen its artistic appeal. Furthermore, the translator selects the words that tally with the affective, contextual and stylistic meanings of the original. And the opportune addition of words and change of voice also polish the translation.    &lt;br /&gt;
&lt;br /&gt;
The reasonable use of the imitation translation method can make the translation more idiomatic and vivid, and even enable the translation overshadow the original text in terms of showcasing the artistic and aesthetic charm.&lt;br /&gt;
&lt;br /&gt;
In a word, translation methods under domesticating strategy will involve he careful selection of texts which lend themselves to being translated in this manner, the conscious adoption of a fluent, natural-sounding target language style, the adaptation of target text to conform to target discourse types, the interpolation of explanatory material, the removal of source language REALIA and the general harmonization of target text with target language preconceptions and preferences. These methods can render the translation highly literary, aesthetic and readable, and also can to some extent optimize the source text. The appropriate application of domesticating translation is able to even become a sublimation of the original.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
&lt;br /&gt;
This paper makes an analysis of translation strategies and translation methods in English prose, with translator Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot; created by Robert Lynd as an example. With translation strategies and methods as the starting point, this paper considers Chinese translation of English prose as the research subject. The paper first introduces English prose along with its distinctive properties, linguistics features and principles of its translation. And then this paper carries out the interpretation of translation strategies and methods in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot; in which the application of translation methods as well as techniques under foreignizing and domesticating strategies are elaborated, and the concrete effects they exert are also elucidated.&lt;br /&gt;
&lt;br /&gt;
===Major Findings===&lt;br /&gt;
&lt;br /&gt;
Based on the above study of translation strategies and methods employed in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, the features or common ground of Chinese translation of English prose in terms of translation strategies and methods can be generally summarized.&lt;br /&gt;
&lt;br /&gt;
In Chinese translation of English prose, foreignization strategy and domestication strategy are both used in the light of the style, linguistic features, and syntactic structures of the source text.&lt;br /&gt;
&lt;br /&gt;
But, on the whole, the domesticating translation strategy which includes translation methods such as free translation and imitation is applied more frequently compared with foreignization. This is because that prose translation actually falls into literary translation that is special on the grounds of the unique characteristics of the original literary works. In literary works, or specifically, in English prose, some words are not used with their literal meanings but their connotative or extension meanings, so literal translation under foreignization may not correctly convey the real significance of the original text. Meanwhile, in English prose, there are complex syntactic structures whose translation cannot be carried out with no proper conversion and alteration. Additionally, multiple rhetoric devices such as metaphor, metonymy and allusion are used in English literary works, and the literal translation of these figures of speech may elude the target-language readers because of the cultural differences and the obscurity of the translation. However, the appropriate adoption of translation methods under domestication strategy, to some extent, can give the target-language readers a sense of closeness and deliver the aesthetic charm with the premise that the real meaning of the original text can be ensured.&lt;br /&gt;
&lt;br /&gt;
In terms of translation methods under foreignizing strategy, literal translation is used when the lexical meaning of the source text is lucid and the syntactic structures in it are relatively simple and clear, so the translators need not find a new path in the mode of expression in order to be faithful to the source text. And the use of literal translation can convey the information more objectively and avoid the interference of translators' subjective factors. Meanwhile, in Chinese translation of English prose, the use of zero-translation is frequent but imperceptible, with the omission of some words peculiar to English, such as expletives it and there, English articles and pronouns, but sometimes the English pronouns can also be retained to show a sense of closeness and friendliness. Besides, transliteration is used for the translation of proper nouns and technical terms not only in English prose but also in almost all text types, with conforming to the principles of being named after the original sound and of the translated names accepted through common practice. In a word, translation methods under foreignization can ensure the objective conveyance of information of the original text and preserve its foreignness and unique cultural values that can enrich the target-language readers' knowledge and their languages.&lt;br /&gt;
&lt;br /&gt;
With regard to translation methods under domesticating strategy, in Chinese translation English prose, free translation and imitation method are oftentimes employed. English prose, as one of the English literary genres, boasts distinctive features of literature, such as aesthetic value, language with hidden meanings and the usual use of figures of speech as well as culturally loaded images, which may not be shown vividly and be easily understood by target-language readers via literal or word-for-word translation. Thus, translation methods under domestication, with careful choice of words, proper adjustment of syntactic structures and sentence sequence, and appropriate sublimation of the original text, can express the original author's feelings more lively, render the translation more fluent, idiomatic and expressive, and display the aesthetic charm of the source text.&lt;br /&gt;
&lt;br /&gt;
At the lexical level, in Chinese translation of English prose, the translation techniques --- diction, addition, conversion and repetition --- are usually used. The typical Chinese four-character structures appear time from time in Chinese translation, and the translators choose the words in line with the affectionate, contextual and stylistic meanings of the original prose, which intensify literariness and satisfy the characteristics of scholar prose. Moreover, the addition of Chinese conjunctive words and logical connectors by which sentences in translation are connected into a text can create better cohesion. Furthermore, the conversion of word classes in translation is based on the contrastive studies of English and Chinese, viz., English with its nominal style is static whereas Chinese with its verbal style is dynamic. Besides, it is one of the peculiarities of Chinese to reduplicate characters or words in word-formation and to repeat the similar or same word or expression in a discourse for expressiveness and parallelism, which can render translation more appealing to Chinese readers and produce rhetorical and grammatical effect.&lt;br /&gt;
&lt;br /&gt;
At the syntactic level, the translation techniques --- conversion and division--- are often employed in Chinese translation of English prose. To start with, conversion in the syntactic respect involves conversions of sentence members, sentence patterns and the voice. The conversion of word classes often results in the conversion of sentence members, and the alteration of sentences patterns like the inter-conversion between assertive or negative sentences and question sentences can variegate sentence types in translation. The conversion of passive voice in English prose into active voice in Chinese translation is due to the preference for active forms that can produce positive effect in Chinese language. What's more, part of sentences in English prose are longer and complicated because of subordination, a fundamental feature of English, and it may be hard to reproduce the original thought with following the original sentence structure in translation, hence the division of complex English sentences into word-groups, clauses or simplex sentences in Chinese can endow Chinese translation of English prose with more naturalness, fluency and sense of rhythm.&lt;br /&gt;
&lt;br /&gt;
The research on the features of translation strategies and methods in Chinese translation of English prose, theoretically can offer a deeper insight into English prose and its translation, and practically can help to some extent improve the quality of Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
===Limitations and Suggestions===&lt;br /&gt;
&lt;br /&gt;
There are drawbacks in this paper: firstly, the paper takes only one piece of English prose as an example in case study, so it lacks strong persuasiveness; secondly, since there are few researchers on prose translation at home and abroad, especially those specializing in Chinese translation of English prose, this paper resorts to insufficient literature guidance and reference; thirdly, owing to the confined conditions and narrow academic capacity, this paper is devoid of enough depth and breadth as well as favorable insight and acuity, thus the theoretical support and practical assistance it provides are bound to be limited. As a consequence, it is expected that researchers in this field can cooperate well to build up a system to minimize the possible errors and create more thorough and holistic works to enunciate and improve Chinese translation of English prose.&lt;br /&gt;
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==References==&lt;br /&gt;
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[1] Lawrence Venuti. Rethinking Translation: Discourse, Subjectivity, Ideology [C]. London and New York: Routledge, 1992: 5-20.&lt;br /&gt;
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[2] Lawrence Venuti. The Translator's Invisibility: A History of Translation [M]. Shanghai: Shanghai Foreign Language Education Press 上海: 上海教育出版社, 2004: 7-25.&lt;br /&gt;
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[3] Mark Shuttleworth. Moira Cowie. Dictionary of Translation Studies [M]. London and New York: Routledge, 2014: 43-44, 59, 144-145.&lt;br /&gt;
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[4] 方梦之. 中国译学大辞典 [M]. 上海: 上海教育出版社, 2011: 108.&lt;br /&gt;
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Fang Mengzhi. Dictionary of Translation Studies in China [M]. Shanghai: Shanghai Foreign Language Education Press, 2011: 108 &lt;br /&gt;
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[5] 侯强. 英语散文汉译策略研究 --- 以“韩素音青年翻译奖”参赛文本为例 [D]. 厦门: 厦门大学, 2014.&lt;br /&gt;
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Hou Qiang. On the Translation Strategies of English Prose: A Case Study of the Chinese version in &amp;quot;Han Suyin Award for Young Translators&amp;quot; [D]. Xiamen: Xiamen University, 2014.&lt;br /&gt;
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[6] 何秀琴. 期待视角下的英语散文汉译研究 --- 以《散文佳作108篇》为例 [D]. 南昌: 南昌大学, 2018.&lt;br /&gt;
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He Xiuqin. Research on English-Chinese Translation of Prose from the Perspective of Horizon of Expectation -- A Case Study of ''Anthology of Chinese and English Prose'' [D]. Nanchang: Nanchang University&lt;br /&gt;
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[7] 连淑能. 英译汉教程 [M]. 北京: 高等教育出版社, 2006: 12-14, 49, 52, 54, 67-175, 211, 253-262, 344-348.&lt;br /&gt;
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Lian Shuneng. A Coursebook on English-Chinese Translation [M]. Beijing: Higher Education Press, 2006: 12-14, 49, 52, 54, 67-175, 211, 253-262, 344-348.&lt;br /&gt;
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[8] 宋颉. 翻译美学视角下的民国散文英译风格研究 [D]. 上海: 上海外国语大学, 2018.&lt;br /&gt;
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Song Jie. A Study of Styles of English Translation of Chinese Essays during Period of the Republic of China from Perspective of Translation and Aesthetics [D]. Shanghai: Shanghai International Studies University, 2018.&lt;br /&gt;
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[9] 熊兵. 翻译研究中的概念混淆 [J]. 中国翻译, 2014(3): 82-88.&lt;br /&gt;
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Xiong Bing. On the Conceptual Confusion in Translation Studies [J]. Chinese Translation, 2014(3): 82-88.&lt;br /&gt;
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[10] 张保红. 文学翻译 [M]. 北京: 外语教学与研究出版社, 2011: 28-88.&lt;br /&gt;
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Zhang Baohong. Literary Translation [M]. Beijing: Foreign Language Teaching and Research Press, 2011: 28-88.&lt;br /&gt;
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[11] 朱明炬. 英汉名篇名译 [M].  南京: 译林出版社, 2007: 319-328.&lt;br /&gt;
&lt;br /&gt;
Zhu Mingju.  Chinese Translation of Famous English Works [M]. Nanjing: Yilin Press, 2007: 319-328.&lt;br /&gt;
&lt;br /&gt;
==Appendix==&lt;br /&gt;
&lt;br /&gt;
(The original text:)&lt;br /&gt;
&lt;br /&gt;
The Pleasures of Ignorance&lt;br /&gt;
&lt;br /&gt;
By Robert Lynd&lt;br /&gt;
&lt;br /&gt;
It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance. It is impossible to take a walk in the country oneself without being amazed at the vast continent of one’s own ignorance. Thousands of men and women live and die without knowing the difference between a beech and an elm, between the song of a thrush and the song of a blackbird. Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is the exception. It is not that we have not seen the birds. It is simply that we have not noticed them. We have been surrounded by birds all our lives, yet so feeble is our observation that many of us could not tell whether or not the chaffinch sings, or the colour of the cuckoo. We argue like small boys as to whether the cuckoo always sings as he flies or sometimes in the branches of a tree-whether Chapman drew on his fancy or his knowledge of nature in the lines:&lt;br /&gt;
&lt;br /&gt;
When in the oak's green arms the cuckoo sings, &lt;br /&gt;
&lt;br /&gt;
And first delights men in the lovely springs.&lt;br /&gt;
&lt;br /&gt;
This ignorance, however, is not altogether miserable. Out of it we get the constant pleasure of discovery. Every fact of nature comes to us each spring, if only we are sufficiently ignorant, with the dew still on it. If we have lived half a lifetime without having ever seen a cuckoo, and know it only as a wandering voice, we are all the more delighted at the spectacle of its runaway flight as it hurries from wood to wood conscious of its crimes and at the way in which it halts hawk-like in the wind, its long tail quivering, before it dares descend on a hillside of fir-trees where avenging presences may lurk. It would be absurd to pretend that the naturalist does not also find pleasure in observing the life of the birds, but his is a steady pleasure, almost a sober and plodding occupation, compared to the morning enthusiasm of the man who sees a cuckoo for the first time, and, behold, the world is made new.&lt;br /&gt;
&lt;br /&gt;
And, as to that, the happiness even of the naturalist depends in some measure upon his ignorance,which still leaves him new worlds of this kind to conquer. He may have reached the very Z of knowledge in the books, but he still feels half ignorant until he has confirmed each bright particular with his eyes. He wishes with his own eyes to see the female cuckoo—rare spectacle!—as she lays her egg on the ground and takes it in her bill to the nest in which it is destined to breed infanticide. He would sit day after day with a field-glass against his eyes in order personally to endorse or refute the evidence suggesting that the cuckoo does lay on the ground and not in a nest.And, if he is so far fortunate as to discover this most secretive of birds in the very act of laying, there still remain for him other fields to conquer in a multitude of such disputed questions as whether the cuckoo’s egg is always of the same colour as the other eggs in the nest in which she abandons it. Assuredly the men of science have no reason as yet to weep over their lost ignorance. If they seem to know everything, it is only because you and I know almost nothing. There will always be a fortune of ignorance waiting for them under every fact they turn up. They will never know what song the Sirens sang to Ulysses any more than Sir Thomas Browne did.&lt;br /&gt;
&lt;br /&gt;
If I have called in the cuckoo to illustrate the ordinary man's ignorance, it is not because I can speak with authority on that bird. It is simply because, passing the spring in a parish that seemed to have been invaded by all the cuckoos of Africa, I realized how exceedingly little I, or anybody else I met, knew about them. But your and my ignorance is not confined to cuckoos. It dabbles in all created things, from the sun and moon down to the names of the flowers. I once heard a clever lady asking whether the new moon always appears on the same day of the week. She added that perhaps it is better not to know, because, if one does not know when or in what part of the sky to expect it,its appearance is always a pleasant surprise. I fancy, however, the new moon always comes as a surprise even to those who are familiar with her time-tables. And it is the same with the coming-in of spring and the waves of the flowers. We are not the less delighted to find an early primrose because we are sufficiently learned in the services of the year to look for it in March or April rather than in October. We know, again, that, the blossom precedes and not succeeds the fruit of the apple-tree, but this does not lessen our amazement at the beautiful holiday of a May orchard.&lt;br /&gt;
&lt;br /&gt;
At the same time there is, perhaps, a special pleasure in relearning the names of many of the flowers every spring. It is like rereading a book that one has almost forgotten. Montaigne tells us that he had so bad a memory that he could always read an old book as though he had never read it before. I have myself a capricious and leaking memory. I can read Hamlet itself and The Pickwick Papers as though they were the work of new authors and had come wet from the press, so much of them fades between one reading and another. There are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy. But this is only when life has an object beyond entertainment. In respect of mere luxury, it may be doubted whether there is not as much to be said for a bad memory as for a good one. With a bad memory one can go on reading Plutarch and The Arabian Nights all one's life. Little shreds and tags, it is probable, will stick even in the worst memory, just as a succession of sheep cannot leap through a gap in a hedge without leaving a few wisps of wool on the thorns. But the sheep themselves escape,and the great authors leap in the same way out of an idle memory and leave little enough behind.&lt;br /&gt;
&lt;br /&gt;
And, if we can forget books, it is as easy to forget the months and what they showed us, when once they are gone. Just for a moment I tell myself that I know May like the multiplication table and could pass an examination on its flowers, their appearance and their order. Today I can affirm confidently that the buttercup has five petals. (Or is it Six? I knew for certain last week.) But next year I shall probably have forgotten my arithmetic, and may have to learn once more not to confuse the buttercup with the celandine. Once more I shall see the world as a garden through the eyes of a stranger, my breath taken away with surprise by the painted fields. I shall find myself wondering whether it is science or ignorance which affirms that the swift (that black exaggeration of the swallow and yet a kinsman of the humming-bird) never settles even on a nest, but disappears at night into the heights of the air. I shall learn with fresh astonishment that it is the male, and not the female,cuckoo that sings. I may have to learn again not to call the champion a wild geranium, and to rediscover whether the ash comes early or late in the etiquette of the trees. A contemporary English novelist was once asked by a foreigner what was the most important crop in England. He answered without a moment's hesitation: &amp;quot;Rye&amp;quot;. Ignorance so complete as this seems to me to be touched with magnificence; but the ignorance even of illiterate persons is enormous. The average man who uses a telephone could not explain how a telephone works. He takes for granted the telephone, the railway train, the linotype, the aeroplane, as our grandfathers took for granted the miracles of the gospels. He neither questions nor understands them. It is as though each of us investigated and made his own only a tiny circle of facts. Knowledge outside the day's work is regarded by most men as a gewgaw. Still we are constantly in reaction against our ignorance. We rouse ourselves at intervals and speculate. We revel in speculations about anything at all—about life after death or about such questions as that which is said to have puzzled Aristotle, &amp;quot;why sneezing from noon to midnight was good, but from night to noon unlucky.&amp;quot; One of the greatest joys known to man is to take such a flight into ignorance in search of knowledge. The great pleasure of ignorance is, after all, the pleasure of asking questions. The man who has lost this pleasure or exchanged it for the pleasure of dogma, which is the pleasure of answering, is already beginning to stiffen. One envies so inquisitive a man as Jowett, who sat down to the study of physiology in his sixties. Most of us have lost the sense of our ignorance long before that age. We even become vain of our squirrel’s hoard of knowledge and regard increasing age itself as a school of omniscience. We forget that Socrates was famed for wisdom not because he was omniscient but because he realized at the age of seventy that he still knew nothing. (Zhu Mingju 2007: 319-322)&lt;br /&gt;
 &lt;br /&gt;
(Liu Bingshan's Chinese translation:)&lt;br /&gt;
&lt;br /&gt;
无知常乐&lt;br /&gt;
&lt;br /&gt;
刘炳善 译&lt;br /&gt;
&lt;br /&gt;
同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是凤毛麟角。所以如此，并不是因为这些鸟我们没有见过，而只是因为我们习焉不察。在我们一生中，鸟类始终就在我们周围，然而我们对于它们的观察总是那样马马虎虎，所以我们当中许多人都说不清花鸡到底会不会知，也不知道杜鹃究竟是什么颜色。对于有些问题、我们像小孩子一样争论不休、譬如说，杜鹃在飞着或栖身于树枝间的时候，是否一直不停地鸣，而查普曼下面两行诗的灵感究竟是来自他的想像还是来自他的自然知识∶&lt;br /&gt;
&lt;br /&gt;
杜鹃在橡树的绿色怀抱里啭啼，&lt;br /&gt;
&lt;br /&gt;
第一个为人们带来欢欣、美好的春意。&lt;br /&gt;
&lt;br /&gt;
不过，这种无知也并非全然不幸，因为正是由于它，我们才能不断尝到发现的乐趣。只要我们是的的确确地无知，那么每年大地春回，自然界的每一种事物都会带着它那清新的露珠重新出现在我们面前。如果我们活了半辈子，对于杜鹃除了听过它那飘忽不定的叫声，从来没有见过它是什么模样，那么，一日看见它因为自己犯了罪而煌惶不安地从这个林子飞逃向那个林子。或是看见它顶着风、像老鹰似的停留在半空中，它那长长的尾巴颤动着，不敢落下来，生怕有什么鸟儿藏在那山坡上的枞树林里等着要找它报仇。我们才会觉得大大开心。有人想着，博物学家整天观察鸟类，大概就不会觉得有什么趣儿了吧？其实大谬不然--他那持续不断的乐趣几平已经变成一种安详的职业习惯了，不像有人某天早晨突然第一次看见一只杜鹃，不胜雀跃之至，于是，看哪，天地也为之焕然一新了。&lt;br /&gt;
&lt;br /&gt;
说到这儿，甚至连博物学家的快乐在一定程度上也有赖于自己的无知；只有如此。才能给他留出一些新的领域有待他去征服。即使他已经攀登了书本知识的顶峰，他仍会感到自己不过是半通不通，每一个引人注目的细节还必须用自己的亲眼观察来加以一一证实。他盼着能亲眼看到雌杜鹃（这可是个稀罕物儿！）把蛋下到地面上。然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。因此，博物学家就要戴上望远镜，日复一日地坐在那里等待着亲眼证实或者否定那种认为杜鹃确实是在地面上而非在窠里下蛋的说法。而日，即使他很幸运，能够发现杜鹃下蛋实况，这个在鸟类来说算是极大的秘密，其他一大批有争议的问题还依然存在。就像新的领土有待他去开拓，例如，杜鹃的蛋跟它占用的窠里其他鸟的蛋是否总是一样颜色？自然，科学家没有理由为了自己失去无知而哭泣。如果他们看起来似乎是精通一切的话，那也不过因为你我差不多是一无所知罢了。实际上，当他们要把一件事实的盖子揭开的时候，某种命定的无知就在等待着他们。海妖们向尤利塞斯唱的究竟是什么歌儿？——他们永远不可能知道，正像托马斯·勃朗爵士也不知道一样。&lt;br /&gt;
&lt;br /&gt;
我请杜鹃来做例子以说明普通人的无知，并不是因为我有什么权威可以对这种鸟儿发发议论。不过，我曾在某个教区暂住，而那年春天从非洲飞来的杜鹃似乎全集合在那个地方，因此我也就有机会了解到我自己以及我所碰见的每一个人对于这种鸟儿的知识是如何地微不足道。但是，你我的无知并不仅限于杜鹃这一方面。它涉及到宇宙万物，从太阳、月亮一直到花卉的名字。有一天，我听见一位聪明伶俐的太太提出了这样一个问题∶新月是不是总在星期几露面？她接着又说：不知道倒好，正因为人不知道在什么时候、在天空的哪一带能看见它，新月一出现才给人带来一场惊喜。然而我想、哪怕入把月亮盈亏时间表记得再熟。看见新月出现还是不免又惊又喜，春回大地，花开花落，也莫不如此。尽管我们对一年四季草本节令了如指掌，知道樱草开花在三月四月而不在十月，不过看见一株早开花的樱草，我们还是照样地高兴。另外，我们知道苹果树先开花，后结果，可是五月一旦到来，果园里一片欢闹的花海。我们不是仍然惊为奇观吗？&lt;br /&gt;
&lt;br /&gt;
倘在每年春天，把许多花卉之名重温一遍，还另有一番风味。那就像把一本差不多忘得干干净净的书再重新念一遍。蒙田说过，他的记忆力很坏，所以他随时都能拿起一本旧书，像从未读过的新书一样地念。我自己的记忆力也是漏洞百出、不听使唤。我甚至能拿起《哈姆雷特》和《匹克威克外传》，当作是初登文坛的新作家刚刚印成白纸黑字的作品来念，因为自从上回念过以后，这两部书在我脑子里的印象已经模模糊糊了。这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。不过，在这种时候，人不仅想得到娱乐，还追求着什么目的。如果只讲享受的话，记忆力坏比记忆力好究竟差到哪里去，还真是大可怀疑哩。记忆力坏的人可以一辈子不断地念普卢塔克的《英雄传》和《天方夜谭》，而永远感到新鲜。很可能，最坏的记忆力也难免粘粘连连地留下一星半点的印象，恰如一只只绵羊从篱笆洞里接连通过，总不免在那刺条上留下一丝半缕的羊毛。然而，绵羊终归逃出去了，正像伟大的作家从我们不争气的记忆中消失。所留下的东西简直微不足道。&lt;br /&gt;
&lt;br /&gt;
既然读过的书我们可以忘得一干二净，那么一年十二个月以及每个月的风物，一旦时过境迁。我们同样可以轻而易举地把它们忘在脑后。在某个短暂时刻，我可以说自己对于五月就像对于乘法表那样熟悉，关于五月里的花木、开花时间乃至前后次序，我能通过考试。今天，我就敢肯定金凤花有五瓣。（难道是六瓣吗？上个礼拜我还记得清清楚楚来着。）可是，到了明年，我也许连算术也忘个干干净净;我得从头学起，以免把金凤花误认成白屈菜。那时，我像一个陌生者进人大花园，放眼四望，五色缤纷的原野再一次使我目不暇接，心迷神醉。那时，我也许要对这么一个问题拿不定注意，就是; 认为雨燕（那种简直像大号小燕子、又和蜂鸟沾点儿亲戚的黑鸟儿）从来不在窠里歇着，一到夜里就飞向高高的天空，到底是一种科学论断，还是一种无知妄说？当我知道了会唱歌的并不是雌杜鹃，而是雄杜鹃。我还要再次感到惊讶。我得重新学习，以免把剪秋罗当作野大竺葵；还要去重新发现白杨在树木生长的习惯法中究章算是早成材还是晚成材。某天。一个外国人问一位当代英国小说家，英国最重要的农作物是什么。他毫不犹豫地回答：“稞麦。”在我看来，这是一种堂而皇之派头的彻头彻尾的无知；不过，大大无知的也包括那些没有文化的人。普通人只会使用电话，却无法解释电话的工作原理。他把电话、火车、铸造排字机、飞机都看作当然之事，就像我们的祖父一代把福音书里的奇迹故事视为理所当然一样。对于这些事，他既不去怀疑，也不去了解。我们每个人似乎只对很小范围内的某几件事才真正下工夫去了解、弄清楚。大部分人把日常工作以外的一切知识统统当作花哨无用的玩意儿。然面，对于我们的无知，我们还是时时抗拒着，我们}有时振作起来，进行思索。我们随便找一个什么题目，对之思考，甚至入迷——关于死后的生命，或者关于某些据说亚里士多德也感到大惑不解的问题，例如“打喷嚏，从中午到子夜则吉，从夜晚至中午则凶，其故安在？”为求知识而陷入无知，这是人类所欣赏的最大乐事之一。归根结底，无知的极大乐趣即在于提出问题。一个人，如果失去了这种提问的乐趣，或者把它换成了教条的答案，并且以此为乐，那么，他的头脑已经开始僵化了。我们羡慕像裘伊特这样勤学好问之人，他到了六十多岁居然还能坐下来研究生理学。我们多数人不到他这么大的岁数就早已丧失了自己无知的感觉了。我们甚全像松鼠似的对自己小小的知识储存感到沾沾自喜，把与日俱增的年龄看作是培养无所不知的天然学堂。我们忘记了∶苏格拉底之所以以智慧名垂后世，并非因为他无所不知，而是因为他到了七十高龄还能明白自己仍然一无所知。 (Zhu Mingju 2007: 322-325)&lt;br /&gt;
&lt;br /&gt;
=毛优Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
[[Trans_Type_EN_5]]&lt;br /&gt;
&lt;br /&gt;
毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
&lt;br /&gt;
=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_6]]&lt;br /&gt;
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彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
&lt;br /&gt;
从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。	&lt;br /&gt;
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Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
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Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
翻译风格，巴黎的忧郁，郭宏安，亚丁&lt;br /&gt;
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==Introduction==&lt;br /&gt;
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The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
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Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations. Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
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==Liu Miqing’s theory of translation style==&lt;br /&gt;
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Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
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Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.&lt;br /&gt;
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In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
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==Form Markers==&lt;br /&gt;
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According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
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===Register Markers===&lt;br /&gt;
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“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
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The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
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Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
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Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
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Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
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This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
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===Lexical Markers===&lt;br /&gt;
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Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence, translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
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&lt;br /&gt;
==Non-formal Markers==&lt;br /&gt;
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The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
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Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
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According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
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Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
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The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
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The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
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Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
&lt;br /&gt;
Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.&lt;br /&gt;
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==References==&lt;br /&gt;
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[1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[3] 刘宓庆 Liu Mingqing. 新编当代翻译理论[M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp;amp; Publishing Corporation, 2005.&lt;br /&gt;
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[4] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.&lt;br /&gt;
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[5] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.&lt;br /&gt;
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=秦建安 A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
[[Trans_Type_EN_7]]&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Lu Xun, chief commander of China's modern cultural revolution, is not only a great thinker and political commentator but the founder of modern Chinese literature. Kong I-Chi is one of the masterpieces of Lu Xun's novels. Although the total number of characters is less than 3,000 words, Lu Xun exposes the nature of feudal ethics and its negative influence through his character portrayal, which is loved by many readers home and aboard. The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but so as close as possible to the original text in terms of syntactic structure and wording. Therefore, his translations once became the authoritative version of Lu Xun's novels. From the perspective of Nida’s functional equivalence theory, this thesis conducts translation research on the English translation of the famous writer Yang Xianyi, analyzing whether the translation is functionally equivalent to the original text and construe the English translation of prose from the lexical, syntactic, and semantic level to try to explore the translation strategies, styles and methods of Kong I-Chi which aims to explain the functional equivalents in Lu Xun's short novel translation.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Functional Equivalence Theory; Lu Xun; Kong I-Chi;translation method&lt;br /&gt;
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===Introduction===&lt;br /&gt;
This chapter will be expanded with respect to the research background, its significance and the methodology. The literature review will also be included which describes the previous studies on the Functional Equivalence Theory and previous translation versions of ''Kong I-Chi''.&lt;br /&gt;
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'''Research Background and Significance'''&lt;br /&gt;
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As the most famous writer in modern China, Lu Xun has a decisive bearing on the modern history of Chinese literature. Lu Xun settled in a period of transformation in Chinese literature. His short stories are different from modern short stories in terms of text and expression. ''Kong I-Chi'' was written in 1918 when there was a turmoil in China. At that time, although the imperial examination system had been abolished, the education system had not changed, and many scholars had not shaken off the shackles of feudal tenets. &lt;br /&gt;
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''Kong I-Chi'' enjoys high reputation at home and abroad and has been translated into English, Japanese, French, Russian and other languages. Compared with other language versions, the English versions enjoy a wider spread and have deeper influence. In 1954, the couple Yang and Dai translated it into English and published Selected Stories of Lu Xun in which ''Kong I-Chi'' was included. Yang Xianyi and his wife Gladys Yang are great translator beyond all doubt. They are knowledgeable and familiar with Chinese and Western cultures also have devoted their life to translating excellent Chinese and Western literary works. Through their translation, we can better master the author's own novel intentions.&lt;br /&gt;
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'''Methodology'''&lt;br /&gt;
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In recent years, the translation of traditional Chinese literary works was attached great significance by both Chinese and foreign scholars. As an important part of ancient Chinese culture, though, it is a common genre in Chinese and foreign literature, the short novels cannot be neglected. For translators, how to deal with the modern and balance Chinese and Western cultural differences has become a salient problem. It is not only necessary to understand the characteristics of modern Chinese literature, but also to be very familiar with Chinese and Western cultures for the translator. Functional Equivalence Theory is put forward by American linguists Eugene Nida. According to him, two different languages represent two different cultures which will never be the same, but translation is a kind of communication between the two cultures and translators should try their best to achieve functional equivalence between the two languages rather than seek for rigid correspondence when making translation, which can accurately reproduce the source culture in the target language and eliminate cultural differences. It puts forward a new attitude to treat different languages and cultures, promoting language communication and mutual understandings among people. Thus, taking Nida’s theory as guidance, this research is meaningful not only for translation studies, but also for cultural exchanges.&lt;br /&gt;
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'''Literature Review'''&lt;br /&gt;
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As one of Nida’s major contribution to contemporary translation studies, Functional Equivalence Theory has brought about heated discussion among scholars at home and abroad since its birth. Many momentous works of Nida also have been translated and introduced into China, such as Nida on Translation edited and translated by Tan Zaixi (1999) and Language and Translation translated by Cai Yi (1985) which of them aroused great repercussions in Chinese translation field. As the prototypical member of Functional Equivalence Theory, receptor’s response theory draws scholars’ attention. Zhang Xiujuan (2015) points out that “receptor’s response theory breaks the tradition of Chinese translation that translators pay much attention to the text but may ignore the response of readers, and provides a new perspective for Chinese scholars to make studies on translation theories”.&lt;br /&gt;
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Kong I-Chi, as the most typical character in Lu Xun's novels in the teaching textbooks of Chinese junior high school students, has left an indelible impression in the hearts of Chinese people. The most recognized translators of ''Kong I-Chi'' include Yang and Dai, Lyle William and Edgar Snow. The translation of Lu Xun's novels during the period of Yang and Dai reach its heyday. For a long time, domestic and foreign publishing houses have published works translated by the couple. Since Edgar Snow lived in the same age as Lu Xun, his translation is closer to Lu Xun's life background. It wasn't until 1990 that the American scholar William Lyell's new American translation was published, and the new stage of the English translation of Lu Xun's novels began. The British English version translated by Yang and Dai is elegant and idiomatic, giving readers the good impression of pure British English.&lt;br /&gt;
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=== Theoretical Framework: Nida’s Functional Equivalence Theory ===&lt;br /&gt;
==== Introduction of Functional Equivalence Theory ==== &lt;br /&gt;
===== The Original of Functional Equivalence Theory  =====&lt;br /&gt;
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Nida's main academic activities unfold around the translation of the Bible. In the process of &amp;quot;Bible&amp;quot; translation, Nida started from reality and developed a set of his own translation theory, which eventually became one of the classics in translation studies. In 1964, Nida (1964) put forward “dynamic equivalence” in ''Toward a Science of Translating'', and gave it specific definition in ''The Theory and Practice of Translation'' (1969). In the mid-1980s, “dynamic equivalence” was replaced by “functional equivalence” to avoid misunderstandings on the term “dynamic”, which was the origin of Functional Equivalence Theory.&lt;br /&gt;
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=====The Development of Functional Equivalence Theory  =====&lt;br /&gt;
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The most important and the most intractable part in Functional Equivalence Theory is the disposal of message. The theory requires that the message in receptor’s language must be consistent with the source language. In such a translation, translators should strive to “reproduce as literally and meaningfully as possible the form and content of the original” (Nida 1964:159). Later he successfully applied the research results of modern linguistics to translation theory which also reciprocally pushed his theory forward. There are three stages in the development of Functional Equivalence Theory.&lt;br /&gt;
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The first stage is that starting from the essence of language; he used semantic theory to make an objective and accurate analysis of the referent and associative meaning of words. In Nida's point of view, various language structures have great similarities, and the deep structure is far more common than the surface structure. Therefore, the translation of the deep structure between languages can ensure the fidelity of the translation to the greatest extent. At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensue smoothness of the translation as much as possible. The faithful and fluent translation presupposes conditions for the equivalence of receptor’s response, which makes it possible to realize functional equivalence.&lt;br /&gt;
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The second stage is that the theory was prone to lay its foundation on information theory. Nida held the view that translation is the activity of converting information expressed in one language into information in another language, which is, converting information of one code into information of another code. The translation plays a communicative role in transmitting information. Only when the target reader obtains the same amount of information as the original reader can the relationship between the target language recipient and the target language information be basically the same as the relationship between the original language recipient and the original source information. Nida noticed that there is a receptive gap between the original reader and target reader especially when the original language and the target language belong to different language families and different cultures. Thus, in order to improve the amount of the receptor’s information as much as the original reader’s, Nida emphasizes the translator can moderately change the form of the original text to provide a better understanding for receptors.&lt;br /&gt;
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On third stage, Nida tended to embellish his theory from the perspective of social semiotics. Nida insisted that the translation means translation meaning, and semiotics is the most comprehensive system for analyzing meaning. In the book &amp;quot;''Language, Culture, and Translation''&amp;quot;, Nida pointed out that social semiotics studies all codes and codes of human society, and its focus is on the most comprehensive and complex symbol system used by mankind-Language. Therefore, in terms of decoding and encoding, no translation method is as comprehensive as the social semiotic translation method.&lt;br /&gt;
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Nida also recognized that there would never be complete equivalence and it was just a quaesitum. With further development of Functional Equivalence Theory, he thought that it has different degrees of adequacy and on that basis he put forward two levels of functional equivalence — the maximal level and the minimal level of equivalence. The former refers to “the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did” (Nida 1993:118), but this is just an ideal state which cannot be achieved especially when there are huge cultural and aesthetic differences between the two languages. While the latter means “the readers of a translated text should be able to comprehend it to point that they can conceive of how the original readers of the text must have understood and appreciated it” (Nida 1993: 118), and translation below this level can never be accepted. According to Nida, if a translation is between these two levels, it can be regarded as a good one.&lt;br /&gt;
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==== Basics of Functional Equivalence Theory  ==== &lt;br /&gt;
=====Receptor’s Response  =====&lt;br /&gt;
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In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s responce. When translators are working on translation, they are increasingly unable to ignore the reader's feedback on the translation. From the perspective of reception aesthetics, translation theorist Nida said that only when the reader accepts the translation can the translation be truly completed. Therefore, when translating, the translator cannot ignore the acceptability of the translation. The translator builds a bridge between the original author and the reader of the target language through translation, and it is the translation that can clearly reflect this bridge role.&lt;br /&gt;
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Receptor’s Response Theory draws attention to the reader and the reading process, rather than the author or the text. Pat Mora and James Welch define it as: &amp;quot;The theory emphasizes the importance of the reader's role in text understanding.&amp;quot; The same description also appears in many of Nida’s works in which the importance of “receptor’s response” is emphasized repeatedly. &lt;br /&gt;
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There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which was pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information need to be filled in by the reader himself. Such uncertainty occupies another very important position in this theory. This concept includes those vague factors, such as gaps and blanks. This kind of uncertainty encourages readers to add their own ideas when reading, so there is usually more than one understanding of a literal work. The third point is implicit reader also proposed by Isel, as opposed to the actual reader, which refers to the intended reader set by the writer himself who can concretize the text. Isel points out that the implicit reader is not the actual reader, but a reader that the author expects to design in the creative process, that is, the implicit recipient. It is a certain character that the artist conceives and pre-sets based on his experience or hobbies. The forth part is the identity theme. In other words, the work itself has no fixed objective meaning; only when the reader reshapes the work out of his own identity theme and the reader replicates his own fantasies during the reading process, the work can be given meaning. The last point is the interpretative group which was put forward by Stanley Fish. It refers to people who share the same interpretation strategy as we have. In a known context or reader group, the interpretation of the work meaning is the product from the group.&lt;br /&gt;
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===== Principles for Producing Functional Equivalence  =====&lt;br /&gt;
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To achieve the closest natural equivalence between the source language and target language, Nida put forward six principles as the guidance of different kinds and degrees of adjustments:&lt;br /&gt;
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1.	When the translation that strictly keeps the form of the source text makes receptors misunderstand the designative meaning, changes need to be made in the translated text, or a footnote should be added for further explanation if literal translation is still be selected.&lt;br /&gt;
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2.	When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aim to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.&lt;br /&gt;
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3.	When the translation that strictly keeps the form of the source text is so semantically and syntactically difficult that average readers may give up the attempt to understand it, changes should be made in the translated text and the nature of the changes needs to be indicated in the introduction or footnote.&lt;br /&gt;
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4.	When the translation that strictly keeps the form of the source text causes significant misconceptions on the associative meanings of the source text or huge loss in the appreciation for the stylistic values of the source text, changes should be made to reflect the associative meanings of the source text.&lt;br /&gt;
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5.	The way that a translation is to be used (such as a drama to be read or acted on the stage) is of great significance to the extent to which changes are to be made.&lt;br /&gt;
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6.	A source text that must be translated together with accompanying codes (such as songs and operas) generally requires numerous adjustments in all aspects, including phonology, lexicon, syntax, and discourse. (Nida 1993: 125-128).&lt;br /&gt;
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=== Introduction to Lu Xun and ''Kong I-Ch''i  === &lt;br /&gt;
==== Lu Xun and the values of ''Kong I-Chi'' ====&lt;br /&gt;
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To read and translate Kong I-Chi, you must first understand its author-Lu Xun.&lt;br /&gt;
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Lu Xun is a great writer. Mentioning classical literary works, no matter what innovative methods are adopted, whether realistic, romantic, or magical, the content should be close to life, reflect the reality of times and speak for the people. In terms of form, literary works should conform to the inherent rules of literary creation-forming a unique artistic style and achieving the perfect unity of truth, goodness, and beauty. Lu Xun's works fully meet the above requirements. &lt;br /&gt;
Lu Xun is also a famous thinker. Indeed, Lu Xun did not specifically study thinking or modes of thinking, nor did he have advanced theoretical monographs, but he, like thinkers in ancient and modern times, both at home and abroad, used suspicion and criticism as spiritual swords to explore truth and reveal. He held the view that it was his duty to awaken the sleeping souls of the Chinese people with literary works of various genres. The depth and breadth of his thinking is even higher than that of some contemporary thinkers. This is well reflected in his work Kong I-Chi.&lt;br /&gt;
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Lu Xun, who is a revolutionary, has a precious characteristic, that is, the purity of his revolutionary original intention. Lu Xun leaned towards socialism under the white horror of the low ebb of the Chinese revolution. What's more commendable is that as a sober realist, Lu Xun never conceives any romantic illusions about the revolution. No matter what difficulties the revolution encounters, Lu Xun always has an optimistic belief in the prospects of the revolution.&lt;br /&gt;
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From a general perspective, Lunatic's Diary is more macro and image specific than Kong I-Chi, while Kong I-Chi starts from the micro level, depicting the poor people at the bottom of society who was bullied and oppressed and lost their dignity as human beings. In addition, there are many opinions in the critics. For example, Mr. Lu Xun's Kong I-Chi was written to criticize the feudal imperial examination system, and some people think that it was sent out to criticize the “dark” old society. The famous critic Lin Zhihao believes that this novel is not only to assail at the corruption of the feudal imperial examination system, but also to reveal the persecution of people’s spiritual and ideology by the feudal education system in the dark old society. The social reality was that most scholars had been ruthlessly “eaten” up by the environment. When the shackles of thinking have been broken, we can dig into the deep meaning under the surface of Kong I-Chi, that is, the process of literati's loss of personality and the process of redemption under the background of the dark society of feudalism. Although the tragedy is redemptive, the process is also accompanied by a fall.&lt;br /&gt;
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==== Study on the Translation of ''Kong I-Chi''  ====&lt;br /&gt;
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''Kong I-Chi'' is a masterpiece of Lu Xun. The novel was created in the winter of 1918, published in the sixth volume of &amp;quot;''Italic text''New Youth&amp;quot; in April 1919. (刘家鸣1992: 15). ''Kong I-Chi'' is Lu Xun's most satisfying work (孙伏园等2000: 58), and it is also one of Lu Xun's novels that English translators are vying to translate resulting in an amount of English translation. &lt;br /&gt;
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So far, there are eight translations of ''Kong I-Chi'': 1)A British man E.H.F.Mills translated ''Con Y Ki'' from Jing Yinyu's French translation (Mills 1930: 42-50), included in ''The Tragedy of Ah Q and Other Contemporary Chinese Short Stories'' published by George Rutridge Bookstore in London in 1930; 2) The English translation of ''K’ung I-chi'' by the American Jin Shouzhuo (G.A.Kennedy 1932: 14-15), which was later included in ''Isaacs'' (Isaacs 1974: 25-32) edited by Yi Luosheng; 3) ''K’ung I-chi'' translated by Lin Jijin (Lin 1935:3-4); 4) Unsigned version of The Tragedy of ''K'ung I-Chi'' (Anonymous 1936: 2-3); 5) ''K’ung I-chi'' was co-translated by American journalists Edgar Snow and Yao Xinnong; 6) later comes to Yang Xianyi and Gladys's translation ''K'ung I-chi'' (hereinafter referred to as &amp;quot;Yang Translation&amp;quot;) (Yang &amp;amp; Gladys 1960: 40-46); 7)Then, famous American sinologist William Lyell translated ''Kong Yiji'' (Lyell 1990: 42-48); 8) other translation of ''Kong Yiji'' was produced by British sinologist Lan Shiling ( Lovell 2009: 32-36).&lt;br /&gt;
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This article focuses on Yang's translation, trying to explore Yang and Dai's translation strategies, styles and methods of ''Kong I-Chi'' from the lexical, syntactic and semantic levels, and aims to explain the functional equivalence in the English translation of Lu Xun's short stories.&lt;br /&gt;
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=== Analysis of the Translation of ''Kong I-Chi'' from the Perspective of Functional Equivalence  === &lt;br /&gt;
==== Lexical Analysis ====&lt;br /&gt;
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There are many cultural-loaded words in the original Kong I-Chi text, such as this. Culture-loaded words are deeply imprinted by the region and era of a certain language society which express things and concepts peculiar to a certain culture. Such words as “进学” and “秀才” not only carry rich cultural connotations, but also exist only in a certain culture which may be blank in another culture. It is this characteristic which is “I have and you do not have” that often becomes an obstacle to cross-cultural communication and translation. From the perspective of Functional Equivalence, this thesis will analyze how these words are handled in Yang's translation.&lt;br /&gt;
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In the sentence “幸亏荐头的情面大，辞退不得”, the word “荐头” was translated into “someone influential” by Yang and Dai. “荐头” is the person who introduces works to other people in ancient China. Such person is absolutely influential. But for reader, such influential people may be a nobleman or someone who is very authoritative in the area which may result in discrimination. The job introducers also can be regarded as common people instead of the influential. From the perspective of Functional Equivalence, Yang’s translation explicitly showed the deep meaning with loss of cultural characteristic.&lt;br /&gt;
The phrase “之乎者也” was translated into “archaisms” which stands for the use of an archaic expression. In Chinese, the original meaning of “之乎者也” is four auxiliary words commonly used in classical Chinese. Therefore, the word &amp;quot;之乎&amp;quot; also refers to the basic abilities that a scholar should possess. Later, it is used to ridicule the scholar who only knows how to analyze words while cannot solve practical problems. Functional equivalence theory requires efforts to create translations that not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. The word “archaisms” corresponds exactly to the description of Kong I-Chi in Lu Xun’s story who is a nerd.&lt;br /&gt;
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Other prototypical cultural-loaded word is “进学”. Yang translated it into “pass the official examination”. As a link in the imperial examination system in ancient China, “进学” means that the children of the Qing dynasties who can pass the examination will be admitted to the prefectural and county schools. Such system is unique to China. To achieve functional equivalence, that is, to allow non-native readers to understand this special cultural mark, the translator must explain this cultural phenomenon as much as possible or find a corresponding expression in the foreign language culture. The same in the word “秀才” on this sentence “你怎的连半个秀才也捞不到呢?” “秀才” also belong to the imperial system. “秀才” is a subject for selecting officials in ancient China, and it was once used as a special name for school students. Yang translated it into “passed the lowest official examination”. As the minimum requirement of the ancient imperial examination system, those who passed the selection examination were called  “秀才”. According to Nida’s theory, it perfectly expresses the ancient Chinese imperial examination system, and at the same time allows foreign language readers to understand Kong I-Chi’s knowledge background.&lt;br /&gt;
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==== Syntax Analysis ====&lt;br /&gt;
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In terms of syntax, the differences in sentence patterns between English and Chinese are the most salient. English emphasizes hypothesis while Chinese emphasizes parataxis, which leads to the conversion of sentence patterns in the process of translation. According to Nida's Functional Equivalence Theory, if the change in form is still insufficient to express the meaning and culture of the original text, the translation technique of &amp;quot;reconstruction&amp;quot; can be used to resolve cultural differences and make the source language and the target language equal in meaning. &amp;quot;Reconstruction&amp;quot; refers to the conversion of the deep structure of the source language into the surface structure of the target language (郭建中,2000 , P67), that is, the cultural connotation of the source language article is explained by the vocabulary of the target language.&lt;br /&gt;
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In ''Kong I-Chi'', when Kong I-Chi took our his money and ordered some food, other people started to sneer at his revenue sources and said “你一定又偷了人家东西了!” The exclamatory sentence in the original text showed others' affirmation of Kong I-Chi's theft. Yang translated it into “You must have been stealing again!” Here we can notice the tense of the two sentences. Lu Xun used the past tense in original text, which expresses that Kong I-Chi's stealing is an established fact. However, Yang used the present perfect continuous tense when translating. In English, the present perfect continuous tense manifests that something the subject has done in the past is still being done, and may continue in the future, expressing the continuation of an action. There is no need to add any other additional descriptions, just from this tense, readers can realize everyone's thoughts on Kong I-Chi's theft. Such reconstruction of tense verifies the application of Functional Equivalence Theory in turn.&lt;br /&gt;
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Afterwards, these people who deprecated him refuted Kong I-Chi's maintenance of himself, saying: “什么清白?” In Yang's translation, it is translated as “Pooh, good name indeed!” In the original text, it is originally an interrogative sentence, but Yang transformed it into an exclamation sentence, added English slang “pooh” in it and translated “清白” into good name. If the interrogative sentence in the original text is literally translated into &amp;quot;what’s the innocence&amp;quot;, the comic effect, that is, everyone's disdain for Kong I-Chi in the exclamatory sentence will not be achieved. The sentiment contained in the original text is successfully conveyed through the conversion of sentence patterns.&lt;br /&gt;
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When describing Kong I-Chi’s knowledge background, the original text mentioned: “幸而写得一笔好字，便替人家钞钞书”. In Yang’s translation, he didn’t directly translate it into a verb phrase instead of into a noun phrase which was “Happily, he was a good calligrapher.” Knowing the characteristics of English and Chinese languages, he metonymically recreated dynamic Chinese verb clauses into static noun clauses.&lt;br /&gt;
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==== Semantic Analysis ====&lt;br /&gt;
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How to eliminate cultural differences as much as possible so that the semantics of the original language can be perfectly embodied? From the perspective of Functional Equivalence Theory, the translator needs to transform the deep structure of the source language into the surface structure of the target language which requires translator to use the corresponding vocabulary in the target language to directly explain the connotation of the original text, so that the target readers can accept the translation more easily. For example, in the original text, the sentence “因为他姓孔，别人便从描红纸上的 ‘上大人孔乙己’这半懂不懂的话里，替他取下一个绰号，叫作孔乙己” includes an allusion: 上大人孔乙己 which refers to a character in the card game popular in ancient China. In such card game, the characters always are drawn in a red paper. For children in ancient China, the card game was easy to play and was a childhood memory.&lt;br /&gt;
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In Yang’s translation, he translated it into “As his surname was Kung, he was nicknamed ‘Kung I-chi’, the first three characters in a children's copybook.” Such translation omits a lot of information from the original text, such as “描红纸上” and “半懂不懂”. But Yang gave a substitute for the omission: he explained the game allusion about children which can be regarded as a strategy that helps foreign readers better understand how Kong I-Chi comes. &lt;br /&gt;
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Another illustration is the translation of this sentence: “孔乙己，你当真认识字么？” It seems fairly easy for common people to translate it with “Kong I-Chi, do you really know words?” , while Yang gave a different version: “Kung I-chi, do you really know how to read?” In our cognitive concepts, if a man knows how to read a word, then he must know this word. But if he knows the word, he may not only know how to read it, but even know how to write it. Such special mechanism is called conceptual metonymy. Yang metonymically narrowed the scope of the meaning of the word “认识”and accurately positioned the meaning of this understanding according to the context. The translator abandons the equivalence of form and achieves the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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This article selects Yang’s translation of &amp;quot;''Kong I-Chi''&amp;quot; as the study case, and analyzes the translation effect from three aspects: lexicon, syntax and semantics, combined with Nida’s Functional Equivalence Theory. It is believed that the translator flexibly uses a variety of translation methods to deal with the differences between English and Chinese languages, and the translation has realized functional equivalence as a whole.&lt;br /&gt;
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At the lexical level, the translator adopts the naturalization method when translating the proper nouns of &amp;quot; ''Kong I-Chi'' &amp;quot;, adding notes to individual words. The translation perfectly conveys the meaning of the original vocabulary. &lt;br /&gt;
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At the syntactic level, when there are differences in the expression of English and Chinese sentences, the translator will split the sentence, adjust the subject and object of the sentence, change the sentence structure and the sentence order to make the translation conform to the expression of the target language where the translation is smooth and natural. When translating the allusions of &amp;quot; ''Kong I-Chi'' &amp;quot;, the translator adopts literal translation and annotations. &lt;br /&gt;
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In terms of semantics, the translator uses the mechanism of conceptual metaphors to accurately show the original flavor.&lt;br /&gt;
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This article believes that the success of Yang’s English translation of &amp;quot;''Kong I-Chi''&amp;quot; lies in its fluent, natural language and exotic flavor. The author and translator of &amp;quot; ''Kong I-Chi'' &amp;quot; are both famous artists. The translation case from the English translation of &amp;quot;''Kong I-Chi''&amp;quot; reflects the practical application of the Functional Equivalence Theory in Lu Xun's novels. The writer also hopes that this thesis can provide ideas and inspirations for the English translation of other Lu Xun's novels.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Nida E.A. ''Language and Culture: Contexts in translating''. Shanghai: Shanghai Foreign Language Education Press.2001. &lt;br /&gt;
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[2]Nida, Eugene A.1964. Towardsa ''Science of Translating'', Leiden: E.J.Brill. &lt;br /&gt;
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[3]Nida, Eugene A.&amp;amp;Charles R.Taber, 1969, ''The Theory and Practice of Translation'', Leiden: E.J.Brill&lt;br /&gt;
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[4]鲁迅Lu Xun.鲁迅全集(第一卷)Selected Work of Lu Xun(volume Ⅰ）[M].北京Beijing:人民文学出版社People's Literature Publishing House ,1982.&lt;br /&gt;
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[5]谭载喜Tan Zaixi．新编奈达论翻译New Nida's Translation[M]．北京Beijing：中国对外翻译出版公司China Translation &amp;amp; Publishing Corporation，1999.&lt;br /&gt;
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[6]杨坚定Yang Jianding，孙鸿仁Sun Hongren．鲁迅小说英译版本综述A Summary of the English Versions of Lu Xun's Novels[J]．鲁迅研究月刊Lu Xun Research Monthly，2021(4)．&lt;br /&gt;
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[7]伊塞尔Iser.本文中的读者 Readers in this article[A]．二十世纪西方美学名著选（下）Selected Works of Western Aesthetics in the Twentieth Century (Part 2)[C]．上海Shanghai：复旦大学出版社Fudan University press,1998.&lt;br /&gt;
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[8]杨宪益.Yang Xianyi,戴乃迭 Dai Naidie译.鲁迅选集英文版(一) Selected Works of Lu Xun (1)[M].北京:外文出版社 Beijing: Foreign Languages Press,1980.&lt;br /&gt;
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[9]https://baike.baidu.com/item/%E5%8A%9F%E8%83%BD%E5%AF%B9%E7%AD%89%E7%90%86%E8%AE%BA/3373397?fr=aladdin&lt;br /&gt;
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[10]https://www.zhihu.com/question/29965932&lt;br /&gt;
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=颜子涵 Translation methods and strategies applicable to the style of biographical literature -- Taking Incidents in Life of Slave Girl (excerpt) as an example=&lt;br /&gt;
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===Abstract===&lt;br /&gt;
The translated text of this article is a part of the English biography Incidents in Life of Slave Gir. The author of this work is Harriet Jacobs. This translation mainly takes the translation functional equivalence theory of American linguist Eugene A.Nida as the theoretical framework, adopts some translation skills in translation practice, and discusses the translation skills and Strategies of Chinese translation of such texts by analyzing the stylistic characteristics of biographical literature, especially African American autobiography. Through the Chinese translation of this autobiography, we can have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Autobiographical Literature; Black female slaves; Translation methods and Strategies&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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This paper is divided into four parts. The first part is an overview of the translation project, which mainly introduces the relevant situation of the translation project, the author and works of the translated text; The second part is the preliminary preparation of translation, including project text analysis and translation plan formulation; The third part, translation theory and case analysis, including functional equivalence theory, translation strategies and case analysis; The fourth part is the summary of the project, mainly on the problems encountered in translation, the experience and inspiration gained in the process of translation.&lt;br /&gt;
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This work belongs to the category of biographical literature. Biographical literature is a literary genre in which the author reproduces the characters' life stories and experiences, shows the characters' spiritual outlook and values, and depicts the characters' distinct love and hate and vivid personality through documentary writing and a variety of literary and artistic techniques. There are more than 50 characters involved in the biography. In the author's works, these characters are very vivid, such as the forbearance of a strong grandmother to the slave owner, the loyalty of a hard-working aunt to the slave owner, the oppression of female slaves by a crafty and sinister doctor, and the wit of Linda Brent, the heroine who pursues freedom and courage. In particular, the author's description of the heroine's seven years spent in a &amp;quot;cage&amp;quot; like cabin before she fled to the North more ruthlessly castigates the evil of slavery. The heroine's experience deeply moved her relatives and friends, including white slave owners. With the help of her relatives and friends, the heroine was able to escape to the north.&lt;br /&gt;
Taking the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework, this paper adopts the following translation skills in the process of translation: 1. The translation methods of foreignization and domestication are used to achieve partial functional equivalence between the source language and the target language, so as to reduce the lack of culture after translation. 2. According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to make the translation conform to the expression habits of the target language. 3. The methods of addition and subtraction are adopted to make the translation consistent with the original in grammar and language form, as well as in cultural background and word association. 4. The Conversion Transformation is adopted to make the translation more acceptable to the target language readers. By analyzing the stylistic characteristics of biographical literature, especially African American autobiography, the author discusses the translation skills and Strategies of Chinese translation of such texts.&lt;br /&gt;
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=== Text background===&lt;br /&gt;
From the beginning of the British northern colony to the early 20th century, blacks were brutally exploited and oppressed by the slavery system. In particular, female slaves not only had to bear heavy labor, but also suffered the destruction and abuse of supervisors. Since the publication of the first Autobiography of black slaves in 1760, some advanced elements in black slaves denounced and denounced the evils of slavery with their own experience, and made outstanding contributions to the abolition movement. The author of this work is Harriet Jacobs, whose pseudonym is Linda Brent. Born in a slave family, she fought tirelessly because she could not bear the persecution of slave owners on her and her children. After fleeing to the north, the author wrote a biography of his personal experience of being enslaved, exploited, persecuted, fleeing to the north and realizing freedom, which was published in 1861. Through the Chinese translation of this autobiography, more people have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves.&lt;br /&gt;
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===Research Purpose and Significance===&lt;br /&gt;
This autobiography of black women starts from the experience of childhood from the perspectives of black slaves and women. In the process of growing up, the author experienced different masters of good and evil. When she was a child, her hostess let the author learn to read and write. Later, she died of illness. Then the new owner, Dr. flint and his wife tortured and framed her. Later, for the freedom of her children, the author resolutely decided to flee to the north and enjoy the right to freedom with her children. In the process of pursuing freedom, he went through escape, pursuit, hiding until he went north by boat. The author selects simple but typical examples in daily life, through the description of characters' psychology and language, the contradictory struggle between the interests of opposite classes, the criminal complaint of slave trafficking, and the process of slaves fleeing to the north, reveals the slave owner's naked exploitation and fraud of slaves, and reveals the slave's sincerity, courage and longing for freedom. The simple language and narrative techniques of the work fully shape the tenacity, courage, intelligence and clear love and hate of the female slave Linda Brent, and show the readers the misfortune and suffering of many slaves.&lt;br /&gt;
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=== Translation theory and case analysis===&lt;br /&gt;
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3.1 functional equivalence theory&lt;br /&gt;
This translation practice report takes the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework. Eugene Nida is an American linguist and a famous translation theorist. From the perspective of etymology, according to the essence of translation, he put forward the famous dynamic equivalence translation theory, namely &amp;quot;functional equivalence&amp;quot;. In this theory, he pointed out that &amp;quot;translation is to reproduce the information of the source language from semantics to style in the most appropriate, natural and equivalent language&amp;quot;. He believes that translation is not only the equivalence of lexical meaning, but also the equivalence of semantic style and style. The information conveyed by translation includes both surface lexical information and deep cultural information. Equivalence in dynamic equivalence includes lexical equivalence, syntactic equivalence, textual equivalence and stylistic equivalence. Nida pointed out that the translation should be functionally equivalent to the original text. Judging whether the translation is equivalent to the original text should be based on the psychological response of the readers, that is, the translator should not only stay in the equivalence of structure and semantics, but strive to make the target readers produce the functions and effects that the original author wants to achieve through his works, so as to make the target readers after reading the translation, Get the same feelings as the original readers, and make translation really become a converter of thoughts, feelings and cultural information. Therefore, in literary translation, according to Nida's theory, the translator should take the four aspects of dynamic equivalence as the translation principle to accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
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The core of Nida's functional equivalence theory is &amp;quot;content is greater than form&amp;quot;, which emphasizes that when there is a conflict between content and form, content must precede form (Nida, 2004:203). Due to the differences between Chinese and Western ways of thinking and logical habits, in order to make the translation conform to the habits of readers in the target country and make it easier for readers in the target country to accept, the author has adopted different translation methods and strategies. According to the specific content of Nida theory, this paper intends to analyze its application in English-Chinese translation practice from four aspects. 1、 According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to achieve lexical semantic equivalence between the source language and the target language; second, addition and subtraction and part of speech conversion are used to make the translation conform to the expression habits of target slogans in grammar and language form and consistent with the original text in terms of cultural background and word association; third, forward and reverse translation is used to reproduce the original text Fourth, for the long and difficult sentences of the original text, the translation methods such as reorganization, sentence splitting and merging are adopted to make the language expression forms of the translation more rich and diverse, and more easily accepted by the target language readers.&lt;br /&gt;
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3.2 translation skills and case analysis&lt;br /&gt;
When translating vocabulary, the author mostly adopts the literal translation method to convey the information of the original text more accurately. If the meaning of the translation is not accurate enough or does not conform to the Chinese expression habits after the literal translation, the author adopts the free translation method, while for the long and difficult sentences with complex structure, the translational translation method and split method are adopted to make them conform to the Chinese expression habits and more acceptable to the readers.&lt;br /&gt;
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=== Translation skills, methods and case studies===&lt;br /&gt;
Case 1: literal translation and free translation to achieve semantic equivalence in vocabularyIn the process of translation, it is the basic quality of every translator to correctly express the source language in the target language. In order to achieve this goal, the translator must start with the smallest unit of the source language—vocabulary. In project translation, the author follows the functional translation theory and pursues semantic equivalence. First, we must ensure the equivalence of lexical meaning. The author mainly discusses the semantic equivalence of words from two aspects: literal translation and free translation.&lt;br /&gt;
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1. Literal translation  &lt;br /&gt;
Literal translation emphasizes the consistency between the original text and the translation in form and content, which helps to maintain the style of the original text. Literal translation is not a dead translation, a hard translation, or a literal translation. Literal translation emphasizes retaining its form and reaching its meaning.&lt;br /&gt;
The example 1:&lt;br /&gt;
“Nothing could please her better than to see me humbled and trampled upon” is literally translated as ”没有什么比看到我恭顺谦卑、任人践踏更让她快活啦。”&lt;br /&gt;
Analysis: in this sentence, humbled and trampled upon is used to express the due psychology and living state of slaves in the eyes of slave owners. Here, it can be translated into obedience, humility and trampling, which can reflect the coldness of slave owners and the misery of slaves.&lt;br /&gt;
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2. Free translation&lt;br /&gt;
Paraphrase emphasizes divine similarity. When the original text is quite different from the translation in terms of lexical meaning, syntactic structure and style, it can not be confined to the original text. Free translation should be adopted to explain the form of the original language in another language form, so as to correctly express the ideological thrust of the original text. Free translation should conform to the grammatical norms and expression habits of the target language, so as to make the translation more fluent and natural. Free translation is not arbitrary addition and deletion, nor random translation. Free translation emphasizes &amp;quot;preaching its spirit&amp;quot; rather than &amp;quot;retaining its shape&amp;quot;. The work belongs to biographical literature. There are great differences between the source language culture and the target language culture. The translator can not adhere to literal translation from beginning to end, but should carry out free translation according to needs, so as to achieve better translation effect.&lt;br /&gt;
The example 2:&lt;br /&gt;
I resolved to give him no cause to accuse me of being too much of a lady, so far as work was concerned.&lt;br /&gt;
literal translation: 就工作而言，我决心让他找不到口实指责我过分淑女。&lt;br /&gt;
free translation: 就工作而言，我决心让他找不到口实指责我养尊处优。&lt;br /&gt;
Analysis: a lady originally means 女士或优雅的女子. Too much of a lady is often understood as 十分优雅. Because the author could read and write and looked dignified, he had not done heavy work like other slaves before, &amp;quot;I&amp;quot; guessed that the young master was disgusted with it. Here, too much of a lady is translated by free translation, which reflects the inner contempt of the young master for &amp;quot;me&amp;quot;.&lt;br /&gt;
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Case 2: addition, subtraction and part of speech conversion make the translation achieve sentence meaning equivalence, which is in line with the expression habit of the target language.&lt;br /&gt;
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3. Additional translation&lt;br /&gt;
The example 4:&lt;br /&gt;
One day, she sat under the window where I was at work, crying that weary cry which makes a mother's heart bleed. &lt;br /&gt;
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一天，她就坐在我干活的那个房间的窗户外哭，哭得声嘶力竭让任何一个做母亲的心里流血。&lt;br /&gt;
Analysis: A mother literally means &amp;quot;一个母亲&amp;quot;, but the following clause is translated into &amp;quot;哭得声嘶力竭让一个母亲的心里流血&amp;quot;. The emotion of the translation is weak. In this article, &amp;quot;I&amp;quot; as a slave must work and can't take into account children and family affection, because in the slave owner's view, slaves are low animals and don't deserve feelings. Although I heard my daughter crying, I couldn't get over it. Any mother would be distressed to hear her daughter's cry. In order to make up for the lack of emotion in literal translation, the method of additional translation should be adopted here, which is translated as &amp;quot;任何一个母亲&amp;quot;&lt;br /&gt;
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4. Omission &lt;br /&gt;
The example 5:&lt;br /&gt;
The doctor stamped his foot at him in a rage, and exclaimed, &amp;quot;Get out of the way, you little damned rascal! If you don't, I'll cut off your head.&amp;quot;&lt;br /&gt;
translated text：医生愤怒地跺了他一脚，厉声说道：“滚开!他妈的小坏蛋，如果不听话，我把你的头砍下来!”&lt;br /&gt;
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Analysis: Dr. flint twice went to the north to pursue the fugitive slave &amp;quot;I&amp;quot; without success. He spent a lot of money and was full of anger. At this time, my son asked him if he had brought his mother back. Dr. flint stamped his feet angrily, scolded and threatened the child. Through the vivid description of Dr. Flint's body movements and language, his angry image jumped onto the paper,In order to achieve the same effect and achieve the equivalence of language style, the author uses even verbs according to the original &amp;quot;stamped his foot at him in a rage, and exclaimed&amp;quot; and translates it into &amp;quot;stamp his foot angrily and say&amp;quot; you little damned rascal!!! &amp;quot;It is also a typical strong adult's words towards weak children. In order to be concise and powerful, the author omits &amp;quot;you&amp;quot; and translates it into &amp;quot;他妈的小坏蛋&amp;quot;.&lt;br /&gt;
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The example 6:&lt;br /&gt;
But when winter came, the cold penetrated through the thin shingle roof, and I was dreadfully chilled.&lt;br /&gt;
translated text：上次遭遇蛇咬，现在我对蛇更惧怕了，踏上这个藏身的地方，我不由心惊胆颤。&lt;br /&gt;
&lt;br /&gt;
Analysis: My fear of snakes is literally translated as &amp;quot;我对蛇的恐惧&amp;quot;, and the subject of the following clause is &amp;quot;我&amp;quot;. In order to give the target readers a unified reading perspective, my fear of snakes had been increased is translated as: 我对蛇更惧怕了. By transforming the noun of fear into a verb, the translation is more concise and more in line with Chinese expression habits than literal translation.&lt;br /&gt;
&lt;br /&gt;
Case 3: The stylistic style of the original text is reproduced by positive and negative translation.&lt;br /&gt;
5.The Positive and Negative Translation&lt;br /&gt;
The example 7:Nobody respects a mother who forsakes her children; and if you leave them, you will never have a happy moment.&lt;br /&gt;
translated text 1：没有人尊重抛弃孩子的母亲，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
translated text 2：抛弃孩子的母亲会遭人唾弃，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
&lt;br /&gt;
Analysis: This sentence contains a negative indefinite pronoun—nobody. In translation text 1, the first half of the original text (Nobody respects a mother who forsakes her children) is translated into &amp;quot;没有人尊重抛弃孩子的母亲&amp;quot;. Although the meaning is translated, the expression is not authentic. Translation text 2 uses the positive and negative translation method to change negative into positive, and “Nobody respects” into &amp;quot;being despised&amp;quot; can better express the speaker's (my grandmother's) eagerness to oppose &amp;quot;I&amp;quot; to escape.&lt;br /&gt;
&lt;br /&gt;
Case 4:The translation methods of reorganization, sentence splitting and merging are adopted to make the translation conform to the expression habits of the target language&lt;br /&gt;
There are great differences between English and Chinese syntactic structures. English is a linear language. Its syntax takes the subject predicate structure as the central axis, while other components form branch lines in the form of branches and connect with the main axis through connectives. The logical relationship between sentences tends to be explicit,; Chinese is more parataxis, and the combination between the components in a sentence or between sentences mostly depends on the connection of semantics and uses fewer connectives. Chinese sentences are arranged under the command of theme, that is, the structure of &amp;quot;topic description&amp;quot; has various forms and free combination. The logical relationship between sentences is more implicit (Yang Lin, 2007: Preface). There are few logical relational words between clauses and between sentences. Therefore, the author adopts the reorganization method, combining syntax and disassembling syntax to realize the semantic equivalence of sentences, and studies the influence of sentence structure on the translation. The significance is to better guide the translation practice.&lt;br /&gt;
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5.Recasting&lt;br /&gt;
The example 7: This was the good old lady who paid fifty dollars for my grandmother, for the purpose of making her free, when she stood on the auction block.&lt;br /&gt;
translated text：这个老太太是个好人，当年外祖母站在拍卖台上，为了让外祖母获得自由她花五十美元买下了我的外祖母。&lt;br /&gt;
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Analysis: The original text contains two compound structures, one is an attributive clause, the other is a time adverbial clause. Because Chinese sentences are constructed according to the law of logical order, the word order is arranged according to the actual sequence and event order, which is divided into sequence in time, and pay attention to the causality in logic. The author adjusts the time adverbial clause to the front, first explain the time, then explain the reason, and finally the result. This reorganized translation plays an important role in shaping the relationship between sentences, which is in line with the characteristics of Chinese sentence structure.&lt;br /&gt;
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6.Sentence-combining&lt;br /&gt;
The example 8: There was joy and there was sadness in the sound. It made my tears flow.&lt;br /&gt;
translated text：无论是哭声还是笑声都会让我泪流满面。&lt;br /&gt;
&lt;br /&gt;
Analysis: The original text is two sentences. Considering the close causal relationship between the two sentences, the author adopts the translation method of combined sentence to translate it into one sentence, so that the target language readers can read it more naturally.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
7.Dismantle the syntactic&lt;br /&gt;
The example 9: My hope was that the doctor would get discouraged, and, for fear of losing my value, and also of subsequently finding my children among the missing, he would consent to sell us; and I knew somebody would buy us.&lt;br /&gt;
translated text：损失一个女奴，再赔上我的两个孩子，这正是弗林特医生所担心的。他会泄气并同意卖掉我们，我知道有人会买下我们，而这正是我所希望的！  &lt;br /&gt;
&lt;br /&gt;
Analysis: When dealing with long English sentences, the method of splitting is generally used to divide the original sentence into several parts and combine them according to their internal logical relationship. The adverbial clause after the subject of “My hope” consists of three parallel sentences, the second of which has a more complex cause adverbial. The author first takes apart the subject clause, first translates the clause, and then presents the subject at the end, which is in line with the characteristics of Chinese presentation before topic.&lt;br /&gt;
&lt;br /&gt;
Case 5: Stylistic equivalence&lt;br /&gt;
The basic task of translation is to faithfully present the original text, so it is necessary for the translator to pursue the style of the original text. To achieve stylistic equivalence, the translator needs to analyze and identify the stylistic markers in the original. The original text contains national language characteristics, historical allusions and religious beliefs, so it has cultural differences. In translation, it should reflect the style of the original text and optimize it accordingly, so as to realize the re creation of style and adapt to the communication of the target language.&lt;br /&gt;
The original text has strong religious and cultural content, simple and pious faith, and shows their enthusiasm and passion for them. In translation, we should not only show the feeling of religious belief and culture, but also optimize the sentence style and deal with alienation appropriately, so that readers can feel the piety and understand the author's writing intention.&lt;br /&gt;
The key to shaping the problem role lies in its adaptability to the style of the original language. Only by adopting appropriate translation methods, deeply understanding the cultural background of the original text and skillfully changing the style of the original text, can the style meaning of the original text be reproduced in the target language and better reflect its charm and artistic conception.&lt;br /&gt;
In a word, a biographical text should be well expressed first to make it conform to the expression habits of the target language. First, we should deeply understand the creative intention of the original author and think of what we think from the perspective of the original author, so as to realize the central idea of the original text. The premise of translation is that the translator should have profound language and cultural skills and deeply understand the particularity of different background cultures, Have a good command of the target language, and then use it flexibly.&lt;br /&gt;
&lt;br /&gt;
The example 10: She hasn't so much feeling for her children as a cow has for its calf. If she had, she would have come back long ago, to get them out of jail, and save all this expense and trouble. &lt;br /&gt;
translated text：她对孩子的感情还不如母牛呢，母牛还知道护犊子。如果她有感情，她很久以前就会回来把他们救出去了，也就没有这些代价和麻烦了。&lt;br /&gt;
&lt;br /&gt;
Analysis: This sentence is a complaint made by Dr. Flint's wife—my mistress, about my escape. Considering that cows in Chinese culture also have the image of caring for their cubs, The author translates call “feeling for her children as a cow has for its calf” as：“母牛还知道护犊子”, This not only achieves cultural equivalence, but also sounds colloquial. On the other hand, it is in line with the speaker's identity as a mean slave owner.[He was &amp;quot;a chip of the old block.&amp;quot; If he found any slave out after nine o'clock, he could whip him as much as he liked; and that was a privilege to be coveted.如果他发现任何人九点后（宵禁时刻）跑出去，他就会抓住并鞭打此人，直到他满意为止。这是别人垂涎三尺的特权。]&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
&lt;br /&gt;
Through the development of this project, the author believes that the translation of biographical works needs to have a full understanding of the differences between Chinese and English languages and cultures, thinking habits and expression methods. Only after having an accurate understanding and grasp of the language characteristics and contents of the original text, can words and sentences be carefully selected and constantly modified and polished in the process of translation, Make it an excellent translation. The author summarizes the following points in the whole translation process:&lt;br /&gt;
The translation method of biographical text. Biographical text has both information function and expression function (Zhang Meifang, 2006). Therefore, in translation, the translator should not only correctly express the information of the original text, but also reflect the literariness of biographical literature. In view of the differences in thinking and logic between Chinese and English, different translation methods should be adopted in the translation process. For example, literal translation can be used in terms of vocabulary, so as to simply, clearly and accurately convey the meaning of the original text. If literal translation is not possible, free translation, addition or subtraction, positive and negative translation, such transformation and other methods should be adopted to strive to achieve literal semantic equivalence. In terms of sentences, according to the respective characteristics of Chinese and English sentence structures, translation skills such as reorganization, disassembly and combination of syntax are adopted in order to meet the reading habits of target language readers. Experience the language style of biographical literature. In this project, the author's narrative language is simple and simple, and do a good job in the analysis of the characteristics of biographical literature materials. For a translator, the types of material translation can be diverse, literary or scientific, so the translator must do a good job in the analysis of text materials when he gets a relatively unfamiliar translated text, Only after analyzing the materials thoroughly and finding out the characteristics can the preparatory work be done adequately. This project adopts biographical text, which is characterized by many names and place names and strong local cultural characteristics. Therefore, in order to improve the accuracy of translation, the author has made a lot of preparations before translation, including finding the author's relevant background information, relevant historical facts, as well as the folk customs at that time. With reference to the new English Chinese dictionary, the names of people and places in the text are translated uniformly. Due to sufficient preparation, these problems encountered in translation have been solved.&lt;br /&gt;
The author has two experiences in maintaining problem awareness in the translation process. &lt;br /&gt;
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First, if you encounter an uncertain word and sentence in the translation process, you should consult the relevant reference books in time or use the Internet. &lt;br /&gt;
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Second, when dealing with cultural problems, I often ask my classmates or experts in this field for advice, so as to solve the problems in time.&lt;br /&gt;
At the same time, there are some problems in the process: My translation experience is still shallow and the cultural knowledge reserve is insufficient. There are some disadvantages in this project.Because my Chinese level needs to be further improved, the translated language is still immature and not concise enough. Second, the lack of relevant knowledge leads to the fact that the unique things of foreign culture can only be translated directly and hard in translation, resulting in the stiff and rigid translation. Such as a box, covered with sheepskin, is called the gumbo box. A dozen beat on this, while other strike triangles and jawbones, to which bands of dancers keep time.&lt;br /&gt;
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Third, in translation, we should not only maintain the meaning of the original text, but also reflect the style of the original text. We can't have both fish and bear's paw—鱼和熊掌不可兼得。Therefore, I believe that only through a lot of translation practice and summing up experience can we improve our translation level.&lt;br /&gt;
&lt;br /&gt;
===Reference===&lt;br /&gt;
[1]Beardslee, Karen E. Through Slave Culture's Lens Comes the Abundant Source: Harriet A. Jacobs's Incidents in the Life of a Slave Girl.&amp;quot; MELUS 24 (1999): 37-58.&lt;br /&gt;
&lt;br /&gt;
[2]Jacobs Incidents in the life of a Slave Girl: Written by herself.&amp;quot; Languages &amp;amp;Literature 15(2001):314-336.&lt;br /&gt;
&lt;br /&gt;
[3]Incidents in Life of a Slave Girl chapters 16 to 30&lt;br /&gt;
&lt;br /&gt;
[4]李小春. (2016). 浅析英语翻译技巧及方法的应用. 读天下(20), 1.&lt;br /&gt;
&lt;br /&gt;
[5]李亚云.《一名女奴的人生际遇》之黑人女性身份建构[J].文学教育(上),2015(07):30-31.p&lt;br /&gt;
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[6]李亚云. 《一名女奴的人生际遇》之黑人母性分析[D].中央民族大学,2016.&lt;br /&gt;
&lt;br /&gt;
[7]付娟. 英汉翻译中拆句法和合并法的有机结合探析[J]. 好家长, 2016(38):1.&lt;br /&gt;
&lt;br /&gt;
=邝艳丽 On the Translation Strategies of English Version of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hong-Ming and Xu Yuanchong=&lt;br /&gt;
[[Trans_Type_EN_9]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
''Lun Yu'', one of Chinese classics, records behavior and thoughts of Confucius and his disciples. ''Lun Yu'', intensively reflecting Chinese Confucianism, plays a significant role in Chinese culture. Dating from 1809, there are about sixty translations of ''Lun Yu'' during the two hundred years. This paper will study the two English versions of ''Lun Yu'' by Ku Hung-ming and Xu Yuanchong from the the theory of Horizon Fusion proposed by Hans-Georg Gadamer, mainly the core conceptual words in ''Lun Yu''. Besides, the paper will explore the translation strategies adopted by the two translators from different visions such as the horizons of the original text, the translator and the target culture. The better translation of core conceptual words will come to a conclusion through the contrastive analysis.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
Fusion of horizons; Ku Hong-Ming; ''Lun Yu''; Xu Yuanchong&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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''Lun Yu'', as a carrier of Confucianism, has profound influence on the culture all over the world. Confucianism has largely influenced the development of European philosophy, which provide new theoretical basis for European Enlightenment in the eighteenth century (Li Zongzheng 2016: 112-116). In Voltaire’s opinion, the discovery of Chinese culture is important to the process of European society, just as what what has been discovered by Vasco da Dagama and Magellan to the nature (Bao Xiankuo 2001: 62-67). With the continuing development of China in the recent years, China exerts more and more significant influence on the world. In the meanwhile, more and more people would like to learn Chinese language and cultures. When it comes to Chinese culture, all the people, Chinese and foreigners, nearly think of Confucianism, which is generally regarded as the important components of Chinese traditional culture, as well as the mainstream of the spirit of national modern culture. Moreover, Confucianism is intensively embodied in the ancient work called ''Lun Yu'', which records the behaviors and thoughts of Confucius and his disciples mainly in the form of dialogues. ''Lun Yu'' involves so many aspects such as politics, education and so on. The wide and profound influence of Confucianism on the world attributes the success to the development of translations of ''Lun Yu'' by Chinese or foreign translators.&lt;br /&gt;
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''Lun Yu'' is a classic work. The reason why classics remains classics is that it can be translated and re-translated. The language itself of ''Lun Yu'' is difficult to be understood, and what are reflected by ''Lun Yu'' such as history, thoughts, culture and culture is also hard to be understood. Therefore, translators in different times produce different translations of ''Lun Yu'' due to different constrictions of subjective or objective factors. Derrida, holding the point of hermeneutics, considers that the understanding of works is open and that the understanding of text by the readers is always unfinished and uncertain for reading is the process of creation. ''Lun Yu'', acclaimed as one of the leading classics in the course of Chinese literature’s development, is always given new life by the scholars. Therefore, every translation version of classics deserves to be studiedin the different times. Moreover, the employment of fusion of horizons may not only be a reference for English translation of ancient Chinese classics, but also be beneficial foe the spread of traditional culture. &lt;br /&gt;
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This paper chooses two English translation versions of ''Lun Yu'', one by Ku Hung-ming, the other one by Xu Yuanchong. The paper mainly makes a contrastive study of different translation strategies adopted by the two translators from the perspective of fusion of horizons. In order to make an in-depth study, the thesis will focus on the analysis of the translation of core conceptual words of ''Lun Yu'', and aim to present a more appropriate translation to both fully express the content of Chinese culture and make western readers easier to understand.&lt;br /&gt;
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===Overview on the Theory of Fusion of Horizons===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====Fusion of Hrizons====&lt;br /&gt;
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Hans-Georg Gadamer is the greatest thinker in 20th century when his academic work ''Truth and Method'' was published. The publishment brought about widespread attention in the world and helped him reach the immortal status in the field of philosophy. Actually, the theory used in this paper is originated from ''Truth and Method''. “Horizon” was first proposed by Edmund Husserl, a great German philosopher. For the concept of “Horizon”, Husserl believed that “everything worldly giving is given under the horizon. Finally, everything given by the world itself has the horizon of the world, and it is only for this reason that it is realized as the world.” (Wei Fangyuan 2013: 134-136)&lt;br /&gt;
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It can be seen that “Horizon” in Husserl’s eye is related to consciousness. Husserl’s “Horizon” includes two ones, internal horizon and external horizon. Internal horizon refers to what previous knowledge people have grasped or not. External horizon refers to grasp or experience of another open horizon when people have internal horizon. Martin Heidegger, from the respective of Ontology, believed that “Horizon” is something real which has been known by human and exists previously. This becomes precondition of our understanding. Inspired by Martin Heidegger and Edmund Husserl, Hans-Georg Gadamer affirmed the importance of “Horizon”. In his Hermeneutic, “Horizon” refers to the process of understanding from a specific standpoint. And “Fusion of Horizons” means that the process of understanding in nature is open without fixed pattern and answer. “Fusion of Horizon is not onlly diachronic, but also synchronic. History and present, object and subject, self and other, all form an infinite unified entirety. (Wei Fangyuan 2013: 134-136 ) &lt;br /&gt;
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Gadamer thinks that, both the translator and the object which is explained by the translator have their own horizons. The object-- history, classics, personal life, philosophy or work of art—has its own historical horizons. When we understand historical classical works, philosophy or certain culture with the horizons given by the history, the conflict of two different horizons and historical background will inevitably happen. Translation neither demands the translator to totally give up his own horizon in order to get into the text’s horizons, nor allows the interpreter simply includes the text into his own horizons. Translator, starting from his original horizons, ceaselessly test his own “prejudice” and open his own horizons, in the contact with the object which is interpreted by the interpreter, then two different horizons forming a new horizon. This process is called “fusion of horizons”. The reason why it is possible to interpret historical text is the fusion of horizons of the readers and writers of the original text.&lt;br /&gt;
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====Fusion of Horizons in translation study====&lt;br /&gt;
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In the view of Hans-Georg Gadamer, any understandings is carried out in the stream of history for any interpreter and reader lives in the history in his or her own way. Historicity is the basic fact of human existence. People’s historical particularity and limitations cannot be eliminated and avoided. Both subject and object exist in historicity. History determines that people cannot get rid of historicity. Such question faced by Hermeneutics is not what we carry out but what caused on us by something beyond our willing and behavior. In the research of translation Gadamer’s “Fusion of Horizons” can be borrowed and reformed into views or perspective available to the translation study. (Li Ge 2020:50-63)&lt;br /&gt;
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To achieve such a horizon, means that we learn to see something beyond its restricted horizon. However, the reason why we do this is for watching the things in a more correct angle and in a bigger unity, rather than for avoid seeing it.(Gadamer, H. G. 2004: 304) We need to study translation from a higher point and in a more overall angle. Only in this way can we “full see” the parts of the integrity, which is the enlightenment brought by “fusion of horizons”. The precondition of translation is that the translator and the original text have the common horizons. If the translator does not know medicine, he cannot interpret some books about medicine, and vice versa. The translator need to understand the original text’s meanings at first, which means that he will get into the horizon of the original text, and overcome the difference to form a new horizon. This is the first fusion of horizons. The second one is that the translator gets into the horizons of the target readers. Then the third fusion of horizons, the final interpretation of the translator, is the fusion of the two texts after the first two fusions. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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During the process of translation, the horizons are produced in the history rather than in isolation. In the fusion of horizons, the past and the present, the subject and the object, form a unity. Everything exists in the point of history, and all the interpretation cannot be finished for good. The original text itself is historical. The language, content, thoughts and etc. in it are marked by characteristics of the times. The translator is also historical. He will be influenced by his identity, status and tradition. There does not exist “perfectness” and “standard” in the translation. It will vary with different historical period. So the study of translation also goes on. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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===Overview on the Translations of ''Lun Yu''===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====The history of translations of ''Lun Yu====&lt;br /&gt;
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''Lun Yu'' is as important to Chinese is the Bible is to Westerners. So ''Lun Yu''’s translation is hot in western countries. ''Lun Yu'', whose translation can be traced back as early as the end of 16th century, has been translated by lots of missionary, sinologist, philosopher, litterateur and other scholars. There have been more than 40 translation versions of ''Lun Yu'' so far. Its English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. In 1861 James Legge’s The Confucian Analects became the mark of the English translation of ''Lun Yu''. A Companion for Chinese Translators makes comments on the translation version that James Legge can roughly understand the meaning of the original text and that his enormous notes can show his serious and careful attitude to the translation of our Chinese classics. (Wang Hui 2003: 39-43) &lt;br /&gt;
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In 1898, Ku Hong-ming’s translation of Lun Yu was published in Shanghai. The reason why he retranslated Lun Yu is that he was not content with James Legge’s. Ku Hong-ming use the strategy of foreignization, trying to translate Lun Yu in the same way an educated British express his thoughts. And Ku thought the Chinese proper nouns should be omitted and some European writers’ saying in order to remove the feeling of strangeness of British readers. In 1938, Arthur Waley’s version of Lun Yu was published. Waley wrote long-winded introduction for the translation, which was accompanied by detailed notes for readers and was followed by the footnotes for in-depth discussion on the text. Cui Yonglu thought that Waley’s translation, retaining the original text’s meaning and culture and paying attention to the detail, is beneficial to scholars. In 1998, Roger Ames’ translation of Lun Yu was published. His retranslation, which is based on a philosophical perspective, exerted great influence in the world of translation at home and abroad. In 2005, Xu Yuanchong’s Thus Spoke the Master was published. The book’s title borrowed the name of well-known philosophical translation called Thus Spoke Zarathustra, which shows Chinese translators’ creative spirits. In addition, there are still so many translators, such as Ezra Pound, James Ware, Din Cheuk Lau, Lin Yu tang and so on. (Wang Hui 2003: 39-43) &lt;br /&gt;
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====Different angles of the study on the translations of ''Lun Yu''====&lt;br /&gt;
In the nearly 30 years, the study of ''Lun Yu''’s translation has become hot in the translation studies. Scholars have made lot of studies of ''Lun Yu''’s translation from different angles and theories. From the linguistic point of view, scholars focus on the equivalence of lexicon, syntax, text and style. Professor Liu Chongde wrote “A research into Waley’s English version of The Analects—And some comments on its English versions by Legge and D. C. Lau”. Professor Liu summarized the language features and style of the two translations by Waley and Legge. Besides, he compared James Legge’s version and D. C. Lau’s, and made a conclusion that the former one preferred the written English, complicated sentences and archaic words which were quite similar to the style of the original, while the latter one preferred using spoken English and simple sentences.(Liu Chongde 2001:15-17) &lt;br /&gt;
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From the cultural point of view, Yao Shun in Southwest Jiaotong University did “On English translation of Confucius notions from the perspective of Skopos theory—A case study on Legge’s and Waley’s Translation of ''Lun Yu''”. Yao concluded that translation cannot be measured only by the equivalence with the source text, other elements such as translators’ purposes and expectation of target readers should be taken allowance for and that amongst these factors, the intention of the target text ranks the first.(Yao Shun 2014: 42-43)&lt;br /&gt;
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From the sociological point of view, Zhang Xin in Jiangnan University did “A study on Xu Yuanchong’s English Translation of ''Lun Yu'' from the Sociological Perspective of Bourdieu”.   Zhang draw some tentative conclusions. Firstly, the original text must be valuable and unique with an international reputation to facilitate its dissemination in the world. Secondly, translators should pay full attention to the readability and acceptability of target readers to meet their anticipation. Thirdly, the success of a work is the combination of various social factors.(Zhang Xi 2020:80-89)&lt;br /&gt;
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=== The Translation of ''Lun Yu'' from Fusion of Horizons===&lt;br /&gt;
''Lun Yu'' has always been translated or retranslated into many languages. Before interpretation, interpreters are supposed to try to totally understand ''Lun Yu'' in the first step. However, in the matter of fact, the language of a text is really hard for translators to totally understand. Different cultural background and different translators may produce different translation version.&lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》） [8]”. In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. &lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
&lt;br /&gt;
Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》）”.In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. (Yao Sshun 2014:42-43) &lt;br /&gt;
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====Horizon of the translator====&lt;br /&gt;
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Ku Hung-ming (1857-1928) is not only a famous literary figure in modern China, but also a great translator. He became an influential scholar at the turn of the 20th century because of his works that advocated Confucianism. Ku’s traslated works, including Lun Yu and Zhong Yong, played a significant role in spreading traditional Chinese culture to the western world. Ku, well-versed in both Chinese and Western cultures, has a good command of nine languages such as English, French, Germany and so on. He is the first one was proficient in Western science and language in the late Qing Dynasty. Special background of growth and education makes his thoughts combine advantages between Chinese and Western cultures. He tried to translate Lun Yu as a work written by a educated English man in order to promote Chinese traditional culture to spread in Western countries. At the meanwhile, he added his thinking and understanding of Confucianism in order to express the truth and spirit of Confucian classics and Chinese belief system. In order to make Western readers accept to the most extent the Confucian culture, Ku adopted some special methods, such as using extreme translation strategy of Domestication to translate Chinese special expression; borrowing the expression in Western literature to translate some words; applying the strategy of combination of omission and addition.(Niu Xiyu 2021: 89-90)&lt;br /&gt;
&lt;br /&gt;
When translating Lun Yu, Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. Western readers are not familiar with Confucian core words whose total equivalence can not be found in the Wesern culture. Ku did not translate the core words according to the literal meaning, but according to his deep understanding of Confucian classics he adopted flexible methods to translate the words in different situation. Besides, in order to make the translation of Lun Yu more readable to Western readers, Ku adopted the stratedy of domestication to interprete Confucian thoughts in Western way of mind. On the one hand, Ku used Western terms to translate those Confucian concept words which is difficult to Western readers. For example, he translates “天” as “God”. On the other hand, he quoted those well-known writers and thinkers who are familiar to Western readers, such as Johann Wolfgang von Goethe, Ralph Waldo Emersonand so on. Ku tries to make the content and form of the translation to accord with the way of thinking and cognitive structure of Western people. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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Xu Yuanchong, professor in Peking University, has been devoting himself in Literature translation study. He accomplished numerous classical translations and proposed many translation theories. He makes contribution to the development of Chinese traditional career.In 1921, Xu Yuanchong was born in Jiangxi Province in China. Since he was a child, Xu Yuanchong had been deeply influenced by his families. His mother was well educated and his uncle worked as a translator. All of these inspired his passion of enjoying literature and going after beauty, as we can see the three-beauty-concept-concept proposed in his later books. His uncle succeeded in translating the play called Wang Baochuan into English, which caused a sensation when it was performed in England. Later on the British dramatist George Bernard Shaw interviewed his uncle, which inspired the great interests of Xu Yuanchong in learning English well. In 1938, he was admitted to the Foreign Languages Department of National Southwest United University with the seventh place. In 1939, he translated the book “别丢掉” written by Lin Huiyin at the first time in order to express his love for a girl. Then he fell in love with translation ever after. Although suffering a lot, he still insisted to be himself. Xu made a great contribution to the development of Chinese translation. Xu introduces the three-beauty-concept to translation theory. The theory of three beauty advocates that a translation should be as beautiful as the original in sense, in sound and in font. These three aspects call also be respectively called Beauty of Sense, Beauty of Sound, and Beauty of Form. Beauty of Sense, emphasizing the deeper meaning, is of the first-rate importance. Beauty of Sound, emphasizing rhyme and rhythm, is of the second-importance. Beauty of Form, emphasizing length, is of the third-rate importance. All of these have great influence on his translation. (Li Mi 2004: 83-84)&lt;br /&gt;
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====Horizon of the target language culture====&lt;br /&gt;
The purpose of translation is to be read by the target readers. However, the target individual is different. They differ from historical background, education, knowledge, and so on. Some foreign readers read Lun Yu just for broaden his vision and know Chinese culture, some study the translation just for doing academic researches. The ages of target readers also influence the translation. Some young readers with less knowledge need translation which can be easily understood. For those aged readers the sophisticated translations are needed. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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===Contrastive Analysis===&lt;br /&gt;
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As Confucian classics recording the words and deeds between Confucius and his disciples, Lun Yu deeply influences generations of Chinese people. Lun Yu combines Chinese rich culture from thousands of years and gathers immortal spirit of Eastern philosophy. Therefore, a number of scholars at home or abroad want to translate Lun Yu. Especially, the various academic conference that has taken place in the recent years attract many scholars to absorb Confucian wisdom and explore Chinese wisdom from the old classics.&lt;br /&gt;
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====Description of key conceptual words====&lt;br /&gt;
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''Lun Yu''’s English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. Since that many other scholars have thrown themselves in the wave of translation of ''Lun Yu''. The scholars at home and abroad attempt to know more about the Chinese society, language, and Chinese culture through ''Lun Yu''. However, in order to really understand and interpret ''Lun Yu'', we must be clear about the meaning of the core conceptual words in ''Lun Yu''. Whether the translation of the core conceptual words is right or not has something to do with whether the readers abroad can understand the real meaning of the classics ''Lun Yu''. The translation of core conceptual words is so critical that has drawn many scholars’ attention. However, in the present situation of translation, one core conceptual word has so many Chinese translation, and some translation is not very accurate, which will cause trouble for foreigner readers to understand the original meaning and its cultural meaning. For those core words concerning Chinese culture, if wrongly translated, will not cause foreigners’ misunderstanding Chinese traditional culture, but also influence the improvement of national cultural soft power. Thus, the discussion of the translation of ''Lun Yu'', especially that of the core words, is very important to the circles of translation and culture. There are lots of core conceptual words in Lun Yu, but This thesis will mainly discuss the five core words: “''ren''”, “''li''”, and “''junzi''”. &lt;br /&gt;
“''Ren''” is the supreme state of moral ideal advocated by Confucius, and the spirit and centre of Confucian theory. Xu Shen in the Eastern Han Dynasty made an explanation of the word “''ren''” in “Shuo-wen chieh-tzu”. He thought “''ren''” is combined by “''ren''”(man) and “er”(number 2), and that “''ren''” does not express the quantitative relation but the interpersonal relationship, more accurately the interpersonal relationship close to friendship. (Xu Shen 2013: 1458) According to The Notes of ''Lun Yu'' by Yang Bojun, “''ren''” appears 109 times in ''Lun Yu'' . (Yang Bojun, 2009)&lt;br /&gt;
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“''Li''” is another important concept in ''Lun Yu'' after “''ren''”. According to The Notes of ''Lun Yu'' by Yang Bojun, “''li''” appears 74 times. Obviously, “''li''” is one of main ideas repeated by Confucius. Its connotation has become one of the objects the scholars of every dynasty attempt to study and understand since the ''Lun Yu'' came out. Both “''ren''” and “''li''” work as the centre of Confucianism. They complement and perfect each other. Just as the saying in Lun Yu, “To Subdue Oneself and Return to the Proprieties is Perfect Virtue”. “Li” refers to external behavior, while “ren” refers to internal morality. “''Li''” is a general term the rules and regulation according to the moral demanding. “''Li''” can restrict personal behavior, improve interpersonal relationship and help building a harmony and orderly society. However, Confucius does not give an accurate explanation of “''li''”, but its meanings can be analyzed from the concrete sentences concerning “''li''”. (Yang Bojun 2009: 23)&lt;br /&gt;
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“''Junzi''”, first found in The Book of Songs, was roughly referred to noble man. Thereafter, “''junzi''” was widely used in many ancient classics such as The Book of Changes, Shangshu and so on. Based on the original meaning “the noble man”, “''junzi''”’s meaning was extended and expanded. In Lun Yu, the word “''junzi''” got extended meaning of morality. The core conceptual word “''junzi''” mainly placed emphasis on moral deeds, then developed into the important cultural icon in Confucianism. According to The Notes of ''Lun Yu'' by Yang Bojun, “''junzi''” appears 107 times in ''Lun Yu'' .(Yang Bojun 2009: 11)&lt;br /&gt;
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====Different translations of key conceptual words====&lt;br /&gt;
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Different translators will have different translation. &lt;br /&gt;
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“Ren” has rich meanings. Its translation will to the certain degree influence the understanding of Lun Yu and Chinese traditional culture. For example:&lt;br /&gt;
子曰：“巧言令色，鲜矣仁！”《学而》&lt;br /&gt;
Ku: Confucius remarked, “With plausible speech and fine manners will seldom be found moral character.” &lt;br /&gt;
Xu: A good man, said the Master, would rarely say what he does not believe, or pretend to appear better than he is.&lt;br /&gt;
From the translation above, it is seen that Ku adopts free translation, and the English sentence is in formal grammer and syntax which accords with Western readers’ language habits. While Xu’s translation is not in the form of direct speech and he changes the order of the target text and use the parenthesis so as to conform to the habits of target language readers. It can be easily seen that Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. And Xu employs free translation to make target readers better understand the meanings. For the translation of “ren”, Ku translated it into “moral character”. He thought “ren” is refers to all the morality, and that “ren” is the highest realm of life. The translation “moral character” is more in line with Western language habits. While Xu interpreted it into “a good person”, of which “good” has broad meanings just like “ren” which is a kind of moral category of extremely broad meanings in ancient China. By comparison, “mental character” is better translation for “ren”. (Yang Bojun 2009: 23) (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
&lt;br /&gt;
“Li” is generally thought to have three main meanings. The first one is worshiping the God. The second one refers to a ceremony held to show respect or solemnity. The third one refers to the social and moral norms of the aristocratic hierarchy in slave society of feudal society. For example, &lt;br /&gt;
道之以道，齐之以礼，有耻且格 。（《为政》）&lt;br /&gt;
Ku: If, on the other hand, in government you depend upon the moral sentiment, and maintain order by encouragung education and good manners, the people will have a sense of shame for wrong – doing and, moreover, wil emulate what is good. &lt;br /&gt;
Xu: If they are led by virtue and order is kept by the rites, they would be conscientious and act in agreement with what is right. &lt;br /&gt;
Generally, “li” is rendered as “rites,” “customs,” “propriety,” “ritual,” “moral,” “rules of proper behavior,” and “worship.” However, Ku did not literally translated “li” but to fully understand its original meaning in such concrete situation to translated it into “education and good manners”. While Xu translated it into “rites”. In the Oxford dictionary, “rite” means a ceremony performed by a particular group, often for religious purpose. In Spring and Autumn and Warring States periods of China, the social order was in chaos. Actually, “rite” is a proper word full of Chinese speciality, which is really hard for Western readers to understand. Therefore, Ku’s translation “education and good manners” is better one. It not only convey Confucian thoughts but also make it readable to Western readers. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Junzi” is Confucian ideal character standard. Then what is “junzi”? In Confucian point of view, “junzi” should be erudite, which is an important standard of being “junzi”. First and the most, “junzi” should be a benevolent man. In addition, “junzi” and “xiaoren” form contrast. For example,&lt;br /&gt;
人不知，而不愠，不亦君子乎？（《学而》）&lt;br /&gt;
Ku: But he is truly a wise and good man who fees no discomposure even when he is not noticed of men.&lt;br /&gt;
Xu: Is he not an intelligentleman, who is careless alike of being known or unknown?&lt;br /&gt;
According to Oxford dictionary, the term “exemplary” refers to providing a good example for people to copy. Ku adopted free translation to interprete one word “junzi” into several words “wide and good man”, which is easy for Western peple to understand what “junzi” is. It can be seen that Ku had a thoroungh understanding of Confucian thoughts as well as well-versed in English. While, Xu translated it into “intelligentleman”, which cannot be found in dictionaries. It is a new word created by Xu. “Interlligentleman” is combined by “intelligent” and “gentleman”. In the Oxford dictionary, the term “intelligent” means good at learning, understanding and thinking in a logical way about things. “gentleman” refers to a man who is polite and well educated and who has excellent manners and always behaves well. “Intelligentlemen” seemly attempt to achieve formal equivalence with “junzi”. However, it is unfamiliar to Wetern readers. So Ku’s translation “a wise and goood man”. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
In this paper, we have talked over two translation versions of ''Lun Yu'' written by Ku Hung-ming and Xu Yuanchong, especially the core conceptual words in ''Lun Y''u. In the matter of fact, both of them had good command of Chinese and western cultures. But their interpretation of Lun Yu were quite different from each other. Here we use Gadamer’s “fusion of horizons” to explain why they had different understandings of Lun Yu. Understanding is regarded as the fusion of horizons between translator and the text in the hermeneutics, however, besides, the target readers should also be taken into consideration. Thus, in the paper, the horizons of the original text, two translators and target readers are expounded in detail. Under the contrast between the two translation versions, we could find out that Ku Hung-ming’s translation is better one which can more convey the meaning of original text and can be easier for the readers of the target culture from the perspective of the fusion of horizons. &lt;br /&gt;
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However, this paper could not give an in-depth research on the transaltion of ''Lun Yu'' because of the author’s limited knowledge and not thorough understanding of the theory of “fusion of horizons”. In addition, Confucianism has got more and more important influence on the world in the recent years. However, the study of translation of ''Lun Yu'' has not gone far enough. Though lots of scholars have achieved a lot in the field, there is still much work to do in the future. Written by --[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 03:41, 9 December 2021 (UTC)&lt;br /&gt;
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===Reference===&lt;br /&gt;
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Li Zongzheng, Ma Haidong 李宗政,马海东. (2016)《论语》英译的当代价值研究[J] [A study on the contemporary value of the ''Analects of Confucius''] 112-116.&lt;br /&gt;
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Wei Yuanfang 韦芳元. (2020) 浅析伽达默尔的视域融合理论[J].[On the Gadamer’s Theory Fusion of Horizons] 2013(12):134-136.&lt;br /&gt;
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Gadamer, H. G. Truth and Method[M]. New York: Continuum, 2004: 304.&lt;br /&gt;
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Wang Hui 王辉. (2003) 理雅各与《中国经典》[J]. [James Legge and Chinese Classics] 2003: 39-43.&lt;br /&gt;
&lt;br /&gt;
Lieu Chongde 刘重德. (2003)《论语》韦利英译本之研究—兼议里雅各、刘殿爵英译本[J]. [A Study of Lun Yu by Whaley—Discussion on contrastive analysis between James Legge and D.C.Lau)  2001: 15-17.&lt;br /&gt;
&lt;br /&gt;
Yao Shun 姚舜. (2014) 目的论视角下的儒家思想核心概念英译研究—以理雅各和韦利《论语》英译对比分析为例[D]. [A Study of Lun Yu Translated by Xu Yuanchong in the perspective of Skopostheory] 2014: 42-43.&lt;br /&gt;
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Niu Xiyu 牛汐语. (2021) 辜鸿铭《论语》译本中译者主体性的体现[J]. [The Presentation of Translator’s Subjectivity in Ku Hung-ming’s Lun Yu’s Translation] 2021:89-90.&lt;br /&gt;
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Li Mi 李谧. (2004) 许渊冲的诗译“三美”之说[J]. [Three Beauty in Poetic Translation of Xu Yuanchong] 2004: 83-84.&lt;br /&gt;
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Xu Shen 许慎. (2013)《说文解字》[Z]. [Shut-wen chieh-tzu] 2013: 1458&lt;br /&gt;
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Yang Bojun 杨伯峻. (2009)《论语释注》[Z]. [Annotation Analects] 2009: 213, 214, 215,2, 11, 23,&lt;br /&gt;
&lt;br /&gt;
Ku Hungming 辜鸿铭.(2011)《辜鸿铭英译&amp;lt;论语&amp;gt;》[M]. [The Discourses And Sayings of Confucius] 2011&lt;br /&gt;
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Yuanchong, Xu. (2013) Thus Spoke the Master[M]. Beijing: Dolphin Books, 2013: 12, 18.&lt;br /&gt;
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=杨柳青 Bian Zhilin's Literary Translation Theories and Practice  ——Take His Translation of Romantic Poems as examples=&lt;br /&gt;
[[Trans_Type_EN_10]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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Bian Zhilin is a famous Chinese translator and poet. He absorbed traditional translation theories dialectically and created translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; from the perspective of literary translation. Specifically, &amp;quot;Replacing foot with dun&amp;quot; is his poetry translation strategy. This paper will analyze Bian Zhilin translations of some romantic poems and shows some critical thinking about his literary translation theories.&lt;br /&gt;
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===Key words===&lt;br /&gt;
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&amp;quot;Faithfulness, Similarity and Translation&amp;quot;; &amp;quot;Replacing Foot with Dun&amp;quot;; Romantic Poetry&lt;br /&gt;
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===题目===&lt;br /&gt;
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卞之琳文学翻译理论和实践 ——以其浪漫主义诗歌译作为例&lt;br /&gt;
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===摘要===&lt;br /&gt;
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卞之林是著名的中国翻译家、诗人。他辩证地吸收传统翻译理论，从文学翻译的角度创立了“信、似、译”的翻译理论。 具体而言，“以顿代步”是他的诗歌翻译策略。本文将对卞之琳的浪漫主义诗歌译作进行分析，并对其文学翻译理论提出一些批判性性思考。&lt;br /&gt;
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===关键词===&lt;br /&gt;
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“信、似、译”；“以顿代步”；浪漫主义诗歌&lt;br /&gt;
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===Chapter 1 Introduction of Bian Zhilin and Romanticism===&lt;br /&gt;
====Introduction of Bian Zhilin====&lt;br /&gt;
Bian Zhilin is a representative of Chinese modernist poetry, a famous literary critic and literary translator. He translated foreign literature especially poetry and Shakespeare's plays. He has devoted his whole life to the literature and cultural exchanges between China and foreign countries. He is known as &amp;quot;the master of Poetry and the leading scholar in translation in China&amp;quot;. He dialectically absorbed previous translation theories and formed his unique translation thoughts. His famous works include ''Leaves of Three Autumns'' which is his first volume of Poetry and contains verses filled with the melancholy and despair, ''Fish Eyes Collection'', ''The Han Garden Collection'' and ''Poems of a Decade'' and so on.&lt;br /&gt;
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====Introduction of Romanticism====&lt;br /&gt;
Romanticism is a reaction against the Enlightenment and rationalism in 18th century, and a rejection of the precepts of order, calm, harmony, balance, idealization, and rationality that typified in classicism and neoclassicism. English Romanticism is generally defined to begin in 1798 with the publication of William Wordsworth and Samuel Taylor Coleridge's Lyrical Ballads and end in 1832 with Walter Scott's death. Romanticists place the individual at the center of art and make literature most valuable as an expression of his or her unique feelings and particular attitudes and make its accuracy a portraying the individual's experience. &lt;br /&gt;
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Romanticism is a period of poetry. During this period, many poets created plenty of wonderful poems which vividly show the beauty of nature and humanistic thoughts. English romantic poets contain the elder generation and the younger generation. The elder generation, also called &amp;quot;lake poets&amp;quot; includes William Wordsworth, Samuel Taylor Coleridge and Robert Southey and so on. The younger generation includes George Gordon Byron, Percy Bysshe Shelley and John Keats and so on. Besides, William Blake also deserves attention. He is a pre-romanticist and a forerunner of the romantic poetry of the 19th century. In this paper, I will analyze poems of William Blake, William Wordsworth and Percy Bysshe Shelly to show Bian Zhilin's translation theories.&lt;br /&gt;
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===Chapter 2 Bian Zhilin's Literary Translation Theories===&lt;br /&gt;
====&amp;quot;Faithfulness, Similarity and Translation&amp;quot;====&lt;br /&gt;
Bian Zhilin is a famous poet, translator and literary researcher in China. For decades, he not only made remarkable achievements in the field of poetry and Chinese and foreign literature studies, but also left a valuable fortune in literary translation, especially in poetry translation. Bian Zhilin has formed clear and instructive translation thoughts and theoretical views through her long-term translation practice. These translation thoughts and theoretical views influenced his translation behavior and effect, formed his exquisite translation art, and also had a great influence in the field of translation. He broke through the traditional translation theories and put forward the translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot; which is based on dialectically absorbing and reasonably sublating the traditional translation theories.&lt;br /&gt;
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=====Faithfulness=====&lt;br /&gt;
It is well-known that &amp;quot;faithfulness, expressiveness and elegance&amp;quot; created by a modern Chinese translator Yan Fu has become the most widely spread and popular translation standards in history of modern Chinese translation. And it has always been in the mainstream in the field of translation in China. There has been a long debate in Chinese translation field around &amp;quot;faithfulness, expressive and elegance&amp;quot;. However, &amp;quot;faithfulness&amp;quot; put forward by Bian Zhilin has achieved the transcendence and unification of this debate. &lt;br /&gt;
&lt;br /&gt;
======Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
According to Yan Fu, &amp;quot;faithfulness&amp;quot; means a translation should be faithful to the content of the original which is the first requirement of translation. &amp;quot;Expressiveness&amp;quot; means a translation should be fluent and articulate. &amp;quot;Elegance&amp;quot; means a translation should use elegant words so as to make the translation literary (Luo Xinzhang 136). Yan Fu believed that only elegant words can express the essence of original text. And he advocated translator used classical Chinese before Han Dynasty, namely, pre-Qin period. In fact, Yan Fu translated a lot of works in accordance with this criterion. &lt;br /&gt;
&lt;br /&gt;
======Debates around Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
Many speakers thought highly of Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, and this criterion once became the only standard for evaluating the quality of translation. Many literary translators like Liang Qichao, Lu Xun praised this criterion.&lt;br /&gt;
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Though &amp;quot;Faithfulness, expressiveness and elegance&amp;quot; has been widely accepted, there were still many doubts about this criterion. Most translators acknowledged Yan Fu's &amp;quot;faithfulness,expressiveness and elegance&amp;quot;, but they doubted &amp;quot;elegance&amp;quot;. For example, Chen Xiying, a famous Chinese female translator, opposed &amp;quot;elegance&amp;quot; because she thought &amp;quot;faithfulness and expressiveness&amp;quot; is quite enough for non-literary works and &amp;quot;elegance&amp;quot; is not necessary. Even for literary works, &amp;quot;elegance&amp;quot; is not necessary since some characters in literary works are from countryside and their speeches apparently couldn't be elegant (Luo Xinzhang 401-402). &lt;br /&gt;
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However, though these opinions are different they have one thing in common: all these opinions divide &amp;quot;faithfulness, expressiveness and elegance&amp;quot; up and judge them separately. &lt;br /&gt;
&lt;br /&gt;
======Bian Zhilin's &amp;quot;faithfulness&amp;quot;======&lt;br /&gt;
Unlike most translators, Bian Zhilin has his own unique view. Bian Zhilin believes there is only one advisable standard in &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, that is &amp;quot;faithfulness&amp;quot;. According to Bian Zhilin, &amp;quot;faithfulness&amp;quot; means being loyal to the original text comprehensively, not only to the content of the original text, but also to the form (Bian Zhilin 503). It seems that there is no apparent difference between Yan Fu's faithfulness and Bian Zhilin's faithfulness. But that's not the case. &lt;br /&gt;
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Firstly, Bian Zhilin doesn't totally deny the value of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. His faithfulness is mainly for literary translation which aims to highlight the artistic features of literary translation. Bian Zhilin believes that literary translation is an artistic and creative activity which not only includes language conversion but also involves the knowledge of literature, aesthetics, literature and art. He thinks &amp;quot;faithfulness, expressiveness and elegance&amp;quot; lays too much emphasis on the content and form of language which is not suitable for literary translation. &lt;br /&gt;
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Secondly, Bian Zhilin opposed the artificial separation of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. He thinks this separation is a kind of false perception which may cause the emphasis of one aspect and the neglect of the others. He thinks that artistic translation standard, strictly speaking, is only &amp;quot;faithfulness&amp;quot; which means the full fidelity to content and form. Actually, Bian Zhilin doesn't deny the existence value of expressiveness and elegance; instead, he seems &amp;quot;faithfulness, expressiveness and elegance&amp;quot; as a whole and &amp;quot;faithfulness&amp;quot; includes &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot;. Therefore, his faithfulness is comprehensive: both &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot; are internalized in &amp;quot;faithfulness&amp;quot;.&lt;br /&gt;
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Thirdly, Bian Zhilin believes &amp;quot;faithfulness&amp;quot; in literary translation means translation should be loyal to original text both in content and form. In others words, it's not desirable that translation be better or worse than the original. Besides, he holds that &amp;quot;faithfulness&amp;quot; in translation is not absolute but relative and it needs artistic creation of translators(Li Changshuan 57). What's more, literary translators should have the confidence in translating the &amp;quot;spirit&amp;quot; of the original so as to make translation vivid and expressive.&lt;br /&gt;
&lt;br /&gt;
All in all, Bian Zhilin believes the content and form of literary works are unified and indivisible, so is &amp;quot;faithfulness, expressiveness and elegance&amp;quot;.  At the same time, he admits &amp;quot;faithfulness&amp;quot; is relative rather than absolute considering difference between language and culture. Therefore, Bian Zhilin's faithfulness is inheritance and innovation of traditional translation theory and has important theoretical value.&lt;br /&gt;
&lt;br /&gt;
=====Similarity=====&lt;br /&gt;
======Formal Similarity and Spiritual Similarity======&lt;br /&gt;
Formal similarity means translation preserves the linguistic form of the original which includes words, grammar, sentence structure, figures of speech and types or forms of literature and so on. Any two languages have something both common and different. Those common features are the bases of formal similarity of translation. &lt;br /&gt;
&lt;br /&gt;
Spiritual similarity, on the contrary to formal similarity, means getting rid of the bondage of language form such as words, grammar when it is necessary. And translators should use authentic translation to convey the artistic features of the original. Spiritual similarity was first put forward by Mao Dun and was further advocated and practiced by Fu Lei. It has become one of the dominant theories in Chinese translation theories.&lt;br /&gt;
&lt;br /&gt;
======Debates around Formal Similarity and Spiritual Similarity======&lt;br /&gt;
In the field of Chinese translation, translators debated a lot around formal translation and spiritual translation. Many translators believe formal translation is more advisable than spirit translation. But others think differently. For instance, Chen Xiying believed there were three kinds of &amp;quot;faithfulness&amp;quot;, namely spiritual similarity, meaning similarity and formal similarity, among which spiritual similarity is superior, meaning similarity is the second and formal similarity is inferior. Chen Xiying held that formal similarity ignores the writing style of the original though it conveys the meaning of the original completely. Meaning translation is better than formal translation because it focuses on not only what the original writer says but also how he says it. But meaning translation is much more like imitation which cannot grasp the &amp;quot;spirit&amp;quot; of the original. Spirit translation, however, is the exact way to convey the &amp;quot;spirit&amp;quot; of the original. Besides, Yan Fu is another representative who pays more attention to spirit similarity than to formal similarity (Luo Xinzhang 694).&lt;br /&gt;
======Bian Zhilin's &amp;quot;Similarity&amp;quot;======&lt;br /&gt;
Bian Zhilin took a stand against the long-standing debate around formal similarity and spiritual similarity. In his opinion, there is only one word between formal similarity and spiritual similarity that is advisable——&amp;quot;Similarity&amp;quot;. Bian Zhilin holds that literary work is a unity of content and form; &amp;quot;form&amp;quot; and &amp;quot;spirit&amp;quot; in literary translation is complementary. On the one hand, &amp;quot;form&amp;quot; is the basis of &amp;quot;spirit&amp;quot; which means without concrete form, the spirit and artistic value of literary works can only be empty talk. On the other hand, &amp;quot;spirit&amp;quot; is the life of &amp;quot;form&amp;quot; which means literary works without &amp;quot;spirit&amp;quot; likes people without soul, which can only be empty body and meaningless form (Bian Zhilin 551).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Similarity&amp;quot; which was put forward by Bian Zhilin, actually contains the similarity both in formal similarity and spiritual similarity. In other words, ideal literary translation should achieve the unity of form and spirit. Bian Zhilin thinks literary translation can only achieve similarity with the original but not sameness (Bian Zhilin 8-9), which not only recognizes the difference between the original and the translation, but also acknowledges translators' creative efforts.&lt;br /&gt;
&lt;br /&gt;
=====Translation=====&lt;br /&gt;
======Literal Translation and Free Translation======&lt;br /&gt;
Literal Translation means expression forms and syntactic structure of the translated text should be as consistent as possible with the original when translators convey the meaning of the original text. Free translation, however, means translators should break the linguistic form of the original text and express the meaning of the original by using the customary expressions of the target language.&lt;br /&gt;
&lt;br /&gt;
======Debates around Literal Translation and Free Translation======&lt;br /&gt;
The debates between literal translation and free translation in the history of western translation can be date back to Cicero (106BC-43BC). Cicero opposed &amp;quot;word for word translation&amp;quot; (literal translation) which was deemed as &amp;quot;interpreter's translation&amp;quot; and advocated &amp;quot;sense for sense translation&amp;quot; (free translation) which was deemed as &amp;quot;orator's translation&amp;quot;(Tan Zaixi 24). Cicero's distinction about translation paved the way for following translators. For example, John Dryden published his views on literal translation and free translation. Dryden made distinction between metaphrase, phrase and imitation which was an extension of literal translation and free translation. What's more, Newmark thinks literal translation is preferred when the effect is the same (Newmark 39). And Nabokov holds that literal translation is true translation because it can convey the exact contextual meaning of the text as accurately as possible (Nabokov viii).&lt;br /&gt;
&lt;br /&gt;
======Bian Zhilin's Translation======&lt;br /&gt;
Bian Zhilin thinks only &amp;quot;translation&amp;quot; is advisable over the long-standing dispute over literal translation and free translation. Translation contains following meanings (Bian Zhilin 8).&lt;br /&gt;
&lt;br /&gt;
Firstly, literal translation and free translation are not contradictory but complementary. Too much emphasis on either side will only have a bad effect on literary translation. Bian Zhilin also criticizes translations that put too much emphasis on the source language or the target language.&lt;br /&gt;
&lt;br /&gt;
Secondly, translation cannot be creation. Translation should be based on the original text, not personal creation. But Bian Zhilin doesn't deny the creativity in translation and thinks the creativity is the life of translation as long as it is based on the original.&lt;br /&gt;
&lt;br /&gt;
====Bian Zhilin's Poetry Translation Strategies====&lt;br /&gt;
Absorbed thoughts from former and contemporary poets, Bian Zhilin created his poetry translation strategies. That is to translate English poetry in a poetical and metrical way and replace foot with dun. These strategies not only consider the western poetry patterns, but also considers the characteristics of Chinese, which has strong feasibility. Bian Zhilin's poetry translation strategies are closely related with his literary translation theory of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
=====Translating Poetry in A Poetical and Metrical Way=====&lt;br /&gt;
Bian Zhilin thinks that poetry is more a unity of content and form than other literary forms. Therefore, poetry translation includes both translation of poetry content and form. Bian Zhilin thinks poetry translation should be loyal to the original poem not only in content but also in form. Poems should be translated into the form of poem rather than prose. If the original poem is free verse, then translated version also should be free verse. If the original poem is metrical poem, then translation also should be a metrical one. (Bian Zhilin, 319) The coincidence between form and content in poetry translation is an embodiment of translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Meter is an important feature of poetry, including rhythm, rhythm and arrangement of words and stanzas. There are many differences in meter among poetry of different languages. And different poets and works use different meters. These become major factors of difficulties in poetry translation. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin thinks translators should preserve the metrical features of the original poems. In other words, translators should translate poetry in a metrical way. Therefore, poems should be translated by using equivalent meter. To be more specific, translators should translate foreign poems by using commonalities between Chinese traditional metrical basis and foreign metrical basis. It's not just simple application of foreign poetry patterns nor of Chinese traditional poetry patterns. Instead, it's the crossover of the two poetry patterns.&lt;br /&gt;
&lt;br /&gt;
=====Replacing Foot with Dun=====&lt;br /&gt;
The key to the metrical problem of poetry translation is what is the metrical unit of the line, &amp;quot;word&amp;quot; (a syllable) as a unit or &amp;quot;dun&amp;quot; (syllables) as a unit. Bian Zhilin believes metrical poems should be translated in equivalent &amp;quot;duns&amp;quot; which can replace meters and this kind of translation is without the limit of word numbers. This theory is well thought out and based on rhythmic characteristics of Chinese. As Bian Zhilin analyzed that when we speak Chinese, we usually say two or three Chinese characters as a &amp;quot;dun&amp;quot; in most cases, one character at least as a &amp;quot;dun&amp;quot; and four characters at most as a &amp;quot;dun&amp;quot;. This is the internal rules of Chinese. Chinese poems constitute stanzas, stanzas constitute lines and lines constitutes &amp;quot;duns&amp;quot;. Therefore, &amp;quot;dun&amp;quot; is the natural rhythmic units of Chinese poetry and reveals poems' &amp;quot;inherent music-like rhythm and beat&amp;quot;.&lt;br /&gt;
 &lt;br /&gt;
However, that &amp;quot;dun&amp;quot; is the basic metrical unit of the Chinese poetry doesn't mean the number of duns in each line is exactly the same. Bian Zhilin advocates dun of two characters and dun of three characters should be arranged alternately and adjusted mutually to meet the needs of poetic expression and produce an effect similar to feet in western poetry.&lt;br /&gt;
&lt;br /&gt;
===Chapter 3 Analyses of Bian Zhilin's Translation Practice===&lt;br /&gt;
Bian Zhilin put his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and poetry translation strategies of &amp;quot;replacing foot with dun&amp;quot; into practice. Here are three poem excerpts of romantic poets and Bian Zhilin's translation of them.&lt;br /&gt;
&lt;br /&gt;
====William Blake's ''The Tiger'' in ''Songs of Experience''====&lt;br /&gt;
William Blake is a representative of English romantic literature. He was hailed by 20th century critics as &amp;quot;the great prophet&amp;quot; who was a pioneer of romanticism. He broke neoclassical traditions in the 18th century and emphasized instinct, passion and imagination. Besides, Blake is a revolutionary poet and expressed strong revolutionary passion and rebellious spirit in his poem. The Tiger is one of his earliest lyrical poems. It eulogizes the shape and strength of the tiger. Here is an excerpt of it:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Tiger! Tiger! Burning bright&lt;br /&gt;
&lt;br /&gt;
In the forests of the night,&lt;br /&gt;
&lt;br /&gt;
What immortal hand or eye&lt;br /&gt;
&lt;br /&gt;
Could frame thy fearful symmetry?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
老虎！|老虎！|火一样的辉煌，&lt;br /&gt;
&lt;br /&gt;
烧穿了|黑夜的|森林和|草莽，&lt;br /&gt;
&lt;br /&gt;
什么样|非凡的|手和|眼睛&lt;br /&gt;
&lt;br /&gt;
能塑造|你一身|惊人的|匀称？&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of dun.)&lt;br /&gt;
&lt;br /&gt;
The excerpt shows the praise for the tiger. In the poem, Blake uses symbolization and compares the tiger to a fire that destroys everything. Bian Zhilin represents the perfect creation of the creator with the symmetry of the tiger. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem on the guidance of his theory of &amp;quot;faithfulness, similarity and translation&amp;quot;. In the first line of the excerpt, the use of &amp;quot;Tiger&amp;quot; with exclamation marks is a kind of call of the tiger——the king of the forest. Bian Zhilin translates them faithfully into &amp;quot;老虎！老虎！&amp;quot;. The third line is a rhetorical sentence that asks without answering, which reminds readers of the Creator——God, thus making the poetry profound. Bian Zhilin follows the rhythmic characteristics of the original poem and translates it artistically.  &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin also makes his translation according to his theory of &amp;quot;replacing foot with dun”. The above stanza consists of four lines of trochaic tetrameter. Therefore, there are four feet in each line. And in translated version, there are four lines of four duns. Each duns contains two or three characters, thus make the structure of the translated poem neat and have a strong rhythm.&lt;br /&gt;
&lt;br /&gt;
====William Wordsworth's ''The“Lucy”Series''====&lt;br /&gt;
William Wordsworth is also an important poet in English romanticism. He was made poet laureate and he strongly promoted the innovation of English poetry and the development of the Romantic movement. He believes &amp;quot;Poetry is the spontaneous overflow of powerful feelings&amp;quot;. The following excerpt is taken from his &amp;quot;Lucy&amp;quot; series:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
A slumber did my spirit seal&lt;br /&gt;
&lt;br /&gt;
I had no human fears&lt;br /&gt;
&lt;br /&gt;
She seemed a thing that could not feel&lt;br /&gt;
&lt;br /&gt;
The touch of earthly years &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
No motion has she now, no force&lt;br /&gt;
&lt;br /&gt;
She neither hears nor sees&lt;br /&gt;
&lt;br /&gt;
Rolled round in earth's diurnal course&lt;br /&gt;
&lt;br /&gt;
With rocks, and stones, and trees.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
迷糊|封住了|我的|精神；&lt;br /&gt;
&lt;br /&gt;
我没有|人世的|忧惶：&lt;br /&gt;
&lt;br /&gt;
她似乎|超然|物外，|不可能&lt;br /&gt;
&lt;br /&gt;
感觉到|岁月的|影响。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
现在|她无力了，|也不能|动弹；&lt;br /&gt;
&lt;br /&gt;
她不再|耳闻|目睹；&lt;br /&gt;
&lt;br /&gt;
卷在|地球的|日程里|滚转，&lt;br /&gt;
&lt;br /&gt;
混同了|岩石、|树木。&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
The above poem was written when Wordsworth went and stayed in Germany with his sister Dorothy in 1798 and 1799. It uses simple words and the meaning of the poems is quite clear. And Bian Zhilin's translation of the poem is quite faithful and vivid. &amp;quot;Slumber&amp;quot; in the first line of the original is translated into &amp;quot;迷糊&amp;quot; rather than &amp;quot;沉睡&amp;quot;, which gives readers a sense of &amp;quot;lazy charm&amp;quot;. And &amp;quot;fears&amp;quot; in the second line was translated into &amp;quot;忧惶&amp;quot;；it’s quite vivid and pertinent. Besides, the original poem consists of two stanzas with four lines of iambus. In each stanza, the first and the third line have four feet and the second and the fourth line have three feet. The whole poem follows the rhyme scheme of &amp;quot;a-b-a-b, c-d-c-d&amp;quot;. Bian Zhilin replaces feet in the poem with duns. There are fours duns in the first and the third lines and three duns in the second and fourth lines in translation. And the translated version follows the same rhyme scheme with the original. The whole poem is translated and expressed in quite appropriate way.&lt;br /&gt;
&lt;br /&gt;
====Percy Bysshe Shelley's ''Song to the Men of England''====&lt;br /&gt;
Percy Bysshe Shelley, as one of the famous romantic poets, pursued freedom and resisted violence in his short life. He encouraged people to stand and fight for a better life and was branded a &amp;quot;complete revolutionary&amp;quot; by Marx. And Song to the Men of England was written by Shelley after &amp;quot;Peterloo incident&amp;quot; in Manchester in 1819 to reveal the cruel nature of reactionary rulers and call on people to revolt bravely. Here is an excerpt of Song to the Men of England:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Men of England, wherefore plough&lt;br /&gt;
&lt;br /&gt;
For the lords who lay ye low?&lt;br /&gt;
&lt;br /&gt;
Wherefore weave with toil and care&lt;br /&gt;
&lt;br /&gt;
The rich robes your tyrants wear?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Wherefore feed and clothe and save&lt;br /&gt;
&lt;br /&gt;
From the cradle to the grave&lt;br /&gt;
&lt;br /&gt;
Those ungrateful drones who would&lt;br /&gt;
&lt;br /&gt;
Drain your sweat——nay, drink your blood?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
英国的|人民，|为什么|犁地&lt;br /&gt;
&lt;br /&gt;
报答|老爷们|踩你们|成泥？&lt;br /&gt;
&lt;br /&gt;
为什么|辛勤|劳苦|去织布，&lt;br /&gt;
&lt;br /&gt;
让那些|恶霸|穿华丽|衣服？&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
为什么|你们|从摇篮|到坟冢&lt;br /&gt;
&lt;br /&gt;
尽供给|和保养|那许多|雄峰？&lt;br /&gt;
&lt;br /&gt;
他们|不感激，|还非常|坚决，&lt;br /&gt;
&lt;br /&gt;
要喝干|你们的汗|——再加|血；&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
This excerpt is about the clash between two classes of society, the poor working class and the rich nobles. The major theme of this poem is exploitation. People plow for the sake of the lords, who are like drone bees that do no work but live off of the works of others. The narrator is urging the workers to make a stand as they are being treated unfairly. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin practices his poetry translation strategies of &amp;quot;translating poetry in metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; in this poem. In the original poem, each of two stanzas consists of four lines of iambic tetrameter, rhyming &amp;quot;a-a-b-b, a-a-b-b&amp;quot;. In the translated version, there are also two stanzas composed of four lines. And in each line, there are four duns which replaces the four feet in the original poem. The rhyme scheme in translated version is the same as that in the original.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translate the poem faithfully and vividly. For example, he translates &amp;quot;lay ye low&amp;quot; into &amp;quot;踩你们成泥&amp;quot; which well preserves the images of the original work. And &amp;quot;tyrants&amp;quot; in the fourth line of the first stanza is translated into &amp;quot;恶霸&amp;quot; which is concise and accurate. In the second stanza, &amp;quot;From the cradle to the grave&amp;quot; modifies &amp;quot;the men of England&amp;quot; rather than those &amp;quot;ungrateful drones&amp;quot;, Bian Zhilin understands the linguistic structure of the poem and translates it into &amp;quot;你们从摇篮到坟冢&amp;quot;. &amp;quot;坟冢&amp;quot; is more formal than &amp;quot;坟墓&amp;quot; and it's suitable for poetry, from which we can see the precision of Bian Zhilin's choose of words. In the last line, Bian Zhilin uses a dash and the words &amp;quot;再加&amp;quot; to highlight the brutal nature of the rulers. Actually, this translation is a good practice of his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===Chapter 4 Critical Thinking of Bian Zhilin's Translation Theories===&lt;br /&gt;
There is no doubt that Bian Zhilin's translation theories greatly promoted the development of English poetry translation in China. His &amp;quot;faithfulness, similarity and translation&amp;quot; is the inheritance and innovation of Chinese traditional translation theories. And it indeed provides a new way for poetry translation. Besides, Bian Zhilin thinks poetry should be translated into poetry rather than prose. In other words, translators should translate poetry in a poetical and metrical way. He stresses the importance of the unity between form and content and thinks high quality translation should be a unity of content and artistic style of the original text.&lt;br /&gt;
&lt;br /&gt;
Despite Bian Zhilin's great contribution to literary translation theories, I think there are still some problems existing in Bian Zhilin's translation strategies. In Bian Zhilin's opinion, translators can replace foot with dun thus achieving similar rhythmical effect in Chinese version with the English original. It seems that it is a quite advisable and feasible method. Bur actually, it cannot be practiced widely. In English poetry, each foot consists of two syllables, which is fixed and regular. But things are changed in Chinese. The character numbers in each dun in Chinese are not fixed. There may be one or two or three or four characters in each dun, so different people may have different divisions of duns based on their different understanding of context. Therefore, the division of duns may be disordered and random, which makes &amp;quot;replacing foot with dun&amp;quot; not advisable in many cases.&lt;br /&gt;
&lt;br /&gt;
Another problem in Bian Zhilin's translation theories is the ignorance of metrical patterns of foot. In English poetry, there are different metrical patterns like iambus, trochee, spondee and pyrrhic and so on. But there are no such meters in Chinese. &amp;quot;Replacing foot with dun&amp;quot; only considers the correspondence of foot but ignores the correspondence of metrical patterns of foot, so Bian Zhilin's &amp;quot;translating poetry in metrical way&amp;quot; actually is not adequate. We know Chinese is a kind of tone language which has four tones. We can use four tones to correspond the metrical patterns of foot in English. But it's quite difficult in so far and still needs more exploration.&lt;br /&gt;
&lt;br /&gt;
===Chapter 5 Conclusion===&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. His literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and &amp;quot;translating poems in a poetical and metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; give us a lot of enlightenment in the translation of poems. This paper analyzes Bian Zhilin's translation of romantic poems to show his translation strategies. However, there are still some problems in his theories, for example, the division of duns are disordered and random which are based on the understanding of translators and there is no correspondence in metrical patterns of foot. These are the problems that are needed to be considered and solved.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Blake, William. Songs of Experience[M]. New York: Dover Publications, Inc., 1971.&lt;br /&gt;
&lt;br /&gt;
Durrant, Geoffrey. William Wordsworth [M]. Cambridge: Cambridge University Press, 1979.&lt;br /&gt;
&lt;br /&gt;
Nabokov, Vladimir. &amp;quot;Forward&amp;quot;, A.S.Pushkin, Eugene Onegin, Nabokov, V.trans. London: Routledge &amp;amp; Kegan Paul, 1964/1975, p.viii.&lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. Approaches to Translation. Oxford: Pergamon, 1981, p39.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2002).《卞之琳文集》（中卷）. 安徽教育出版社, p503.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2000).《卞之琳文集》（上卷）. 安徽教育出版社, p8.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(1994).《从&amp;lt;西窗集&amp;gt;到&amp;lt;西窗小书&amp;gt;》.[英] 克里斯托弗·衣修伍德《紫罗兰姑娘》, 卞之琳译. 中国工人出版社, p8-9.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2007).《人与诗：忆旧说新》（增订本）. 安徽教育出版社, p319.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2005). 《英国诗选》. 商务印书馆, p156.&lt;br /&gt;
&lt;br /&gt;
Chen Xiying陈西滢(1984).《论翻译》. 罗新璋编《翻译论集》. 商务印书馆, p401-402.&lt;br /&gt;
&lt;br /&gt;
Fu Lei傅雷(1984).《论文学翻译书》. 罗新璋编《翻译论集》. 商务印书馆, p694.&lt;br /&gt;
&lt;br /&gt;
Li Changshuan李长栓(2004). 《非文学翻译理论与实践》. 中国对外翻译出版公司, p57.&lt;br /&gt;
&lt;br /&gt;
Shen Suru沈苏儒(1998).《论信达雅：严复翻译理论研究》. 商务印书馆, p8.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜(1991).《西方翻译简史》.商务印书馆, p24.&lt;br /&gt;
&lt;br /&gt;
Yan Fu严复(1984).《&amp;lt;天演论&amp;gt;译例言》.罗新璋编《翻译论集》. 商务印书馆, p136.&lt;br /&gt;
&lt;br /&gt;
=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
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===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
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===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday, 2012) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær, 2015; von Flotow, 2010). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh (2015) argues that translation is one of the traditional communicating methods between communities all around the world. Jothiraj (2004) states that “translation plays an important role in the inter-lingual process of communication” (p. 1). Translation is essential for cultures and languages to exchange information. Newmark (1988) defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects. Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
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Nida (1964) indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style. Larson (1998) has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context. &lt;br /&gt;
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Culture plays a considerable role, Snell-Hornby (1988, p. 33) assumed that “Culture refers to all socially conditioned aspects of human life”. Another definition of culture is formulated by Goodenough (1957, p. 167). For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term. By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
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The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline (2003, p.16) thought that “religion is an important institutional network that binds people to one another.” But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
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This study is aimed to probe Newmark's (1988) translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion (1988, p. 81), seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL. &lt;br /&gt;
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===Translation and Culture===&lt;br /&gt;
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2. Translation and Culture &lt;br /&gt;
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Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.  &lt;br /&gt;
The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988, 7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988, 5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988, 7).  &lt;br /&gt;
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In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford (1965) defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language” (Catford 1965, 20). According to Venuti’s translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader” (Venuti 1995, 18). Schjoldager stated that “a translation is a text that expresses what another text has expressed in another language” (Schjoldager 2008, 19). Culture is a complex whole which includes knowledge, belief, art, law, morals, customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan (2014), claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014, 2). Hermanns (1999) contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures. Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014, 2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark (2001), illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001, 328). &lt;br /&gt;
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Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
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2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
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Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora, fauna, food, clothes, housing, work, leisure, politics, law, and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988, 327) Christine Nord names them “culturemes” (Nord 1997, 9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012, 1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Aixela, 1997; Davies, 2003), others choose cultural words (Newmark, 2003) or culture-bound phenomena/concepts (Baker, 1992, Newmark, 2003, Robinson, 2003). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker, 1992, 21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988, 94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988, 95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988, 95).&lt;br /&gt;
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2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
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The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85, P. 22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003, 16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.&lt;br /&gt;
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===Types of Translation ===&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
Newmark (1988) determines 8 types of translation which are: &lt;br /&gt;
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3.1 Word-for-Word Translation &lt;br /&gt;
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This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
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3.2 Literal translation &lt;br /&gt;
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In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
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3.4 Semantic Translation &lt;br /&gt;
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Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
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3.5 Adaptation &lt;br /&gt;
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This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015, 15). &lt;br /&gt;
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3.6 Free Translation &lt;br /&gt;
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The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
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3.7 Idiomatic Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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3.8 Communicative Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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===Translation Strategies  ===&lt;br /&gt;
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4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
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4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela (1996), translators need to choose several strategies based on the source language culture and target culture.  He distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, he tries to command by the level of their intercultural intervention. He divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies). &lt;br /&gt;
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4.1.1. Conservation: &lt;br /&gt;
In conservation, the less compelling process includes repetition, orthographic adaptation, linguistic translation, extratextual gloss and intratextual gloss. &lt;br /&gt;
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4.1.1.1 Repetition: In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus, the translator keeps as much as possible the original reference (Aixela, 1996, p. 61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
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4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
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4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
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4.1.1.4 Extra-textual Gloss: Here, the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes, endings, words, ideas, translators in dictionaries, italics and so on. &lt;br /&gt;
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4.1.1.5 Intra-textual Gloss: It's like the past but the translator feels that he/she can include the globe as an indirect part of the text, not to distract the reader. &lt;br /&gt;
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4.2.1 Substitution &lt;br /&gt;
In substitution, According (Aixela, 1996) “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here”. &lt;br /&gt;
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4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
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4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
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4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela, 1997, p.63). &lt;br /&gt;
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4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Shokri, Ketabi, 2015, p.8). &lt;br /&gt;
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4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela, 1996, p. 64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
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4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela, 1997). &lt;br /&gt;
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4.3 Mona Baker’s Translation Strategies &lt;br /&gt;
Baker’s strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation. (Baker, 1992). He suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies, which are the following: &lt;br /&gt;
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4.3.1 Translation by a more general word: According to Baker, this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
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4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
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4.3.3 Translation by cultural substitution: This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
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4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
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4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
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4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
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4.3.7 Translation by omission: Losing phrases or words that are not vital to text development. &lt;br /&gt;
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4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view, however, Baker's (1992) translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
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===Cultural Categories  ===&lt;br /&gt;
5. Cultural categories &lt;br /&gt;
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5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
5.1.2 Material culture &lt;br /&gt;
Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.” &lt;br /&gt;
5.1.3 Social culture &lt;br /&gt;
The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
5.1.4 Organisation &lt;br /&gt;
Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
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5.2 Newmark Classification CSIs &lt;br /&gt;
Newmark (1988) established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items.&lt;br /&gt;
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5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
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Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
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2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
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3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
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4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
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5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
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6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
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7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
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8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
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9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
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10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
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11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
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12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
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13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
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14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
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15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
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16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
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17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
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18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
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19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
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20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
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21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
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22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
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23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
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24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
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25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
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26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
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27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
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28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
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29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
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30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
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31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
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32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
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33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
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34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
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35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996, 31), “translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by (Newmark 1988, 81), “translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.” &lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation, then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions. &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity, as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts, the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term, and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part, but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark (1988) has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9. &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark’s strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
.............................     قرُۡءٰنًا	Quran &lt;br /&gt;
............................... ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                      يعَۡقوُۡب	Yaqub &lt;br /&gt;
...................................اِسۡحٰق	Ishaq &lt;br /&gt;
,.............................. يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark (1988) were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However, the translator must be competent in using the translation procedures to provide an accurate translation. &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abdi, H. (2019). Translating culture-specific items (CSIs) as a conundrum for Iranian MA translation students: Considering the level of study. Journal of new advances in English Language Teaching and Applied Linguistics, 1(1), 88-109. &lt;br /&gt;
&lt;br /&gt;
Aguado-Gimenez, P., &amp;amp; Pérez-Paredes, P. F. (2005). Translation-strategies use: A classroombased examination of Baker’s taxonomy. Meta: journal des traducteurs/Meta: &lt;br /&gt;
Translators' Journal, 50(1), 294-311. &lt;br /&gt;
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Ahmadi, M. R.S and Nosrati, Fatemah. (2012). Domestication and Foreignization Strategies in Translation of Culture-Specific Items. Translations of English-Persian Children’s Literature. San Francisco: Grin Publishing. Google Books. &lt;br /&gt;
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Al Saleh, R. A. (2019). An Application of Newmark's Procedures to Muhammad Abul Quasem's Alleman, J. C. Bee. W. Ulitkin, I. Files, F., Zetzsche, J., Chatonnet-Marton, P. &amp;amp; y del Árbol, E. V. Translation Strategies. &lt;br /&gt;
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Al-Sofi, B. B. M. A., &amp;amp; Abouabdulqader, H. (2020). Bridging the gap between translation and culture: towards a cultural dimension of translation. International journal of linguistics, literature and culture, 6(1), 1-13. &lt;br /&gt;
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Baker, M., 1992. In Other Words: A Coursebook on Translation. London: Routledge, p.20–42. &lt;br /&gt;
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Blažytė, D., &amp;amp; Liubinienė, V. (2016). Culture-specific items (CSI) and their translation strategies in Martin Lindstrom’s&amp;quot; Brand sense&amp;quot;. Kalbų studijos, (29), 42-57. &lt;br /&gt;
&lt;br /&gt;
Bush, P. (1998) &amp;quot;Literary Translation.&amp;quot; In: M. Baker, ed. Routledge Encyclopedia of Translation Studies, London: Routledge, pp.127-130. &lt;br /&gt;
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Catford. J. C. (1965). A linguistic theory of translation. Oxford: Oxford University Press. &lt;br /&gt;
English Translation of Mohammad Al-Ghazali's Islamic Guidance.Literature and Culture, 6(1), 1-13. &lt;br /&gt;
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Gečaitė, L. (2020). Culture-Specific Items and Their Translation Strategies in Victoria Hislop's Novel The Sunrise.” (2020). &lt;br /&gt;
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Hassan, B. E. A. (2014). Between English and Arabic: A practical course in translation. &lt;br /&gt;
Cambridge Scholars Publishing. &lt;br /&gt;
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Hermans, T. (1999). Translation in systems. Manchester: St. Jerome Publication  House, J. (Ed.). (2014). Translation: a multidisciplinary approach. Springer. &lt;br /&gt;
Issa, A. L. S. M., &amp;amp; Hammood, L. H. R.- Quranic-Specific Phrases under the Study of Translation; Significance and Applications. &lt;br /&gt;
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Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. (33), p. 83-87). &lt;br /&gt;
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Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. 33, p. 83-87). &lt;br /&gt;
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Lambert, J. (1998) Literary Translation. In: M. Baker, ed. Routledge Encyclopedia of Translation Studies. London: Routledge, 130-134. &lt;br /&gt;
&lt;br /&gt;
Landers, Clifford E. (2001) Literary Translation: A practical guide. New Jersey University Press: Multilingual Maters. &lt;br /&gt;
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Lustig, Myron, W. and Koeser, Joline  (2003), Intercultural Competence: Interpersonal Communication Across Cultures, Boston: Allyn and Bacon. &lt;br /&gt;
&lt;br /&gt;
Malmkjær, K. (1993). Who Can Make Nice A Better Word Than Pretty? Collocation, Translation, and Psycholoinguistics. In: Baker, M., Francis, G. and Tognini-Bonelli, E. &lt;br /&gt;
eds. Text and Technology. Philadelphia/Amsterdam: John Benjamins Publishing Company. pp.213-32. &lt;br /&gt;
&lt;br /&gt;
Mosavat, S., &amp;amp; Rahimpour, S. (2016). The Most and Least Used Translation Strategies for &lt;br /&gt;
Conveying Culture-Specific-Items in Young Adult Literature from English into Persian. International Journal of Humanities and Cultural Studies (IJHCS) ISSN 23565926, 1853-1873. &lt;br /&gt;
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Munday, J. (1997). Systems in Translation: A computer-assisted systemic approach to the analysis of translation of García Márquez. Ph.D thesis, University of Bradford. &lt;br /&gt;
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Newmark, P. (2001). A Textbook of Translation. Shanghai: Shanghai Foreign Language &lt;br /&gt;
Education Press &lt;br /&gt;
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Newmark, Peter. (1988). A Textbook of Translation. New Jersey: Prentice-Halls &lt;br /&gt;
&lt;br /&gt;
Nord, Christiane. (1997). Translating as a Purposeful Activity: Functionalist Approaches &lt;br /&gt;
Explained. Manchester: St. Jerome. Accessed 10 November. 2018. Google Books Schjoldager, A. (2008). Understanding translation. Academica: Århus. &lt;br /&gt;
&lt;br /&gt;
Silalahi, M., &amp;amp; Lubis, S. (2013). Translation Procedures of Cultural Terms Found In Sejarah Bilingual For Students of Senior High School. &lt;br /&gt;
Valipoor, K., &amp;amp; andAzizeh Chalak, H. H. T. (2019). Cultural-specific items in translation of the Holy Quran by Irving: 43-51. &lt;br /&gt;
&lt;br /&gt;
Venuti, L. (1995). The translator’s invisibility: A history of translation. London and New York: &lt;br /&gt;
Routledge &lt;br /&gt;
&lt;br /&gt;
Widiarto, O. V. V. (2016). The translation procedures of cultural expressions applied in a game of thrones translated into Perebutan Tahta novel by Barokah Ruziati (Doctoral dissertation, Dian Nuswantoro University).&lt;br /&gt;
&lt;br /&gt;
=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
===An Overview on Translation Studies  ===&lt;br /&gt;
&lt;br /&gt;
===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
&lt;br /&gt;
=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the researcher wants to highlight the different concepts about the fundamental question &amp;quot;what is idiomatic expression&amp;quot; of different critics, theorists and linguistic experts, and prominent scholars of translation studies. Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
&lt;br /&gt;
Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda Corelli 2006, 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984, 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992, 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to (Newmark 1981, 11), “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”&lt;br /&gt;
.	The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to (Corelli 2006, 53), English has a sizeable idiomatic base.&lt;br /&gt;
About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.&lt;br /&gt;
The main issue that idiomatic and fixed expressions pose for translators, according to (Baker 1992, 65), is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.&lt;br /&gt;
&lt;br /&gt;
Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.&lt;br /&gt;
&lt;br /&gt;
===Literature Review ===&lt;br /&gt;
In this chapter, the author/researcher defines the strategy and its different definitions from the perspective of different subjects and fields. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented. Krings defines it as the content of the project, while Seguinet divided the term into three steps. However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. &lt;br /&gt;
&lt;br /&gt;
The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward.&lt;br /&gt;
Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint.&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to (Seguinot 1989, 27) (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.&lt;br /&gt;
&lt;br /&gt;
Furthermore, (Loescher 1991, 8) defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot; As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998, 4) claim moreover, (Bell 1998, 188) distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.&lt;br /&gt;
&lt;br /&gt;
According to (Venuti 1998, 240), &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot; He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to (Jaaskelainen 2005, 15), product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.&lt;br /&gt;
&lt;br /&gt;
Furthermore, (Jaaskelainen 2005, 16) distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making. (Newmark 1988, 221) distinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016, 13).&lt;br /&gt;
&lt;br /&gt;
The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010, 15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017, 54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
&lt;br /&gt;
Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985, 9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female.&lt;br /&gt;
Several research articles are found on translated work (license and khol do) of Urdu famous short stories writer Sadat Hassan Manto's from a different perspective like psychoanalysis, postcolonial, feminist approaches but to explore the problem of translations strategies face by translator Aatish Taseer during the process of translation has not been mention till date. To summarize this, the research includes a critical, in-depth, comprehensive analysis of issues that previously did not address.&lt;br /&gt;
&lt;br /&gt;
=== Theoritical Framework ===&lt;br /&gt;
&lt;br /&gt;
Different strategies have been used, like using an idiom of similar meaning and similar form, the idiom of similar meaning and different form, translation by Paraphrasing, translation by omission. The approach of employing idioms of similar meaning and form, according to Mona Baker, entails using an idiom in the target language that can express about the same meaning as the source language idiom, as well as having lexical similarity. On the other hand, this type of matching happens periodically as well as regularly.&lt;br /&gt;
&lt;br /&gt;
Similarly, employing idioms with similar meanings but different forms means that it is possible to locate an idiom or fixed expression in the target text language that has a similar meaning to the source idiom or expression but is made up of distinct lexical elements. Consider the case of English and French, both of which use the idiom mentioned above. In English, one good deed is rewarded with another, whereas in French, handsome deeds are rewarded with handsome deeds.&lt;br /&gt;
&lt;br /&gt;
Furthermore, we did not come across any idioms in the category mentioned above during translating idioms. To deal with this issue, the translators used the most popular approach, known as a translation by paraphrase, which is short, straightforward, and time-saving. When a match cannot be identified in the target language or when it appears improper to employ idiomatic language in target material due to aesthetic differences between the source and target languages, this is the most typical approach for translating an idiom from source to target language. However, one thing to keep in mind is that a perfect translation is not required is necessary or possible.&lt;br /&gt;
&lt;br /&gt;
Last but not least, to overcome the problem of idiom translation, the translator employs the strategy of translation by omission. This can be defined as an idiom being omitted entirely in the target text with a single word. This is done because the idiom has no close match in the target language; its meaning cannot be easily paraphrased or due to stylistic reasons. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
3.4 Data analysis Techniques:&lt;br /&gt;
Textual analysis is the method of data analysis in qualitative research that brings forth the hidden and potent message, structure, and function of research in giving text, Alan Mckee (defines textual analysis as whenever we perform textual analysis on the text, we make an educated guess at some time of the most likely interpretations that might be made of that text (Alan Mckee 2001, 3)&lt;br /&gt;
Analysis of the translation of short stories in light of Mona baker's theory &amp;quot;khol do and license&amp;quot; are short stories written by Sadat Hassan Manto and translated by many translators from Urdu into English. During translation, the translator adopted many strategies for translating idiomatic expression, sometimes by Paraphrasing, sometimes by omission, sometimes using similar idioms of form and meaning while sometimes using different words and the same form, the whole.&lt;br /&gt;
&lt;br /&gt;
===Discussion and Analysis===&lt;br /&gt;
&lt;br /&gt;
The chapter analyzes and discusses all the data collected by the author/researcher from different sources. All the examples of idioms are first identified, then translated into the target text, and back-translated for the sole purpose of exploring the strategies being used by the translator. A separate section is given to every strategy with its related example. Moreover, the idiomatic expression, the target work for finding, is highlighted through the bold letter.&lt;br /&gt;
&lt;br /&gt;
4.1	Translation by Paraphrasing:&lt;br /&gt;
&lt;br /&gt;
Based on our findings, the most often used strategy was &amp;quot;translation by paraphrasing.&amp;quot; An inspection also reveals that Aatish Taseer preferred this strategy. Here are some examples applied by the translators, and in the following section, the logic behind their preference towards this strategy is elaborate. The following are examples from two short stories of Sadat Husain Manto's &amp;quot;khol do&amp;quot; and &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 1: &lt;br /&gt;
&lt;br /&gt;
ST: Sirajuddin ne subah das baji anki kholi to logo ka ail mutalatam samandar deka.&lt;br /&gt;
&lt;br /&gt;
TT: Ten a.m., Siraj Uddin opens his eyes on the cold floor of the camp, seeing the swelling sea of men.&lt;br /&gt;
&lt;br /&gt;
BT: sub ke das baji jab Sirajuddin ne apni anki koli to logo ka aik ublaha howa samandar ka nizara dekni laga.&lt;br /&gt;
&lt;br /&gt;
So, the above idioms are literal idioms being translated with the help of Paraphrasing because there is no perfect equivalent of mutalatam words in English languages. A similar look at another idiom from short stories &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&lt;br /&gt;
ST: Khuda tomahra bala kari.&lt;br /&gt;
&lt;br /&gt;
TT: Your God will reward&lt;br /&gt;
&lt;br /&gt;
BT: Is ka badla khoda tomahi di.&lt;br /&gt;
&lt;br /&gt;
Here, the word reward is being used for Bala Kari, an example of transitional by Paraphrasing.&lt;br /&gt;
Let  take another example from &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
&lt;br /&gt;
ST: unkho nai Jan khateli pa rak kar sakena ko donda.&lt;br /&gt;
&lt;br /&gt;
TT: even putting their lives online, they search sakina &lt;br /&gt;
&lt;br /&gt;
BT: apni zindagio ko khatri me dal kar unkho nai sakina ko dond nekala.&lt;br /&gt;
&lt;br /&gt;
The above idioms are examples of pure idiom translated from Urdu into English with the help of paraphrases strategies. However, under the same strategies, the idioms of another short story of Manto,s &amp;quot;license,&amp;quot; are translated by Aatish Taseer. Some of the examples are given below.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
ST: Abu kochwan bara cheel jabela ta. It is the binomial type of idioms taken from the first sentence of the short story &amp;quot;license&amp;quot; by Sadat &lt;br /&gt;
Hasan Manto &lt;br /&gt;
&lt;br /&gt;
TT: Abu kochwan is stylish man.&lt;br /&gt;
&lt;br /&gt;
BT: Abu kochwan aik wazahdar admi ta.&lt;br /&gt;
&lt;br /&gt;
From the above idiom, it is clear that there is no perfect equivalence of cheela chabela idiom in English; that is, the translator goes &lt;br /&gt;
through paraphrasing strategies. Look at another example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
ST: Lein har waqat bank bani rekhi ka usi be had showk ta&lt;br /&gt;
&lt;br /&gt;
TT: He had a weakness for style and fashion.&lt;br /&gt;
&lt;br /&gt;
BT: Dan saj ke rekhna uski kamzori me sai ik ta.&lt;br /&gt;
&lt;br /&gt;
So all of the above examples, which are analyzed one by one, are examples of idioms being translated through paraphrasing strategies. (De Beaugrande and Dressler 1981, 50) define paraphrases as &amp;quot;approximate conceptual equivalence among outwardly different material.&amp;quot; Similarly, in this regard, Hirst defines paraphrases as &amp;quot;talk(ing) about the same situation in a different way.&amp;quot; Munday declared that &amp;quot;equivalence is particularly useful in translating idioms and proverbs” For instance, if the English idiom like a bear with a sore head is rendered into Persian as (mesle borje zahremar), meaning like a tower of snake venom, the strategy of equivalence has been applied. &lt;br /&gt;
&lt;br /&gt;
According to Leonardi, &amp;quot;Equivalence can be said to be the central issue in translation.&amp;quot; In this regard, house believes that &amp;quot;a translation text should match not only its source text in function but also employ equivalent situational-dimensional means to achieve that function&amp;quot; (Baker 2002, 49).  who shares this approach, states that equivalence is used &amp;quot;for the sake of convenience—because most translators are used to it rather than because it has any theoretical status&amp;quot; (Kenny 1998, 77). &lt;br /&gt;
&lt;br /&gt;
Despite different attitudes to the concept of equivalence, most specialists pay much attention to its meaning in the theory of translation. The translation is a form of communication, and that is why it is vital to establish equivalence between the source text and the target text. Although Vinay and Darbelnet believe that equivalence is used differently than in modern translation theory, it is evident that equivalence is one of the basic concepts of translation that cannot be neglected. Consequently, based on the Above mentioned studies using Paraphrasing in translation stands as the core concept in the process of translation, and still, most of the translators cling to it for producing a more comprehensible and explicable text. These language ideas and translation models are ideal constructs, presented abstractly in order to be differentiated precisely. They may exist in an uneasy combination in actual theories and practices, resulting in logical tensions or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation. Theories and actions must be contextualized in historical settings. They've been utilized as analytical tools to describe various topics in section introductions. Theoretical writings and current events these language notions and translation models are ideal constructs expressed in an abstract manner in order to be distinguished precisely in real-life hypotheses they may exist in an uncomfortable mix, resulting in logical conflicts or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
4.2	Using an idiom of Similar Meaning and Form &lt;br /&gt;
&lt;br /&gt;
As mentioned earlier, this strategy type is being used by Aatish Taseer during their translated work of Manto's short stories &amp;quot;khol do&amp;quot; and&amp;quot; license&amp;quot; on an occasional basis. Some examples are mention below.&lt;br /&gt;
&lt;br /&gt;
From khol do.&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
ST: Larki ka rang zard hogaya.&lt;br /&gt;
&lt;br /&gt;
TT: The girl's face became fail&lt;br /&gt;
&lt;br /&gt;
BT: larki ka rang zar hogya.&lt;br /&gt;
&lt;br /&gt;
Similarly, another example from the license is&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: Abu our us ke mat beer hogaie&lt;br /&gt;
&lt;br /&gt;
TT: They fall in love with each other.&lt;br /&gt;
&lt;br /&gt;
BT: WO ik dosri ke mokhbat me geriftar hogaie&lt;br /&gt;
&lt;br /&gt;
The above idioms are pure ones and are being translated with the help of similar meanings and similar forms.&lt;br /&gt;
&lt;br /&gt;
The procedures: transposition, modulation, equivalence, and adaptation, and when it comes to defining the term Equivalence, (Vinay and Darbelnet 2000, 90) propose that it consists in rendering &amp;quot;the same situation … by two texts using completely different stylistic and structural methods&amp;quot;, and when it comes to translating idiomatic expressions like &amp;quot;Il pleut à seaux&amp;quot; it can be translated as &amp;quot;It is raining cats and dogs&amp;quot; using the idiom of similar form and meaning in the target language.&lt;br /&gt;
&lt;br /&gt;
As (Baker 1992, 12) states, this strategy involves using an idiom in the TL which conveys roughly the same meaning as that of the source language idiom and, in addition, consists of identical lexical items. The salient point is that this kind of match can only occasionally be achieved, which cannot be picked up more often by translators. Accordingly, both translators mentioned in the current study had quite a slim chance of using this strategy type. &lt;br /&gt;
&lt;br /&gt;
4.3 Using an idiom of similar meaning but different form:&lt;br /&gt;
&lt;br /&gt;
During translating Manto short stories, &amp;quot;khol do&amp;quot; and &amp;quot;license,&amp;quot; some of the idioms are translated with the help of this strategy. Some of the examples are given below from two different short stories.&lt;br /&gt;
&lt;br /&gt;
Example number one is from the short story &amp;quot;khol do&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
ST: Aur bolwai gos ayai thee?&lt;br /&gt;
&lt;br /&gt;
TT: The roitors come abroad.&lt;br /&gt;
&lt;br /&gt;
BT: pasadi bahar agai hai.&lt;br /&gt;
&lt;br /&gt;
The above idiom is a pure type of idiom being translated with the help of above mention strategy. The word rioter is being used for bolwai, which is not a perfect word for bolwai. In Urdu bolwai, people believe in violence when minorities or the low population of any country want some rights. These people stop them by using violence, burn down their properties, rapes women, and do things like that. Another example from the license is below.&lt;br /&gt;
&lt;br /&gt;
Example 9:&lt;br /&gt;
&lt;br /&gt;
ST: Dosri kotwal abu ko dek kar jal ban ho jati.&lt;br /&gt;
&lt;br /&gt;
TT: The other coachman burn with envy.&lt;br /&gt;
&lt;br /&gt;
BT: Abu ke kamyabi dek kar aur kotwal abu sai khasad karni lagi’&lt;br /&gt;
&lt;br /&gt;
The above idioms are a pure idiom that reflects the effect of jealousy between competitors to achieve equivalency. Aatish Taseer uses envy word for jal ban instead of other which have similar meaning but different form. Look at the other example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: Dino lat vo lagal se kam karni laga.&lt;br /&gt;
&lt;br /&gt;
TT: Dino came with an excuse.&lt;br /&gt;
&lt;br /&gt;
BT: Dino abb bahi tarashni laga.&lt;br /&gt;
	&lt;br /&gt;
The above idioms are types of binomial idioms translated with the help of idioms with similar meanings and different forms. (Newmark 1988, 81) mentions the difference between translation methods and translation procedures. He writes that &amp;quot;[w]hile translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language&amp;quot; (Newmark 1988, 81). Idiomatic translation in his definition reproduces the 'message' of the original. However, it distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original, leading to using an idiom of similar meaning but a different form. Besides, it is often possible to find an idiom or fixed expression in the target language with a meaning similar to that of the source idiom or expression but which consists of different lexical items (Baker 1992, 12). Therefore, translators discover idiomatic expressions in the target language with different forms than in the source language. In the current study, the translators approached this strategy merely for 9% of the total times, which means the frequency of Iranian and English idioms with the same meaning and different forms is not considered high. &lt;br /&gt;
&lt;br /&gt;
4.4 Translation by omission:&lt;br /&gt;
&lt;br /&gt;
A translator is less using these strategies, and we did not find any clue on this type of strategy in an area under consideration.&lt;br /&gt;
&lt;br /&gt;
=== Findings===&lt;br /&gt;
&lt;br /&gt;
(Mandelbit 1995) believed that idioms with different cognitive mapping in the target language would be more challenging to translate. After conducting study and data analysis of collected data, the result revealed that the translator frequently used three out of four strategies of the Mona Baker model during the translation process, which is a translation by Paraphrasing, translation by similar meaning and similar form, translation by similar meaning and different form. In contrast, translation by omission does not found in his work.&lt;br /&gt;
After detail and careful analysis of data, more than half of idioms like &amp;quot;swelling sea of man,” my lord break his arrogance, “weakness for style and fashion.&amp;quot; As I mentioned earlier, many more are translated under the umbrella of Paraphrasing, which is considered the most common method used for translating idioms.&lt;br /&gt;
&lt;br /&gt;
Similarly, we also reflect strategies like similar meaning and different form and similar meaning and similar form. The idiom &amp;quot;rioter came abroad,” burn with envy,” The girl's face became pale, &amp;quot; They fall in love with each other&amp;quot; are translated with the help of two mention strategies, respectively.&lt;br /&gt;
&lt;br /&gt;
Although translation by omission is a strategy used on rare occasions because of its meaning, its meaning cannot be easily paraphrased or stylistic reason. Here, the researcher also did not find any idiom translated with the help of the omission strategy.&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
Go through detailed discussion and analysis of data collected from my source. We finally concluded that the idioms present in two short stories, &amp;quot;khol do&amp;quot; and &amp;quot;License,&amp;quot; are translated under the frame of Mona Baker's idiomatic model. Translation by Paraphrasing is mainly used while idioms of similar meaning and form and idioms of similar meaning and different forms are used occasionally. The researcher discusses all the strategies with related examples in the order of maximum used to minimum used. The strategy by omission did not find it works. All the data are collected from different sources and analyzed with the help of different researcher tools, and the result is written in light of the finding. Different from previous studies, the writer presents the strategies to translate idioms by each type of idiomatic expression found in the story. From the result, it is considered the translation of idiomatic expressions in the story is quite accurate. As the number of accurate data is more the data which is not related to the translation. We take conclusion from the translation through idiomatic expression and paraphrasing is the best way to translate a novel or a story however it is very difficult job to do because it needs more accurate and precise knowledge about the source language and an inspiring method to express ideas in the target language. However, translation is thing through which we can connect the world with each other and also we can study and observe diverse cultures.            &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abu-Saydeh, A. F. (2004). Translation of English idioms into Arabic. Babel, 114-131.&lt;br /&gt;
&lt;br /&gt;
Ahsan, S. (2020). A comparative study of two translations of manto's short story &amp;quot;Toba Tek&amp;quot;. International Journal of English Language Studies, 12-27.&lt;br /&gt;
&lt;br /&gt;
Alexander, R. J. (1987). Mimeograph. In R. J. Alexander (Ed.) Collocation and Culture. Trier: University of Trier, West Germany.&lt;br /&gt;
&lt;br /&gt;
Al-Qinai, J. (2000). Translation quality assessment. strategies, parameters and procedures. Translator's Journal, 497-519.&lt;br /&gt;
&lt;br /&gt;
Bayashi, J. (2020). Japanese-English translation: An advanced guide. Oxfordshire: Routledge.&lt;br /&gt;
&lt;br /&gt;
Das, V. &amp;amp;. (1995). Critical events: An anthropological perspective on contemporary India. New Delhi: Oxford Printing Press.&lt;br /&gt;
&lt;br /&gt;
Mufti, A. (2007). The Language of English India. In I. &amp;amp;. End (Ed.) Enlightenment in the Colony. Princeton University Press.&lt;br /&gt;
&lt;br /&gt;
Waka Xia, L. (2019). A discourse analysis of news translation in China. Syydney: Routledge.&lt;br /&gt;
&lt;br /&gt;
= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
===Ambiguity===&lt;br /&gt;
&lt;br /&gt;
===Lexical and Structural Mismatches===&lt;br /&gt;
&lt;br /&gt;
===Multiword units: Idioms and Collocations===&lt;br /&gt;
&lt;br /&gt;
===Summary===&lt;br /&gt;
&lt;br /&gt;
===Further Reading===&lt;/div&gt;</summary>
		<author><name>Atta Ur Rahman</name></author>
	</entry>
	<entry>
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		<title>Translation types, strategies, styles, methods</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=130902"/>
		<updated>2021-12-10T15:41:28Z</updated>

		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* Conclusion and Recommendations */&lt;/p&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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==Abstract==&lt;br /&gt;
''Legend of Zhen Huan'', as an excellent Chinese TV series, has successfully entered the American market. However, the American version of Legend of Zhen Huan still has some shortcomings in translation. By comparing and analyzing the subtitle texts of the ''Legend of Zhen Huan'' in China and the United States, this paper aims to discuss the problems existing in the overseas translation of the ''legend of Zhen Huan'' and the translation strategies and methods adopted in the subtitle translation of the American version, so as to provide some enlightenment for Chinese costume dramas to reach the world in the future.&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
Translation strategy and translation methods; ''Legend of Zhen Huan''; Subtitle translation&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
The TV series ''Legend of Zhen Huan'' is Imperial-harem competing play produced by the Beijing Television Arts Center in 2011. This play is adapted from a novel of the same name written by Liu Lianzi, which mainly tells the story of the young girl Zhen Huan growing up from an unsophisticated young girl to an empress dowager who is good at politics. Since its debut in China in 2012, ''the Legend of Zhen Huan'' has been a hit among Chinese audiences, with its ratings rising and even forming “Zhen Huan craze” for a time. The reason why the play has received so much praise, on the one hand, is that the film and television script is well-produced; on the other hand, it is because the plots and dialogues of the characters in the play cover a wealth of historical and cultural knowledge, embodying the profundity of Chinese culture.&lt;br /&gt;
Due to its great success in the domestic market, the series finally attracted the attention of foreign producers: the American team adapted the original ''Legend of Zhen Huan'', cutting the 76-episode original drama into six episodes,which was officially launched on Netflix’s paid website in the United States on March 15, 2015. It is the first Chinese TV series to be broadcast on mainstream TV stations in the United States. &lt;br /&gt;
However, the American version of the ''Legend of Zhen Huan'' failed to be sought after by audiences in the US, with most viewers abandoning the show after only one or two episodes.The English lines of the ''Legend of Zhen Huan''’s have ever been criticized by some Chinese audiences. After a deep study of the reason, in addition to the lack of content caused by a large amount of deletion and cutting, another important reason is the insufficiency of subtitle translation. This paper attempts to explore the translation strategies of the subtitle of ''Legend of Zhen Huan'', hoping to provide some inspiration for the subtitle translation of domestic film and television works of the same type.&lt;br /&gt;
&lt;br /&gt;
==Literature Review==&lt;br /&gt;
&lt;br /&gt;
===Previous studies in Subtitle Tranlation abroad===&lt;br /&gt;
In the early 1970s, Doller Up (1974) published a paper entitled “On Subtitle in TV Programs” on Babel, an authoritative journal of the International Association of Translators, which was the first time that scholars paid special attention to subtitle translation. In addition, he creatively pointed out the great value of TV subtitles to foreign language teaching, and then made contributions to the cause of education.&lt;br /&gt;
&lt;br /&gt;
In 1976, Istvan Fodor published a book called Film Dubbing: Aspects of Phonology, Semiotic Aesthetics, and Psychology, which centered on film dubbing from an acoustic perspective. Fodor argues that because each country’s language and culture are unique and irreplaceable, it is almost impossible to achieve perfect “synchronization” in all aspects of the translation of film(Fodor 1976:82).&lt;br /&gt;
&lt;br /&gt;
In 1982, Christopher Titford first proposed the concept of “restricted translation” in his article “Subtitling: Restricted Translation”. He believes that the limitations of film and television as a medium themselves are the main cause of problems encountered by translators in practice (Titford 1982:113).&lt;br /&gt;
&lt;br /&gt;
In 1992, Ivarsson, a Swedish subtitling translation scholar, published his book Subtitling for Media: A Handout of Art, which can be said to be the first comprehensive study of subtitling translation works in Europe. In this book, Ivarsson introduces the development of subtitle translation technology in detail. The most representative subtitle translation scholars are Gambill and Gottlieb, who are two translation theorists. Yves Gambill, a Finnish translator, is a very important expert in the field of film and television translation. Gambill has a wide range of research fields, he has compiled a large number of academic monographs, such as language transfer and Audiovisual Communication: bibliography, which discusses the classification of translation patterns, translation strategies, translation audience and so on (Gambill 1997).&lt;br /&gt;
&lt;br /&gt;
===Previous studies on Subtitle translation at home===&lt;br /&gt;
The research on subtitle translation in China mainly focuses on the English translation of Chinese films, and a large number of such papers and articles have been published, which are also the most representative research results of subtitle translation in China. In addition, with more and more domestic films moving toward the international stage, some attention has been paid to the study of Chinese subtitles.&lt;br /&gt;
&lt;br /&gt;
The study on Chinese and English subtitle translation can be divided into several fields, including film and television language characteristics, subtitle translation methods, subtitle translation history and so on.&lt;br /&gt;
&lt;br /&gt;
Subtitle translation methods can be broadly divided into two categories. One category refers to some practical translation methods and skills summed up by translators based on their years of translation experience, such as the seven kinds of experiences of film and television translation proposed by Qian Shaochang (2000), which stresses the importance of “translation” in the output of films and TV plays. The other is related to domestic MA papers. They usually start with some translation theories, such as German functional translation theory, Eugene Nida’s functional equivalence theory, relevance theory, and Susan Basnett’s cultural translation theory, and finally conclude translation methods such as domestication, foreignization, literal translation, free translation, omission and so on.&lt;br /&gt;
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In recent years, with the increasing popularity of American TV series in China, the phenomenon of online subtitle translation has begun to attract attention from all sides. As time went by, subtitle translation goes beyond the simple purpose of satisfying the entertainment needs of movie fans, and begin to be applied to teaching practice and students’ self-learning process. This phenomenon is bound to attract academic attention. For example, Wang Hui (2005) discussed this issue in his article “The Impact of Subtitling on Vocabulary Acquisition”. This paper draws some conclusions which are beneficial to foreign language teaching.&lt;br /&gt;
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However, there are still many deficiencies in the study on subtitle translation. The only literature we can refer to is few books on the translation of film and television subtitle. In other words, subtitle translation is not discussed in detail.&lt;br /&gt;
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==Subtitle translation features==&lt;br /&gt;
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===Subtitle translation needs to be brief and comprehensive===&lt;br /&gt;
Subtitle translation should not be lengthy for two reasons: First, because the screen keeps switching, each screen stay can not be very long, the scene with the character’s dialogue switches over more quickly, in a matter of seconds, which is fleeting. Second, whether it is the large screen in the cinema or the small screen in the home, due to space constraints, if the subtitle translation is not simple enough, it will lead to an increase in the number of words in the target language, not to mention the English words that take up more space than Chinese phrases. English words take up more space than Chinese phrases.&lt;br /&gt;
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Take the Chinese phrase “Computer”for example, the English equivalent word is computer. The Chinese verb “来”corresponds to the English word “Come”. In general, English words have more characters than their Chinese counterparts, except in rare cases. Since the length of the word can not be artificially controlled, subtitle translation will put a higher demand on the number of words. In a typical presentation, Chinese and English subtitles are displayed simultaneously at the bottom of the screen, up to two lines of Chinese and two lines of English.&lt;br /&gt;
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If there are too many words, the limited space can not accommodate in a few seconds, the audience will have a dazzling feeling as well. Therefore, one of the distinctive features of subtitle translation is its concise use of words.&lt;br /&gt;
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===Subtitling translation requires natural equivalence===&lt;br /&gt;
The subtitling of the target language should be as natural as the subtitling of the source language. The subtitle translation discussed in this paper is mainly about the dialogue of the characters in the play. On the one hand, the style of dialogue is colloquial, in this sense,It is important   for the translator to pay attention to whether the subtitle translation that the target language audience can hear and see is in line with their daily speaking style.If the original spoken language is translated formally and rigidly, the audience of the target language will feel less natural and fluent, and their movie-watching experience can not be comparable with that of the source language audience. On the other hand, the spoken language features of the characters can clearly shape the characters in the play. If the translator does not grasp the spoken features of the characters, the target audience can not understand the character’s connotation as well as the source audience.&lt;br /&gt;
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Therefore,if a character needs to say something filthy, or even taboo, to make the character stand out, the subtitle translator must also translate the same filthy and taboo.These taboos should inevitably appear in the subtitle translation, and we should not mince words about them. The same is true of English to Chinese subtitle translation and Chinese to English translation. Because these taboo words are the extension of the role connotation, improper handling will affect the target audience's understanding of the connotation of the role.&lt;br /&gt;
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===Subtitle translation needs to be easy to understand===&lt;br /&gt;
The film and Television Play is the Popular Entertainment Program, so subtitle translation should be clear at a glance. There are thousands of people watching TV dramas, and their knowledge and cultural level vary widely, and their appreciation level is naturally mixed.Film and TV series have such a wide audience, which requires subtitle translation to take care of the needs of the majority of the audience whether from the perspective of box office and Audience Rating, or from the perspective of cultural communication.&lt;br /&gt;
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==Theory of Domestication and Foreignization==&lt;br /&gt;
In the process of translation, the translator should determine the general direction of translation, cultivate a good sense of culture, and fully understand that translation is an important feature of information exchange across different languages and cultures. But how to achieve that? There are two opposite strategies in translation: foreignization and domestication. The terms of domestication and foreignization were put forward by Laurence Venutti in his book Translators’ invisibility in 1995:&lt;br /&gt;
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===Domestication===&lt;br /&gt;
The domestication strategy is to localize the source language, take the target language or target readers as the destination, and convey the content of the original text in the way that the target language readers are accustomed to.Domestication requires the translator to be closer to the target language reader, and the translator must speak like the native author.This translation strategy will often make the translation transparent, smooth, relaxed and natural, close to the reader to the greatest extent, so as to dilute the strangeness brought by the original text.In film and television subtitle translation, domestication is often used in order to make the audience understand the film smoothly.&lt;br /&gt;
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===Foreignization===&lt;br /&gt;
The foreignization strategy is completely opposite to the domestication strategy, which is oriented by the source language culture and that &amp;quot;the translator should not disturb the author as much as possible to make the reader close to the author&amp;quot;.Foreignization advocates believe that the main purpose of translation is cultural communication, so the translation should try its best to preserve the language and cultural information contained in the source language.Only in this way can the exchange and fusion of source and target cultures be achieved through translation. In addition, they believe that the translator should believe the reader’s imagination and intelligence to the utmost, and believe that when reading the translated version, the reader should not only understand the simple words, but also understand the foreign culture through the words, and they have the capacity to understand the culture. &lt;br /&gt;
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Of course, as two translation strategies, domestication and foreignization are the unity of opposites and they complement each other. Absolute domestication and absolute foreignization do not exist.&lt;br /&gt;
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==Case Study==&lt;br /&gt;
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===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
The essence of “foreignization”is “the tendency toward the original author”, that is, the translator tries to be close to the original author in his translation (Xiong Bing, 2014). In the words of the Friedrich Schleiermacher, this means that the translator“Tries not to disturb the original author, but to take the reader to the original author”(Robinson, 2006:229) . Specifically in Translation, the translator tries to retain the original language, literariness, cultural characteristics and exotic customs (Xiong Bing, 2014) . Therefore, the nature of foreignization strategy is mainly in favor of the original author, and its defects are mainly reflected in the readability of the translation. In other words, the translation may be blunt and not well received and understood by the audience. Therefore, the translation effect is not ideal for the target audience.&lt;br /&gt;
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====Literal Translation====&lt;br /&gt;
Literal translation means keeping both the content and the form of the original text in the translation when the language conditions permit, especially the metaphor, image, national and local color of the original text.The vast majority of subtitle translation of the Us version of ''Legend of Zhen Huan'' adopts literal translation. Look at the following example:&lt;br /&gt;
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Example 1&lt;br /&gt;
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Chinese version：嬛嬛一袅楚宫腰。&lt;br /&gt;
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American version：the slim waist of the concubines of the Chu palace.&lt;br /&gt;
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For the word “Huan”in the name of Zhen Huan, the American version uses the Foreignization method, which is translated literally as the slim waist of the concubines of the Chu palace.Western audiences may be confused by the subtitles,Western audiences may be confused by the subtitles, because Zhen Huan is clearly a woman from the Qing Dynasty, how come another Chu Palace? In terms of accuracy and the conveying of cultural context, this translation is well-done, but it creates a barrier for the audience to understand. Therefore, the translation can throw out on its real meaning, such as translated into As my name, Huan, means graceful women with slim waist, &amp;quot;Chu palace&amp;quot; here means can be omitted.&lt;br /&gt;
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Example 2&lt;br /&gt;
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Chinese version：一片冰心在玉壶&lt;br /&gt;
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American version：A jade vessel is the symbol of a pure heart.&lt;br /&gt;
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“Jade Vessel”in Chinese has a unique associative meaning, while the meaning of these words in English is vacant. Western audiences just think that Dr. Wen is evaluating his character, but they can’t hear his pure love for Zhen Huan, so on the basis of foreignization, it’s better to add some domestication translation to make it easier for the audience to understand.&lt;br /&gt;
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The American versions of examples 1 and 2 are very literal and concise translations, because the original subtitles have no hidden meaning.However, due to the wrong choice of translation methods, a small number of translated subtitles are just like translation cavities.If the cultural significance of the original text is lost, the translation may be regarded as a failure.In a sense, actors’ performances and lines are the &amp;quot;booster&amp;quot; of the plot development of the TV series.However, if the audience can not understand the original meaning, the story will be much less attractive in the eyes of the audience.For example:&lt;br /&gt;
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Example 3&lt;br /&gt;
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Chinese version：“赏你一丈红”&lt;br /&gt;
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American version：Then I will award Attendant Xia the Scarlet Red.&lt;br /&gt;
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In the original subtitle of example 3, “一丈红” (yi zhang hong,  literally “two-meter-long red”) is used to punish a palace maid or a  concubine who had done something wrong in China’s ancient imperial palace. The specific content of the penalty goes as follows: a two-meter-long and two-inch-thick board was used by the performer to give the guilty palace maid or concubine a good beating on their waist or the place below it until their bones were broken and the blood gushed out.   Looking from the distance, you will see that the blood covered a long distance. Thus, it is called “一丈红”. &lt;br /&gt;
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In the American version of Legend of Zhen Huan, it is translated into “the Scarlet Red”. the word Scarlet itself means “Lewd and sinful,”as in the Scarlet letter. It is very appropriate to translate &amp;quot;red&amp;quot; with scarlet. However, this partial literal translation runs counter to the American audience’s way of thinking, which they think it as nothing more than a horror show. In this way, the specific penalty content will be lost, and the target audience can't feel that the harem struggle is everywhere in the court, and can't get the equal effect for them.&lt;br /&gt;
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In this way, the specific content of the penalty will be lost, the target audience can not feel the Harem struggle existed everywhere in the imperial court and the equivalent effects cannot be obtained for them.&lt;br /&gt;
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====Zero Translation====&lt;br /&gt;
The so-called &amp;quot;zero translation&amp;quot; means that some elements of the source language are directly introduced into the target language without the ready-made words in the target language (Xiong Bing, 2014). This translation method is mainly used to translate the names of people and officials in the English version of the ''Legend of Zhen Huan''. That’s because in ancient China, there was a very strict patriarchal system with the ideas of three cardinal guides and the five constant virtues.&lt;br /&gt;
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In the eyes of the Chinese people, the distinction between the titles of concubines and concubines is clear at a glance, but it is difficult for foreigners to see these things, because medieval European monarchs were nominally allowed only one wife, there is no such complicated hierarchy of appellation among women. Therefore, such titles as &amp;quot;贵妃&amp;quot;, &amp;quot;妃&amp;quot;, &amp;quot;嫔&amp;quot;, &amp;quot;贵人&amp;quot;, &amp;quot;常在&amp;quot; and &amp;quot;答应&amp;quot; are presented in a dynamic equivalent way (words with similar functions in the source language), for example:&lt;br /&gt;
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Example 4&lt;br /&gt;
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熹贵妃——Noble Consort Xi    华妃——Consort Hua&lt;br /&gt;
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莞嫔 ——Concubine Huan       沈贵人——Lady Shen&lt;br /&gt;
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夏常在——Attendant Xia       小主——Young Mistress&lt;br /&gt;
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敦亲王：Prince Dun            舒太妃：Consort Dowager Shu&lt;br /&gt;
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Example 4 only shows a few official titles of the characters in the ''Legend of Zhen Huan''. However, the translation subtitles in this example reveal a subtitle rule that the American version of the ''Legend of Zhen Huan'' Uses Zero Translation for personal names and free translation for official titles. And we can clearly see the efforts of translators to represent this hierarchical culture in ancient China. However, this method of translation can not meet the needs of the current audience, because the ancient Chinese culture is broad and profound, and the official titles of emperors and concubines in the play conform to the traditional Chinese culture&lt;br /&gt;
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However, the cultural ideologies of the American people and the Chinese people are very different. Traditional translation can not convey the characteristics of the characters and the intensification of their contradictions. The American people have not experienced the five thousand years of slavery and feudalism in China, nor do English dictionaries or translation related books have Chinese cultural vocabulary. In addition, the current subtitle translation does not advocate the use of a large number of notes, which will have a negative impact on the effect of watching the drama.&lt;br /&gt;
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Therefore, notes are usually used only for the first appearance of a character, in order to provide the necessary introduction in enough subtitling space.When they appear a second time, the introduction will be omitted.As for the conflicts between the characters and the progress of the plot, it is difficult for the target audience unfamiliar with Chinese History to adapt to the culture and conflict in the play. Therefore, it is hard to arouse their interest in watching this drama.&lt;br /&gt;
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===Translation Methods under Domesticating Strategy===&lt;br /&gt;
Opposite to the foreignizing strategy, domestication is characterized by the “tendency toward the target recipients” (Xiong Bing, 2014). In other words, the translator tries to be as close to the target recipients in the translation as possible. In Schleiermacher’s words, it means that translators “try not to disturb the reader, but to bring the original author to the reader” (Robinson, 2006: 229). Specifically speaking, in the translation, the translator uses the language, literary devices, cultural elements that the target language readers love to replace the language, literary devices and cultural elements of the original language as much as possible, and abides by the language, literary devices and cultural norms of the original language (Xiong Bing, 2014). &lt;br /&gt;
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The domesticating strategy is a translation strategy just opposite to the foreignizing strategy. Its advantage is that the translation can be fluent, easy to understand, and easily accepted by the target recipients; or it tries to meet the specific needs of the target audience. However, the domesticating strategy also has some shortcomings. The first weakness of it is the loss of the language, literariness, culture and other important elements of the source text, so that the target audience cannot appreciate the exotic authentic language and cultural practices. This cannot help the cultural exchange and dissemination between different ethnic groups. The second weakness is that the domesticating strategy of the translated text may lead to semantic loss and semantic ambiguity in translated texts.&lt;br /&gt;
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====Omission====&lt;br /&gt;
Omission is a very important method in domestication strategy.The Syntactic structure of English emphasizes &amp;quot;hypotaxis&amp;quot;, and there are appropriate connecting elements between each component of a sentence to express their mutual relations, which emphasizes the consistency and coordination of grammatical relations.The structure of Chinese sentences is &amp;quot;parataxis&amp;quot;, and the relationship between each component of the sentence depends more on the intention, and less on the linking component. The structure form is relatively relaxed, and the words and sentences are relatively simple.Therefore, Omission is one of the most common methods in Chinese text translation.Word reduction means that in translation, the translator must grasp the differences between Chinese and English, omit the unnecessary linking elements in Chinese, make the translation smooth, avoid stiff and cumbersome, and eliminate unnecessary words and words as far as possible.There are many examples of reducing words in the translation of Legend of Zhen Huan.&lt;br /&gt;
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Example 1&lt;br /&gt;
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Chinese version:“先敬罗衣后敬人。” &lt;br /&gt;
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American version: “The clothing completes the person.”&lt;br /&gt;
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This Chinese idiom means that people will first look at the clothes they are wearing and judge their social status according to the clothes. There is a derogatory element in it.However, in the translation of this sentence, the translator adopted the word reduction method and did not translate every word.The word &amp;quot;complete&amp;quot; expresses the idea that &amp;quot;clothes make the man&amp;quot;, but fails to express the meaning intended in the original text.Therefore, the author thinks that can continue to use the Omission here, will change its translated into “According to clothing to estimate people’s status.”&lt;br /&gt;
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Example 2&lt;br /&gt;
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Chinese version: “花开堪折直须折，莫待无花空折枝。” &lt;br /&gt;
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American version: One must pick a flower at the prime of its bloom, Do not wait until the blossom fade and falls.&lt;br /&gt;
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There are three Chinese characters for &amp;quot;折&amp;quot; in this sentence, but the translator did not show any of them in the Process of English translation.Shall we say that he did not translate the Chinese meaning?Of course not. The translator must have noticed these three &amp;quot;fold&amp;quot; characters in the process of translation. If one of them is translated out, the sentence will appear too long-winded and not in line with the characteristics of subtitle translation.Therefore, the translator starts from the meaning of the original text to persuade people to cherish, and cleverly leaves out the word &amp;quot;折&amp;quot;, which not only avoids repetition, but also conveys the meaning of the original text.This reflects the three principles of Skopos theory: &amp;quot;Based on the source language, pay attention to the culture in the target language, the intention of translation activities and the acceptance state of the American audience&amp;quot;.&lt;br /&gt;
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====Addition====&lt;br /&gt;
Addition is also an important translation method in domestication strategy.Augmentation refers to the use of structural and semantic augmentation to compensate for linguistic and cultural deficiencies in the target text.Structural supplement refers to the addition of omitted words or replaced words to make the content of translation more complete.Semantic supplement refers to the translator's addition of nouns, verbs, summative words, explanatory words and conjunctions to compensate for the lack of language and culture in the target text so that readers can understand the original text.&lt;br /&gt;
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Example 1&lt;br /&gt;
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Chinese version:“他不忍叫你明珠暗投。”  &lt;br /&gt;
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American version:&amp;quot;You will not be granted an ordinary life when you can live an extraordinary one.&lt;br /&gt;
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In this example, the translator adopted Addition method to make a explanatory translation for &amp;quot;明珠暗投&amp;quot; , the translation of &amp;quot;be granted an ordinary life when you can live an extraordinary one.&amp;quot;As we know, Chinese idioms are one of the wonders of The Han culture, and they often show rich implicit meanings in condensed four-character sentences.In the translation of this sentence, it is easy for us to understand the meaning of &amp;quot; 明珠暗投&amp;quot;&amp;quot;, but how to make the American audience understand, the translator needs to make an explanation, so that the American audience can understand the implicit meaning of the original text, so as to reduce the cultural burden.&lt;br /&gt;
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Example 2&lt;br /&gt;
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Chinese version：“臣妾一与社稷无功，二与龙脉无助。” &lt;br /&gt;
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American version:“Firstly, I have made no contribution to the nation. Secondly, I have begotten no heirs.&lt;br /&gt;
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In example 2, the translator interprets &amp;quot;社稷&amp;quot; as &amp;quot;nation&amp;quot; for readers to understand.&amp;quot;社稷&amp;quot; has always been a synonym for &amp;quot;nation&amp;quot; in Chinese, just as &amp;quot;White House&amp;quot; is a synonym for &amp;quot;America&amp;quot;. In addition, there is no English equivalent for &amp;quot;nation&amp;quot;, so it is appropriate for the translator to use &amp;quot;nation&amp;quot;.Heirs to dragon vein, a Feng shui concept meaning undulating mountains, succeed.Later, the royal family regarded it as the lifeblood of the country, so they would call the royal blood &amp;quot;dragon vein&amp;quot;.Heirs to dragon Vein, which in this case means heirs to the emperor's children, succeed in translating it into Heirs to the emperor.It's less common and more advanced than the word &amp;quot;children&amp;quot;, which is often thrown around.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
The subtitle translation strategy of Legend of Zhen Huan generally focuses on domestication, and tends to transform implicit meaning into explicit meaning.When the meaning of the source language is complex and difficult to be understood by the target language audience, the translation strategy of domestication is usually adopted, and the expressions used in the target language are adopted.If there is an equivalent or similar expression between the target language and the source language, alienation should be considered, and a concise explanation should be added if conditions permit, so that the cultural essence of the source language can be preserved and the audience can experience the charm and national characteristics of traditional Chinese culture.&lt;br /&gt;
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As a translation strategy, absolute domestication and absolute foreignization do not exist in translation practice.The task of the translator is to make the best use of the two strategies in practice according to the specific language characteristics, the purpose, the language characteristics of the source language and the target language, and the national culture, so as to bridge the cultural differences between the two countries.&lt;br /&gt;
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==Reference==&lt;br /&gt;
[１]Dollerup, Cay. On Subtitles in Television Programs[J]. Babel, 1974, (20): 197-202. &lt;br /&gt;
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[２]Ivstor, Fordor. Film Dubbing: Phonetic Semiotic, Esthetic and Psychological Aspects[C]. John Benjamins, 1976. &lt;br /&gt;
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[３]Schleiermacher, F. On the Different Methods of Translation[A]. In Robinson, D.(ed.). Western Translation Theory: From Herodotus to Nietzsche[C]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
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[４]Titford, Christopher.Subtitling: Constrained Translation[J]. Lebende Sprachen, 1982, 27(3):113-116.  &lt;br /&gt;
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[５]钱绍昌. 影视翻译──翻译园地中愈来愈重要的领域[J]. 中国翻译, 2000(1):61-65.&lt;br /&gt;
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[６]汪徽.字幕对伴随性词汇习得的影响[J].外语电化教学,2005(2):47-52. &lt;br /&gt;
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[７]熊兵. 翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J]. 中国翻译, 2014(3):82-88.&lt;br /&gt;
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=2 刘晓 The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
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===Abstract===&lt;br /&gt;
With the rapid growth of economy, people's pursuit of life quality is gradually increasing. Travelling abroad has become a hot topic nowadays. The rapid development of overseas travel has increased the market demand for tourism translation, and more stringent requirements for tourism translators. How to deal with the translation problems caused by the cultural differences between Chinese and English during the translation process is of great importance to improve the quality of tourism translation. The communicative translation strategy in Newmark's translation theory focuses on the effect that the translation brings to the target language readers, which is of certain guiding significance to the E-C translation of tourism texts. Therefore, this paper takes ''Everglades National Park, Florida (Excerpt)'' as an example to analyze the specific translation strategies and methods in the application of Newmark's translation theory in tourism texts, so as to provide reference for other translators.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Translation strategy and translation methods; Peter Newmark; Tourism texts&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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This paper is based on the English-Chinese translation of ''Everglades National Park, Florida (Excerpt)''. By analyzing the application of Peter Newmark's communicative transaltion in the translation, the author proposes some translation methods, which can be provided for future references.  This chapter mainly introduces the background information and significance of the report, and the domestic research status.&lt;br /&gt;
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====Research background====&lt;br /&gt;
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With the development of the world, various kinds of tourism appear in people’s life, and has unprecedentedly, extremely widely spread a variety of culture and lifestyle. Tourism has become a rising sunrise industry in modern society (Jin Huikang, 2007). To a foreign country to enjoy the beautiful scenery can make people know the colorful world and further know what they want. And this activity also has made tourism translation a reality and a thriving discipline.&lt;br /&gt;
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However, due to the different geographical environments, cultural differences and historical backgrounds in different countries, many translators often ignore the disadvantages brought by differences in language and cultural habits in the process of translation, so that the original meaning of the original text will be lost in the process of transmission, which may cause confusion for tourists and cannot achieve the purpose of offering them accurate information and stimulating their interest.&lt;br /&gt;
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Therefore, in order to make it more convenient for domestic citizens to travel abroad, translators should choose appropriate translation strategies and methods according to the cultural differences between China and foreign countries in the process of tourism English translation, so that tourists can form an objective and correct understanding of scenic spots. The semantic translation and communicative translation strategies in Peter Newmark’s Theories respectively focus on whether the meaning of the original text is exactly reproduced and the effect and influence that the translation brings to the target language readers, which are of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
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====Research significance====&lt;br /&gt;
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In theory, based on Peter Newmark’s translation theories, this paper chooses the semantic translation strategy and puts forward appropriate translation methods for the English-Chinese translation of tourist text -- the ''Everglades National Park, Florida (Excerpt)'', which is of certain guiding significance for English - Chinese translation of tourist texts.&lt;br /&gt;
Based on the practice of the ''Everglades National Park, Florida (Excerpt)'' English - Chinese translation and the analysis of Newmark’s communicative translation strategy’s application, this paper sums up some translation methods, such as voice change, objective and personal subject changing, adding conjunctions, etc. And these methods can be provided for future references in the translation study and practice of others, which has a certain practical significance.&lt;br /&gt;
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====Literature review====&lt;br /&gt;
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Through the analysis of Newmark’s communicative translation in recent years, it can be found that there are many references for the guidance of communicative translation on tourism translation texts. He Xueyun (2005) proposes that the public notices and signs should belong to the vocative functional text and focus on the reader-centered communicative translation, which can give foreigners a better environment for travel, study and work in China. For such a style, the communicative translation theory should be chosen, the target readers put in the first place and always in mind, and their culture and receptivity taken into account. Jin Huikang (2006) believes that tour guide words must have a specific expected function, which are a kind of texts that integrate informative, expressive and vocative functions. Therefore, tourism translation should aim at effective attraction for overseas tourists, and the translator should grasp the group characteristics of overseas tourists and audiences when carrying out tourism propaganda or translating tourism materials. Ma Chen (2010) points out that the tourism text is a kind of article mainly based on vocative function, and the core of which is to accurately convey information for readers. Liu Anhong (2013) proposes tourism text as a kind of publicity material, aiming to stimulate tourists’ interest in visiting. According to the division of Newmark, the tourism text should belong to the text with the vocative function as its main function and the informative function as its secondary function. Therefore, the translation of tourism text should effectively achieve the effects similar to the original text.&lt;br /&gt;
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From the combing of previous literatures, it can be found that there are many studies on the translation of tourism texts guided by Newmark’s communicative translation strategy. However, at present, there are few studies on the translation of tourism texts from English to Chinese, and more studies focus on the Chinese- English translation. For this reason, this paper is based on the translation practice of ''Everglades National Park, Florida (Excerpt)'' to provide some reference for future English – Chinese translation of tourism.&lt;br /&gt;
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===Tourism Texts===&lt;br /&gt;
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====General Introduction====&lt;br /&gt;
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Tourism text is an important carrier for readers to obtain scenic spot information, and Tourism text is to stimulate readers' desire to travel by introducing tourist attractions and resources, and its ultimate purpose is to meet readers' expectations and arouse readers' enthusiasm by delivering tourism information. In other words, the dominant function of tourism text is vocative function. At the same time, tourism texts also provide readers with information they like, from which people can acquire relevant knowledge such as culture and customs, natural geography, etc. Therefore, informative function is also its important feature. It can be seen that the two most important functions of tourism texts are respectively informative and vocative one, whose premise is to provide information and purpose is to attract tourists. &lt;br /&gt;
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In addition, we should realize that translation of tourism texts is a professional translation of tourist attractions and resources for target readers, and its essence is a communicative behavior. If the translator fails to properly deal with the differences between cultures, it will often fail to achieve the expected results. Therefore, during the translation process, more attention should be paid to the accuracy and effectiveness of the information, so as to make the translation conform to the target readers’ reading habits and aesthetic expectation (Li Daosheng, 2000). This requires the translator to put the reader's acceptance first in the process of translation. That is, tourism text translation should not only realize the conversion from one language to another, but also take language barriers and cultural differences into account. Therefore, in order to achieve the goal of successful communication, translators should flexibly apply various translation strategies and adopt appropriate translation methods according to the text types of tourism texts.&lt;br /&gt;
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====Introduction to the ''Everglades National Park, Florida (Excerpt)''====&lt;br /&gt;
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Established in 1974, Everglades National Park covers 2,354 square miles, or 6,097 square kilometers (1.4 million acres). Located at the tip of southern Florida, it is the largest subtropical wildlife sanctuary in the continental United States. Everglades National Park protects an unparalleled landscape which provides important habitat for numerous rare and endangered species such as the manatee, American crocodile, and the elusive Florida panther.&lt;br /&gt;
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''Everglades National Park, Florida (Excerpt)'' is excerpted from a notice from U.S. National Park Service about the phased reopening of the park, including alerts of the reopening, activities, safety and accessibility. It can also be regarded as a travel guide, which describes the journey towards people and offers help to the tourists who want to go there, and which often includes the description of the best travel time, transportation, accommodation, scenic spots and matters needing attention. As a practical text, its main purpose is to introduce and promote tourist scenic spots, that is the Everglades National Park in Florida. Its vocative and informative function are very prominent, and it has the characteristics of reader-orientation, the effectiveness of information transmission and timeliness.&lt;br /&gt;
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===Newmark's Translation Theory===&lt;br /&gt;
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====General introduction of Peter Newmark's translation theories====&lt;br /&gt;
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Peter Newmark, a well-known translation theorist, is one of the main figures in the founding of translation studies in the English-speaking world in 20th century. Newmark devoted himself to studying the past and present of Western translation, and put forward his own views on this basis. Newmark’s translation theories mainly include three parts, that is, the classification of text types, translation approaches, and the lately correlative theory of translation.&lt;br /&gt;
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According to Karl Buhler’s knowledge of language features and Jacobson’s classification of them, Newmark proposed six functions of language informative function, expressive function, vocative function, phatic function, aesthetic function, and lastly metalingual function. (Hou Yingying, 2020) Then Newmark divided text types into three: expressive-functional texts, informative-functional texts, vocative-functional texts.&lt;br /&gt;
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After putting forward these three text types, Peter Newmark suggested eight translation approaches or strategies. Firstly, from the perspective of focusing on the source language, he suggested word-for-word translation, literal translation, faithful translation and semantic translation; Secondly, from the perspective of focusing on the target language, he suggested adaptation, free translation, idiomatic translation and communicative translation (Newmark, 2001:45).&lt;br /&gt;
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In 2007, Newmark came up with a new theory, that is, correlative theory of translation, which means that “The more serious and important the language of the original or source text, the more closely it should be translated.” (Newmark, 2007)&lt;br /&gt;
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In conclusion, Peter Newmark has proposed many significant theories and made extensive discussion on those concepts, which will have a great influence on the translation practice.&lt;br /&gt;
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====Semantic translation and communicative translation====&lt;br /&gt;
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Peter Newmark divided text genres into “expressive text”, “informative text” and “vocative text” in his classic work ''Approaches to Translation''. Imaginative literary works, such as poems, songs, novels and dramas, authoritative statements, autobiographies, essays and personal correspondence, etc. are expressive texts. All the formatted texts with science and technology, industry and commerce, and economy as themes belong to informative texts. And vocative text refers to all texts that can infect readers and make them “get information”.&lt;br /&gt;
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With reference to these three kinds of texts, Newmark further creatively proposed the concepts of semantic translation and communicative translation: “communicative translation” means that the effect of the target text on the reader of the target language is as much as the effect of the original text on the reader of the source language; “semantic translation” refers to the reproduction of the context of the source text as accurately as possible under the premise of the semantic and syntactic structure of the target language. He believed that only communicative translation and semantic translation can achieve the two major goals of translation: being accurate, and being economic (effective).&lt;br /&gt;
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In ''About Translation'', Newmark made a detailed comparison of the characteristics of semantic translation and communicative translation from different aspects, and pointed out that the fundamental difference between them lies in that when the information and the effect are in conflict, communicative translation lays more emphasis on effect than content, while semantic translation lays more emphasis on content than effect. Communicative translation can give the translator full freedom, the translator can reorganize the syntax, eliminate the original obscure places in the source language, and make the language conform to the standard of the target language. However, semantic translation emphasizes the content of the information itself, tries to make the form of the target text similar to the form of the original text, and retains the language characteristics and expressive style of the original author. Therefore, compared with semantic translation, communicative translation is more subjective and can better reflect the translator’s creativity and it attaches great importance to the communicative effect of translation, the key to which is to convey information, make readers of the target language think, act and feel, and play an inductive role in making the translation natural and smooth, and more readable. &lt;br /&gt;
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Newmark pointed out that the translation of expressive texts should employ semantic translation, while informative and vocative texts communicative translation which is reader-centered. The most direct purpose of tourism texts translation is to convey information to readers on the premise of attracting readers’ attention and leaving readers with deep memories, so that readers can take actions -- to visit tourist attractions and pay attention to matters that should be paid attention to. Thus, it can be seen that the tourism text belongs to the vocative text and the communicative translation should be applied. &lt;br /&gt;
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To sum up, Newmark’s communicative translation focus on the effect that the translation brings to the target language readers, which is of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
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===Case Study===&lt;br /&gt;
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The purpose of communicative translation is to try to make the translation have the same effect on the target reader as the original does on the source reader. That is to say, the key point of communicative translation is to be loyal to the target language and the target text reader, that is, the source language is required to obey the target language and culture, leaving no doubt or obscurity to the reader, and eliminating difficulties and obstacles in reading or communication for the reader as far as possible.&lt;br /&gt;
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Because the translator wants to achieve a certain communicative purpose, emphasizes the effect and has a specific target audience, the translation has inevitably broken the restrictions of the original text, pursuing smoothness, clarity, directness and conformity with conventions. In this part, the author analyzes the specific application of communicative translation in the translation practice of the ''Everglades National Park, Florida (Excerpt)'' from three aspects: lexical, syntactic and textual analysis.&lt;br /&gt;
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====At Lexical Level====&lt;br /&gt;
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Generally speaking, there is partial equivalence between English and Chinese, that is, similar expressions in Chinese can replace the meaning of English words or phrases (Liu Junping, 2009). In the following, two translation methods used in lexical translation will be introduced: conversion of part of speech and the translation of public signs.&lt;br /&gt;
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1)Conversion of part of speech&lt;br /&gt;
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Example 1:&lt;br /&gt;
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ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors.''&lt;br /&gt;
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TT: 个人、团体或家庭都能在这找到适合的户外活动。&lt;br /&gt;
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Analysis: As we all know, English belongs to the Indo-European language family, while Chinese the Sino-Tibetan language family. Many differences exist between English and Chinese in terms of vocabulary and grammatical structure. Therefore, in the process of translating English into Chinese, due to the different ways of expression between English and Chinese some sentences can be translated word by word, while most sentences cannot. In order to make the Chinese translation smooth and natural, some words in the original text need to be converted into different parts of speech in the target text without sticking to the surface structure of the original text. In other words, some words in the original text can be converted into other parts of speech in Chinese on the premise of being faithful to the original meaning and retaining the original effect. &lt;br /&gt;
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The original sentence uses a nominal phrase “no shortage of” to express the meaning that no matter how many people come together for outdoor activities, there are always options. The translator translates it into a verbal phrase, that is, everyone can find a suitable outdoor activity here, so that the meaning gets across and the whole sentence flows naturally.&lt;br /&gt;
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Example 2:&lt;br /&gt;
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ST: ''Accessibility: No immediate trails.''&lt;br /&gt;
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TT: 如何前往：没有路径可直接到达。&lt;br /&gt;
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Analysis: As English tends to use more nouns with static narratives, while Chinese tends to use more verbs with dynamic ones. The static tendency of English mainly comes from nominalization, a common phenomenon in English. Nominalization mainly refers to the use of nouns (phrases) to express the information originally expressed by verbs (phrases), such as the use of abstract nouns to express actions, behaviors, changes, states, etc (Lian Shuneng, 1993). For example, “accessibility” in Example 2 is an abstract noun, which is used to show the way to one place. Chinese, on the other hand, tends to use verbs. So, in order to better convey the effect and let the reader read without any doubt or discomfort, the translator converted the noun into a verb phrase, that is “如何前往”. Likewise, in the noun phrase “no immediate trails”, the author wants to say that there is no direct way (to arrive at the destination). When translating, if it is directly translated into a noun phrase “没有直达路”, the reader may feel difficult to read. So, if it is translated into “there is no direct path can reach that place”, the sentence will be more smoothly and convey the original information and the effect is also retained.&lt;br /&gt;
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2)Public signs&lt;br /&gt;
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Example 3 &amp;amp; 4:&lt;br /&gt;
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ST: ''Things To Do'' &lt;br /&gt;
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TT: 活动介绍&lt;br /&gt;
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ST: ''What you can do''&lt;br /&gt;
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TT: 解决措施&lt;br /&gt;
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Analysis: As mentioned in the theoretical framework above, tourism text belongs to vocative text. As a kind of tourism text, public signs are a special style for specific people to achieve a certain communicative purpose. Its application scope is very wide, almost involved in every aspect of our daily life, such as street signs, billboards, road signs, shop signs, warnings, propaganda, travel briefs and so on. As a communicative tool, it conveys necessary and useful information to the public by means of a few words, simple and easy to understand icons or the combination of both (He Xueyun, 2006). Therefore, it can be seen that public signs feature lots of nouns, verbs, phrases and abbreviations and more often, fixed expression, which means in translation, only concise and idiomatic expression can fully convey the effect of the original text.&lt;br /&gt;
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Just as the example 3, once the original text is translated literally, that is “要做的事情”, it sounds rather awkward, which not only does not convey the meaning of the source text that was intended as an introduction to the activities that can be done, but also may lead the reader to believe that this section is about what is required. However, if it is translated into “活动介绍”, readers can clearly know the main content of this part and can find out the activities they are interested in. This expression is very concise and also in line with the Chinese language habits. The same is true of example 4.&lt;br /&gt;
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Example 5 &amp;amp; 6:&lt;br /&gt;
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ST: ''Alligators and crocodiles - Crocodilians are one of the reasons people visit the park, however, these are wild animals that can be dangerous to humans.''&lt;br /&gt;
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TT: 小心短吻鳄和鳄鱼——鳄鱼是人们参观公园的原因之一，然而，这些野生动物对人类会很危险。&lt;br /&gt;
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ST: ''Poisonous plants - The park’s ecosystems support a variety of plant life including some that cause reactions to human skin.''&lt;br /&gt;
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TT: 警惕有毒植物——公园的生态系统支持多种植物的生长，包括一些会对是人类皮肤过敏的植物。&lt;br /&gt;
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Analysis: Tourist texts belong to the vocative text, emphasizing the transfer of the effect of the information and the empathy of the reader. This requires the translator to pay attention to the internal logic of the text, modify the translated text to make it clear in the process of tourism translation without sticking to the original form and give full consideration to the core position of readers. &lt;br /&gt;
Examples 5 and 6 are in the same sentence structure -- firstly species are given, and then that the species could be in some danger is pointed out. If it is translated in accordance with the original text word by word, then the front part is just posing out that species. However, if such warning words as “小心” or “警惕” are added, it can let the reader know before he continues reading that this species may be dangerous when visiting, and then with reading below, the reader will know why it is dangerous. This will prepare the reader mentally, and the reading will be smoother.&lt;br /&gt;
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====At Syntactical Level====&lt;br /&gt;
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Two aspects are included in syntactic analysis, which are change of subjects and passive voice, and the punctuation.&lt;br /&gt;
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1)Change of subjects and passive voice&lt;br /&gt;
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Example 7:&lt;br /&gt;
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ST: ''Wading birds, cormorants, Purple Gallinules, and nesting Anhingas may be found along the path anytime of the day during the winter (dry) season.''&lt;br /&gt;
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TT: 在冬季（旱季），任何时候您都可以在沿路发现涉水鸟类、鸬鹚、紫雀和筑巢的美洲蛇鸟。&lt;br /&gt;
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Analysis: English tends to use more impersonal subjects, which means it rarely uses the personal subject to describe but expresses how objective things act on people’s perception to things appear in an objective tone. So, the structure is often like this: inanimate subject + animate subject (Lian Shuneng, 2010). Chinese pays more attention to subjective thinking, and often describes objective things from the point of view of oneself, or tends to describe people and their behavior or state, so the personal subject is often used. When the personal subject is clear, Chinese often implies or omits it.&lt;br /&gt;
Passive voice is a common grammatical phenomenon in English. In some styles, the use of passive sentences has almost become a habit of expression. Passive sentences give rise to the tendency of using impersonal subjects, and vice versa. Chinese uses fewer passive forms. The main reason for this difference is that the use of passive forms in Chinese is limited, and the mark of the passive voice, such as “让”, “给”, “受”, mostly expresses displeasure.&lt;br /&gt;
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Therefore, in example 7, the translator transformed the passive voice into the active voice and the impersonal subjects “Wading birds, cormorants, Purple Gallinules, and nesting Anhingas” into the personal subjects “您”. What’s more, as this tourism text is written for readers, the use of the second person subject can shorten the distance. &lt;br /&gt;
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Example 8 &amp;amp; 9: &lt;br /&gt;
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ST: ''Wading birds, American Coots, Osprey, White-crowned Pigeons, warblers, Red-shouldered Hawks, Anhingas, rails, Painted Buntings and other transients are best viewed here in the morning.''&lt;br /&gt;
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TT: 早晨在这里观赏涉禽、美洲骨顶鸡、鱼鹰、白头鸽、莺、赤肩鹫、美洲蛇鸟、秧鸡、彩绘鹀和其他过路的鸟类的效果最好。&lt;br /&gt;
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ST: ''In the summer, fewer programs are offered.''&lt;br /&gt;
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TT: 夏季提供的项目较少。&lt;br /&gt;
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Analysis: Just as what has been said above, English has a tendency to use impersonal subjects and passive voice, while Chinese is exactly the opposite. And when the subject is clear, Chinese often implies or omits it, which is just like example 8 the personal subject “you” is omitted. &lt;br /&gt;
In example 9, the omitted subject is the national park, and the temporal adverbial phrase “in the summer” becomes the subject in form, which is a common expression in Chinese. That is because subjects in Chinese are not only in various forms, but also dispensable: it can denote giving, receiving, time, place.&lt;br /&gt;
 &lt;br /&gt;
2)Punctuation&lt;br /&gt;
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Example 10:&lt;br /&gt;
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ST: ''Connecting trails through the Pinelands run 7 miles (11 km) west from the Long Pine Key campground to Pine Glades Lake along the main park road.''&lt;br /&gt;
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TT: 这些小道从长松岛营地向西延伸7英里（11公里），穿过一片松林地，连通公园主路边松林湖。&lt;br /&gt;
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Analysis: English sentences are complicated, and subordination is one of the most important characteristics of modern English, which features right-branching, sentences long and complex, made in “architecture style”. Conversely, Chinese sentences are relatively short, and commonly use scattered sentences, loose sentences, tight sentences or composite sentences with parallel structure. Chinese features left-branching, and sentences are made in “chronicle style”, using clauses to streamline the thoughts. &lt;br /&gt;
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So, when there are many prepositional phrases in the original English sentence, the translator can divide the long sentence into several short sentences and recognize those by adding comma, which can help readers to sort out the logic of the original text and get the main information. By using communicative translation, the translator divided the original sentence into three sentences. The logical sequence is that “The trails run seven miles (11 kilometers) west from the Long Pine Key campground. Passing through the Pinelands, they lead to Pine Glades Lake along the main park road.”, which shows the location of both the Long Pine Key campground, the Pinelands and Pine Glades Lake correctly, leaving no doubt to readers of the target language.&lt;br /&gt;
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Example 11:&lt;br /&gt;
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ST: ''In keeping with Monroe County’s closure order for beaches, North Nest Key and all waters within 100 yards from the shore will be closed for protection of park resources during the holiday weekend. The closure will begin on Friday, July 3 at 6 a.m.''&lt;br /&gt;
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TT: 根据门罗县对海滩的关闭安排，为保护公园资源，北巢岛和离海岸100码以内的所有水域将自7月3日星期五早上6点起暂停对外开放。&lt;br /&gt;
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Analysis: In the original text there are two sentences, which can be combined to make the meaning complete and language pithy in the target language. And it can be taken into consideration to reconstruct them by replacing full stop with comma. By considering communicative translation, the translator put two prepositional phrases in advance as adverbials, which are “in keeping with Monroe County’s closure order for beaches” and “for protection of park resources during the holiday weekend”, and then turned the second sentence into a temporal adverbial phrase and put it in the main clause as an adverbial. So, the whole structure is “In keeping with Monroe County’s closure order for beaches and for protection of park resources during the holiday weekend, North Nest Key and all waters within 100 yards from the shore will be closed from Friday, July 3 at 6 a.m.” By doing so, the information is concisely conveyed, and Chinese readers can well understand it.&lt;br /&gt;
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====At Textual Level====&lt;br /&gt;
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Discourse refers to the actual language unit used and is the whole language constituted by a series of consecutive paragraphs or sentences in the communication process. In general, a text consists of words, phrases, sentences and sentence cluster (Lan Lingyan, 2020), among which the components were cohesion in form and coherence in semantics.&lt;br /&gt;
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Example 12:&lt;br /&gt;
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ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors. The diverse habitats allow for enjoyable activities ranging from hiking, canoeing, kayaking, biking, fresh and saltwater fishing, and camping in the ultimate wilderness.''&lt;br /&gt;
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TT: 个人、团体或家庭都能在这找到适合的户外活动。无论是步行、乘坐独木舟、划皮划艇、骑自行车，还是在淡水或海水钓鱼、在终极荒野地露营，您都可以饱览多样的自然环境、尽享快乐。&lt;br /&gt;
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Analysis: Coherence in a piece of writing refers to the principle that all paragraphs, sentences or ideas are combined so well that they form a united whole. Coherent translation has smooth structural, grammatical, and logical movement from one sentence or idea to the next and the reader does not have to pause and guess at the meaning caused by gaps in development between ideas, sentences and paragraphs. &lt;br /&gt;
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In example 12, the last topic of the fist sentence in the original sentence is outdoor activities, while the subject of the second sentence is the diverse habitats. This is a shift in the topic, which may make the readers pause and guess at the logical relation between them. Therefore, in translation, guided by communicative translation, the translator needs to mind the text coherence and to make proper adjustments. Out of this, the translator put the activities in the second sentences as the subject of the second sentence in the target text, so that the first sentence can pass through smoothly to the next one, so does the understanding of readers.&lt;br /&gt;
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Example 13:&lt;br /&gt;
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ST: ''Everglades National Park is a popular spot for saltwater and freshwater sport fishing. Boats can be chartered at Flamingo. Be sure to check a visitor center for park fishing regulations and closed areas.''&lt;br /&gt;
&lt;br /&gt;
TT: 大沼泽地国家公园是一个很受欢迎的钓海水鱼和淡水鱼的地方。在弗拉明戈可以租船。在钓鱼之前，一定要阅读游客中心的公园捕鱼规定和封闭区域。&lt;br /&gt;
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Analysis: Cohesion can be thought of as all the grammatical and lexical links that link one part of a text to another. This includes the use of synonyms, lexical sets, pronouns, verb tenses, time references, grammatical reference, etc. For example, ‘it’, ‘neither’ and ‘this’ all refer to an idea previously mentioned.&lt;br /&gt;
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In example 13, this paragraph mainly talks about fishing in the Everglades National Park, with a topic sentence and two explanatory sentences: one introducing the place for chartering and the other cautions. There are no grammatical or lexical links within these three sentences, and the logic is connected by semantics. Considering well understanding of readers in the target language, the translator added one lexical link “before fishing” between the last two sentences, to make the reader understand that he or she should read the rules and precautions of fishing before going fishing. Also, with repeating the key word “fishing”, the central idea of this whole paragraph is prominent, and the sentences are logically and smoothly linked to express the intended meaning, thus making this paragraph a cohesive group.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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====Major findings====&lt;br /&gt;
For the text, the tourism text belongs to the vocative text, which focuses on conveying the information and effect, so the communicative translation theory should be adopted to this kind of translation. As for this original text, the first part that introduces the outdoor activities belongs to the tourism advertisements, which are descriptive with vivid words. Tourism advertising is infective, with short and concise words, full of creativity, lively and concise sentence structure, and strong attraction. While the announcement that informs of the operating status of the park is a quite different style. The wording is formal, standard, accurate and stylized. Secondly, the source text involves a wide range of knowledge and large vocabulary. For example, “hardwood hammock” for “硬木吊床” and “Geocaching” for “寻宝”. &lt;br /&gt;
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Based on the analysis of examples from lexical, syntactic and textual levels, some translation methods can be proposed. On one hand, when translating, some words in the target text can be converted into different parts of speech in the original text to make the language natural and idiomatic. On the other hand, when doing English – Chinese translation, in most cases, passive voice should be changed into active voice, personal subject is favored in Chinese, and subjects can also be omitted sometimes. Lastly, as English and Chinese have lots of differences in sentences, the translator should change the order of the sentences sometimes to make them smooth and fluent, and some words can be added to make the meaning coherent.&lt;br /&gt;
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====Limitations====&lt;br /&gt;
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Besides some major findings, there are also many limitations in this translation practice. Firstly, communicative translation focuses on the effect conveyed by the translation rather than the information, which can easily make the translator ignore some original. So, in the translation, other available translation theories should also be taken into account to achieve best translation. &lt;br /&gt;
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Then, when translating a text, whether it is a tourism text or a literary works, they cannot be translated immediately. Relevant information and background should be collected in advance, and otherwise some mistakes which should be avoided will be made. For example, “Snail Kite (蜗鸢)” might be translated as “蜗牛风筝” if the translator does not look it up in advance.&lt;br /&gt;
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===References===&lt;br /&gt;
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[1] Newmark, Peter. About Translation[M]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
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[2] Newmark. Approaches to translation[M]. Shanghai Foreign Language Education Press, 2001. &lt;br /&gt;
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[3] Newmark, Peter. A New Theory of Translation[J]. Sborník Prací Filozofické Fakulty Brněnské Univerzity, 2007(13)&lt;br /&gt;
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[4] Newmark, Peter. A Textbook of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2001:39-42. &lt;br /&gt;
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[5] 贺学耘.汉英公示语翻译的现状及其交际翻译策略[J].外语与外语教学, 2006(03):57-59.&lt;br /&gt;
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[6] 侯莹莹.凯瑟琳娜·莱斯与彼得·纽马克文本类型翻译理论之比较研究[J].海外英语, 2020(22):49-50+60. &lt;br /&gt;
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[7] 金惠康.跨文化旅游翻译探讨[J].上海翻译, 2007(01):31-34.&lt;br /&gt;
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[8] 兰灵艳.交际翻译理论指导下《家庭生活》（节选）汉译实践报告[D].南昌大学, 2020.&lt;br /&gt;
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[9] 李道胜. 汉英语义对比分析[J]. 语言教育, 2000(4):4-5.&lt;br /&gt;
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[10] 连淑能.《英汉对比研究》[M]. 北京：高等教育出版社, 1993.&lt;br /&gt;
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[11] 刘安洪.跨文化交际视角下的旅游文本翻译策略研究[J].中华文化论坛, 2013(10):160-163. &lt;br /&gt;
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[12] 刘军平，西方翻译理论通史[M]. 武汉：武汉大学出版社, 2009.&lt;br /&gt;
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[13] 马忱.交际翻译策略对汉英旅游翻译的启示[J].郑州航空工业管理学院学报(社会科学版), 2010,29(06):119-121.&lt;br /&gt;
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=3 刘越 Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
[[Trans_Type_EN_3]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
There are many translation practices under the guidance of communicative translation theory, but there are not many translation practices in Korean novels. Through this translation practice, we hope to summarize the translation methods and strategies adopted in the translation of novel subject matter under the guidance of communicative translation theory in terms of vocabulary, sentence and rhetoric. In this paper, under the guidance of communicative translation theory of Korean novels &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; to analyze translation strategies and translation methods, let us hope that through the work of human changes in temperature to realize that the most warm affection and the most simple human feelings, seems to be the fact that more and more far from us, let us together to explore the history of the &amp;quot;family&amp;quot; gradually forgotten by us and meaning, Wake up our sense of affection, cause our emotional resonance.&lt;br /&gt;
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===Keywords===&lt;br /&gt;
Communicative translation theory; Korean novels; Translation methods and strategies&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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===The emergence and development of communicative translation===&lt;br /&gt;
According to the function of language, i.e. the purpose for which it is used, Newmark proposes the following three text types: expressive function, informative function, and evocative function.&lt;br /&gt;
At the heart of the expressive function is the use of words by the speaker or author to express his or her thoughts and feelings. The author's unique form of language is as important as the content.Expressive function texts emphasise the authority of the original author, and translations should follow the principle of &amp;quot;original author first&amp;quot;, faithful to both the content of the ideas expressed by the original author and the language style of the original author, without regard to the reaction of the target reader. The core of the information function is the external context, i.e. all the information about a topic, or the unspeakable reality. At the heart of the information text is the &amp;quot;authenticity&amp;quot; of the content; the author's language is secondary. Translation should be based on the principle of &amp;quot;authenticity first&amp;quot;. The call to action is reader-centred and aims to &amp;quot;call the reader to action, to think, to feel&amp;quot;. The translation should follow the principle of 'reader first', putting the reader of the target language first. The translator can make full use of the advantages of the incoming language, without adhering to the expressions of the original, so that the translated language can achieve the same effect as the original.&lt;br /&gt;
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On this basis, two translation concepts, communicative translation and semantic translation, are proposed. Newmark believes that the theory of communicative translation focuses on the understanding and reaction of the recipient, the reader of the translation, and more on the effect rather than the content of the translated expression. The translator can give full play to the advantages of the translated language and introduce foreign elements into the culture of the translated language, with the advantages of naturalisation, Italian translation and idiomatic translation. Semantic translation attaches importance to the original text, focuses on its semantic content and strives to preserve the culture of the original text, and has the advantages of word-for-word, word-for-word and faithful translation. Communicative translation is suitable for informative and attractive texts such as autobiographies, personal emotional declarations, important political statements (or other statements), most non-literary texts, news, intellectual articles and books, textbooks, reports, scientific and technical literature, official correspondence, promotional material, advertisements, announcements, popular fiction. ( Yang 1989:68-71)# His communicative and semantic translations have largely enriched the study of translation theory and influenced the field of translation.&lt;br /&gt;
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===The applicability of communicative translation theory to the translation of popular novels===&lt;br /&gt;
First of all, the core content of communicative translation theory is that on the basis of being faithful to the content of the original text, it focuses on the readers' understanding ability and feelings, and pays more attention to the expression effect of the target text than the content. For the translator, the translator can give full play to the advantages of the target language and get rid of the constraints of the language structure of the original text. If the original text is illogical, ambiguous, and there are redundant words and ambiguities in the sentence, as well as dialects, coarse slang and other phenomena in the article, the translator has the right to reorganize the syntax and improve it by using collocation and common sentence patterns in accordance with the habits of the target language, so as to make the language more standardized. Translators also have the right to correct errors and omissions in the original text.( Shuang 1999(05):840）&lt;br /&gt;
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Secondly, according to Newmark's text type, communicative translation theory is applicable to vocative texts, which focus on the inspiring effect and take the target readers as the center. The purpose of translation is to elicit the desired response, including popular books and best-selling novels. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. The novel is mainly composed of characters, plots and descriptions of the environment to reflect the social reality. Novel is a literary genre that conveys thoughts and feelings and arouses readers' resonance. It belongs to appeal text, so communicative translation theory is suitable for novel translation.&lt;br /&gt;
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The most important thing in novel translation is to convey the content of the original text and the author's thoughts and feelings to the readers, and to arouse the readers' deep thinking and empathy. When translating a novel, we should describe the plot of the original text to the readers and try to get close to the literary image described by the author and the literary artistic conception created in the novel.&lt;br /&gt;
If only follow the content style and text structure of the original text, it will violate the original intention of translation, making the translation obscure and unclear. Under the guidance of communicative translation theory, the translator can give full play to the advantages of the target language, modify and polish the original text, adjust the logic of expression, eliminate the differences between the original text and the target text, and get a smooth translation. At the same time, the translator can also pay more attention to the target readers, fully consider the reading habits and thinking mode of the target readers, and use easy to understand language vocabulary to convey the information of the source text and the thoughts and feelings of the source text author to the readers, so that the target text readers and the source text readers get the same effect.&lt;br /&gt;
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=== Case study under the guidance of communicative translation theory===&lt;br /&gt;
Guided by Peter Newmark's communicative translation theory, the author carries out translation practice on two short stories &amp;quot;The Innocent Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. Under the guidance of communicative translation theory, this section adopts the strategies of translation modification and meaning extension to solve the problems of ambiguous and implicit sentences in novels. At the sentence level, the strategy of paraphrase, syntactic and translation is adopted. In the aspect of rhetoric, this paper adopts the translation strategies of addition and repetition, and makes a case study to explore and summarize the translation methods and strategies applicable to novel subject matter under the guidance of communicative translation theory.&lt;br /&gt;
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=== The application of communicative translation theory at lexical level===&lt;br /&gt;
'''Transliteration'''&lt;br /&gt;
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The translation method refers to the conversion of parts of speech in the original text, such as changing nouns into verbs, adjectives into verbs, etc., so as to make the translation conform to the expression habits of the target language. Different languages have different linguistic phenomena and cultural backgrounds. In order to make the translation more in line with the language expression habits of The Chinese people and convey the correct meaning of the original text to The Chinese readers, every word in the Korean sentence cannot be translated dead, and some parts of speech in The Korean language have to be changed in translation.(Chen 1994)# The following is a case study of translating a part of speech in the original text into another part of speech in Chinese.&lt;br /&gt;
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Eg.1 그럴 때의 아이는 이제 노인이 아니라 소년가장 같았다.&lt;br /&gt;
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First translation：那一刻我觉得孩子不像老人，而像少年家长。 &lt;br /&gt;
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Retranslation：那一刻我觉得他不像一个历经沧桑的老人，而像一个饱经世故的孩子。&lt;br /&gt;
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&amp;quot;소 년 가 장&amp;quot; is a noun, the author looked up Chinese dictionary, found &amp;quot;소 년 가 장&amp;quot; in Korean means &amp;quot;가 정 의 생 계 를 실 질 적 으 로 책 임 지 고, 어 렵 게 생 계 를 유 지 하 는 소 년&amp;quot;, at the beginning of translation, in accordance with the original literal translation is &amp;quot;young parents&amp;quot;, but is not in conformity with the Chinese expression habit, it is not easy to let Chinese readers understand, The author in the guidance of communicative translation theory, through the network search and found the dictionary lookup &amp;quot;소 년 가 장&amp;quot; and Chinese proverb &amp;quot;the poor children early master&amp;quot; has the same effect, but here can make statements impassability, in order not to cause the reader to understand the problems, the author give full play to the advantages of the Chinese, the author by using the method of adaptation, Phrases collocation and considering the Chinese habit, the term &amp;quot;소 년 가 장&amp;quot; divided &amp;quot;소 년&amp;quot; and &amp;quot;가 장&amp;quot; two nouns, and the term &amp;quot;가 장&amp;quot; translated into adjectives &amp;quot;world&amp;quot;, the &amp;quot;소 년&amp;quot; translated into &amp;quot;children&amp;quot;, both to convey the meaning of the original, and can make readers easily understand the content.&lt;br /&gt;
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Eg.2：거기에 아이가 자신을 만나려 하지 않기 때문에 돈을 주지 않는 것이라는 비난의 말이 반복해서 쓰여 있었기 때문이다. &lt;br /&gt;
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Translation ：文件上反复指责说孩子不想认他这个父亲，所以不给抚养费。&lt;br /&gt;
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In the original text 비 난&amp;quot; is a noun, the author according to the original text in translation translated into &amp;quot;document and is accused of child, father didn't want to see him the accused, so not to support&amp;quot;, at the same time with the two accused, groundwork or at the back of the verb &amp;quot;blame&amp;quot;, also make the repetitive, so the author under the guidance of communicative translation theory, When translated again, the noun &amp;quot;비 project-oriented&amp;quot; is translated into the verb &amp;quot;blame&amp;quot;, so that the translation is easy to understand.&lt;br /&gt;
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Extension of meaning Extension translation method is refers to according to the specific context of contact and words in the original context, starting from the basic meaning of Korean original words, through the letter of the word or phrase in the sentence, its excellent implied meaning appropriately, use some conforms to the Chinese expression habit of character words, the content of the original essence of accurate expression.&lt;br /&gt;
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Eg.3：①텔레비전을 쳐다보던 아이가 대뜸 내밷었다. ②동식이 집을 나서자마자 엄마는 휴이히히히, 하는 기괴한 한숨을 길게 내뱉었다.&lt;br /&gt;
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Translation：①正在看电视的儿子突然吐槽道：“妈，你快看，电视里那个人真像我爸”。 ②母亲就“唉！”长长地叹了一口气。&lt;br /&gt;
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The author by looking up the dictionary, in the original &amp;quot;내 밷 다&amp;quot; has two meanings: (1) 입 안 에 있 던 것 을 입 밖 으 로 뱉 어 내 보 내 다. (2) 마 음 에 내 키 지 아 니 하 거 나 못 마 땅 한 어 조 로 불 쑥 말 하 다. &lt;br /&gt;
Chinese meaning is &amp;quot;vomit, and said,&amp;quot; the author under the guidance of communicative translation theory, reader's expressions and words in Chinese habit as the center, contact the original context and context, considering the words collocation, adopt the method of the extension, the &amp;quot;내 밷 다&amp;quot; translated into &amp;quot;fun&amp;quot; and &amp;quot;sigh&amp;quot;, not only conforms to the present context, and in accordance with the Chinese language habits.&lt;br /&gt;
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Eg.4: ①그러니까 엄마는 내가 돈 얘기 할 것을 미리 알고서 지금 차단막을 치는 것이리라. ②형이 옆구리를 툭 치며. ③까지는 살큼 익혀서 찬지름 치고 조선간장으로 조물조물 무쳐노면 고기반찬보다 낫드라. &lt;br /&gt;
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Translation：①但母亲好像早已看透了我的心思，先堵住了我的口。 ②大哥用胳膊肘戳了我一下。 ③蒸个七八分熟的时候撒上香油好好拌一下就行了，这样比那些荤食都好吃。&lt;br /&gt;
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The verb &amp;quot;치&amp;quot; would give many different meanings with different words, such as ①&amp;quot;beating, beating, beating, playing&amp;quot;.② take, base, wrap, erect, ③ feed, feed, etc. On the basis of communicative translation theory, and fully understand the original meaning, context, and considering Chinese words collocation is used, depending on the context, the extension method was adopted, will &amp;quot;치 다&amp;quot; translated into &amp;quot;blocking&amp;quot;, &amp;quot;stamp&amp;quot;, &amp;quot;and&amp;quot; verb, such as to conform to the Chinese habits of expression.&lt;br /&gt;
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===The expression of communicative translation theory at the sentence level===&lt;br /&gt;
Communicative translation theory is pointed out that to the readers, the translator should give full play to the advantages of the target language, to make the translation conform to the target language expression of habit, not to leave any arcane to readers, while Korean and Chinese belong to different language families, there are differences in expression habit, this summary is mainly under the guidance of communicative translation theory, This paper analyzes the translation of sentences in The Pure Man and The Goat Family by means of paraphrase, syntactic and combined translation.&lt;br /&gt;
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'''Interpretation method'''&lt;br /&gt;
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Hermeneutic method is also an interpretative translation method. Because Chinese and Korean have different expression habits, in the process of translation, we can use the paraphrase method to explain some ambiguous sentences, which can not only make the translation clear, but also accurately convey the original purpose.&lt;br /&gt;
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Eg.5：어느날, 아이가 눈에 보이는 사물들을 가리켜 얼마짜리냐고 물었을 때, 어떤 행위를 가리켜 얼마 받느냐고 물었을 때, 나는 어린것이 별걸다 궁금해한다고 면박을 줬다. 면박을 주는 것으로 마음에 이는 민망함을 무마시켰다. 아이의 입에서 처음 돈 얘기가 나왔을 때, 그때 나는 이미 알아챘어야 했는지도 모른다.&lt;br /&gt;
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First Translation: 当某一天，孩子们指着各种东西问花了多少钱，挣了多少钱时，我当面斥责说“小孩子家家的，真是什么都好奇”。我以这种当面驳斥的方式来掩饰心中的尴尬。当我第一次从孩子嘴里听到关于钱的话题时,我可能就已经觉察到了些什么。&lt;br /&gt;
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Retranslation: 当某一天，孩子们指着各种东西问价格时，我当面斥责说‘小孩子家的，问这个做什么’，以此来掩饰我内心的尴尬。当我第一次从孩子嘴里听到关于钱的话题时，我可能已经觉察到时代变了，我那‘不知钱为何物’的时代过去了。&lt;br /&gt;
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The author at the beginning of the translation of &amp;quot;그 때 나 는 이 미 알 아 챘 어 야 했 는 지 도 모 른 다&amp;quot;, literal translation is &amp;quot;I may already have noticed what&amp;quot;, but the specific perceive what is not clear, causing distress to Chinese readers, by contacting the above learned that the &amp;quot;I&amp;quot; as a child is the hairpin, objects such as pottery fragments, But now the child is the &amp;quot;money&amp;quot;, the author under the guidance of communicative translation theory, to the readers, adopting the tactics of interpretation method, interpreted &amp;quot;I perceived that the&amp;quot; content &amp;quot;I might have been aware of The Times have changed, I that 'I don't know the money was the era of the past&amp;quot;, thus the author want to convey the original concept of the era of the change of the clear expression come out.&lt;br /&gt;
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Eg.6：영호야, 명절 때만이라도 꼭 아빠한데 가봐, 가기 싫으면 연락이라도 드리고.아빠가 아무리 네 맘에 안 들더라도 너는 네 할 도리를 해야 떳떳한 사람이 되는 거야,알았지?&lt;br /&gt;
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First Translation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。只有做了自已应该做的才能做一个光明磊落的人，知道吗？&lt;br /&gt;
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Retranslation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。为人处事和忠孝贤良是亘古不变的，要想做一个光明磊落的人，就要做好自己的分内之事，知道吗？阿姨的话要记住哦。&lt;br /&gt;
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Early in the translation of &amp;quot;너 는 네 할 도 리 를 해 야 떳 떳 한 사 람 이 되 는 거 야&amp;quot;, the corresponding Chinese literal translation is &amp;quot;only do oneself should do can do a aboveboard person&amp;quot;, but &amp;quot;할 도 리&amp;quot; what, did not explain clearly in the original, need the reader to consider, in order not to leave readers obscure place, The author puts the advantage of Chinese into full play and interprets &amp;quot;up 도 wish to be good&amp;quot; into English by means of context and translation theory. At the same time, I also think that this is the advice of adults. It is necessary to tell him this truth in a soft and powerful tone. After this sentence, &amp;quot;Remember what aunt said&amp;quot; is added to make the original meaning clearly conveyed to readers, so that readers can better understand the original content.&lt;br /&gt;
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'''demolition syntax'''&lt;br /&gt;
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Deconstruction is the breaking down of a long sentence into several shorter sentences. As Korean and Chinese belong to different language families, there are many differences in syntax. The word order of Korean sentences is the structure of SOV, and narration is the main body and focus of the sentence, and there are a large number of long sentences, which rely on word endings to express various grammatical meanings. No amount of sentence elements will cause meaning confusion.&lt;br /&gt;
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However, the word order of Chinese sentences is the SVO structure, which depends on vocabulary, function words and word order to distinguish sentence components, so the sentence structure is simple, mainly short sentences. The translation of Korean long sentences into Chinese sentence groups can make the translation logical, smooth and accurate.&lt;br /&gt;
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Eg.7：동식의 이혼에 책임이 없다고 할 수는 없는 형제들이 돈을 모아 동식에게 새집을 지어줬는데 집안 새것이면 뭐 하냐고 동식이 폭력을 휘두를 조짐을 보이자 그 팔아 종류의 폭력을 아버지에게 당해본 엄마는 지레 겁을 먹고 소를 팔아 동식에게 새장가 갈 자금을 쥐여줄 수밖에 없었다.&lt;br /&gt;
&lt;br /&gt;
First Translation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子。挨过父亲打的母亲因为对东植这种动不动就挥拳头打人的行为心有余悸，并觉得只有新房子没用，就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
&lt;br /&gt;
Retranslation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子，母亲因为挨过父亲的打，所以对东植这种动不动就挥拳头打人的行为心有余悸，觉得只有新房子无济于事，改不了他的暴力行为，索性就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
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The original text Is a long sentence, &amp;quot;는 데&amp;quot; is a long attributive clause, behind the author under the guidance of communicative translation theory, using the translation, in the resolution of a sentence, adjust the structure of the sentence, but his father mother &amp;quot;dragged&amp;quot; compared to read man translationese is too heavy, have the taste of Korean Chinese, is not in conformity with the Chinese expression habit, the author on the basis of this, The translation has been revised and polished to make it smooth and smooth.&lt;br /&gt;
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'''Cotranslation'''&lt;br /&gt;
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Cotranslation refers to the combined translation of two or more sentences in the original text. Using the combined translation method to translate, will reduce the long winded translation, obtain a smooth and smooth translation.&lt;br /&gt;
&lt;br /&gt;
Eg.8 ：나는 큰오빠와 작은오빠가 아버지가 남긴 논을 가져간 것을 알고 있었다. 큰언니, 작은언니가 결혼할 때 밭을 가져 갔다는 것도. 동식은 제 몫이 논도 밭도 아닌 집인 것에 불만을 품고 쓰러져가는 슬레이트집에 불을 질렀다.&lt;br /&gt;
&lt;br /&gt;
First Translation：我知道大哥和二哥结婚时分走了家里的水田，大姐和二姐结婚时分走了家里的旱地，东植因为分到的不是田和地，而是即将坍塌的的石板屋，一气之下就在屋里放了火。&lt;br /&gt;
&lt;br /&gt;
Retranslation：哥哥姐姐们结婚时把家里的水田和旱地都分走了。而东植分到的是即将坍塌的的石板屋，他对此很不满，一气之下就放火烧了房子。&lt;br /&gt;
&lt;br /&gt;
Are two sentences in the original, the author first translation, according to the original text translated into two other subject-predicate bin structure of the sentence, but &amp;quot;big sister&amp;quot; &amp;quot;big brother&amp;quot; &amp;quot;sister&amp;quot; &amp;quot;second brother&amp;quot; will be read repetitive, so the author under the guidance of communicative translation theory, adopt the method of r the appellation of original elements became the &amp;quot;brothers and sisters&amp;quot;, and the two sentence elements into a simple sentence, Reduce redundant redundant.&lt;br /&gt;
&lt;br /&gt;
===The embodiment of communicative translation at the rhetorical level===&lt;br /&gt;
Communicative translation theory points out that should take the readers as heavy, compared to convey to the readers the article content, pay more attention to the expression effect, good expression effect can cause the resonance of the readers, caused the reader's thinking, and good expression effect depends on the use of rhetoric, this summary is mainly under the guidance of communicative translation theory, adopt different translation strategies, The rhetorical translation in The Innocent Man and The Goat Family is analyzed.&lt;br /&gt;
&lt;br /&gt;
'''Addition'''&lt;br /&gt;
&lt;br /&gt;
Addition is a translation method that adds content to the target text in order to accurately express the meaning of the source text, meet the needs of the target text readers and make the target text conform to the expression habits of the target language. Since Chinese and Korean have different pragmatic ways and expressive habits, some words or sentences should be added in the translation to make the translation more consistent with the Chinese context, the reader's expressive habits and the exact meaning of the original text.&lt;br /&gt;
&lt;br /&gt;
Eg.9：나는 아이 아빠의 돈을 ‘그깟 돈’이라고 표현했다.&lt;br /&gt;
&lt;br /&gt;
First Translation：我把孩子爸爸的钱称为“那么点儿钱”。&lt;br /&gt;
&lt;br /&gt;
Retranslation：我把孩子爸爸给的钱称为“塞牙缝的钱”。&lt;br /&gt;
&lt;br /&gt;
&amp;quot;그깟&amp;quot; is a contraction of &amp;quot;그까짓&amp;quot;. It means so little, so little. The amount of money given by the father of the child is very small. The author under the guidance of communicative translation theory, give full play to the advantages of target language, adopt the method of thickening of translation, the use of metaphor, the &amp;quot;그 깟 돈&amp;quot; translated into accord with the readers expression habit &amp;quot;for all of the money&amp;quot;, making it easy to understand, more intuitive said the little amount, so as to impress the reader.&lt;br /&gt;
&lt;br /&gt;
'''Repetition'''&lt;br /&gt;
&lt;br /&gt;
Repetition refers to the translation technique of appropriately repeating a part of words or sentences in translation. The repetition method can make the meaning of the translation more clear, further strengthen the appeal of the article, highlight the thoughts and feelings of the article, and achieve a good rhetorical effect.&lt;br /&gt;
&lt;br /&gt;
Eg.10：아비를 한번도 찾지 않다가 돈 달라고, 그것도 법정에서 애 얼굴을 봐야 하는 아비 된 자의 참담한 심정을 당신들이 아느냐고.&lt;br /&gt;
&lt;br /&gt;
First Translation：孩子一次也没来看过我这个父亲，却开口要钱？而且只有上了法院，我才好不容易看孩子一眼，你们理解我这个做父亲的心情和处境吗！&lt;br /&gt;
&lt;br /&gt;
Retranslation：孩子一次也没来看过我就跟我开口要钱，只有上了法院，我才好不容易看孩子一眼，我这个做父亲的苦楚，悲凉的的心情，你们理解吗！理解吗！&lt;br /&gt;
&lt;br /&gt;
The author by contacting the specific context, as a father, no contact for many years but children themselves to court, the state of mind should be both angry and sad, based on the theory of communicative translation, using the skill of verb repetition, to &amp;quot;알 다&amp;quot; repeated translation, to emphasize my angry tone, in order to make the article more vivid and accurate meaning.&lt;br /&gt;
&lt;br /&gt;
=== conclusion===&lt;br /&gt;
This paper selected the south Korean writer Kong Shanyu stories &amp;quot;well bead film&amp;quot; in the two novel &amp;quot;pure people&amp;quot; and &amp;quot;the goat family&amp;quot; has carried on the translation practice, the two novels are using the simple nature of language and a small amount of dialect vocabulary, shape lifelike characters, are described by family members of the past, let the past and reality contrast, It reflects the social reality that with the development of society, people have become selfish and indifferent, and the most simple family and human feelings seem to be more and more far away from us, so as to explore the history and significance of the &amp;quot;family&amp;quot; and the simple social atmosphere, which are gradually forgotten by Koreans.&lt;br /&gt;
&lt;br /&gt;
The core of Peter Newmark's communicative translation theory is that on the basis of being faithful to the content of the original text, the translator can give full play to the advantages of the target language, get rid of the constraints of the language structure of the original text, and pay attention to the effect of the expression of the target text. According to Newmark's text type, communicative translation theory applies to appeal texts, which focus on the target reader and aim to elicit the desired response, including popular books, popular novels and so on. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. Under the guidance of Peter Newmark's communicative translation theory, the author analyzes and discusses the translation strategies in the Pure Man and The Goat Family, which are complicated sentences, ambiguous meanings and implicit expressions.&lt;br /&gt;
&lt;br /&gt;
From the lexical level analysis, the author mainly combined with the context, to Chinese readers as the center, to comply with the Chinese expression and language habits, consider the reader's understanding ability, on the basis of Chinese used to translation and translation methods of extension, so as to satisfy the to the original readers and the translation of the original dual need of the readers have the same effect, At the same time, it also ensures the accuracy and flexibility of the translation words, so as to conform to the translator's lexical habits.&lt;br /&gt;
From the statement level analysis, &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; appeared in the text of the long sentence and attributive clause, at the same time, some relatively obscure sentences substance, so the author adopted the method of interpretation, syntax and translation of translation strategies, to explain the sentence, split, reorganization, thus reducing the sentence's mad outages and ideographic unclear, The translation is in line with the habits of Chinese readers and effectively conveys the essence of the original text. From the rhetoric analysis, communicative translation theory points out that compared with the content, should attach great importance to the expression of the translation effect, good expression effect depends on the use of rhetoric, so the author USES the translation strategy of work and repetition, has carried on the modification to the original and polishing, to strengthen the artistic effect and influence of the translation, make readers for the characters vivid impression, Arouse readers' reflection and emotional resonance.&lt;br /&gt;
&lt;br /&gt;
Therefore, the results of this study indicate that the communicative translation theory is of guiding significance to the Chinese translation of Korean novels and can provide a reference for similar translation practices. Communicative translation theory is pointed out that to the reader as the center, the translator can get rid of the original text, giving full play to the advantages of target language to adjust the structure and logic, to make the translation easy to understand, but there may be lack of scattering situation, so the translator should properly our subjective initiative, to insure the effect of readers in at the same time, also used to avoid the above situation. In addition, there are also shortcomings in the translation, but the author still hopes that this translation practice can provide reference for the future Korean-Chinese translation practice. At the same time, through this translation practice, the author has realized his own shortcomings. In the future, the author will continue to learn, accumulate practical experience, and strive to improve his literary accomplishment and language foundation, and improve his translation level.&lt;br /&gt;
&lt;br /&gt;
===Reference===&lt;br /&gt;
&lt;br /&gt;
'''English Literature:'''&lt;br /&gt;
&lt;br /&gt;
[1]. GAO Chang. The Application of Peter Newmark's Communicative Translation Theory to the Translation of Chinese Historical Allusions [J]. Overseas English, 2013(11).&lt;br /&gt;
&lt;br /&gt;
[2]. JIAN Fang. Newmark's Translation Theory and Film Names [J]. Overseas English, 2010(08).&lt;br /&gt;
&lt;br /&gt;
[3]. LI Xin, ZHANG Zhe. On Peter Newmark’s Semanic Translation &amp;amp; Communicative Translation[J]. Overseas English, 2015（03）.&lt;br /&gt;
&lt;br /&gt;
'''Korean literature:'''&lt;br /&gt;
&lt;br /&gt;
[4]. Gong Seon-ok. In the 1980s, my literature Gwangju, and my life's hardship [J]. History of Criticism, 1995 (08).&lt;br /&gt;
&lt;br /&gt;
[5]. Kang Young-mi. Preliminary review of the singing movement in the 1970s and 1980s [J]. Mental Culture Research 41(3), 2018.(09).&lt;br /&gt;
&lt;br /&gt;
[6]. Kim Young Hee. Modern and Alternative Experience and Women--Park Wan-seo, Kim In-sook, and Gong Sun-ok's novel [J]. Creation and Criticism 23(3), 1995(09).&lt;br /&gt;
&lt;br /&gt;
[7]. Osunbang. A study of the translation of novels in modern China and the two-way translation of Sino-Korean novels[J]. Seoul: Sungsil University Press, 2008.&lt;br /&gt;
&lt;br /&gt;
'''Chinese Literature:'''&lt;br /&gt;
&lt;br /&gt;
[8]. Chen Lin. A comparison of Eugene A. Naida and Peter Newmark's translation theories [J]. Journal of Xiangtan University (Social Science Edition), 1994,(08): 87-91.&lt;br /&gt;
&lt;br /&gt;
[9]. Si Jitao and Yan Honglan. The translation of split sentences and combined sentences in English-Chinese translation[J]. Journal of Guangxi Right River Nationalities Teachers College,2005(02):21&lt;br /&gt;
&lt;br /&gt;
[10]. Chen Lin. A comparison of Eugene A. Naida and Peter Newmark's translation theory [J]. Journal of Xiangtan University (Social Science Edition), 1994, (08).&lt;br /&gt;
&lt;br /&gt;
[11]. Yang Shi-Zhuo. A brief analysis of Newmark's theory of semantic and communicative translation[J]. Fujian Foreign Language, 1989:68-71.&lt;br /&gt;
&lt;br /&gt;
=毛雅文On Translation Strategies and Methods in Chinese Translation of English Prose --- Chinese Translation of Robert Lynd’s &amp;quot;Pleasures of Ignorance&amp;quot; as an example=&lt;br /&gt;
&lt;br /&gt;
'''浅析英语散文汉译中的翻译策略——以罗伯特·林德《无知的乐趣》汉译本为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_4]]&lt;br /&gt;
&lt;br /&gt;
毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Prose, together with poetry, novel and drama, is a kind of literary form. It is not limited to rhythm, plot and characters, flexible in form, real and natural. English prose has a long history and various types, so it becomes an important object in translation practice and research. In China, the most famous English prose writers are Francis Bacon and Charles Lamb, hence, their works can be regarded as the focus of studies on Chinese translation of English prose. In fact, Chinese translation of English prose draws less attention in translation circle of China, compared with that of English poetry and drama. With English prose as the starting point, this paper will introduce the characteristics of English prose and the domestic studies on its Chinese translation, and take the Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, the representative work of English modern prose writer Robert Lynd, as an example to analyze its translation strategies and methods.&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
散文是与诗歌、小说、戏剧并称的一种文体，不拘泥于韵律、情节、人物，形式灵活，真实自然。英语散文历史悠久，类型多样，是翻译实践与研究中的重要研究对象。在我国，最著名的英语散文家是弗朗西斯·培根和查尔斯·兰姆，他们的作品也因此成为英语散文汉译的重点。而事实上，我国翻译界更加重视的是诗歌与小说的汉译，英语散文汉译的研究相较之下比较滞后。本文将以英语散文为切入点，介绍英语散文的特点及其在我国的汉译研究，并以英国现代散文家罗伯特·林德的代表作《无知的乐趣》汉译本为例，主要分析其中的策略及方法。&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Pleasures of Ignorance&amp;quot;; Chinese translation of English prose; translation strategies; translation methods; translation techniques&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
&lt;br /&gt;
《无知的乐趣》；英语散文汉译；翻译策略；翻译方法；翻译技巧&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
This chapter will point to the research background and its significance, and briefly set forth the structure of this paper and the methods used.&lt;br /&gt;
&lt;br /&gt;
'''Research Background and Significance'''&lt;br /&gt;
&lt;br /&gt;
In recent years, with the deepening of the reform and opening-up, the channels of international cultural exchange have become increasingly unblocked, and China's translation industry has also flourished. The studies on translation theory, drawing lesson from western translation studies, have yielded fruitful results, and more noteworthily, remarkable achievements have been made in studies on literary translation for all to see. (Hou Qiang 2014: 1)&lt;br /&gt;
&lt;br /&gt;
Prose is a basic literary form in written or spoken language that typically exhibits a natural flow of speech and grammatical structure. A large number of works in philosophy, history, economics, journalism, etc, are examples of works written in prose. It can be seen that prose, which is widely used for creation, occupies an important position in literature. However, there are few researchers majoring in prose translation, still fewer ones who specialize in Chinese translation of English prose. In view of the above, this paper, based on previous studies, will study the Chinese translation of English prose, and take the Chinese translation by Liu Bingshan of ''The Pleasures of Ignorance'' created by the English prose writer Robert Lynd, exploring its characteristics in translation strategies and methods, so as to provide better understanding and some reference for the appreciation and translation of English prose. (He Xiuqin 2018: 6) (Song Jie 2018: 1)&lt;br /&gt;
&lt;br /&gt;
'''Methodology and Structure'''&lt;br /&gt;
&lt;br /&gt;
This paper will employ the methods of literature research and case analysis. The paper consists of three parts. The first section is literature review, explicating the distinctive properties and linguistic features of English prose, and the prose translation with its principles, as well as introducing the previous studies on Chinese translation of English prose at home. The second part, the core of this paper, will take Liu Bingshan's Chinese translation version of Robert Lynd's prose work &amp;quot;Pleasures of Ignorance&amp;quot; as an example, carry out the interpretation of this translation in terms of its types, styles as well as strategies and methods employed. Lastly, the conclusion will point to the findings in this study and the weaknesses in the paper.&lt;br /&gt;
&lt;br /&gt;
===Literature Review===&lt;br /&gt;
&lt;br /&gt;
This part will draw into the domestic previous studies on Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
With regard to Chinese translation of English prose, at present, there are few domestic scholars dedicated to its systematic research. According to the different perspectives, the relevant researches at home can be roughly divided into three categories.&lt;br /&gt;
&lt;br /&gt;
First, concerning research on the theory of Chinese translation of English prose into Chinese, there are relatively small number of studies in this direction. One of the most fruitful works is ''The Study and Translation of British and American Prose'' co-authored by Zhao Xiuming and Zhao Zhangjin (2010), which makes a detailed investigation of the literary characteristics, historical evolution and style evolution of British and American prose. The work also discusses the basic principles of English prose translation in terms of pre-translation text analysis, historical and cultural context, artistic principles, and styles, etc., which can offer a reference for the further study of the theories and practices of English prose translation. (Hou Qiang 2014: 4)&lt;br /&gt;
&lt;br /&gt;
Second, regarding research on the famous translators of English and American prose with their translation styles and skills, Xia Ying explored the style of Professor Cao's translation of Francis Bacon with the essay titled &amp;quot;Research on Professor Cao Minglunss Chinese translation of bacon prose&amp;quot;. (Xia Ying, 2012:165-166) Some others probed into Liu Bingshanss and Li Shicong's thoughts on prose translation which have guiding significance for prose translation practice. (Hou Qiang 2014: 4)&lt;br /&gt;
&lt;br /&gt;
Third, as regards research on the practice of Chinese translation English prose based on translation theory, Huang Jianling (2021) analyzed the Chinese translation of Bacon's essays from the perspective of translation aesthetics. Hu Hongyun (2013) translates and elaborates on the British prose Farewell in vocabulary, semantics, style and cultural transmission, on the basis of Eugene Nida's Functional Equivalence theory. (Hou Qiang 2014: 5)&lt;br /&gt;
&lt;br /&gt;
These researches and investigations have laid a solid foundation for future studies and the analysis in this paper.&lt;br /&gt;
&lt;br /&gt;
===Overview of English Prose===&lt;br /&gt;
&lt;br /&gt;
Prose can be defined in broad sense and in narrow sense. In broad sense, prose refers to all the written and oral works in a loose form free from parallelism; and in narrow sense, it specifically means the writings with certain literary qualities, such as essays, and a literary genre juxtaposed with poetry, novel, drama and movie-television literature.&lt;br /&gt;
&lt;br /&gt;
This section will clarify the distinctive characteristics and linguistic features of English prose, as well as its translation principles.&lt;br /&gt;
&lt;br /&gt;
'''Distinctive Features of English Prose'''&lt;br /&gt;
&lt;br /&gt;
As an independent literary genre, English prose has its own distinctive characteristics.&lt;br /&gt;
&lt;br /&gt;
The first characteristic is its expression of sincere feeling. Prose mostly depicts the real people, things and scenery, and is generated based on record and recollection of life. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. So in this sense, prose can be considered as an earnest conversation between the author and the readers. (Zhang Baohong 2011: 28)&lt;br /&gt;
&lt;br /&gt;
Secondly, English prose is characterized by the wide material selection. In English prose, one detail, episode and facet of life can be used to display the author's specific emotions and circumstances, and all materials related to the theme can also be employed. It places no emphasis on rhythm and rhyme, like poetry, as well as to plot and characters, like drama. (Zhang Baohong 2011: 29)&lt;br /&gt;
&lt;br /&gt;
Besides, English prose features the free and loose structure. The structure of prose writings is free and flexible. Prose is elastic and natural and boasts descriptive, argumentative and lyrical qualities, thereof constituting its most distinctive advantage. There are no strict restrictions and fixed patterns in the prose structure, but its flexibility and randomness is not tantamount to disorder and scatter, and its choice of theme and expression of feelings should be closely centered on one main line. (Zhang Baohong 2011: 29)&lt;br /&gt;
&lt;br /&gt;
'''Linguistic Features of English Prose'''&lt;br /&gt;
&lt;br /&gt;
Compared with other literary forms, prose has no more skills to resort to. Therefore, as regards the form of artistic expression, English prose mainly has recourse to its own language features.&lt;br /&gt;
&lt;br /&gt;
First and foremost, succinctness and fluency characterize English prose language. The concise prose language not only fully delivers the content that the author intends to convey, but effectively shows the author's emotions and attitude towards persons and things. This is not the result of the author's deliberate elaboration, but the natural overflow of his or her plain and pure emotion. The fluency of prose language refers to both the informal use of words and phrases, and the author's sound expression of feelings. (Zhang Baohong 2011: 29)&lt;br /&gt;
&lt;br /&gt;
Meanwhile, colloquial style and literary grace are characteristic of prose language. As prose mainly focuses on description of the author's personal stories and sentiments, thus, he speaks or writes with his own posture, style and tone, as if he is confiding to the readers, so as to highlight the agreeable conversation style and unique colloquial style. Colloquial prose language is natural due to its simplicity, friendly owing to its ease of communication, and true thanks to its individuality. (Zhang Baohong 2011: 30)&lt;br /&gt;
&lt;br /&gt;
Furthermore, another linguistic feature of English prose is the smooth rhythm and reading. The rhythmic beauty of prose language is reflected in phonetic respect and in sentence patterns. The prose reading is catchy, with no obstacles and awkwardness, and its rhythm is in line with the natural law of oral breathing pauses as well as with the ups and downs of feelings. (Zhang Baohong 2011: 30)&lt;br /&gt;
&lt;br /&gt;
'''Principles of English Prose Translation'''&lt;br /&gt;
&lt;br /&gt;
The beauty of prose lies in its language and artistic conception, the two permeating each other and jointly creating the artistic charm of prose. In prose translation practice, the following principles can be observed to reproduce the artistic appeal.&lt;br /&gt;
&lt;br /&gt;
Keep an eye on sound and rhythm. Despite that the sound and rhythm of prose are often internal, not as obvious, regular and musical as that of poetry, they are not disordered with no aesthetic purpose. On the contrary, they effectively represent the variation of emotion in the prose, and are consistent with its unique aesthetic interest. This illustrates that in prose translation, on the one hand, the translators should recognize the great value and significance of prose sound and rhythm; on the other hand, with the intention of reproducing the linguistic subtleties of the original text, the translators can fully touch its aesthetic interest from the cadence between the lines, and perceive its inner rhythm from sentence length and speech speed. (Zhang Baohong 2011: 30)&lt;br /&gt;
&lt;br /&gt;
Pay attention to personalized mode of discourse. Different writers with various discourse modes bring about manifold writing styles. Not only is the personalized mode of discourse reflected in the author's choice of words and sentences as well as layout of the prose, but also in his thoughts and aesthetic interest. As a result, the translators can start with analyzing the original writer's one classic work and then his anthology and even look closely at the literary features of his age, in order to grasping the writer's personalized discourse mode, which is of particular importance to reproduce his artistic personality and the characteristics of his emotional expression in translation practice. (Zhang Baohong 2011: 31)&lt;br /&gt;
&lt;br /&gt;
Place a premium on the unity of scene and emotion. The unity of scene and interest in prose is embodied in diverse ways of language expression and structure, as well as the images or settings created by the author. In translation practice, based on the unity of scene and interest in the prose, it is beneficial to preserve and reproduce the overall aesthetic orientation of the original text through aesthetic reconstruction in word selection and layout, so that the translated text can obtain the aesthetic taste similar to the original prose.(Zhang Baohong 2011: 31)&lt;br /&gt;
&lt;br /&gt;
All in all, a general understanding of English prose can facilitate the study of its Chinese translation.&lt;br /&gt;
&lt;br /&gt;
===Case Study of Chinese Translation of &amp;quot;Pleasures of Ignorance&amp;quot;===&lt;br /&gt;
&lt;br /&gt;
The selected source text is &amp;quot;The Pleasures of Ignorance&amp;quot;, written by Robert Lynd. &lt;br /&gt;
&lt;br /&gt;
Robert Lynd (1879-1949), born in Belfast, Northern Ireland, was a modern critic and prose writer. He, together with E. V. Lucas, was a pioneer in reviving the tradition of Charles Lamb's prose. And The Pleasures of Ignorance is one of his notable prose works.&lt;br /&gt;
&lt;br /&gt;
This prose points out that it is because ignorance that people are interested in the nature and the world and their pursue knowledge, and the process of seeking knowledge is full of pleasure, by which the author emphasizes the importance of learning more and gaining insight. The article reveals somewhat erudition and aesthetic sensibility, as well as love for nature and and passion for life. From his leisurely writing, the author's maturity of thought and capability in usage of words is unveiled. Though the tone of the original text makes the readers feel that the author is chatting with them, giving people familiarity and closeness, it is not particularly colloquial. On the contrary, there is a kind of exactness and elegance of the learned between the lines, thus it can be seen that the case text is a typical scholar prose. (Zhu Mingju 2007: 326)&lt;br /&gt;
&lt;br /&gt;
The translator Professor Liu Bingshan firmly grasps these features of the original text and conveys the original style by carefully choosing words and sentences, with the principles of faithfulness, smoothness and expressiveness. His Chinese translation of &amp;quot;The Pleasures of Ignorance&amp;quot; will be analyzed in terms of translation strategies and methods. (Zhu Mingju 2007: 326)&lt;br /&gt;
&lt;br /&gt;
There is the natural connection between translation strategies and translation methods, but the two concepts are often confused. It is generally believed that translation strategies (such as foreignization and domestication) are at the cultural level, while the translation methods (such as literal translation and free translation) are at the textual level. Translation methods are the approaches, steps and techniques used to achieve a specific translation purpose based on a certain translation strategy in translation activities, whereas translation strategies are a collection of principles and methods. Consequently, this paper will enunciate the translation text on the basis of translation methods under foreignization strategy and domestication strategy respectively. (Xiong Bing 2014: 84)&lt;br /&gt;
&lt;br /&gt;
====Translation Methods under Foreignizing Strategy====&lt;br /&gt;
&lt;br /&gt;
Foreignization is a strategy in which a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. This strategy is &amp;quot;an ethnodeviant pressure on target-language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad&amp;quot; to have alien reading experience. The translation methods under foreignization employed in Professor Liu's target text include literal translation, zero-translation and transliteration. (Venuti, 2004: 20) (Lian Shuneng 2006: 13)&lt;br /&gt;
&lt;br /&gt;
=====Literal Translation=====&lt;br /&gt;
&lt;br /&gt;
Literal translation is in fact looser renditions that replace individual source language words with individual target language wors wherever possible, and cling as closely as possible to the source language word order in the target language. (Lian Shuneng 2006: 12)&lt;br /&gt;
&lt;br /&gt;
Specifically, in the case translation text, the translator faithfully retains some personal pronouns and demonstrative pronouns in the original text. For example, &lt;br /&gt;
&lt;br /&gt;
(1)It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance.&lt;br /&gt;
&lt;br /&gt;
同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
&lt;br /&gt;
(2)This ignorance, however, is not altogether miserable.&lt;br /&gt;
&lt;br /&gt;
不过，这种无知也并非全然不幸。&lt;br /&gt;
&lt;br /&gt;
(3)But your and my ignorance is not confined to cuckoos.&lt;br /&gt;
&lt;br /&gt;
但是，你我的无知并不仅限于杜鹃这一方面。&lt;br /&gt;
&lt;br /&gt;
(4)A contemporary English novelist was once asked by a foreigner what was the most important crop in England.&lt;br /&gt;
&lt;br /&gt;
一个外国人问一位当代英国小说家，英国最重要的农作物是什么。&lt;br /&gt;
&lt;br /&gt;
The translation of these sentences, though properly altering the word order and voice with the adherence to the target-language syntactic norms, does not adopt the usage of transferred meaning in dealing with lexical sense.&lt;br /&gt;
&lt;br /&gt;
The use of literal translation, especially the retaining of the personal pronouns, like &amp;quot;we&amp;quot; and &amp;quot;you and I&amp;quot;, conveys the style of the original text, showing friendliness and intimacy.&lt;br /&gt;
&lt;br /&gt;
=====Zero-Translation=====&lt;br /&gt;
&lt;br /&gt;
Zero translation refers to the translation in which the translators do not use the ready-made words in the target language to translate the source language words. This translation phenomenon occurs when adjustments must be made due to the differences in the syntactic structures of the two languages. For example, some articles and personal pronouns are not translated in E-C translation. (Fang Mengzhi 2011: 108)&lt;br /&gt;
&lt;br /&gt;
In Professor Liu's Translation, zero-translation is particularly displayed by omission, a translation technique. For instance,&lt;br /&gt;
&lt;br /&gt;
Omission of the expletives ''It'' and ''There'':&lt;br /&gt;
&lt;br /&gt;
(5)''It'' is impossible to take a walk in the country oneself without being amazed at the vast continent of one's own ignorance.&lt;br /&gt;
&lt;br /&gt;
任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
&lt;br /&gt;
(6)''There'' are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy.&lt;br /&gt;
&lt;br /&gt;
这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。&lt;br /&gt;
&lt;br /&gt;
Omission of English articles:&lt;br /&gt;
&lt;br /&gt;
(7)Thousands of men and women live and die without knowing the difference between ''a'' beech and ''an'' elm, between ''the'' song of ''a'' thrush and ''the'' song of ''a'' blackbird.&lt;br /&gt;
&lt;br /&gt;
成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
&lt;br /&gt;
Omission of pronouns:&lt;br /&gt;
&lt;br /&gt;
(8)... as she (the cuckoo) lays ''her'' egg on the ground and takes it in ''her'' bill to the nest in which it is destined to breed infanticide.&lt;br /&gt;
&lt;br /&gt;
把蛋下到地面上，然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。&lt;br /&gt;
&lt;br /&gt;
The application of zero-translation can render the translation text concise, neat and fluent, and make the rhythm of the prose more natural and flexible, conforming to the principle of prose translation.&lt;br /&gt;
&lt;br /&gt;
=====Transliteration=====&lt;br /&gt;
&lt;br /&gt;
Proper names such as the names of persons and places of foreign countries, are, as a rule, to be transliterated, i.e., to be translated by using Chinese characters to represent the sound in articulating these names. (Lian Shuneng 2006: 344)&lt;br /&gt;
&lt;br /&gt;
In transliteration, the translators should follow the original pronunciation of proper names, in Liu's translation, for example,&lt;br /&gt;
&lt;br /&gt;
(9)Hamlet 哈姆雷特 Pickwick 匹克威克 (both transliterated from English)&lt;br /&gt;
&lt;br /&gt;
Besides, in transliteration, the translators sometimes should also use the standard pronunciation of the Chinese characters. One of the difficulties in transliterating a foreign name in Chinese characters lies in the lack of many foreign sounds in Chinese, and the variation in the pronunciation of the Chinese characters causes confusion. The remedy is to fix certain Chinese characters for a certain syllable of foreign names. And many long-standing translated names, though not named after the original sounds, have been recognized by the world and are generally invariable. (Lian Shuneng 2006: 346)&lt;br /&gt;
&lt;br /&gt;
For example, in the translation in case study. For example, in the translation in case study,&lt;br /&gt;
&lt;br /&gt;
(10)Montaigne 蒙田 (not 蒙泰涅)&lt;br /&gt;
&lt;br /&gt;
Transliteration plays a crucial role in translation of proper nouns and technical terms, which ensures the correct conveyance of information.&lt;br /&gt;
&lt;br /&gt;
The translation methods under foreignization are able to make the translation process more visible, by means of showing how translators are deeply involved in the construction of culture and ideology. The use of these methods can retain the foreignness of the source text and produce on the target-language readers an effect as close as possible to that obtained on the readers of the original, through which the readers can further understand the foreign expressions and cultures, realizing the differences between the two countries.&lt;br /&gt;
&lt;br /&gt;
====Translation Methods under Domesticating Strategy====&lt;br /&gt;
&lt;br /&gt;
Domestication is a strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for target language readers. This strategy is &amp;quot;an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home&amp;quot;. In other words, as regards the use of domesticating strategy, the translators are required to make target-language readers feel familiar and close through conveying the content of the original text with the expressions to which TL readers are accustomed. And in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, free translation method and imitation method under domestication are used and displayed in several translation techniques. (Venuti 2004: 20) (Lian Shuneng 2006: 14)&lt;br /&gt;
&lt;br /&gt;
=====Free Translation=====&lt;br /&gt;
&lt;br /&gt;
Free translation, also known as sense-for-sense translation, emphasizes transfer of the meaning or &amp;quot;spirit&amp;quot; of a source text over accurate reproduction of the original wording. The purpose of this method is to accommodate the needs of the target-language readers by producing a text which conforms to the linguistic and textual norms of the target language and culture which does not therefore sound &amp;quot;foreign&amp;quot;. (Shuttleworth &amp;amp; Cowie, 2014: 59)(Lian Shuneng 2006: 12)&lt;br /&gt;
&lt;br /&gt;
Such a method, in this case study, is specifically embodied in the choice of words packed with Chinese characteristics, that is, diction, also a translation technique. For example,&lt;br /&gt;
&lt;br /&gt;
(11)Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is ''the exception''.&lt;br /&gt;
&lt;br /&gt;
在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是''凤毛麟角''。&lt;br /&gt;
&lt;br /&gt;
(12)It is not that we have not seen the birds. It is simply that we ''have not noticed'' them.&lt;br /&gt;
&lt;br /&gt;
所以如此，并不是因为这些鸟我们没有见过，而只是因为我们''习焉不察''。&lt;br /&gt;
&lt;br /&gt;
(13)When in the oak’s green arms the cuckoo ''sings'', &lt;br /&gt;
&lt;br /&gt;
And first delights men in the ''lovely springs''.&lt;br /&gt;
&lt;br /&gt;
杜鹃在橡树的绿色怀抱里''啭啼''，&lt;br /&gt;
&lt;br /&gt;
第一个为人们带来''欢欣、美好的春意''。&lt;br /&gt;
&lt;br /&gt;
In translating these sentences, the translator transfers some words into vocabulary or phrases with conspicuously Chinese features. For instance, the transfer of &amp;quot;the exception&amp;quot; and &amp;quot;have not noticed&amp;quot; to Chinese idioms &amp;quot;凤毛麟角&amp;quot; (that describes rare and precious items) and &amp;quot;习焉不察&amp;quot; (which means that one is too accustomed to something to call it in questions), respectively, exemplifies the typical Chinese four-character structure. Moreover, the verb &amp;quot;sings&amp;quot; is transferred to &amp;quot;啭啼&amp;quot; (that describes birds' melodious chirp), a Chinese term composed of two words with the same left side, which is one of common and special linguistic phenomena in Chinese language. Meanwhile, &amp;quot;the lovely springs&amp;quot; is transferred to &amp;quot;欢欣、美好的春意&amp;quot; (a joyful and wonderful feeling brought by the spring) through abstraction.&lt;br /&gt;
Thus, it can be seen that the application of free translation can reproduce the sense of the original text more smoothly and idiomatically. And the wide adoption of the four-character structures enhance the academic atmosphere of the translation version.&lt;br /&gt;
&lt;br /&gt;
=====Imitation=====&lt;br /&gt;
&lt;br /&gt;
With regard to the use of imitation, the translators do not stick to the meaning details of the original text, let alone its vocabulary and syntactic structure, but take the original text as a reference model, either by deleting and condensing to only translate its gist and key information, or by adding and expanding to deliver more information than that in the original text. For instance, (Xiong Bing 2014: 85)&lt;br /&gt;
&lt;br /&gt;
(14)Thousands of ''men and women'' ''live and die'' ''without knowing'' the difference between a beech and an elm, between the song of a thrush and the song of a blackbird.&lt;br /&gt;
 &lt;br /&gt;
成千上万的''男男女女''，''从生到死''，''一辈子''也''说不出''山毛榉和榆树有什么区别，''听不出''画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
&lt;br /&gt;
In the translation of this sentence, a variety of translation techniques are employed. &lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
The translator uses conversion to alter the syntactic structure of the original sentence. &lt;br /&gt;
&lt;br /&gt;
The predicate &amp;quot;live and die&amp;quot; is converted into the preposition phrase &amp;quot;从生到死&amp;quot; as the adverbial in Chinese.&lt;br /&gt;
&lt;br /&gt;
And the adverbial preposition phrase in the source text &amp;quot;without knowing&amp;quot; is converted into the predicate in Chinese translation.&lt;br /&gt;
&lt;br /&gt;
②　Division:&lt;br /&gt;
&lt;br /&gt;
In accordance with the need of Chinese expression, &amp;quot;without knowing&amp;quot; is divided into two verb phrases &amp;quot;说不出&amp;quot; and &amp;quot;听不出&amp;quot; in Chinese as the predicate.&lt;br /&gt;
&lt;br /&gt;
③　Addition:&lt;br /&gt;
&lt;br /&gt;
With the addition of the expression &amp;quot;一辈子&amp;quot;, the translator highlights the long time between life and death.&lt;br /&gt;
&lt;br /&gt;
④　Repetition:&lt;br /&gt;
&lt;br /&gt;
The plural form &amp;quot;men and women&amp;quot; is translated into the reiterative locution &amp;quot;男男女女&amp;quot; by repetition. &lt;br /&gt;
&lt;br /&gt;
The change of sentence structure via techniques such as conversion and division as well as of vocabulary via repetition and addition render the translation natural and smooth, showing the translator’s superb handling of the original text.&lt;br /&gt;
&lt;br /&gt;
(15)...we are all the ''more'' delighted ''at the spectacle of'' its ''runaway flight'' as it (the cuckoo) ''hurries'' from wood to wood conscious of its crimes ...&lt;br /&gt;
&lt;br /&gt;
一日''看见''它（杜鹃）因为自己犯了罪而''煌惶不安地''从这个林子飞''逃''向那个林子 ... 我们才会觉得''大大''开心。&lt;br /&gt;
&lt;br /&gt;
In this example, there are also various translation techniques used.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
Firstly, the preposition phrase &amp;quot;at the spectacle of&amp;quot; is converted into the verb &amp;quot;看见&amp;quot; in Chinese. &lt;br /&gt;
&lt;br /&gt;
Secondly, the noun phrase &amp;quot;runaway flight&amp;quot; is converted into Chinese verbs &amp;quot;飞&amp;quot; (fly) and &amp;quot;逃&amp;quot; (escape). &lt;br /&gt;
&lt;br /&gt;
Besides, the verb &amp;quot;hurries&amp;quot; (that means to move quickly in a particular direction) is converted into &amp;quot;惶惶不安地&amp;quot; (which means to feel panic, afraid and utterly uneasy), a Chinese adverb to modify the verbs &amp;quot;飞&amp;quot; and &amp;quot;逃&amp;quot;, which endows the subject cuckoo with somewhat human characteristic.&lt;br /&gt;
&lt;br /&gt;
②　Repetition:&lt;br /&gt;
&lt;br /&gt;
The adjective &amp;quot;more&amp;quot; is translated into the reiterative locution &amp;quot;大大&amp;quot;, a Chinese adverb equivalent to &amp;quot;very&amp;quot; or &amp;quot;extremely&amp;quot; in English to modify the adjective &amp;quot;delighted&amp;quot;. &lt;br /&gt;
&lt;br /&gt;
In this example, the adjustment of the sentence order and conversion of parts of speech make the translation more consistent with the word sequence in Chinese. Meanwhile, the choice of words such as the Chinese four-character structure &amp;quot;惶惶不安&amp;quot; conveys the romantic charm beyond the original text. And there are also indicators of use of repetition embodied in the typical Chinese reiterative locutions like &amp;quot;惶惶&amp;quot; and &amp;quot;大大&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
(16)I have myself a ''capricious'' and ''leaking'' memory.&lt;br /&gt;
&lt;br /&gt;
我自己的记忆力也是''漏洞百出''、''不听使唤''。&lt;br /&gt;
&lt;br /&gt;
Although this is a short sentence, it still contains the flexible use of translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
At first, the original object &amp;quot;memory&amp;quot; is converted to the subject in the Chinese translation.&lt;br /&gt;
And then, the subject &amp;quot;I&amp;quot; with its appositive &amp;quot;myself&amp;quot; is converted into the attribute &amp;quot;我自己的&amp;quot; to modify the subject in the translation &amp;quot;记忆&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
On account of the conversion of the subject and the verb, the original predicate &amp;quot;have&amp;quot; is inappropriate. The addition of &amp;quot;也是&amp;quot; that is equivalent to the verb &amp;quot;be&amp;quot; in English enforces the completeness of sentence structure. And this is a structural addition mainly due to the structural difference between Chinese and English.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The two vivid adjective &amp;quot;capricious&amp;quot; and &amp;quot;leaking&amp;quot; are translated as &amp;quot;不听使唤&amp;quot; and &amp;quot;漏洞百出&amp;quot; respectively which are typical Chinese four-character structures. The Chinese adjective &amp;quot;漏洞百出(的)&amp;quot; means that the loopholes appear one after another, which is often used to describe that one's writing or speech is untenable because of lack of sufficient reasons and grounds. And here, this word shows the author's weak memory with which he forgets things time and again. And the other adjective &amp;quot;不听使唤(的)&amp;quot; generally depicts that someone loses control and is not obedient to the rules or instructions. Here, the word properly demonstrates that the author cannot manipulate his memory well and also cannot preclude it from being weaker. The use of these two words conforms to the choice of affective and stylistic meanings.&lt;br /&gt;
&lt;br /&gt;
In this example, the conversion of the subject and object as well as the change of the predicate enable the translation to be more closely accord with the Chinese sentential structure. Moreover, the two figurative adjectives packed with personified traits not only fully  convey the author's intention, but also enhance literariness of the translation and even display a lively mood beyond the original text.&lt;br /&gt;
&lt;br /&gt;
(17)We know, again, that, the blossom precedes and ''not succeeds'' the fruit of the apple-tree, but ''this does not lessen our amazement at'' the beautiful holiday of a May orchard.&lt;br /&gt;
&lt;br /&gt;
另外，我们知道苹果树''先''开花，''后''结果，可是五月''一旦''到来，果园里一片欢闹的花海。''我们不是仍然惊为奇观吗？''&lt;br /&gt;
&lt;br /&gt;
This is a typical example of the imitation method embodied in the use of diverse translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
Regarding the conversion of word classes, the noun &amp;quot;blossom&amp;quot; is converted into the Chinese verb &amp;quot;开花&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Concerning the conversion of sentence members, the object in the clause &amp;quot;apple-tree&amp;quot; is converted into the subject &amp;quot;苹果树&amp;quot; in the Chinese translation. And the attribute &amp;quot;May&amp;quot; is converted into the adverbial in Chinese as &amp;quot;五月一旦到来&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Considering the conversion of sentence patterns, the negative sentence &amp;quot;this does not lessen our amazement at...&amp;quot; is converted into a interrogative sentence &amp;quot;我们不是仍然惊为奇观吗？&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Negation:&lt;br /&gt;
&lt;br /&gt;
The negative form &amp;quot;not succeeds&amp;quot; in English is translated into the affirmative form &amp;quot;后结果&amp;quot; in Chinese, intensifying a positive tone on which Chinese language often places emphasis.&lt;br /&gt;
&lt;br /&gt;
③　Division:&lt;br /&gt;
&lt;br /&gt;
The original complicated sentence in English is divided into several simplex clauses and phrases in Chinese, which underlines the &amp;quot;chronicle style&amp;quot; of Chinese language with frequent use of shorter or composite structures.&lt;br /&gt;
&lt;br /&gt;
④　Addition:&lt;br /&gt;
&lt;br /&gt;
Now that the original sentence is divided into smaller components, it is necessary to supply connectors for better cohesion. The addition of the logical connectors in Chinese such as &amp;quot;先&amp;quot;, &amp;quot;后&amp;quot;, &amp;quot;一旦&amp;quot; and &amp;quot;仍然&amp;quot; render the translation more smooth and expressive.&lt;br /&gt;
&lt;br /&gt;
In this instance, the translator flexibly takes advantage of the techniques such as conversion, negation and division, not only contributing to the diversity of sentence patterns but also adding sense of warmth and vividness of the translation. Additionally, the semantic addition of logical connectors render the translation more cohesive and coherent.&lt;br /&gt;
&lt;br /&gt;
(18)Once more I shall ''see'' the world as a garden through ''the eyes'' of a stranger, ''my breath taken away with surprise by the painted fields''.&lt;br /&gt;
&lt;br /&gt;
那时，我像一个陌生者进人大花园，''放眼四望''，''五色缤纷''的原野再一次使我''目不暇接''，''心迷神醉''。&lt;br /&gt;
&lt;br /&gt;
As regards this example, the translator enriches the meaning of the original text and creates a more balmy atmosphere by employing various translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Division:&lt;br /&gt;
&lt;br /&gt;
The long complex sentence, composed of two clauses, is divided into several separated clauses in arranged in a certain order, which renders the translation rhythmic and highlights the focus of expression.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
The addition of the Chinese set phrase &amp;quot;目不暇接&amp;quot; (which means that so many wonderful things and so swift change of scenery come into sight that the eyes are kept fully occupied) makes the context more coherent, as it echoes &amp;quot;see&amp;quot; and &amp;quot;the eyes&amp;quot; in the preceding and connects the &amp;quot;painted fields&amp;quot; in the following that greet the author's eyes and take his breath away.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The verb &amp;quot;see&amp;quot; is translated into &amp;quot;放眼四望&amp;quot; (to look around), the noun phrase &amp;quot;breath taken away with surprise&amp;quot; into &amp;quot;心醉神迷&amp;quot; (to be thrown into ecstasies), and the adjective &amp;quot;painted&amp;quot; into &amp;quot;五彩缤纷&amp;quot; (colorful). These recurring four-character structures in translation are loaded with positive meanings, and proper to depict the attractive scenery and to be used in scholar prose.&lt;br /&gt;
&lt;br /&gt;
④　Conversion:&lt;br /&gt;
&lt;br /&gt;
The original clause &amp;quot;my breath taken away with surprise by the painted fields&amp;quot; is in passive voice, and is converted into the active voice in Chinese translation &amp;quot;五色缤纷的原野再一次使我目不暇接，心迷神醉&amp;quot;. This kind of conversion is due to the fact that the Chinese passive form marked by &amp;quot;被&amp;quot; is traditionally felt to be an &amp;quot;inflictive voice&amp;quot;, mainly expressing things unpleasant or undesirable, contrasted with the cheerful aura overflowing the original text. &lt;br /&gt;
&lt;br /&gt;
The translator employs short clauses separated from the original complex sentence to bestow smoothness and naturalness on the translation and strengthen its artistic appeal. Furthermore, the translator selects the words that tally with the affective, contextual and stylistic meanings of the original. And the opportune addition of words and change of voice also polish the translation.    &lt;br /&gt;
&lt;br /&gt;
The reasonable use of the imitation translation method can make the translation more idiomatic and vivid, and even enable the translation overshadow the original text in terms of showcasing the artistic and aesthetic charm.&lt;br /&gt;
&lt;br /&gt;
In a word, translation methods under domesticating strategy will involve he careful selection of texts which lend themselves to being translated in this manner, the conscious adoption of a fluent, natural-sounding target language style, the adaptation of target text to conform to target discourse types, the interpolation of explanatory material, the removal of source language REALIA and the general harmonization of target text with target language preconceptions and preferences. These methods can render the translation highly literary, aesthetic and readable, and also can to some extent optimize the source text. The appropriate application of domesticating translation is able to even become a sublimation of the original.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
This paper makes an analysis of translation strategies and translation methods in English prose, with translator Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot; created by Robert Lynd as an example. With translation strategies and methods as the starting point, this paper considers Chinese translation of English prose as the research subject. The paper first introduces English prose along with its distinctive properties, linguistics features and principles of its translation. And then this paper carries out the interpretation of translation strategies and methods in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot; in which the application of translation methods as well as techniques under foreignizing and domesticating strategies are elaborated, and the concrete effects they exert are also elucidated.&lt;br /&gt;
&lt;br /&gt;
====Major Findings====&lt;br /&gt;
&lt;br /&gt;
Based on the above study of translation strategies and methods employed in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, the features or common ground of Chinese translation of English prose in terms of translation strategies and methods can be generally summarized.&lt;br /&gt;
&lt;br /&gt;
In Chinese translation of English prose, foreignization strategy and domestication strategy are both used in the light of the style, linguistic features, and syntactic structures of the source text.&lt;br /&gt;
&lt;br /&gt;
But, on the whole, the domesticating translation strategy which includes translation methods such as free translation and imitation is applied more frequently compared with foreignization. This is because that prose translation actually falls into literary translation that is special on the grounds of the unique characteristics of the original literary works. In literary works, or specifically, in English prose, some words are not used with their literal meanings but their connotative or extension meanings, so literal translation under foreignization may not correctly convey the real significance of the original text. Meanwhile, in English prose, there are complex syntactic structures whose translation cannot be carried out with no proper conversion and alteration. Additionally, multiple rhetoric devices such as metaphor, metonymy and allusion are used in English literary works, and the literal translation of these figures of speech may elude the target-language readers because of the cultural differences and the obscurity of the translation. However, the appropriate adoption of translation methods under domestication strategy, to some extent, can give the target-language readers a sense of closeness and deliver the aesthetic charm with the premise that the real meaning of the original text can be ensured.&lt;br /&gt;
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In terms of translation methods under foreignizing strategy, literal translation is used when the lexical meaning of the source text is lucid and the syntactic structures in it are relatively simple and clear, so the translators need not find a new path in the mode of expression in order to be faithful to the source text. And the use of literal translation can convey the information more objectively and avoid the interference of translators' subjective factors. Meanwhile, in Chinese translation of English prose, the use of zero-translation is frequent but imperceptible, with the omission of some words peculiar to English, such as expletives it and there, English articles and pronouns, but sometimes the English pronouns can also be retained to show a sense of closeness and friendliness. Besides, transliteration is used for the translation of proper nouns and technical terms not only in English prose but also in almost all text types, with conforming to the principles of being named after the original sound and of the translated names accepted through common practice. In a word, translation methods under foreignization can ensure the objective conveyance of information of the original text and preserve its foreignness and unique cultural values that can enrich the target-language readers' knowledge and their languages.&lt;br /&gt;
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With regard to translation methods under domesticating strategy, in Chinese translation English prose, free translation and imitation method are oftentimes employed. English prose, as one of the English literary genres, boasts distinctive features of literature, such as aesthetic value, language with hidden meanings and the usual use of figures of speech as well as culturally loaded images, which may not be shown vividly and be easily understood by target-language readers via literal or word-for-word translation. Thus, translation methods under domestication, with careful choice of words, proper adjustment of syntactic structures and sentence sequence, and appropriate sublimation of the original text, can express the original author's feelings more lively, render the translation more fluent, idiomatic and expressive, and display the aesthetic charm of the source text.&lt;br /&gt;
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At the lexical level, in Chinese translation of English prose, the translation techniques --- diction, addition, conversion and repetition --- are usually used. The typical Chinese four-character structures appear time from time in Chinese translation, and the translators choose the words in line with the affectionate, contextual and stylistic meanings of the original prose, which intensify literariness and satisfy the characteristics of scholar prose. Moreover, the addition of Chinese conjunctive words and logical connectors by which sentences in translation are connected into a text can create better cohesion. Furthermore, the conversion of word classes in translation is based on the contrastive studies of English and Chinese, viz., English with its nominal style is static whereas Chinese with its verbal style is dynamic. Besides, it is one of the peculiarities of Chinese to reduplicate characters or words in word-formation and to repeat the similar or same word or expression in a discourse for expressiveness and parallelism, which can render translation more appealing to Chinese readers and produce rhetorical and grammatical effect.&lt;br /&gt;
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At the syntactic level, the translation techniques --- conversion and division--- are often employed in Chinese translation of English prose. To start with, conversion in the syntactic respect involves conversions of sentence members, sentence patterns and the voice. The conversion of word classes often results in the conversion of sentence members, and the alteration of sentences patterns like the inter-conversion between assertive or negative sentences and question sentences can variegate sentence types in translation. The conversion of passive voice in English prose into active voice in Chinese translation is due to the preference for active forms that can produce positive effect in Chinese language. What's more, part of sentences in English prose are longer and complicated because of subordination, a fundamental feature of English, and it may be hard to reproduce the original thought with following the original sentence structure in translation, hence the division of complex English sentences into word-groups, clauses or simplex sentences in Chinese can endow Chinese translation of English prose with more naturalness, fluency and sense of rhythm.&lt;br /&gt;
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The research on the features of translation strategies and methods in Chinese translation of English prose, theoretically can offer a deeper insight into English prose and its translation, and practically can help to some extent improve the quality of Chinese translation of English prose.&lt;br /&gt;
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====Limitations and Suggestions====&lt;br /&gt;
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There are drawbacks in this paper: firstly, the paper takes only one piece of English prose as an example in case study, so it lacks strong persuasiveness; secondly, since there are few researchers on prose translation at home and abroad, especially those specializing in Chinese translation of English prose, this paper resorts to insufficient literature guidance and reference; thirdly, owing to the confined conditions and narrow academic capacity, this paper is devoid of enough depth and breadth as well as favorable insight and acuity, thus the theoretical support and practical assistance it provides are bound to be limited. As a consequence, it is expected that researchers in this field can cooperate well to build up a system to minimize the possible errors and create more thorough and holistic works to enunciate and improve Chinese translation of English prose.&lt;br /&gt;
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===References===&lt;br /&gt;
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[1] Lawrence Venuti. Rethinking Translation: Discourse, Subjectivity, Ideology [C]. London and New York: Routledge, 1992: 5-20.&lt;br /&gt;
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Zhu Mingju.  Chinese Translation of Famous English Works [M]. Nanjing: Yilin Press, 2007: 319-328.&lt;br /&gt;
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===Appendix===&lt;br /&gt;
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(The original text:)&lt;br /&gt;
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The Pleasures of Ignorance&lt;br /&gt;
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By Robert Lynd&lt;br /&gt;
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It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance. It is impossible to take a walk in the country oneself without being amazed at the vast continent of one’s own ignorance. Thousands of men and women live and die without knowing the difference between a beech and an elm, between the song of a thrush and the song of a blackbird. Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is the exception. It is not that we have not seen the birds. It is simply that we have not noticed them. We have been surrounded by birds all our lives, yet so feeble is our observation that many of us could not tell whether or not the chaffinch sings, or the colour of the cuckoo. We argue like small boys as to whether the cuckoo always sings as he flies or sometimes in the branches of a tree-whether Chapman drew on his fancy or his knowledge of nature in the lines:&lt;br /&gt;
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When in the oak's green arms the cuckoo sings, &lt;br /&gt;
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And first delights men in the lovely springs.&lt;br /&gt;
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This ignorance, however, is not altogether miserable. Out of it we get the constant pleasure of discovery. Every fact of nature comes to us each spring, if only we are sufficiently ignorant, with the dew still on it. If we have lived half a lifetime without having ever seen a cuckoo, and know it only as a wandering voice, we are all the more delighted at the spectacle of its runaway flight as it hurries from wood to wood conscious of its crimes and at the way in which it halts hawk-like in the wind, its long tail quivering, before it dares descend on a hillside of fir-trees where avenging presences may lurk. It would be absurd to pretend that the naturalist does not also find pleasure in observing the life of the birds, but his is a steady pleasure, almost a sober and plodding occupation, compared to the morning enthusiasm of the man who sees a cuckoo for the first time, and, behold, the world is made new.&lt;br /&gt;
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And, as to that, the happiness even of the naturalist depends in some measure upon his ignorance,which still leaves him new worlds of this kind to conquer. He may have reached the very Z of knowledge in the books, but he still feels half ignorant until he has confirmed each bright particular with his eyes. He wishes with his own eyes to see the female cuckoo—rare spectacle!—as she lays her egg on the ground and takes it in her bill to the nest in which it is destined to breed infanticide. He would sit day after day with a field-glass against his eyes in order personally to endorse or refute the evidence suggesting that the cuckoo does lay on the ground and not in a nest.And, if he is so far fortunate as to discover this most secretive of birds in the very act of laying, there still remain for him other fields to conquer in a multitude of such disputed questions as whether the cuckoo’s egg is always of the same colour as the other eggs in the nest in which she abandons it. Assuredly the men of science have no reason as yet to weep over their lost ignorance. If they seem to know everything, it is only because you and I know almost nothing. There will always be a fortune of ignorance waiting for them under every fact they turn up. They will never know what song the Sirens sang to Ulysses any more than Sir Thomas Browne did.&lt;br /&gt;
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If I have called in the cuckoo to illustrate the ordinary man's ignorance, it is not because I can speak with authority on that bird. It is simply because, passing the spring in a parish that seemed to have been invaded by all the cuckoos of Africa, I realized how exceedingly little I, or anybody else I met, knew about them. But your and my ignorance is not confined to cuckoos. It dabbles in all created things, from the sun and moon down to the names of the flowers. I once heard a clever lady asking whether the new moon always appears on the same day of the week. She added that perhaps it is better not to know, because, if one does not know when or in what part of the sky to expect it,its appearance is always a pleasant surprise. I fancy, however, the new moon always comes as a surprise even to those who are familiar with her time-tables. And it is the same with the coming-in of spring and the waves of the flowers. We are not the less delighted to find an early primrose because we are sufficiently learned in the services of the year to look for it in March or April rather than in October. We know, again, that, the blossom precedes and not succeeds the fruit of the apple-tree, but this does not lessen our amazement at the beautiful holiday of a May orchard.&lt;br /&gt;
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At the same time there is, perhaps, a special pleasure in relearning the names of many of the flowers every spring. It is like rereading a book that one has almost forgotten. Montaigne tells us that he had so bad a memory that he could always read an old book as though he had never read it before. I have myself a capricious and leaking memory. I can read Hamlet itself and The Pickwick Papers as though they were the work of new authors and had come wet from the press, so much of them fades between one reading and another. There are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy. But this is only when life has an object beyond entertainment. In respect of mere luxury, it may be doubted whether there is not as much to be said for a bad memory as for a good one. With a bad memory one can go on reading Plutarch and The Arabian Nights all one's life. Little shreds and tags, it is probable, will stick even in the worst memory, just as a succession of sheep cannot leap through a gap in a hedge without leaving a few wisps of wool on the thorns. But the sheep themselves escape,and the great authors leap in the same way out of an idle memory and leave little enough behind.&lt;br /&gt;
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And, if we can forget books, it is as easy to forget the months and what they showed us, when once they are gone. Just for a moment I tell myself that I know May like the multiplication table and could pass an examination on its flowers, their appearance and their order. Today I can affirm confidently that the buttercup has five petals. (Or is it Six? I knew for certain last week.) But next year I shall probably have forgotten my arithmetic, and may have to learn once more not to confuse the buttercup with the celandine. Once more I shall see the world as a garden through the eyes of a stranger, my breath taken away with surprise by the painted fields. I shall find myself wondering whether it is science or ignorance which affirms that the swift (that black exaggeration of the swallow and yet a kinsman of the humming-bird) never settles even on a nest, but disappears at night into the heights of the air. I shall learn with fresh astonishment that it is the male, and not the female,cuckoo that sings. I may have to learn again not to call the champion a wild geranium, and to rediscover whether the ash comes early or late in the etiquette of the trees. A contemporary English novelist was once asked by a foreigner what was the most important crop in England. He answered without a moment's hesitation: &amp;quot;Rye&amp;quot;. Ignorance so complete as this seems to me to be touched with magnificence; but the ignorance even of illiterate persons is enormous. The average man who uses a telephone could not explain how a telephone works. He takes for granted the telephone, the railway train, the linotype, the aeroplane, as our grandfathers took for granted the miracles of the gospels. He neither questions nor understands them. It is as though each of us investigated and made his own only a tiny circle of facts. Knowledge outside the day's work is regarded by most men as a gewgaw. Still we are constantly in reaction against our ignorance. We rouse ourselves at intervals and speculate. We revel in speculations about anything at all—about life after death or about such questions as that which is said to have puzzled Aristotle, &amp;quot;why sneezing from noon to midnight was good, but from night to noon unlucky.&amp;quot; One of the greatest joys known to man is to take such a flight into ignorance in search of knowledge. The great pleasure of ignorance is, after all, the pleasure of asking questions. The man who has lost this pleasure or exchanged it for the pleasure of dogma, which is the pleasure of answering, is already beginning to stiffen. One envies so inquisitive a man as Jowett, who sat down to the study of physiology in his sixties. Most of us have lost the sense of our ignorance long before that age. We even become vain of our squirrel’s hoard of knowledge and regard increasing age itself as a school of omniscience. We forget that Socrates was famed for wisdom not because he was omniscient but because he realized at the age of seventy that he still knew nothing. (Zhu Mingju 2007: 319-322)&lt;br /&gt;
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(Liu Bingshan's Chinese translation:)&lt;br /&gt;
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无知常乐&lt;br /&gt;
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刘炳善 译&lt;br /&gt;
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同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是凤毛麟角。所以如此，并不是因为这些鸟我们没有见过，而只是因为我们习焉不察。在我们一生中，鸟类始终就在我们周围，然而我们对于它们的观察总是那样马马虎虎，所以我们当中许多人都说不清花鸡到底会不会知，也不知道杜鹃究竟是什么颜色。对于有些问题、我们像小孩子一样争论不休、譬如说，杜鹃在飞着或栖身于树枝间的时候，是否一直不停地鸣，而查普曼下面两行诗的灵感究竟是来自他的想像还是来自他的自然知识∶&lt;br /&gt;
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杜鹃在橡树的绿色怀抱里啭啼，&lt;br /&gt;
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第一个为人们带来欢欣、美好的春意。&lt;br /&gt;
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不过，这种无知也并非全然不幸，因为正是由于它，我们才能不断尝到发现的乐趣。只要我们是的的确确地无知，那么每年大地春回，自然界的每一种事物都会带着它那清新的露珠重新出现在我们面前。如果我们活了半辈子，对于杜鹃除了听过它那飘忽不定的叫声，从来没有见过它是什么模样，那么，一日看见它因为自己犯了罪而煌惶不安地从这个林子飞逃向那个林子。或是看见它顶着风、像老鹰似的停留在半空中，它那长长的尾巴颤动着，不敢落下来，生怕有什么鸟儿藏在那山坡上的枞树林里等着要找它报仇。我们才会觉得大大开心。有人想着，博物学家整天观察鸟类，大概就不会觉得有什么趣儿了吧？其实大谬不然--他那持续不断的乐趣几平已经变成一种安详的职业习惯了，不像有人某天早晨突然第一次看见一只杜鹃，不胜雀跃之至，于是，看哪，天地也为之焕然一新了。&lt;br /&gt;
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说到这儿，甚至连博物学家的快乐在一定程度上也有赖于自己的无知；只有如此。才能给他留出一些新的领域有待他去征服。即使他已经攀登了书本知识的顶峰，他仍会感到自己不过是半通不通，每一个引人注目的细节还必须用自己的亲眼观察来加以一一证实。他盼着能亲眼看到雌杜鹃（这可是个稀罕物儿！）把蛋下到地面上。然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。因此，博物学家就要戴上望远镜，日复一日地坐在那里等待着亲眼证实或者否定那种认为杜鹃确实是在地面上而非在窠里下蛋的说法。而日，即使他很幸运，能够发现杜鹃下蛋实况，这个在鸟类来说算是极大的秘密，其他一大批有争议的问题还依然存在。就像新的领土有待他去开拓，例如，杜鹃的蛋跟它占用的窠里其他鸟的蛋是否总是一样颜色？自然，科学家没有理由为了自己失去无知而哭泣。如果他们看起来似乎是精通一切的话，那也不过因为你我差不多是一无所知罢了。实际上，当他们要把一件事实的盖子揭开的时候，某种命定的无知就在等待着他们。海妖们向尤利塞斯唱的究竟是什么歌儿？——他们永远不可能知道，正像托马斯·勃朗爵士也不知道一样。&lt;br /&gt;
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我请杜鹃来做例子以说明普通人的无知，并不是因为我有什么权威可以对这种鸟儿发发议论。不过，我曾在某个教区暂住，而那年春天从非洲飞来的杜鹃似乎全集合在那个地方，因此我也就有机会了解到我自己以及我所碰见的每一个人对于这种鸟儿的知识是如何地微不足道。但是，你我的无知并不仅限于杜鹃这一方面。它涉及到宇宙万物，从太阳、月亮一直到花卉的名字。有一天，我听见一位聪明伶俐的太太提出了这样一个问题∶新月是不是总在星期几露面？她接着又说：不知道倒好，正因为人不知道在什么时候、在天空的哪一带能看见它，新月一出现才给人带来一场惊喜。然而我想、哪怕入把月亮盈亏时间表记得再熟。看见新月出现还是不免又惊又喜，春回大地，花开花落，也莫不如此。尽管我们对一年四季草本节令了如指掌，知道樱草开花在三月四月而不在十月，不过看见一株早开花的樱草，我们还是照样地高兴。另外，我们知道苹果树先开花，后结果，可是五月一旦到来，果园里一片欢闹的花海。我们不是仍然惊为奇观吗？&lt;br /&gt;
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倘在每年春天，把许多花卉之名重温一遍，还另有一番风味。那就像把一本差不多忘得干干净净的书再重新念一遍。蒙田说过，他的记忆力很坏，所以他随时都能拿起一本旧书，像从未读过的新书一样地念。我自己的记忆力也是漏洞百出、不听使唤。我甚至能拿起《哈姆雷特》和《匹克威克外传》，当作是初登文坛的新作家刚刚印成白纸黑字的作品来念，因为自从上回念过以后，这两部书在我脑子里的印象已经模模糊糊了。这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。不过，在这种时候，人不仅想得到娱乐，还追求着什么目的。如果只讲享受的话，记忆力坏比记忆力好究竟差到哪里去，还真是大可怀疑哩。记忆力坏的人可以一辈子不断地念普卢塔克的《英雄传》和《天方夜谭》，而永远感到新鲜。很可能，最坏的记忆力也难免粘粘连连地留下一星半点的印象，恰如一只只绵羊从篱笆洞里接连通过，总不免在那刺条上留下一丝半缕的羊毛。然而，绵羊终归逃出去了，正像伟大的作家从我们不争气的记忆中消失。所留下的东西简直微不足道。&lt;br /&gt;
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既然读过的书我们可以忘得一干二净，那么一年十二个月以及每个月的风物，一旦时过境迁。我们同样可以轻而易举地把它们忘在脑后。在某个短暂时刻，我可以说自己对于五月就像对于乘法表那样熟悉，关于五月里的花木、开花时间乃至前后次序，我能通过考试。今天，我就敢肯定金凤花有五瓣。（难道是六瓣吗？上个礼拜我还记得清清楚楚来着。）可是，到了明年，我也许连算术也忘个干干净净;我得从头学起，以免把金凤花误认成白屈菜。那时，我像一个陌生者进人大花园，放眼四望，五色缤纷的原野再一次使我目不暇接，心迷神醉。那时，我也许要对这么一个问题拿不定注意，就是; 认为雨燕（那种简直像大号小燕子、又和蜂鸟沾点儿亲戚的黑鸟儿）从来不在窠里歇着，一到夜里就飞向高高的天空，到底是一种科学论断，还是一种无知妄说？当我知道了会唱歌的并不是雌杜鹃，而是雄杜鹃。我还要再次感到惊讶。我得重新学习，以免把剪秋罗当作野大竺葵；还要去重新发现白杨在树木生长的习惯法中究章算是早成材还是晚成材。某天。一个外国人问一位当代英国小说家，英国最重要的农作物是什么。他毫不犹豫地回答：“稞麦。”在我看来，这是一种堂而皇之派头的彻头彻尾的无知；不过，大大无知的也包括那些没有文化的人。普通人只会使用电话，却无法解释电话的工作原理。他把电话、火车、铸造排字机、飞机都看作当然之事，就像我们的祖父一代把福音书里的奇迹故事视为理所当然一样。对于这些事，他既不去怀疑，也不去了解。我们每个人似乎只对很小范围内的某几件事才真正下工夫去了解、弄清楚。大部分人把日常工作以外的一切知识统统当作花哨无用的玩意儿。然面，对于我们的无知，我们还是时时抗拒着，我们}有时振作起来，进行思索。我们随便找一个什么题目，对之思考，甚至入迷——关于死后的生命，或者关于某些据说亚里士多德也感到大惑不解的问题，例如“打喷嚏，从中午到子夜则吉，从夜晚至中午则凶，其故安在？”为求知识而陷入无知，这是人类所欣赏的最大乐事之一。归根结底，无知的极大乐趣即在于提出问题。一个人，如果失去了这种提问的乐趣，或者把它换成了教条的答案，并且以此为乐，那么，他的头脑已经开始僵化了。我们羡慕像裘伊特这样勤学好问之人，他到了六十多岁居然还能坐下来研究生理学。我们多数人不到他这么大的岁数就早已丧失了自己无知的感觉了。我们甚全像松鼠似的对自己小小的知识储存感到沾沾自喜，把与日俱增的年龄看作是培养无所不知的天然学堂。我们忘记了∶苏格拉底之所以以智慧名垂后世，并非因为他无所不知，而是因为他到了七十高龄还能明白自己仍然一无所知。 (Zhu Mingju 2007: 322-325)&lt;br /&gt;
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=毛优Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
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毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
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=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
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从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。	&lt;br /&gt;
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Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
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Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
翻译风格，巴黎的忧郁，郭宏安，亚丁&lt;br /&gt;
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==Introduction==&lt;br /&gt;
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The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
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Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations. Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
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==Liu Miqing’s theory of translation style==&lt;br /&gt;
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Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
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Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.&lt;br /&gt;
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In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
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==Form Markers==&lt;br /&gt;
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According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
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===Register Markers===&lt;br /&gt;
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“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
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The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
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Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
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Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
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Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
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This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
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===Lexical Markers===&lt;br /&gt;
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Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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'''Eg. (b)'''&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence, translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
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==Non-formal Markers==&lt;br /&gt;
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The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
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Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
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According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
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Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
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The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
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The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
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Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
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Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.&lt;br /&gt;
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==References==&lt;br /&gt;
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[1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[3] 刘宓庆 Liu Mingqing. 新编当代翻译理论[M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp;amp; Publishing Corporation, 2005.&lt;br /&gt;
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[4] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.&lt;br /&gt;
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[5] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.&lt;br /&gt;
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=秦建安 A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
[[Trans_Type_EN_7]]&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Lu Xun, chief commander of China's modern cultural revolution, is not only a great thinker and political commentator but the founder of modern Chinese literature. Kong I-Chi is one of the masterpieces of Lu Xun's novels. Although the total number of characters is less than 3,000 words, Lu Xun exposes the nature of feudal ethics and its negative influence through his character portrayal, which is loved by many readers home and aboard. The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but so as close as possible to the original text in terms of syntactic structure and wording. Therefore, his translations once became the authoritative version of Lu Xun's novels. From the perspective of Nida’s functional equivalence theory, this thesis conducts translation research on the English translation of the famous writer Yang Xianyi, analyzing whether the translation is functionally equivalent to the original text and construe the English translation of prose from the lexical, syntactic, and semantic level to try to explore the translation strategies, styles and methods of Kong I-Chi which aims to explain the functional equivalents in Lu Xun's short novel translation.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Functional Equivalence Theory; Lu Xun; Kong I-Chi;translation method&lt;br /&gt;
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===Introduction===&lt;br /&gt;
This chapter will be expanded with respect to the research background, its significance and the methodology. The literature review will also be included which describes the previous studies on the Functional Equivalence Theory and previous translation versions of ''Kong I-Chi''.&lt;br /&gt;
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'''Research Background and Significance'''&lt;br /&gt;
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As the most famous writer in modern China, Lu Xun has a decisive bearing on the modern history of Chinese literature. Lu Xun settled in a period of transformation in Chinese literature. His short stories are different from modern short stories in terms of text and expression. ''Kong I-Chi'' was written in 1918 when there was a turmoil in China. At that time, although the imperial examination system had been abolished, the education system had not changed, and many scholars had not shaken off the shackles of feudal tenets. &lt;br /&gt;
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''Kong I-Chi'' enjoys high reputation at home and abroad and has been translated into English, Japanese, French, Russian and other languages. Compared with other language versions, the English versions enjoy a wider spread and have deeper influence. In 1954, the couple Yang and Dai translated it into English and published Selected Stories of Lu Xun in which ''Kong I-Chi'' was included. Yang Xianyi and his wife Gladys Yang are great translator beyond all doubt. They are knowledgeable and familiar with Chinese and Western cultures also have devoted their life to translating excellent Chinese and Western literary works. Through their translation, we can better master the author's own novel intentions.&lt;br /&gt;
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'''Methodology'''&lt;br /&gt;
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In recent years, the translation of traditional Chinese literary works was attached great significance by both Chinese and foreign scholars. As an important part of ancient Chinese culture, though, it is a common genre in Chinese and foreign literature, the short novels cannot be neglected. For translators, how to deal with the modern and balance Chinese and Western cultural differences has become a salient problem. It is not only necessary to understand the characteristics of modern Chinese literature, but also to be very familiar with Chinese and Western cultures for the translator. Functional Equivalence Theory is put forward by American linguists Eugene Nida. According to him, two different languages represent two different cultures which will never be the same, but translation is a kind of communication between the two cultures and translators should try their best to achieve functional equivalence between the two languages rather than seek for rigid correspondence when making translation, which can accurately reproduce the source culture in the target language and eliminate cultural differences. It puts forward a new attitude to treat different languages and cultures, promoting language communication and mutual understandings among people. Thus, taking Nida’s theory as guidance, this research is meaningful not only for translation studies, but also for cultural exchanges.&lt;br /&gt;
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'''Literature Review'''&lt;br /&gt;
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As one of Nida’s major contribution to contemporary translation studies, Functional Equivalence Theory has brought about heated discussion among scholars at home and abroad since its birth. Many momentous works of Nida also have been translated and introduced into China, such as Nida on Translation edited and translated by Tan Zaixi (1999) and Language and Translation translated by Cai Yi (1985) which of them aroused great repercussions in Chinese translation field. As the prototypical member of Functional Equivalence Theory, receptor’s response theory draws scholars’ attention. Zhang Xiujuan (2015) points out that “receptor’s response theory breaks the tradition of Chinese translation that translators pay much attention to the text but may ignore the response of readers, and provides a new perspective for Chinese scholars to make studies on translation theories”.&lt;br /&gt;
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Kong I-Chi, as the most typical character in Lu Xun's novels in the teaching textbooks of Chinese junior high school students, has left an indelible impression in the hearts of Chinese people. The most recognized translators of ''Kong I-Chi'' include Yang and Dai, Lyle William and Edgar Snow. The translation of Lu Xun's novels during the period of Yang and Dai reach its heyday. For a long time, domestic and foreign publishing houses have published works translated by the couple. Since Edgar Snow lived in the same age as Lu Xun, his translation is closer to Lu Xun's life background. It wasn't until 1990 that the American scholar William Lyell's new American translation was published, and the new stage of the English translation of Lu Xun's novels began. The British English version translated by Yang and Dai is elegant and idiomatic, giving readers the good impression of pure British English.&lt;br /&gt;
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=== Theoretical Framework: Nida’s Functional Equivalence Theory ===&lt;br /&gt;
==== Introduction of Functional Equivalence Theory ==== &lt;br /&gt;
===== The Original of Functional Equivalence Theory  =====&lt;br /&gt;
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Nida's main academic activities unfold around the translation of the Bible. In the process of &amp;quot;Bible&amp;quot; translation, Nida started from reality and developed a set of his own translation theory, which eventually became one of the classics in translation studies. In 1964, Nida (1964) put forward “dynamic equivalence” in ''Toward a Science of Translating'', and gave it specific definition in ''The Theory and Practice of Translation'' (1969). In the mid-1980s, “dynamic equivalence” was replaced by “functional equivalence” to avoid misunderstandings on the term “dynamic”, which was the origin of Functional Equivalence Theory.&lt;br /&gt;
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=====The Development of Functional Equivalence Theory  =====&lt;br /&gt;
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The most important and the most intractable part in Functional Equivalence Theory is the disposal of message. The theory requires that the message in receptor’s language must be consistent with the source language. In such a translation, translators should strive to “reproduce as literally and meaningfully as possible the form and content of the original” (Nida 1964:159). Later he successfully applied the research results of modern linguistics to translation theory which also reciprocally pushed his theory forward. There are three stages in the development of Functional Equivalence Theory.&lt;br /&gt;
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The first stage is that starting from the essence of language; he used semantic theory to make an objective and accurate analysis of the referent and associative meaning of words. In Nida's point of view, various language structures have great similarities, and the deep structure is far more common than the surface structure. Therefore, the translation of the deep structure between languages can ensure the fidelity of the translation to the greatest extent. At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensue smoothness of the translation as much as possible. The faithful and fluent translation presupposes conditions for the equivalence of receptor’s response, which makes it possible to realize functional equivalence.&lt;br /&gt;
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The second stage is that the theory was prone to lay its foundation on information theory. Nida held the view that translation is the activity of converting information expressed in one language into information in another language, which is, converting information of one code into information of another code. The translation plays a communicative role in transmitting information. Only when the target reader obtains the same amount of information as the original reader can the relationship between the target language recipient and the target language information be basically the same as the relationship between the original language recipient and the original source information. Nida noticed that there is a receptive gap between the original reader and target reader especially when the original language and the target language belong to different language families and different cultures. Thus, in order to improve the amount of the receptor’s information as much as the original reader’s, Nida emphasizes the translator can moderately change the form of the original text to provide a better understanding for receptors.&lt;br /&gt;
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On third stage, Nida tended to embellish his theory from the perspective of social semiotics. Nida insisted that the translation means translation meaning, and semiotics is the most comprehensive system for analyzing meaning. In the book &amp;quot;''Language, Culture, and Translation''&amp;quot;, Nida pointed out that social semiotics studies all codes and codes of human society, and its focus is on the most comprehensive and complex symbol system used by mankind-Language. Therefore, in terms of decoding and encoding, no translation method is as comprehensive as the social semiotic translation method.&lt;br /&gt;
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Nida also recognized that there would never be complete equivalence and it was just a quaesitum. With further development of Functional Equivalence Theory, he thought that it has different degrees of adequacy and on that basis he put forward two levels of functional equivalence — the maximal level and the minimal level of equivalence. The former refers to “the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did” (Nida 1993:118), but this is just an ideal state which cannot be achieved especially when there are huge cultural and aesthetic differences between the two languages. While the latter means “the readers of a translated text should be able to comprehend it to point that they can conceive of how the original readers of the text must have understood and appreciated it” (Nida 1993: 118), and translation below this level can never be accepted. According to Nida, if a translation is between these two levels, it can be regarded as a good one.&lt;br /&gt;
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==== Basics of Functional Equivalence Theory  ==== &lt;br /&gt;
=====Receptor’s Response  =====&lt;br /&gt;
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In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s responce. When translators are working on translation, they are increasingly unable to ignore the reader's feedback on the translation. From the perspective of reception aesthetics, translation theorist Nida said that only when the reader accepts the translation can the translation be truly completed. Therefore, when translating, the translator cannot ignore the acceptability of the translation. The translator builds a bridge between the original author and the reader of the target language through translation, and it is the translation that can clearly reflect this bridge role.&lt;br /&gt;
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Receptor’s Response Theory draws attention to the reader and the reading process, rather than the author or the text. Pat Mora and James Welch define it as: &amp;quot;The theory emphasizes the importance of the reader's role in text understanding.&amp;quot; The same description also appears in many of Nida’s works in which the importance of “receptor’s response” is emphasized repeatedly. &lt;br /&gt;
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There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which was pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information need to be filled in by the reader himself. Such uncertainty occupies another very important position in this theory. This concept includes those vague factors, such as gaps and blanks. This kind of uncertainty encourages readers to add their own ideas when reading, so there is usually more than one understanding of a literal work. The third point is implicit reader also proposed by Isel, as opposed to the actual reader, which refers to the intended reader set by the writer himself who can concretize the text. Isel points out that the implicit reader is not the actual reader, but a reader that the author expects to design in the creative process, that is, the implicit recipient. It is a certain character that the artist conceives and pre-sets based on his experience or hobbies. The forth part is the identity theme. In other words, the work itself has no fixed objective meaning; only when the reader reshapes the work out of his own identity theme and the reader replicates his own fantasies during the reading process, the work can be given meaning. The last point is the interpretative group which was put forward by Stanley Fish. It refers to people who share the same interpretation strategy as we have. In a known context or reader group, the interpretation of the work meaning is the product from the group.&lt;br /&gt;
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===== Principles for Producing Functional Equivalence  =====&lt;br /&gt;
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To achieve the closest natural equivalence between the source language and target language, Nida put forward six principles as the guidance of different kinds and degrees of adjustments:&lt;br /&gt;
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1.	When the translation that strictly keeps the form of the source text makes receptors misunderstand the designative meaning, changes need to be made in the translated text, or a footnote should be added for further explanation if literal translation is still be selected.&lt;br /&gt;
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2.	When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aim to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.&lt;br /&gt;
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3.	When the translation that strictly keeps the form of the source text is so semantically and syntactically difficult that average readers may give up the attempt to understand it, changes should be made in the translated text and the nature of the changes needs to be indicated in the introduction or footnote.&lt;br /&gt;
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4.	When the translation that strictly keeps the form of the source text causes significant misconceptions on the associative meanings of the source text or huge loss in the appreciation for the stylistic values of the source text, changes should be made to reflect the associative meanings of the source text.&lt;br /&gt;
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5.	The way that a translation is to be used (such as a drama to be read or acted on the stage) is of great significance to the extent to which changes are to be made.&lt;br /&gt;
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6.	A source text that must be translated together with accompanying codes (such as songs and operas) generally requires numerous adjustments in all aspects, including phonology, lexicon, syntax, and discourse. (Nida 1993: 125-128).&lt;br /&gt;
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=== Introduction to Lu Xun and ''Kong I-Ch''i  === &lt;br /&gt;
==== Lu Xun and the values of ''Kong I-Chi'' ====&lt;br /&gt;
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To read and translate Kong I-Chi, you must first understand its author-Lu Xun.&lt;br /&gt;
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Lu Xun is a great writer. Mentioning classical literary works, no matter what innovative methods are adopted, whether realistic, romantic, or magical, the content should be close to life, reflect the reality of times and speak for the people. In terms of form, literary works should conform to the inherent rules of literary creation-forming a unique artistic style and achieving the perfect unity of truth, goodness, and beauty. Lu Xun's works fully meet the above requirements. &lt;br /&gt;
Lu Xun is also a famous thinker. Indeed, Lu Xun did not specifically study thinking or modes of thinking, nor did he have advanced theoretical monographs, but he, like thinkers in ancient and modern times, both at home and abroad, used suspicion and criticism as spiritual swords to explore truth and reveal. He held the view that it was his duty to awaken the sleeping souls of the Chinese people with literary works of various genres. The depth and breadth of his thinking is even higher than that of some contemporary thinkers. This is well reflected in his work Kong I-Chi.&lt;br /&gt;
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Lu Xun, who is a revolutionary, has a precious characteristic, that is, the purity of his revolutionary original intention. Lu Xun leaned towards socialism under the white horror of the low ebb of the Chinese revolution. What's more commendable is that as a sober realist, Lu Xun never conceives any romantic illusions about the revolution. No matter what difficulties the revolution encounters, Lu Xun always has an optimistic belief in the prospects of the revolution.&lt;br /&gt;
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From a general perspective, Lunatic's Diary is more macro and image specific than Kong I-Chi, while Kong I-Chi starts from the micro level, depicting the poor people at the bottom of society who was bullied and oppressed and lost their dignity as human beings. In addition, there are many opinions in the critics. For example, Mr. Lu Xun's Kong I-Chi was written to criticize the feudal imperial examination system, and some people think that it was sent out to criticize the “dark” old society. The famous critic Lin Zhihao believes that this novel is not only to assail at the corruption of the feudal imperial examination system, but also to reveal the persecution of people’s spiritual and ideology by the feudal education system in the dark old society. The social reality was that most scholars had been ruthlessly “eaten” up by the environment. When the shackles of thinking have been broken, we can dig into the deep meaning under the surface of Kong I-Chi, that is, the process of literati's loss of personality and the process of redemption under the background of the dark society of feudalism. Although the tragedy is redemptive, the process is also accompanied by a fall.&lt;br /&gt;
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==== Study on the Translation of ''Kong I-Chi''  ====&lt;br /&gt;
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''Kong I-Chi'' is a masterpiece of Lu Xun. The novel was created in the winter of 1918, published in the sixth volume of &amp;quot;''Italic text''New Youth&amp;quot; in April 1919. (刘家鸣1992: 15). ''Kong I-Chi'' is Lu Xun's most satisfying work (孙伏园等2000: 58), and it is also one of Lu Xun's novels that English translators are vying to translate resulting in an amount of English translation. &lt;br /&gt;
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So far, there are eight translations of ''Kong I-Chi'': 1)A British man E.H.F.Mills translated ''Con Y Ki'' from Jing Yinyu's French translation (Mills 1930: 42-50), included in ''The Tragedy of Ah Q and Other Contemporary Chinese Short Stories'' published by George Rutridge Bookstore in London in 1930; 2) The English translation of ''K’ung I-chi'' by the American Jin Shouzhuo (G.A.Kennedy 1932: 14-15), which was later included in ''Isaacs'' (Isaacs 1974: 25-32) edited by Yi Luosheng; 3) ''K’ung I-chi'' translated by Lin Jijin (Lin 1935:3-4); 4) Unsigned version of The Tragedy of ''K'ung I-Chi'' (Anonymous 1936: 2-3); 5) ''K’ung I-chi'' was co-translated by American journalists Edgar Snow and Yao Xinnong; 6) later comes to Yang Xianyi and Gladys's translation ''K'ung I-chi'' (hereinafter referred to as &amp;quot;Yang Translation&amp;quot;) (Yang &amp;amp; Gladys 1960: 40-46); 7)Then, famous American sinologist William Lyell translated ''Kong Yiji'' (Lyell 1990: 42-48); 8) other translation of ''Kong Yiji'' was produced by British sinologist Lan Shiling ( Lovell 2009: 32-36).&lt;br /&gt;
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This article focuses on Yang's translation, trying to explore Yang and Dai's translation strategies, styles and methods of ''Kong I-Chi'' from the lexical, syntactic and semantic levels, and aims to explain the functional equivalence in the English translation of Lu Xun's short stories.&lt;br /&gt;
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=== Analysis of the Translation of ''Kong I-Chi'' from the Perspective of Functional Equivalence  === &lt;br /&gt;
==== Lexical Analysis ====&lt;br /&gt;
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There are many cultural-loaded words in the original Kong I-Chi text, such as this. Culture-loaded words are deeply imprinted by the region and era of a certain language society which express things and concepts peculiar to a certain culture. Such words as “进学” and “秀才” not only carry rich cultural connotations, but also exist only in a certain culture which may be blank in another culture. It is this characteristic which is “I have and you do not have” that often becomes an obstacle to cross-cultural communication and translation. From the perspective of Functional Equivalence, this thesis will analyze how these words are handled in Yang's translation.&lt;br /&gt;
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In the sentence “幸亏荐头的情面大，辞退不得”, the word “荐头” was translated into “someone influential” by Yang and Dai. “荐头” is the person who introduces works to other people in ancient China. Such person is absolutely influential. But for reader, such influential people may be a nobleman or someone who is very authoritative in the area which may result in discrimination. The job introducers also can be regarded as common people instead of the influential. From the perspective of Functional Equivalence, Yang’s translation explicitly showed the deep meaning with loss of cultural characteristic.&lt;br /&gt;
The phrase “之乎者也” was translated into “archaisms” which stands for the use of an archaic expression. In Chinese, the original meaning of “之乎者也” is four auxiliary words commonly used in classical Chinese. Therefore, the word &amp;quot;之乎&amp;quot; also refers to the basic abilities that a scholar should possess. Later, it is used to ridicule the scholar who only knows how to analyze words while cannot solve practical problems. Functional equivalence theory requires efforts to create translations that not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. The word “archaisms” corresponds exactly to the description of Kong I-Chi in Lu Xun’s story who is a nerd.&lt;br /&gt;
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Other prototypical cultural-loaded word is “进学”. Yang translated it into “pass the official examination”. As a link in the imperial examination system in ancient China, “进学” means that the children of the Qing dynasties who can pass the examination will be admitted to the prefectural and county schools. Such system is unique to China. To achieve functional equivalence, that is, to allow non-native readers to understand this special cultural mark, the translator must explain this cultural phenomenon as much as possible or find a corresponding expression in the foreign language culture. The same in the word “秀才” on this sentence “你怎的连半个秀才也捞不到呢?” “秀才” also belong to the imperial system. “秀才” is a subject for selecting officials in ancient China, and it was once used as a special name for school students. Yang translated it into “passed the lowest official examination”. As the minimum requirement of the ancient imperial examination system, those who passed the selection examination were called  “秀才”. According to Nida’s theory, it perfectly expresses the ancient Chinese imperial examination system, and at the same time allows foreign language readers to understand Kong I-Chi’s knowledge background.&lt;br /&gt;
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==== Syntax Analysis ====&lt;br /&gt;
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In terms of syntax, the differences in sentence patterns between English and Chinese are the most salient. English emphasizes hypothesis while Chinese emphasizes parataxis, which leads to the conversion of sentence patterns in the process of translation. According to Nida's Functional Equivalence Theory, if the change in form is still insufficient to express the meaning and culture of the original text, the translation technique of &amp;quot;reconstruction&amp;quot; can be used to resolve cultural differences and make the source language and the target language equal in meaning. &amp;quot;Reconstruction&amp;quot; refers to the conversion of the deep structure of the source language into the surface structure of the target language (郭建中,2000 , P67), that is, the cultural connotation of the source language article is explained by the vocabulary of the target language.&lt;br /&gt;
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In ''Kong I-Chi'', when Kong I-Chi took our his money and ordered some food, other people started to sneer at his revenue sources and said “你一定又偷了人家东西了!” The exclamatory sentence in the original text showed others' affirmation of Kong I-Chi's theft. Yang translated it into “You must have been stealing again!” Here we can notice the tense of the two sentences. Lu Xun used the past tense in original text, which expresses that Kong I-Chi's stealing is an established fact. However, Yang used the present perfect continuous tense when translating. In English, the present perfect continuous tense manifests that something the subject has done in the past is still being done, and may continue in the future, expressing the continuation of an action. There is no need to add any other additional descriptions, just from this tense, readers can realize everyone's thoughts on Kong I-Chi's theft. Such reconstruction of tense verifies the application of Functional Equivalence Theory in turn.&lt;br /&gt;
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Afterwards, these people who deprecated him refuted Kong I-Chi's maintenance of himself, saying: “什么清白?” In Yang's translation, it is translated as “Pooh, good name indeed!” In the original text, it is originally an interrogative sentence, but Yang transformed it into an exclamation sentence, added English slang “pooh” in it and translated “清白” into good name. If the interrogative sentence in the original text is literally translated into &amp;quot;what’s the innocence&amp;quot;, the comic effect, that is, everyone's disdain for Kong I-Chi in the exclamatory sentence will not be achieved. The sentiment contained in the original text is successfully conveyed through the conversion of sentence patterns.&lt;br /&gt;
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When describing Kong I-Chi’s knowledge background, the original text mentioned: “幸而写得一笔好字，便替人家钞钞书”. In Yang’s translation, he didn’t directly translate it into a verb phrase instead of into a noun phrase which was “Happily, he was a good calligrapher.” Knowing the characteristics of English and Chinese languages, he metonymically recreated dynamic Chinese verb clauses into static noun clauses.&lt;br /&gt;
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==== Semantic Analysis ====&lt;br /&gt;
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How to eliminate cultural differences as much as possible so that the semantics of the original language can be perfectly embodied? From the perspective of Functional Equivalence Theory, the translator needs to transform the deep structure of the source language into the surface structure of the target language which requires translator to use the corresponding vocabulary in the target language to directly explain the connotation of the original text, so that the target readers can accept the translation more easily. For example, in the original text, the sentence “因为他姓孔，别人便从描红纸上的 ‘上大人孔乙己’这半懂不懂的话里，替他取下一个绰号，叫作孔乙己” includes an allusion: 上大人孔乙己 which refers to a character in the card game popular in ancient China. In such card game, the characters always are drawn in a red paper. For children in ancient China, the card game was easy to play and was a childhood memory.&lt;br /&gt;
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In Yang’s translation, he translated it into “As his surname was Kung, he was nicknamed ‘Kung I-chi’, the first three characters in a children's copybook.” Such translation omits a lot of information from the original text, such as “描红纸上” and “半懂不懂”. But Yang gave a substitute for the omission: he explained the game allusion about children which can be regarded as a strategy that helps foreign readers better understand how Kong I-Chi comes. &lt;br /&gt;
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Another illustration is the translation of this sentence: “孔乙己，你当真认识字么？” It seems fairly easy for common people to translate it with “Kong I-Chi, do you really know words?” , while Yang gave a different version: “Kung I-chi, do you really know how to read?” In our cognitive concepts, if a man knows how to read a word, then he must know this word. But if he knows the word, he may not only know how to read it, but even know how to write it. Such special mechanism is called conceptual metonymy. Yang metonymically narrowed the scope of the meaning of the word “认识”and accurately positioned the meaning of this understanding according to the context. The translator abandons the equivalence of form and achieves the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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This article selects Yang’s translation of &amp;quot;''Kong I-Chi''&amp;quot; as the study case, and analyzes the translation effect from three aspects: lexicon, syntax and semantics, combined with Nida’s Functional Equivalence Theory. It is believed that the translator flexibly uses a variety of translation methods to deal with the differences between English and Chinese languages, and the translation has realized functional equivalence as a whole.&lt;br /&gt;
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At the lexical level, the translator adopts the naturalization method when translating the proper nouns of &amp;quot; ''Kong I-Chi'' &amp;quot;, adding notes to individual words. The translation perfectly conveys the meaning of the original vocabulary. &lt;br /&gt;
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At the syntactic level, when there are differences in the expression of English and Chinese sentences, the translator will split the sentence, adjust the subject and object of the sentence, change the sentence structure and the sentence order to make the translation conform to the expression of the target language where the translation is smooth and natural. When translating the allusions of &amp;quot; ''Kong I-Chi'' &amp;quot;, the translator adopts literal translation and annotations. &lt;br /&gt;
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In terms of semantics, the translator uses the mechanism of conceptual metaphors to accurately show the original flavor.&lt;br /&gt;
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This article believes that the success of Yang’s English translation of &amp;quot;''Kong I-Chi''&amp;quot; lies in its fluent, natural language and exotic flavor. The author and translator of &amp;quot; ''Kong I-Chi'' &amp;quot; are both famous artists. The translation case from the English translation of &amp;quot;''Kong I-Chi''&amp;quot; reflects the practical application of the Functional Equivalence Theory in Lu Xun's novels. The writer also hopes that this thesis can provide ideas and inspirations for the English translation of other Lu Xun's novels.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Nida E.A. ''Language and Culture: Contexts in translating''. Shanghai: Shanghai Foreign Language Education Press.2001. &lt;br /&gt;
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[2]Nida, Eugene A.1964. Towardsa ''Science of Translating'', Leiden: E.J.Brill. &lt;br /&gt;
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[3]Nida, Eugene A.&amp;amp;Charles R.Taber, 1969, ''The Theory and Practice of Translation'', Leiden: E.J.Brill&lt;br /&gt;
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[4]鲁迅Lu Xun.鲁迅全集(第一卷)Selected Work of Lu Xun(volume Ⅰ）[M].北京Beijing:人民文学出版社People's Literature Publishing House ,1982.&lt;br /&gt;
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[5]谭载喜Tan Zaixi．新编奈达论翻译New Nida's Translation[M]．北京Beijing：中国对外翻译出版公司China Translation &amp;amp; Publishing Corporation，1999.&lt;br /&gt;
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[6]杨坚定Yang Jianding，孙鸿仁Sun Hongren．鲁迅小说英译版本综述A Summary of the English Versions of Lu Xun's Novels[J]．鲁迅研究月刊Lu Xun Research Monthly，2021(4)．&lt;br /&gt;
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[7]伊塞尔Iser.本文中的读者 Readers in this article[A]．二十世纪西方美学名著选（下）Selected Works of Western Aesthetics in the Twentieth Century (Part 2)[C]．上海Shanghai：复旦大学出版社Fudan University press,1998.&lt;br /&gt;
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[8]杨宪益.Yang Xianyi,戴乃迭 Dai Naidie译.鲁迅选集英文版(一) Selected Works of Lu Xun (1)[M].北京:外文出版社 Beijing: Foreign Languages Press,1980.&lt;br /&gt;
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[9]https://baike.baidu.com/item/%E5%8A%9F%E8%83%BD%E5%AF%B9%E7%AD%89%E7%90%86%E8%AE%BA/3373397?fr=aladdin&lt;br /&gt;
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[10]https://www.zhihu.com/question/29965932&lt;br /&gt;
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=颜子涵 Translation methods and strategies applicable to the style of biographical literature -- Taking Incidents in Life of Slave Girl (excerpt) as an example=&lt;br /&gt;
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[[Trans_Type_EN_8]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
The translated text of this article is a part of the English biography Incidents in Life of Slave Gir. The author of this work is Harriet Jacobs. This translation mainly takes the translation functional equivalence theory of American linguist Eugene A.Nida as the theoretical framework, adopts some translation skills in translation practice, and discusses the translation skills and Strategies of Chinese translation of such texts by analyzing the stylistic characteristics of biographical literature, especially African American autobiography. Through the Chinese translation of this autobiography, we can have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Autobiographical Literature; Black female slaves; Translation methods and Strategies&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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This paper is divided into four parts. The first part is an overview of the translation project, which mainly introduces the relevant situation of the translation project, the author and works of the translated text; The second part is the preliminary preparation of translation, including project text analysis and translation plan formulation; The third part, translation theory and case analysis, including functional equivalence theory, translation strategies and case analysis; The fourth part is the summary of the project, mainly on the problems encountered in translation, the experience and inspiration gained in the process of translation.&lt;br /&gt;
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This work belongs to the category of biographical literature. Biographical literature is a literary genre in which the author reproduces the characters' life stories and experiences, shows the characters' spiritual outlook and values, and depicts the characters' distinct love and hate and vivid personality through documentary writing and a variety of literary and artistic techniques. There are more than 50 characters involved in the biography. In the author's works, these characters are very vivid, such as the forbearance of a strong grandmother to the slave owner, the loyalty of a hard-working aunt to the slave owner, the oppression of female slaves by a crafty and sinister doctor, and the wit of Linda Brent, the heroine who pursues freedom and courage. In particular, the author's description of the heroine's seven years spent in a &amp;quot;cage&amp;quot; like cabin before she fled to the North more ruthlessly castigates the evil of slavery. The heroine's experience deeply moved her relatives and friends, including white slave owners. With the help of her relatives and friends, the heroine was able to escape to the north.&lt;br /&gt;
Taking the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework, this paper adopts the following translation skills in the process of translation: 1. The translation methods of foreignization and domestication are used to achieve partial functional equivalence between the source language and the target language, so as to reduce the lack of culture after translation. 2. According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to make the translation conform to the expression habits of the target language. 3. The methods of addition and subtraction are adopted to make the translation consistent with the original in grammar and language form, as well as in cultural background and word association. 4. The Conversion Transformation is adopted to make the translation more acceptable to the target language readers. By analyzing the stylistic characteristics of biographical literature, especially African American autobiography, the author discusses the translation skills and Strategies of Chinese translation of such texts.&lt;br /&gt;
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=== Text background===&lt;br /&gt;
From the beginning of the British northern colony to the early 20th century, blacks were brutally exploited and oppressed by the slavery system. In particular, female slaves not only had to bear heavy labor, but also suffered the destruction and abuse of supervisors. Since the publication of the first Autobiography of black slaves in 1760, some advanced elements in black slaves denounced and denounced the evils of slavery with their own experience, and made outstanding contributions to the abolition movement. The author of this work is Harriet Jacobs, whose pseudonym is Linda Brent. Born in a slave family, she fought tirelessly because she could not bear the persecution of slave owners on her and her children. After fleeing to the north, the author wrote a biography of his personal experience of being enslaved, exploited, persecuted, fleeing to the north and realizing freedom, which was published in 1861. Through the Chinese translation of this autobiography, more people have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves.&lt;br /&gt;
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===Research Purpose and Significance===&lt;br /&gt;
This autobiography of black women starts from the experience of childhood from the perspectives of black slaves and women. In the process of growing up, the author experienced different masters of good and evil. When she was a child, her hostess let the author learn to read and write. Later, she died of illness. Then the new owner, Dr. flint and his wife tortured and framed her. Later, for the freedom of her children, the author resolutely decided to flee to the north and enjoy the right to freedom with her children. In the process of pursuing freedom, he went through escape, pursuit, hiding until he went north by boat. The author selects simple but typical examples in daily life, through the description of characters' psychology and language, the contradictory struggle between the interests of opposite classes, the criminal complaint of slave trafficking, and the process of slaves fleeing to the north, reveals the slave owner's naked exploitation and fraud of slaves, and reveals the slave's sincerity, courage and longing for freedom. The simple language and narrative techniques of the work fully shape the tenacity, courage, intelligence and clear love and hate of the female slave Linda Brent, and show the readers the misfortune and suffering of many slaves.&lt;br /&gt;
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=== Translation theory and case analysis===&lt;br /&gt;
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3.1 functional equivalence theory&lt;br /&gt;
This translation practice report takes the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework. Eugene Nida is an American linguist and a famous translation theorist. From the perspective of etymology, according to the essence of translation, he put forward the famous dynamic equivalence translation theory, namely &amp;quot;functional equivalence&amp;quot;. In this theory, he pointed out that &amp;quot;translation is to reproduce the information of the source language from semantics to style in the most appropriate, natural and equivalent language&amp;quot;. He believes that translation is not only the equivalence of lexical meaning, but also the equivalence of semantic style and style. The information conveyed by translation includes both surface lexical information and deep cultural information. Equivalence in dynamic equivalence includes lexical equivalence, syntactic equivalence, textual equivalence and stylistic equivalence. Nida pointed out that the translation should be functionally equivalent to the original text. Judging whether the translation is equivalent to the original text should be based on the psychological response of the readers, that is, the translator should not only stay in the equivalence of structure and semantics, but strive to make the target readers produce the functions and effects that the original author wants to achieve through his works, so as to make the target readers after reading the translation, Get the same feelings as the original readers, and make translation really become a converter of thoughts, feelings and cultural information. Therefore, in literary translation, according to Nida's theory, the translator should take the four aspects of dynamic equivalence as the translation principle to accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
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The core of Nida's functional equivalence theory is &amp;quot;content is greater than form&amp;quot;, which emphasizes that when there is a conflict between content and form, content must precede form (Nida, 2004:203). Due to the differences between Chinese and Western ways of thinking and logical habits, in order to make the translation conform to the habits of readers in the target country and make it easier for readers in the target country to accept, the author has adopted different translation methods and strategies. According to the specific content of Nida theory, this paper intends to analyze its application in English-Chinese translation practice from four aspects. 1、 According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to achieve lexical semantic equivalence between the source language and the target language; second, addition and subtraction and part of speech conversion are used to make the translation conform to the expression habits of target slogans in grammar and language form and consistent with the original text in terms of cultural background and word association; third, forward and reverse translation is used to reproduce the original text Fourth, for the long and difficult sentences of the original text, the translation methods such as reorganization, sentence splitting and merging are adopted to make the language expression forms of the translation more rich and diverse, and more easily accepted by the target language readers.&lt;br /&gt;
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3.2 translation skills and case analysis&lt;br /&gt;
When translating vocabulary, the author mostly adopts the literal translation method to convey the information of the original text more accurately. If the meaning of the translation is not accurate enough or does not conform to the Chinese expression habits after the literal translation, the author adopts the free translation method, while for the long and difficult sentences with complex structure, the translational translation method and split method are adopted to make them conform to the Chinese expression habits and more acceptable to the readers.&lt;br /&gt;
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=== Translation skills, methods and case studies===&lt;br /&gt;
Case 1: literal translation and free translation to achieve semantic equivalence in vocabularyIn the process of translation, it is the basic quality of every translator to correctly express the source language in the target language. In order to achieve this goal, the translator must start with the smallest unit of the source language—vocabulary. In project translation, the author follows the functional translation theory and pursues semantic equivalence. First, we must ensure the equivalence of lexical meaning. The author mainly discusses the semantic equivalence of words from two aspects: literal translation and free translation.&lt;br /&gt;
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1. Literal translation  &lt;br /&gt;
Literal translation emphasizes the consistency between the original text and the translation in form and content, which helps to maintain the style of the original text. Literal translation is not a dead translation, a hard translation, or a literal translation. Literal translation emphasizes retaining its form and reaching its meaning.&lt;br /&gt;
The example 1:&lt;br /&gt;
“Nothing could please her better than to see me humbled and trampled upon” is literally translated as ”没有什么比看到我恭顺谦卑、任人践踏更让她快活啦。”&lt;br /&gt;
Analysis: in this sentence, humbled and trampled upon is used to express the due psychology and living state of slaves in the eyes of slave owners. Here, it can be translated into obedience, humility and trampling, which can reflect the coldness of slave owners and the misery of slaves.&lt;br /&gt;
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2. Free translation&lt;br /&gt;
Paraphrase emphasizes divine similarity. When the original text is quite different from the translation in terms of lexical meaning, syntactic structure and style, it can not be confined to the original text. Free translation should be adopted to explain the form of the original language in another language form, so as to correctly express the ideological thrust of the original text. Free translation should conform to the grammatical norms and expression habits of the target language, so as to make the translation more fluent and natural. Free translation is not arbitrary addition and deletion, nor random translation. Free translation emphasizes &amp;quot;preaching its spirit&amp;quot; rather than &amp;quot;retaining its shape&amp;quot;. The work belongs to biographical literature. There are great differences between the source language culture and the target language culture. The translator can not adhere to literal translation from beginning to end, but should carry out free translation according to needs, so as to achieve better translation effect.&lt;br /&gt;
The example 2:&lt;br /&gt;
I resolved to give him no cause to accuse me of being too much of a lady, so far as work was concerned.&lt;br /&gt;
literal translation: 就工作而言，我决心让他找不到口实指责我过分淑女。&lt;br /&gt;
free translation: 就工作而言，我决心让他找不到口实指责我养尊处优。&lt;br /&gt;
Analysis: a lady originally means 女士或优雅的女子. Too much of a lady is often understood as 十分优雅. Because the author could read and write and looked dignified, he had not done heavy work like other slaves before, &amp;quot;I&amp;quot; guessed that the young master was disgusted with it. Here, too much of a lady is translated by free translation, which reflects the inner contempt of the young master for &amp;quot;me&amp;quot;.&lt;br /&gt;
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Case 2: addition, subtraction and part of speech conversion make the translation achieve sentence meaning equivalence, which is in line with the expression habit of the target language.&lt;br /&gt;
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3. Additional translation&lt;br /&gt;
The example 4:&lt;br /&gt;
One day, she sat under the window where I was at work, crying that weary cry which makes a mother's heart bleed. &lt;br /&gt;
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一天，她就坐在我干活的那个房间的窗户外哭，哭得声嘶力竭让任何一个做母亲的心里流血。&lt;br /&gt;
Analysis: A mother literally means &amp;quot;一个母亲&amp;quot;, but the following clause is translated into &amp;quot;哭得声嘶力竭让一个母亲的心里流血&amp;quot;. The emotion of the translation is weak. In this article, &amp;quot;I&amp;quot; as a slave must work and can't take into account children and family affection, because in the slave owner's view, slaves are low animals and don't deserve feelings. Although I heard my daughter crying, I couldn't get over it. Any mother would be distressed to hear her daughter's cry. In order to make up for the lack of emotion in literal translation, the method of additional translation should be adopted here, which is translated as &amp;quot;任何一个母亲&amp;quot;&lt;br /&gt;
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4. Omission &lt;br /&gt;
The example 5:&lt;br /&gt;
The doctor stamped his foot at him in a rage, and exclaimed, &amp;quot;Get out of the way, you little damned rascal! If you don't, I'll cut off your head.&amp;quot;&lt;br /&gt;
translated text：医生愤怒地跺了他一脚，厉声说道：“滚开!他妈的小坏蛋，如果不听话，我把你的头砍下来!”&lt;br /&gt;
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Analysis: Dr. flint twice went to the north to pursue the fugitive slave &amp;quot;I&amp;quot; without success. He spent a lot of money and was full of anger. At this time, my son asked him if he had brought his mother back. Dr. flint stamped his feet angrily, scolded and threatened the child. Through the vivid description of Dr. Flint's body movements and language, his angry image jumped onto the paper,In order to achieve the same effect and achieve the equivalence of language style, the author uses even verbs according to the original &amp;quot;stamped his foot at him in a rage, and exclaimed&amp;quot; and translates it into &amp;quot;stamp his foot angrily and say&amp;quot; you little damned rascal!!! &amp;quot;It is also a typical strong adult's words towards weak children. In order to be concise and powerful, the author omits &amp;quot;you&amp;quot; and translates it into &amp;quot;他妈的小坏蛋&amp;quot;.&lt;br /&gt;
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The example 6:&lt;br /&gt;
But when winter came, the cold penetrated through the thin shingle roof, and I was dreadfully chilled.&lt;br /&gt;
translated text：上次遭遇蛇咬，现在我对蛇更惧怕了，踏上这个藏身的地方，我不由心惊胆颤。&lt;br /&gt;
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Analysis: My fear of snakes is literally translated as &amp;quot;我对蛇的恐惧&amp;quot;, and the subject of the following clause is &amp;quot;我&amp;quot;. In order to give the target readers a unified reading perspective, my fear of snakes had been increased is translated as: 我对蛇更惧怕了. By transforming the noun of fear into a verb, the translation is more concise and more in line with Chinese expression habits than literal translation.&lt;br /&gt;
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Case 3: The stylistic style of the original text is reproduced by positive and negative translation.&lt;br /&gt;
5.The Positive and Negative Translation&lt;br /&gt;
The example 7:Nobody respects a mother who forsakes her children; and if you leave them, you will never have a happy moment.&lt;br /&gt;
translated text 1：没有人尊重抛弃孩子的母亲，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
translated text 2：抛弃孩子的母亲会遭人唾弃，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
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Analysis: This sentence contains a negative indefinite pronoun—nobody. In translation text 1, the first half of the original text (Nobody respects a mother who forsakes her children) is translated into &amp;quot;没有人尊重抛弃孩子的母亲&amp;quot;. Although the meaning is translated, the expression is not authentic. Translation text 2 uses the positive and negative translation method to change negative into positive, and “Nobody respects” into &amp;quot;being despised&amp;quot; can better express the speaker's (my grandmother's) eagerness to oppose &amp;quot;I&amp;quot; to escape.&lt;br /&gt;
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Case 4:The translation methods of reorganization, sentence splitting and merging are adopted to make the translation conform to the expression habits of the target language&lt;br /&gt;
There are great differences between English and Chinese syntactic structures. English is a linear language. Its syntax takes the subject predicate structure as the central axis, while other components form branch lines in the form of branches and connect with the main axis through connectives. The logical relationship between sentences tends to be explicit,; Chinese is more parataxis, and the combination between the components in a sentence or between sentences mostly depends on the connection of semantics and uses fewer connectives. Chinese sentences are arranged under the command of theme, that is, the structure of &amp;quot;topic description&amp;quot; has various forms and free combination. The logical relationship between sentences is more implicit (Yang Lin, 2007: Preface). There are few logical relational words between clauses and between sentences. Therefore, the author adopts the reorganization method, combining syntax and disassembling syntax to realize the semantic equivalence of sentences, and studies the influence of sentence structure on the translation. The significance is to better guide the translation practice.&lt;br /&gt;
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5.Recasting&lt;br /&gt;
The example 7: This was the good old lady who paid fifty dollars for my grandmother, for the purpose of making her free, when she stood on the auction block.&lt;br /&gt;
translated text：这个老太太是个好人，当年外祖母站在拍卖台上，为了让外祖母获得自由她花五十美元买下了我的外祖母。&lt;br /&gt;
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Analysis: The original text contains two compound structures, one is an attributive clause, the other is a time adverbial clause. Because Chinese sentences are constructed according to the law of logical order, the word order is arranged according to the actual sequence and event order, which is divided into sequence in time, and pay attention to the causality in logic. The author adjusts the time adverbial clause to the front, first explain the time, then explain the reason, and finally the result. This reorganized translation plays an important role in shaping the relationship between sentences, which is in line with the characteristics of Chinese sentence structure.&lt;br /&gt;
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6.Sentence-combining&lt;br /&gt;
The example 8: There was joy and there was sadness in the sound. It made my tears flow.&lt;br /&gt;
translated text：无论是哭声还是笑声都会让我泪流满面。&lt;br /&gt;
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Analysis: The original text is two sentences. Considering the close causal relationship between the two sentences, the author adopts the translation method of combined sentence to translate it into one sentence, so that the target language readers can read it more naturally.&lt;br /&gt;
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7.Dismantle the syntactic&lt;br /&gt;
The example 9: My hope was that the doctor would get discouraged, and, for fear of losing my value, and also of subsequently finding my children among the missing, he would consent to sell us; and I knew somebody would buy us.&lt;br /&gt;
translated text：损失一个女奴，再赔上我的两个孩子，这正是弗林特医生所担心的。他会泄气并同意卖掉我们，我知道有人会买下我们，而这正是我所希望的！  &lt;br /&gt;
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Analysis: When dealing with long English sentences, the method of splitting is generally used to divide the original sentence into several parts and combine them according to their internal logical relationship. The adverbial clause after the subject of “My hope” consists of three parallel sentences, the second of which has a more complex cause adverbial. The author first takes apart the subject clause, first translates the clause, and then presents the subject at the end, which is in line with the characteristics of Chinese presentation before topic.&lt;br /&gt;
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Case 5: Stylistic equivalence&lt;br /&gt;
The basic task of translation is to faithfully present the original text, so it is necessary for the translator to pursue the style of the original text. To achieve stylistic equivalence, the translator needs to analyze and identify the stylistic markers in the original. The original text contains national language characteristics, historical allusions and religious beliefs, so it has cultural differences. In translation, it should reflect the style of the original text and optimize it accordingly, so as to realize the re creation of style and adapt to the communication of the target language.&lt;br /&gt;
The original text has strong religious and cultural content, simple and pious faith, and shows their enthusiasm and passion for them. In translation, we should not only show the feeling of religious belief and culture, but also optimize the sentence style and deal with alienation appropriately, so that readers can feel the piety and understand the author's writing intention.&lt;br /&gt;
The key to shaping the problem role lies in its adaptability to the style of the original language. Only by adopting appropriate translation methods, deeply understanding the cultural background of the original text and skillfully changing the style of the original text, can the style meaning of the original text be reproduced in the target language and better reflect its charm and artistic conception.&lt;br /&gt;
In a word, a biographical text should be well expressed first to make it conform to the expression habits of the target language. First, we should deeply understand the creative intention of the original author and think of what we think from the perspective of the original author, so as to realize the central idea of the original text. The premise of translation is that the translator should have profound language and cultural skills and deeply understand the particularity of different background cultures, Have a good command of the target language, and then use it flexibly.&lt;br /&gt;
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The example 10: She hasn't so much feeling for her children as a cow has for its calf. If she had, she would have come back long ago, to get them out of jail, and save all this expense and trouble. &lt;br /&gt;
translated text：她对孩子的感情还不如母牛呢，母牛还知道护犊子。如果她有感情，她很久以前就会回来把他们救出去了，也就没有这些代价和麻烦了。&lt;br /&gt;
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Analysis: This sentence is a complaint made by Dr. Flint's wife—my mistress, about my escape. Considering that cows in Chinese culture also have the image of caring for their cubs, The author translates call “feeling for her children as a cow has for its calf” as：“母牛还知道护犊子”, This not only achieves cultural equivalence, but also sounds colloquial. On the other hand, it is in line with the speaker's identity as a mean slave owner.[He was &amp;quot;a chip of the old block.&amp;quot; If he found any slave out after nine o'clock, he could whip him as much as he liked; and that was a privilege to be coveted.如果他发现任何人九点后（宵禁时刻）跑出去，他就会抓住并鞭打此人，直到他满意为止。这是别人垂涎三尺的特权。]&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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Through the development of this project, the author believes that the translation of biographical works needs to have a full understanding of the differences between Chinese and English languages and cultures, thinking habits and expression methods. Only after having an accurate understanding and grasp of the language characteristics and contents of the original text, can words and sentences be carefully selected and constantly modified and polished in the process of translation, Make it an excellent translation. The author summarizes the following points in the whole translation process:&lt;br /&gt;
The translation method of biographical text. Biographical text has both information function and expression function (Zhang Meifang, 2006). Therefore, in translation, the translator should not only correctly express the information of the original text, but also reflect the literariness of biographical literature. In view of the differences in thinking and logic between Chinese and English, different translation methods should be adopted in the translation process. For example, literal translation can be used in terms of vocabulary, so as to simply, clearly and accurately convey the meaning of the original text. If literal translation is not possible, free translation, addition or subtraction, positive and negative translation, such transformation and other methods should be adopted to strive to achieve literal semantic equivalence. In terms of sentences, according to the respective characteristics of Chinese and English sentence structures, translation skills such as reorganization, disassembly and combination of syntax are adopted in order to meet the reading habits of target language readers. Experience the language style of biographical literature. In this project, the author's narrative language is simple and simple, and do a good job in the analysis of the characteristics of biographical literature materials. For a translator, the types of material translation can be diverse, literary or scientific, so the translator must do a good job in the analysis of text materials when he gets a relatively unfamiliar translated text, Only after analyzing the materials thoroughly and finding out the characteristics can the preparatory work be done adequately. This project adopts biographical text, which is characterized by many names and place names and strong local cultural characteristics. Therefore, in order to improve the accuracy of translation, the author has made a lot of preparations before translation, including finding the author's relevant background information, relevant historical facts, as well as the folk customs at that time. With reference to the new English Chinese dictionary, the names of people and places in the text are translated uniformly. Due to sufficient preparation, these problems encountered in translation have been solved.&lt;br /&gt;
The author has two experiences in maintaining problem awareness in the translation process. &lt;br /&gt;
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First, if you encounter an uncertain word and sentence in the translation process, you should consult the relevant reference books in time or use the Internet. &lt;br /&gt;
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Second, when dealing with cultural problems, I often ask my classmates or experts in this field for advice, so as to solve the problems in time.&lt;br /&gt;
At the same time, there are some problems in the process: My translation experience is still shallow and the cultural knowledge reserve is insufficient. There are some disadvantages in this project.Because my Chinese level needs to be further improved, the translated language is still immature and not concise enough. Second, the lack of relevant knowledge leads to the fact that the unique things of foreign culture can only be translated directly and hard in translation, resulting in the stiff and rigid translation. Such as a box, covered with sheepskin, is called the gumbo box. A dozen beat on this, while other strike triangles and jawbones, to which bands of dancers keep time.&lt;br /&gt;
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Third, in translation, we should not only maintain the meaning of the original text, but also reflect the style of the original text. We can't have both fish and bear's paw—鱼和熊掌不可兼得。Therefore, I believe that only through a lot of translation practice and summing up experience can we improve our translation level.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Beardslee, Karen E. Through Slave Culture's Lens Comes the Abundant Source: Harriet A. Jacobs's Incidents in the Life of a Slave Girl.&amp;quot; MELUS 24 (1999): 37-58.&lt;br /&gt;
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[2]Jacobs Incidents in the life of a Slave Girl: Written by herself.&amp;quot; Languages &amp;amp;Literature 15(2001):314-336.&lt;br /&gt;
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[3]Incidents in Life of a Slave Girl chapters 16 to 30&lt;br /&gt;
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[4]李小春. (2016). 浅析英语翻译技巧及方法的应用. 读天下(20), 1.&lt;br /&gt;
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[5]李亚云.《一名女奴的人生际遇》之黑人女性身份建构[J].文学教育(上),2015(07):30-31.p&lt;br /&gt;
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[6]李亚云. 《一名女奴的人生际遇》之黑人母性分析[D].中央民族大学,2016.&lt;br /&gt;
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[7]付娟. 英汉翻译中拆句法和合并法的有机结合探析[J]. 好家长, 2016(38):1.&lt;br /&gt;
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=邝艳丽 On the Translation Strategies of English Version of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hong-Ming and Xu Yuanchong=&lt;br /&gt;
[[Trans_Type_EN_9]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
''Lun Yu'', one of Chinese classics, records behavior and thoughts of Confucius and his disciples. ''Lun Yu'', intensively reflecting Chinese Confucianism, plays a significant role in Chinese culture. Dating from 1809, there are about sixty translations of ''Lun Yu'' during the two hundred years. This paper will study the two English versions of ''Lun Yu'' by Ku Hung-ming and Xu Yuanchong from the the theory of Horizon Fusion proposed by Hans-Georg Gadamer, mainly the core conceptual words in ''Lun Yu''. Besides, the paper will explore the translation strategies adopted by the two translators from different visions such as the horizons of the original text, the translator and the target culture. The better translation of core conceptual words will come to a conclusion through the contrastive analysis.&lt;br /&gt;
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===Keywords===&lt;br /&gt;
Fusion of horizons; Ku Hong-Ming; ''Lun Yu''; Xu Yuanchong&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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''Lun Yu'', as a carrier of Confucianism, has profound influence on the culture all over the world. Confucianism has largely influenced the development of European philosophy, which provide new theoretical basis for European Enlightenment in the eighteenth century (Li Zongzheng 2016: 112-116). In Voltaire’s opinion, the discovery of Chinese culture is important to the process of European society, just as what what has been discovered by Vasco da Dagama and Magellan to the nature (Bao Xiankuo 2001: 62-67). With the continuing development of China in the recent years, China exerts more and more significant influence on the world. In the meanwhile, more and more people would like to learn Chinese language and cultures. When it comes to Chinese culture, all the people, Chinese and foreigners, nearly think of Confucianism, which is generally regarded as the important components of Chinese traditional culture, as well as the mainstream of the spirit of national modern culture. Moreover, Confucianism is intensively embodied in the ancient work called ''Lun Yu'', which records the behaviors and thoughts of Confucius and his disciples mainly in the form of dialogues. ''Lun Yu'' involves so many aspects such as politics, education and so on. The wide and profound influence of Confucianism on the world attributes the success to the development of translations of ''Lun Yu'' by Chinese or foreign translators.&lt;br /&gt;
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''Lun Yu'' is a classic work. The reason why classics remains classics is that it can be translated and re-translated. The language itself of ''Lun Yu'' is difficult to be understood, and what are reflected by ''Lun Yu'' such as history, thoughts, culture and culture is also hard to be understood. Therefore, translators in different times produce different translations of ''Lun Yu'' due to different constrictions of subjective or objective factors. Derrida, holding the point of hermeneutics, considers that the understanding of works is open and that the understanding of text by the readers is always unfinished and uncertain for reading is the process of creation. ''Lun Yu'', acclaimed as one of the leading classics in the course of Chinese literature’s development, is always given new life by the scholars. Therefore, every translation version of classics deserves to be studiedin the different times. Moreover, the employment of fusion of horizons may not only be a reference for English translation of ancient Chinese classics, but also be beneficial foe the spread of traditional culture. &lt;br /&gt;
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This paper chooses two English translation versions of ''Lun Yu'', one by Ku Hung-ming, the other one by Xu Yuanchong. The paper mainly makes a contrastive study of different translation strategies adopted by the two translators from the perspective of fusion of horizons. In order to make an in-depth study, the thesis will focus on the analysis of the translation of core conceptual words of ''Lun Yu'', and aim to present a more appropriate translation to both fully express the content of Chinese culture and make western readers easier to understand.&lt;br /&gt;
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===Overview on the Theory of Fusion of Horizons===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====Fusion of Hrizons====&lt;br /&gt;
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Hans-Georg Gadamer is the greatest thinker in 20th century when his academic work ''Truth and Method'' was published. The publishment brought about widespread attention in the world and helped him reach the immortal status in the field of philosophy. Actually, the theory used in this paper is originated from ''Truth and Method''. “Horizon” was first proposed by Edmund Husserl, a great German philosopher. For the concept of “Horizon”, Husserl believed that “everything worldly giving is given under the horizon. Finally, everything given by the world itself has the horizon of the world, and it is only for this reason that it is realized as the world.” (Wei Fangyuan 2013: 134-136)&lt;br /&gt;
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It can be seen that “Horizon” in Husserl’s eye is related to consciousness. Husserl’s “Horizon” includes two ones, internal horizon and external horizon. Internal horizon refers to what previous knowledge people have grasped or not. External horizon refers to grasp or experience of another open horizon when people have internal horizon. Martin Heidegger, from the respective of Ontology, believed that “Horizon” is something real which has been known by human and exists previously. This becomes precondition of our understanding. Inspired by Martin Heidegger and Edmund Husserl, Hans-Georg Gadamer affirmed the importance of “Horizon”. In his Hermeneutic, “Horizon” refers to the process of understanding from a specific standpoint. And “Fusion of Horizons” means that the process of understanding in nature is open without fixed pattern and answer. “Fusion of Horizon is not onlly diachronic, but also synchronic. History and present, object and subject, self and other, all form an infinite unified entirety. (Wei Fangyuan 2013: 134-136 ) &lt;br /&gt;
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Gadamer thinks that, both the translator and the object which is explained by the translator have their own horizons. The object-- history, classics, personal life, philosophy or work of art—has its own historical horizons. When we understand historical classical works, philosophy or certain culture with the horizons given by the history, the conflict of two different horizons and historical background will inevitably happen. Translation neither demands the translator to totally give up his own horizon in order to get into the text’s horizons, nor allows the interpreter simply includes the text into his own horizons. Translator, starting from his original horizons, ceaselessly test his own “prejudice” and open his own horizons, in the contact with the object which is interpreted by the interpreter, then two different horizons forming a new horizon. This process is called “fusion of horizons”. The reason why it is possible to interpret historical text is the fusion of horizons of the readers and writers of the original text.&lt;br /&gt;
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====Fusion of Horizons in translation study====&lt;br /&gt;
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In the view of Hans-Georg Gadamer, any understandings is carried out in the stream of history for any interpreter and reader lives in the history in his or her own way. Historicity is the basic fact of human existence. People’s historical particularity and limitations cannot be eliminated and avoided. Both subject and object exist in historicity. History determines that people cannot get rid of historicity. Such question faced by Hermeneutics is not what we carry out but what caused on us by something beyond our willing and behavior. In the research of translation Gadamer’s “Fusion of Horizons” can be borrowed and reformed into views or perspective available to the translation study. (Li Ge 2020:50-63)&lt;br /&gt;
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To achieve such a horizon, means that we learn to see something beyond its restricted horizon. However, the reason why we do this is for watching the things in a more correct angle and in a bigger unity, rather than for avoid seeing it.(Gadamer, H. G. 2004: 304) We need to study translation from a higher point and in a more overall angle. Only in this way can we “full see” the parts of the integrity, which is the enlightenment brought by “fusion of horizons”. The precondition of translation is that the translator and the original text have the common horizons. If the translator does not know medicine, he cannot interpret some books about medicine, and vice versa. The translator need to understand the original text’s meanings at first, which means that he will get into the horizon of the original text, and overcome the difference to form a new horizon. This is the first fusion of horizons. The second one is that the translator gets into the horizons of the target readers. Then the third fusion of horizons, the final interpretation of the translator, is the fusion of the two texts after the first two fusions. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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During the process of translation, the horizons are produced in the history rather than in isolation. In the fusion of horizons, the past and the present, the subject and the object, form a unity. Everything exists in the point of history, and all the interpretation cannot be finished for good. The original text itself is historical. The language, content, thoughts and etc. in it are marked by characteristics of the times. The translator is also historical. He will be influenced by his identity, status and tradition. There does not exist “perfectness” and “standard” in the translation. It will vary with different historical period. So the study of translation also goes on. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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===Overview on the Translations of ''Lun Yu''===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====The history of translations of ''Lun Yu====&lt;br /&gt;
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''Lun Yu'' is as important to Chinese is the Bible is to Westerners. So ''Lun Yu''’s translation is hot in western countries. ''Lun Yu'', whose translation can be traced back as early as the end of 16th century, has been translated by lots of missionary, sinologist, philosopher, litterateur and other scholars. There have been more than 40 translation versions of ''Lun Yu'' so far. Its English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. In 1861 James Legge’s The Confucian Analects became the mark of the English translation of ''Lun Yu''. A Companion for Chinese Translators makes comments on the translation version that James Legge can roughly understand the meaning of the original text and that his enormous notes can show his serious and careful attitude to the translation of our Chinese classics. (Wang Hui 2003: 39-43) &lt;br /&gt;
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In 1898, Ku Hong-ming’s translation of Lun Yu was published in Shanghai. The reason why he retranslated Lun Yu is that he was not content with James Legge’s. Ku Hong-ming use the strategy of foreignization, trying to translate Lun Yu in the same way an educated British express his thoughts. And Ku thought the Chinese proper nouns should be omitted and some European writers’ saying in order to remove the feeling of strangeness of British readers. In 1938, Arthur Waley’s version of Lun Yu was published. Waley wrote long-winded introduction for the translation, which was accompanied by detailed notes for readers and was followed by the footnotes for in-depth discussion on the text. Cui Yonglu thought that Waley’s translation, retaining the original text’s meaning and culture and paying attention to the detail, is beneficial to scholars. In 1998, Roger Ames’ translation of Lun Yu was published. His retranslation, which is based on a philosophical perspective, exerted great influence in the world of translation at home and abroad. In 2005, Xu Yuanchong’s Thus Spoke the Master was published. The book’s title borrowed the name of well-known philosophical translation called Thus Spoke Zarathustra, which shows Chinese translators’ creative spirits. In addition, there are still so many translators, such as Ezra Pound, James Ware, Din Cheuk Lau, Lin Yu tang and so on. (Wang Hui 2003: 39-43) &lt;br /&gt;
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====Different angles of the study on the translations of ''Lun Yu''====&lt;br /&gt;
In the nearly 30 years, the study of ''Lun Yu''’s translation has become hot in the translation studies. Scholars have made lot of studies of ''Lun Yu''’s translation from different angles and theories. From the linguistic point of view, scholars focus on the equivalence of lexicon, syntax, text and style. Professor Liu Chongde wrote “A research into Waley’s English version of The Analects—And some comments on its English versions by Legge and D. C. Lau”. Professor Liu summarized the language features and style of the two translations by Waley and Legge. Besides, he compared James Legge’s version and D. C. Lau’s, and made a conclusion that the former one preferred the written English, complicated sentences and archaic words which were quite similar to the style of the original, while the latter one preferred using spoken English and simple sentences.(Liu Chongde 2001:15-17) &lt;br /&gt;
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From the cultural point of view, Yao Shun in Southwest Jiaotong University did “On English translation of Confucius notions from the perspective of Skopos theory—A case study on Legge’s and Waley’s Translation of ''Lun Yu''”. Yao concluded that translation cannot be measured only by the equivalence with the source text, other elements such as translators’ purposes and expectation of target readers should be taken allowance for and that amongst these factors, the intention of the target text ranks the first.(Yao Shun 2014: 42-43)&lt;br /&gt;
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From the sociological point of view, Zhang Xin in Jiangnan University did “A study on Xu Yuanchong’s English Translation of ''Lun Yu'' from the Sociological Perspective of Bourdieu”.   Zhang draw some tentative conclusions. Firstly, the original text must be valuable and unique with an international reputation to facilitate its dissemination in the world. Secondly, translators should pay full attention to the readability and acceptability of target readers to meet their anticipation. Thirdly, the success of a work is the combination of various social factors.(Zhang Xi 2020:80-89)&lt;br /&gt;
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=== The Translation of ''Lun Yu'' from Fusion of Horizons===&lt;br /&gt;
''Lun Yu'' has always been translated or retranslated into many languages. Before interpretation, interpreters are supposed to try to totally understand ''Lun Yu'' in the first step. However, in the matter of fact, the language of a text is really hard for translators to totally understand. Different cultural background and different translators may produce different translation version.&lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》） [8]”. In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. &lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
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Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》）”.In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. (Yao Sshun 2014:42-43) &lt;br /&gt;
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====Horizon of the translator====&lt;br /&gt;
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Ku Hung-ming (1857-1928) is not only a famous literary figure in modern China, but also a great translator. He became an influential scholar at the turn of the 20th century because of his works that advocated Confucianism. Ku’s traslated works, including Lun Yu and Zhong Yong, played a significant role in spreading traditional Chinese culture to the western world. Ku, well-versed in both Chinese and Western cultures, has a good command of nine languages such as English, French, Germany and so on. He is the first one was proficient in Western science and language in the late Qing Dynasty. Special background of growth and education makes his thoughts combine advantages between Chinese and Western cultures. He tried to translate Lun Yu as a work written by a educated English man in order to promote Chinese traditional culture to spread in Western countries. At the meanwhile, he added his thinking and understanding of Confucianism in order to express the truth and spirit of Confucian classics and Chinese belief system. In order to make Western readers accept to the most extent the Confucian culture, Ku adopted some special methods, such as using extreme translation strategy of Domestication to translate Chinese special expression; borrowing the expression in Western literature to translate some words; applying the strategy of combination of omission and addition.(Niu Xiyu 2021: 89-90)&lt;br /&gt;
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When translating Lun Yu, Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. Western readers are not familiar with Confucian core words whose total equivalence can not be found in the Wesern culture. Ku did not translate the core words according to the literal meaning, but according to his deep understanding of Confucian classics he adopted flexible methods to translate the words in different situation. Besides, in order to make the translation of Lun Yu more readable to Western readers, Ku adopted the stratedy of domestication to interprete Confucian thoughts in Western way of mind. On the one hand, Ku used Western terms to translate those Confucian concept words which is difficult to Western readers. For example, he translates “天” as “God”. On the other hand, he quoted those well-known writers and thinkers who are familiar to Western readers, such as Johann Wolfgang von Goethe, Ralph Waldo Emersonand so on. Ku tries to make the content and form of the translation to accord with the way of thinking and cognitive structure of Western people. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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Xu Yuanchong, professor in Peking University, has been devoting himself in Literature translation study. He accomplished numerous classical translations and proposed many translation theories. He makes contribution to the development of Chinese traditional career.In 1921, Xu Yuanchong was born in Jiangxi Province in China. Since he was a child, Xu Yuanchong had been deeply influenced by his families. His mother was well educated and his uncle worked as a translator. All of these inspired his passion of enjoying literature and going after beauty, as we can see the three-beauty-concept-concept proposed in his later books. His uncle succeeded in translating the play called Wang Baochuan into English, which caused a sensation when it was performed in England. Later on the British dramatist George Bernard Shaw interviewed his uncle, which inspired the great interests of Xu Yuanchong in learning English well. In 1938, he was admitted to the Foreign Languages Department of National Southwest United University with the seventh place. In 1939, he translated the book “别丢掉” written by Lin Huiyin at the first time in order to express his love for a girl. Then he fell in love with translation ever after. Although suffering a lot, he still insisted to be himself. Xu made a great contribution to the development of Chinese translation. Xu introduces the three-beauty-concept to translation theory. The theory of three beauty advocates that a translation should be as beautiful as the original in sense, in sound and in font. These three aspects call also be respectively called Beauty of Sense, Beauty of Sound, and Beauty of Form. Beauty of Sense, emphasizing the deeper meaning, is of the first-rate importance. Beauty of Sound, emphasizing rhyme and rhythm, is of the second-importance. Beauty of Form, emphasizing length, is of the third-rate importance. All of these have great influence on his translation. (Li Mi 2004: 83-84)&lt;br /&gt;
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====Horizon of the target language culture====&lt;br /&gt;
The purpose of translation is to be read by the target readers. However, the target individual is different. They differ from historical background, education, knowledge, and so on. Some foreign readers read Lun Yu just for broaden his vision and know Chinese culture, some study the translation just for doing academic researches. The ages of target readers also influence the translation. Some young readers with less knowledge need translation which can be easily understood. For those aged readers the sophisticated translations are needed. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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===Contrastive Analysis===&lt;br /&gt;
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As Confucian classics recording the words and deeds between Confucius and his disciples, Lun Yu deeply influences generations of Chinese people. Lun Yu combines Chinese rich culture from thousands of years and gathers immortal spirit of Eastern philosophy. Therefore, a number of scholars at home or abroad want to translate Lun Yu. Especially, the various academic conference that has taken place in the recent years attract many scholars to absorb Confucian wisdom and explore Chinese wisdom from the old classics.&lt;br /&gt;
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====Description of key conceptual words====&lt;br /&gt;
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''Lun Yu''’s English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. Since that many other scholars have thrown themselves in the wave of translation of ''Lun Yu''. The scholars at home and abroad attempt to know more about the Chinese society, language, and Chinese culture through ''Lun Yu''. However, in order to really understand and interpret ''Lun Yu'', we must be clear about the meaning of the core conceptual words in ''Lun Yu''. Whether the translation of the core conceptual words is right or not has something to do with whether the readers abroad can understand the real meaning of the classics ''Lun Yu''. The translation of core conceptual words is so critical that has drawn many scholars’ attention. However, in the present situation of translation, one core conceptual word has so many Chinese translation, and some translation is not very accurate, which will cause trouble for foreigner readers to understand the original meaning and its cultural meaning. For those core words concerning Chinese culture, if wrongly translated, will not cause foreigners’ misunderstanding Chinese traditional culture, but also influence the improvement of national cultural soft power. Thus, the discussion of the translation of ''Lun Yu'', especially that of the core words, is very important to the circles of translation and culture. There are lots of core conceptual words in Lun Yu, but This thesis will mainly discuss the five core words: “''ren''”, “''li''”, and “''junzi''”. &lt;br /&gt;
“''Ren''” is the supreme state of moral ideal advocated by Confucius, and the spirit and centre of Confucian theory. Xu Shen in the Eastern Han Dynasty made an explanation of the word “''ren''” in “Shuo-wen chieh-tzu”. He thought “''ren''” is combined by “''ren''”(man) and “er”(number 2), and that “''ren''” does not express the quantitative relation but the interpersonal relationship, more accurately the interpersonal relationship close to friendship. (Xu Shen 2013: 1458) According to The Notes of ''Lun Yu'' by Yang Bojun, “''ren''” appears 109 times in ''Lun Yu'' . (Yang Bojun, 2009)&lt;br /&gt;
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“''Li''” is another important concept in ''Lun Yu'' after “''ren''”. According to The Notes of ''Lun Yu'' by Yang Bojun, “''li''” appears 74 times. Obviously, “''li''” is one of main ideas repeated by Confucius. Its connotation has become one of the objects the scholars of every dynasty attempt to study and understand since the ''Lun Yu'' came out. Both “''ren''” and “''li''” work as the centre of Confucianism. They complement and perfect each other. Just as the saying in Lun Yu, “To Subdue Oneself and Return to the Proprieties is Perfect Virtue”. “Li” refers to external behavior, while “ren” refers to internal morality. “''Li''” is a general term the rules and regulation according to the moral demanding. “''Li''” can restrict personal behavior, improve interpersonal relationship and help building a harmony and orderly society. However, Confucius does not give an accurate explanation of “''li''”, but its meanings can be analyzed from the concrete sentences concerning “''li''”. (Yang Bojun 2009: 23)&lt;br /&gt;
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“''Junzi''”, first found in The Book of Songs, was roughly referred to noble man. Thereafter, “''junzi''” was widely used in many ancient classics such as The Book of Changes, Shangshu and so on. Based on the original meaning “the noble man”, “''junzi''”’s meaning was extended and expanded. In Lun Yu, the word “''junzi''” got extended meaning of morality. The core conceptual word “''junzi''” mainly placed emphasis on moral deeds, then developed into the important cultural icon in Confucianism. According to The Notes of ''Lun Yu'' by Yang Bojun, “''junzi''” appears 107 times in ''Lun Yu'' .(Yang Bojun 2009: 11)&lt;br /&gt;
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====Different translations of key conceptual words====&lt;br /&gt;
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Different translators will have different translation. &lt;br /&gt;
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“Ren” has rich meanings. Its translation will to the certain degree influence the understanding of Lun Yu and Chinese traditional culture. For example:&lt;br /&gt;
子曰：“巧言令色，鲜矣仁！”《学而》&lt;br /&gt;
Ku: Confucius remarked, “With plausible speech and fine manners will seldom be found moral character.” &lt;br /&gt;
Xu: A good man, said the Master, would rarely say what he does not believe, or pretend to appear better than he is.&lt;br /&gt;
From the translation above, it is seen that Ku adopts free translation, and the English sentence is in formal grammer and syntax which accords with Western readers’ language habits. While Xu’s translation is not in the form of direct speech and he changes the order of the target text and use the parenthesis so as to conform to the habits of target language readers. It can be easily seen that Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. And Xu employs free translation to make target readers better understand the meanings. For the translation of “ren”, Ku translated it into “moral character”. He thought “ren” is refers to all the morality, and that “ren” is the highest realm of life. The translation “moral character” is more in line with Western language habits. While Xu interpreted it into “a good person”, of which “good” has broad meanings just like “ren” which is a kind of moral category of extremely broad meanings in ancient China. By comparison, “mental character” is better translation for “ren”. (Yang Bojun 2009: 23) (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Li” is generally thought to have three main meanings. The first one is worshiping the God. The second one refers to a ceremony held to show respect or solemnity. The third one refers to the social and moral norms of the aristocratic hierarchy in slave society of feudal society. For example, &lt;br /&gt;
道之以道，齐之以礼，有耻且格 。（《为政》）&lt;br /&gt;
Ku: If, on the other hand, in government you depend upon the moral sentiment, and maintain order by encouragung education and good manners, the people will have a sense of shame for wrong – doing and, moreover, wil emulate what is good. &lt;br /&gt;
Xu: If they are led by virtue and order is kept by the rites, they would be conscientious and act in agreement with what is right. &lt;br /&gt;
Generally, “li” is rendered as “rites,” “customs,” “propriety,” “ritual,” “moral,” “rules of proper behavior,” and “worship.” However, Ku did not literally translated “li” but to fully understand its original meaning in such concrete situation to translated it into “education and good manners”. While Xu translated it into “rites”. In the Oxford dictionary, “rite” means a ceremony performed by a particular group, often for religious purpose. In Spring and Autumn and Warring States periods of China, the social order was in chaos. Actually, “rite” is a proper word full of Chinese speciality, which is really hard for Western readers to understand. Therefore, Ku’s translation “education and good manners” is better one. It not only convey Confucian thoughts but also make it readable to Western readers. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Junzi” is Confucian ideal character standard. Then what is “junzi”? In Confucian point of view, “junzi” should be erudite, which is an important standard of being “junzi”. First and the most, “junzi” should be a benevolent man. In addition, “junzi” and “xiaoren” form contrast. For example,&lt;br /&gt;
人不知，而不愠，不亦君子乎？（《学而》）&lt;br /&gt;
Ku: But he is truly a wise and good man who fees no discomposure even when he is not noticed of men.&lt;br /&gt;
Xu: Is he not an intelligentleman, who is careless alike of being known or unknown?&lt;br /&gt;
According to Oxford dictionary, the term “exemplary” refers to providing a good example for people to copy. Ku adopted free translation to interprete one word “junzi” into several words “wide and good man”, which is easy for Western peple to understand what “junzi” is. It can be seen that Ku had a thoroungh understanding of Confucian thoughts as well as well-versed in English. While, Xu translated it into “intelligentleman”, which cannot be found in dictionaries. It is a new word created by Xu. “Interlligentleman” is combined by “intelligent” and “gentleman”. In the Oxford dictionary, the term “intelligent” means good at learning, understanding and thinking in a logical way about things. “gentleman” refers to a man who is polite and well educated and who has excellent manners and always behaves well. “Intelligentlemen” seemly attempt to achieve formal equivalence with “junzi”. However, it is unfamiliar to Wetern readers. So Ku’s translation “a wise and goood man”. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
In this paper, we have talked over two translation versions of ''Lun Yu'' written by Ku Hung-ming and Xu Yuanchong, especially the core conceptual words in ''Lun Y''u. In the matter of fact, both of them had good command of Chinese and western cultures. But their interpretation of Lun Yu were quite different from each other. Here we use Gadamer’s “fusion of horizons” to explain why they had different understandings of Lun Yu. Understanding is regarded as the fusion of horizons between translator and the text in the hermeneutics, however, besides, the target readers should also be taken into consideration. Thus, in the paper, the horizons of the original text, two translators and target readers are expounded in detail. Under the contrast between the two translation versions, we could find out that Ku Hung-ming’s translation is better one which can more convey the meaning of original text and can be easier for the readers of the target culture from the perspective of the fusion of horizons. &lt;br /&gt;
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However, this paper could not give an in-depth research on the transaltion of ''Lun Yu'' because of the author’s limited knowledge and not thorough understanding of the theory of “fusion of horizons”. In addition, Confucianism has got more and more important influence on the world in the recent years. However, the study of translation of ''Lun Yu'' has not gone far enough. Though lots of scholars have achieved a lot in the field, there is still much work to do in the future. Written by --[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 03:41, 9 December 2021 (UTC)&lt;br /&gt;
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Gadamer, H. G. Truth and Method[M]. New York: Continuum, 2004: 304.&lt;br /&gt;
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Wang Hui 王辉. (2003) 理雅各与《中国经典》[J]. [James Legge and Chinese Classics] 2003: 39-43.&lt;br /&gt;
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Lieu Chongde 刘重德. (2003)《论语》韦利英译本之研究—兼议里雅各、刘殿爵英译本[J]. [A Study of Lun Yu by Whaley—Discussion on contrastive analysis between James Legge and D.C.Lau)  2001: 15-17.&lt;br /&gt;
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Yao Shun 姚舜. (2014) 目的论视角下的儒家思想核心概念英译研究—以理雅各和韦利《论语》英译对比分析为例[D]. [A Study of Lun Yu Translated by Xu Yuanchong in the perspective of Skopostheory] 2014: 42-43.&lt;br /&gt;
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Yuanchong, Xu. (2013) Thus Spoke the Master[M]. Beijing: Dolphin Books, 2013: 12, 18.&lt;br /&gt;
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=杨柳青 Bian Zhilin's Literary Translation Theories and Practice  ——Take His Translation of Romantic Poems as examples=&lt;br /&gt;
[[Trans_Type_EN_10]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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Bian Zhilin is a famous Chinese translator and poet. He absorbed traditional translation theories dialectically and created translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; from the perspective of literary translation. Specifically, &amp;quot;Replacing foot with dun&amp;quot; is his poetry translation strategy. This paper will analyze Bian Zhilin translations of some romantic poems and shows some critical thinking about his literary translation theories.&lt;br /&gt;
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===Key words===&lt;br /&gt;
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&amp;quot;Faithfulness, Similarity and Translation&amp;quot;; &amp;quot;Replacing Foot with Dun&amp;quot;; Romantic Poetry&lt;br /&gt;
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===题目===&lt;br /&gt;
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卞之琳文学翻译理论和实践 ——以其浪漫主义诗歌译作为例&lt;br /&gt;
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===摘要===&lt;br /&gt;
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卞之林是著名的中国翻译家、诗人。他辩证地吸收传统翻译理论，从文学翻译的角度创立了“信、似、译”的翻译理论。 具体而言，“以顿代步”是他的诗歌翻译策略。本文将对卞之琳的浪漫主义诗歌译作进行分析，并对其文学翻译理论提出一些批判性性思考。&lt;br /&gt;
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===关键词===&lt;br /&gt;
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“信、似、译”；“以顿代步”；浪漫主义诗歌&lt;br /&gt;
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===Chapter 1 Introduction of Bian Zhilin and Romanticism===&lt;br /&gt;
====Introduction of Bian Zhilin====&lt;br /&gt;
Bian Zhilin is a representative of Chinese modernist poetry, a famous literary critic and literary translator. He translated foreign literature especially poetry and Shakespeare's plays. He has devoted his whole life to the literature and cultural exchanges between China and foreign countries. He is known as &amp;quot;the master of Poetry and the leading scholar in translation in China&amp;quot;. He dialectically absorbed previous translation theories and formed his unique translation thoughts. His famous works include ''Leaves of Three Autumns'' which is his first volume of Poetry and contains verses filled with the melancholy and despair, ''Fish Eyes Collection'', ''The Han Garden Collection'' and ''Poems of a Decade'' and so on.&lt;br /&gt;
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====Introduction of Romanticism====&lt;br /&gt;
Romanticism is a reaction against the Enlightenment and rationalism in 18th century, and a rejection of the precepts of order, calm, harmony, balance, idealization, and rationality that typified in classicism and neoclassicism. English Romanticism is generally defined to begin in 1798 with the publication of William Wordsworth and Samuel Taylor Coleridge's Lyrical Ballads and end in 1832 with Walter Scott's death. Romanticists place the individual at the center of art and make literature most valuable as an expression of his or her unique feelings and particular attitudes and make its accuracy a portraying the individual's experience. &lt;br /&gt;
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Romanticism is a period of poetry. During this period, many poets created plenty of wonderful poems which vividly show the beauty of nature and humanistic thoughts. English romantic poets contain the elder generation and the younger generation. The elder generation, also called &amp;quot;lake poets&amp;quot; includes William Wordsworth, Samuel Taylor Coleridge and Robert Southey and so on. The younger generation includes George Gordon Byron, Percy Bysshe Shelley and John Keats and so on. Besides, William Blake also deserves attention. He is a pre-romanticist and a forerunner of the romantic poetry of the 19th century. In this paper, I will analyze poems of William Blake, William Wordsworth and Percy Bysshe Shelly to show Bian Zhilin's translation theories.&lt;br /&gt;
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===Chapter 2 Bian Zhilin's Literary Translation Theories===&lt;br /&gt;
====&amp;quot;Faithfulness, Similarity and Translation&amp;quot;====&lt;br /&gt;
Bian Zhilin is a famous poet, translator and literary researcher in China. For decades, he not only made remarkable achievements in the field of poetry and Chinese and foreign literature studies, but also left a valuable fortune in literary translation, especially in poetry translation. Bian Zhilin has formed clear and instructive translation thoughts and theoretical views through her long-term translation practice. These translation thoughts and theoretical views influenced his translation behavior and effect, formed his exquisite translation art, and also had a great influence in the field of translation. He broke through the traditional translation theories and put forward the translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot; which is based on dialectically absorbing and reasonably sublating the traditional translation theories.&lt;br /&gt;
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=====Faithfulness=====&lt;br /&gt;
It is well-known that &amp;quot;faithfulness, expressiveness and elegance&amp;quot; created by a modern Chinese translator Yan Fu has become the most widely spread and popular translation standards in history of modern Chinese translation. And it has always been in the mainstream in the field of translation in China. There has been a long debate in Chinese translation field around &amp;quot;faithfulness, expressive and elegance&amp;quot;. However, &amp;quot;faithfulness&amp;quot; put forward by Bian Zhilin has achieved the transcendence and unification of this debate. &lt;br /&gt;
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======Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
According to Yan Fu, &amp;quot;faithfulness&amp;quot; means a translation should be faithful to the content of the original which is the first requirement of translation. &amp;quot;Expressiveness&amp;quot; means a translation should be fluent and articulate. &amp;quot;Elegance&amp;quot; means a translation should use elegant words so as to make the translation literary (Luo Xinzhang 136). Yan Fu believed that only elegant words can express the essence of original text. And he advocated translator used classical Chinese before Han Dynasty, namely, pre-Qin period. In fact, Yan Fu translated a lot of works in accordance with this criterion. &lt;br /&gt;
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======Debates around Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
Many speakers thought highly of Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, and this criterion once became the only standard for evaluating the quality of translation. Many literary translators like Liang Qichao, Lu Xun praised this criterion.&lt;br /&gt;
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Though &amp;quot;Faithfulness, expressiveness and elegance&amp;quot; has been widely accepted, there were still many doubts about this criterion. Most translators acknowledged Yan Fu's &amp;quot;faithfulness,expressiveness and elegance&amp;quot;, but they doubted &amp;quot;elegance&amp;quot;. For example, Chen Xiying, a famous Chinese female translator, opposed &amp;quot;elegance&amp;quot; because she thought &amp;quot;faithfulness and expressiveness&amp;quot; is quite enough for non-literary works and &amp;quot;elegance&amp;quot; is not necessary. Even for literary works, &amp;quot;elegance&amp;quot; is not necessary since some characters in literary works are from countryside and their speeches apparently couldn't be elegant (Luo Xinzhang 401-402). &lt;br /&gt;
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However, though these opinions are different they have one thing in common: all these opinions divide &amp;quot;faithfulness, expressiveness and elegance&amp;quot; up and judge them separately. &lt;br /&gt;
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======Bian Zhilin's &amp;quot;faithfulness&amp;quot;======&lt;br /&gt;
Unlike most translators, Bian Zhilin has his own unique view. Bian Zhilin believes there is only one advisable standard in &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, that is &amp;quot;faithfulness&amp;quot;. According to Bian Zhilin, &amp;quot;faithfulness&amp;quot; means being loyal to the original text comprehensively, not only to the content of the original text, but also to the form (Bian Zhilin 503). It seems that there is no apparent difference between Yan Fu's faithfulness and Bian Zhilin's faithfulness. But that's not the case. &lt;br /&gt;
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Firstly, Bian Zhilin doesn't totally deny the value of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. His faithfulness is mainly for literary translation which aims to highlight the artistic features of literary translation. Bian Zhilin believes that literary translation is an artistic and creative activity which not only includes language conversion but also involves the knowledge of literature, aesthetics, literature and art. He thinks &amp;quot;faithfulness, expressiveness and elegance&amp;quot; lays too much emphasis on the content and form of language which is not suitable for literary translation. &lt;br /&gt;
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Secondly, Bian Zhilin opposed the artificial separation of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. He thinks this separation is a kind of false perception which may cause the emphasis of one aspect and the neglect of the others. He thinks that artistic translation standard, strictly speaking, is only &amp;quot;faithfulness&amp;quot; which means the full fidelity to content and form. Actually, Bian Zhilin doesn't deny the existence value of expressiveness and elegance; instead, he seems &amp;quot;faithfulness, expressiveness and elegance&amp;quot; as a whole and &amp;quot;faithfulness&amp;quot; includes &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot;. Therefore, his faithfulness is comprehensive: both &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot; are internalized in &amp;quot;faithfulness&amp;quot;.&lt;br /&gt;
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Thirdly, Bian Zhilin believes &amp;quot;faithfulness&amp;quot; in literary translation means translation should be loyal to original text both in content and form. In others words, it's not desirable that translation be better or worse than the original. Besides, he holds that &amp;quot;faithfulness&amp;quot; in translation is not absolute but relative and it needs artistic creation of translators(Li Changshuan 57). What's more, literary translators should have the confidence in translating the &amp;quot;spirit&amp;quot; of the original so as to make translation vivid and expressive.&lt;br /&gt;
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All in all, Bian Zhilin believes the content and form of literary works are unified and indivisible, so is &amp;quot;faithfulness, expressiveness and elegance&amp;quot;.  At the same time, he admits &amp;quot;faithfulness&amp;quot; is relative rather than absolute considering difference between language and culture. Therefore, Bian Zhilin's faithfulness is inheritance and innovation of traditional translation theory and has important theoretical value.&lt;br /&gt;
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=====Similarity=====&lt;br /&gt;
======Formal Similarity and Spiritual Similarity======&lt;br /&gt;
Formal similarity means translation preserves the linguistic form of the original which includes words, grammar, sentence structure, figures of speech and types or forms of literature and so on. Any two languages have something both common and different. Those common features are the bases of formal similarity of translation. &lt;br /&gt;
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Spiritual similarity, on the contrary to formal similarity, means getting rid of the bondage of language form such as words, grammar when it is necessary. And translators should use authentic translation to convey the artistic features of the original. Spiritual similarity was first put forward by Mao Dun and was further advocated and practiced by Fu Lei. It has become one of the dominant theories in Chinese translation theories.&lt;br /&gt;
&lt;br /&gt;
======Debates around Formal Similarity and Spiritual Similarity======&lt;br /&gt;
In the field of Chinese translation, translators debated a lot around formal translation and spiritual translation. Many translators believe formal translation is more advisable than spirit translation. But others think differently. For instance, Chen Xiying believed there were three kinds of &amp;quot;faithfulness&amp;quot;, namely spiritual similarity, meaning similarity and formal similarity, among which spiritual similarity is superior, meaning similarity is the second and formal similarity is inferior. Chen Xiying held that formal similarity ignores the writing style of the original though it conveys the meaning of the original completely. Meaning translation is better than formal translation because it focuses on not only what the original writer says but also how he says it. But meaning translation is much more like imitation which cannot grasp the &amp;quot;spirit&amp;quot; of the original. Spirit translation, however, is the exact way to convey the &amp;quot;spirit&amp;quot; of the original. Besides, Yan Fu is another representative who pays more attention to spirit similarity than to formal similarity (Luo Xinzhang 694).&lt;br /&gt;
======Bian Zhilin's &amp;quot;Similarity&amp;quot;======&lt;br /&gt;
Bian Zhilin took a stand against the long-standing debate around formal similarity and spiritual similarity. In his opinion, there is only one word between formal similarity and spiritual similarity that is advisable——&amp;quot;Similarity&amp;quot;. Bian Zhilin holds that literary work is a unity of content and form; &amp;quot;form&amp;quot; and &amp;quot;spirit&amp;quot; in literary translation is complementary. On the one hand, &amp;quot;form&amp;quot; is the basis of &amp;quot;spirit&amp;quot; which means without concrete form, the spirit and artistic value of literary works can only be empty talk. On the other hand, &amp;quot;spirit&amp;quot; is the life of &amp;quot;form&amp;quot; which means literary works without &amp;quot;spirit&amp;quot; likes people without soul, which can only be empty body and meaningless form (Bian Zhilin 551).&lt;br /&gt;
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&amp;quot;Similarity&amp;quot; which was put forward by Bian Zhilin, actually contains the similarity both in formal similarity and spiritual similarity. In other words, ideal literary translation should achieve the unity of form and spirit. Bian Zhilin thinks literary translation can only achieve similarity with the original but not sameness (Bian Zhilin 8-9), which not only recognizes the difference between the original and the translation, but also acknowledges translators' creative efforts.&lt;br /&gt;
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=====Translation=====&lt;br /&gt;
======Literal Translation and Free Translation======&lt;br /&gt;
Literal Translation means expression forms and syntactic structure of the translated text should be as consistent as possible with the original when translators convey the meaning of the original text. Free translation, however, means translators should break the linguistic form of the original text and express the meaning of the original by using the customary expressions of the target language.&lt;br /&gt;
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======Debates around Literal Translation and Free Translation======&lt;br /&gt;
The debates between literal translation and free translation in the history of western translation can be date back to Cicero (106BC-43BC). Cicero opposed &amp;quot;word for word translation&amp;quot; (literal translation) which was deemed as &amp;quot;interpreter's translation&amp;quot; and advocated &amp;quot;sense for sense translation&amp;quot; (free translation) which was deemed as &amp;quot;orator's translation&amp;quot;(Tan Zaixi 24). Cicero's distinction about translation paved the way for following translators. For example, John Dryden published his views on literal translation and free translation. Dryden made distinction between metaphrase, phrase and imitation which was an extension of literal translation and free translation. What's more, Newmark thinks literal translation is preferred when the effect is the same (Newmark 39). And Nabokov holds that literal translation is true translation because it can convey the exact contextual meaning of the text as accurately as possible (Nabokov viii).&lt;br /&gt;
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======Bian Zhilin's Translation======&lt;br /&gt;
Bian Zhilin thinks only &amp;quot;translation&amp;quot; is advisable over the long-standing dispute over literal translation and free translation. Translation contains following meanings (Bian Zhilin 8).&lt;br /&gt;
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Firstly, literal translation and free translation are not contradictory but complementary. Too much emphasis on either side will only have a bad effect on literary translation. Bian Zhilin also criticizes translations that put too much emphasis on the source language or the target language.&lt;br /&gt;
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Secondly, translation cannot be creation. Translation should be based on the original text, not personal creation. But Bian Zhilin doesn't deny the creativity in translation and thinks the creativity is the life of translation as long as it is based on the original.&lt;br /&gt;
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====Bian Zhilin's Poetry Translation Strategies====&lt;br /&gt;
Absorbed thoughts from former and contemporary poets, Bian Zhilin created his poetry translation strategies. That is to translate English poetry in a poetical and metrical way and replace foot with dun. These strategies not only consider the western poetry patterns, but also considers the characteristics of Chinese, which has strong feasibility. Bian Zhilin's poetry translation strategies are closely related with his literary translation theory of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
=====Translating Poetry in A Poetical and Metrical Way=====&lt;br /&gt;
Bian Zhilin thinks that poetry is more a unity of content and form than other literary forms. Therefore, poetry translation includes both translation of poetry content and form. Bian Zhilin thinks poetry translation should be loyal to the original poem not only in content but also in form. Poems should be translated into the form of poem rather than prose. If the original poem is free verse, then translated version also should be free verse. If the original poem is metrical poem, then translation also should be a metrical one. (Bian Zhilin, 319) The coincidence between form and content in poetry translation is an embodiment of translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
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Meter is an important feature of poetry, including rhythm, rhythm and arrangement of words and stanzas. There are many differences in meter among poetry of different languages. And different poets and works use different meters. These become major factors of difficulties in poetry translation. &lt;br /&gt;
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Bian Zhilin thinks translators should preserve the metrical features of the original poems. In other words, translators should translate poetry in a metrical way. Therefore, poems should be translated by using equivalent meter. To be more specific, translators should translate foreign poems by using commonalities between Chinese traditional metrical basis and foreign metrical basis. It's not just simple application of foreign poetry patterns nor of Chinese traditional poetry patterns. Instead, it's the crossover of the two poetry patterns.&lt;br /&gt;
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=====Replacing Foot with Dun=====&lt;br /&gt;
The key to the metrical problem of poetry translation is what is the metrical unit of the line, &amp;quot;word&amp;quot; (a syllable) as a unit or &amp;quot;dun&amp;quot; (syllables) as a unit. Bian Zhilin believes metrical poems should be translated in equivalent &amp;quot;duns&amp;quot; which can replace meters and this kind of translation is without the limit of word numbers. This theory is well thought out and based on rhythmic characteristics of Chinese. As Bian Zhilin analyzed that when we speak Chinese, we usually say two or three Chinese characters as a &amp;quot;dun&amp;quot; in most cases, one character at least as a &amp;quot;dun&amp;quot; and four characters at most as a &amp;quot;dun&amp;quot;. This is the internal rules of Chinese. Chinese poems constitute stanzas, stanzas constitute lines and lines constitutes &amp;quot;duns&amp;quot;. Therefore, &amp;quot;dun&amp;quot; is the natural rhythmic units of Chinese poetry and reveals poems' &amp;quot;inherent music-like rhythm and beat&amp;quot;.&lt;br /&gt;
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However, that &amp;quot;dun&amp;quot; is the basic metrical unit of the Chinese poetry doesn't mean the number of duns in each line is exactly the same. Bian Zhilin advocates dun of two characters and dun of three characters should be arranged alternately and adjusted mutually to meet the needs of poetic expression and produce an effect similar to feet in western poetry.&lt;br /&gt;
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===Chapter 3 Analyses of Bian Zhilin's Translation Practice===&lt;br /&gt;
Bian Zhilin put his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and poetry translation strategies of &amp;quot;replacing foot with dun&amp;quot; into practice. Here are three poem excerpts of romantic poets and Bian Zhilin's translation of them.&lt;br /&gt;
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====William Blake's ''The Tiger'' in ''Songs of Experience''====&lt;br /&gt;
William Blake is a representative of English romantic literature. He was hailed by 20th century critics as &amp;quot;the great prophet&amp;quot; who was a pioneer of romanticism. He broke neoclassical traditions in the 18th century and emphasized instinct, passion and imagination. Besides, Blake is a revolutionary poet and expressed strong revolutionary passion and rebellious spirit in his poem. The Tiger is one of his earliest lyrical poems. It eulogizes the shape and strength of the tiger. Here is an excerpt of it:&lt;br /&gt;
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Tiger! Tiger! Burning bright&lt;br /&gt;
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In the forests of the night,&lt;br /&gt;
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What immortal hand or eye&lt;br /&gt;
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Could frame thy fearful symmetry?&lt;br /&gt;
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'''Bian Zhilin's Translation:'''&lt;br /&gt;
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老虎！|老虎！|火一样的辉煌，&lt;br /&gt;
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烧穿了|黑夜的|森林和|草莽，&lt;br /&gt;
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什么样|非凡的|手和|眼睛&lt;br /&gt;
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能塑造|你一身|惊人的|匀称？&lt;br /&gt;
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(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of dun.)&lt;br /&gt;
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The excerpt shows the praise for the tiger. In the poem, Blake uses symbolization and compares the tiger to a fire that destroys everything. Bian Zhilin represents the perfect creation of the creator with the symmetry of the tiger. &lt;br /&gt;
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Bian Zhilin translates the poem on the guidance of his theory of &amp;quot;faithfulness, similarity and translation&amp;quot;. In the first line of the excerpt, the use of &amp;quot;Tiger&amp;quot; with exclamation marks is a kind of call of the tiger——the king of the forest. Bian Zhilin translates them faithfully into &amp;quot;老虎！老虎！&amp;quot;. The third line is a rhetorical sentence that asks without answering, which reminds readers of the Creator——God, thus making the poetry profound. Bian Zhilin follows the rhythmic characteristics of the original poem and translates it artistically.  &lt;br /&gt;
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Bian Zhilin also makes his translation according to his theory of &amp;quot;replacing foot with dun”. The above stanza consists of four lines of trochaic tetrameter. Therefore, there are four feet in each line. And in translated version, there are four lines of four duns. Each duns contains two or three characters, thus make the structure of the translated poem neat and have a strong rhythm.&lt;br /&gt;
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====William Wordsworth's ''The“Lucy”Series''====&lt;br /&gt;
William Wordsworth is also an important poet in English romanticism. He was made poet laureate and he strongly promoted the innovation of English poetry and the development of the Romantic movement. He believes &amp;quot;Poetry is the spontaneous overflow of powerful feelings&amp;quot;. The following excerpt is taken from his &amp;quot;Lucy&amp;quot; series:&lt;br /&gt;
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A slumber did my spirit seal&lt;br /&gt;
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I had no human fears&lt;br /&gt;
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She seemed a thing that could not feel&lt;br /&gt;
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The touch of earthly years &lt;br /&gt;
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No motion has she now, no force&lt;br /&gt;
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She neither hears nor sees&lt;br /&gt;
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Rolled round in earth's diurnal course&lt;br /&gt;
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With rocks, and stones, and trees.&lt;br /&gt;
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'''Bian Zhilin's translation:'''&lt;br /&gt;
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迷糊|封住了|我的|精神；&lt;br /&gt;
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我没有|人世的|忧惶：&lt;br /&gt;
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她似乎|超然|物外，|不可能&lt;br /&gt;
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感觉到|岁月的|影响。&lt;br /&gt;
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现在|她无力了，|也不能|动弹；&lt;br /&gt;
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她不再|耳闻|目睹；&lt;br /&gt;
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卷在|地球的|日程里|滚转，&lt;br /&gt;
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混同了|岩石、|树木。&lt;br /&gt;
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(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
The above poem was written when Wordsworth went and stayed in Germany with his sister Dorothy in 1798 and 1799. It uses simple words and the meaning of the poems is quite clear. And Bian Zhilin's translation of the poem is quite faithful and vivid. &amp;quot;Slumber&amp;quot; in the first line of the original is translated into &amp;quot;迷糊&amp;quot; rather than &amp;quot;沉睡&amp;quot;, which gives readers a sense of &amp;quot;lazy charm&amp;quot;. And &amp;quot;fears&amp;quot; in the second line was translated into &amp;quot;忧惶&amp;quot;；it’s quite vivid and pertinent. Besides, the original poem consists of two stanzas with four lines of iambus. In each stanza, the first and the third line have four feet and the second and the fourth line have three feet. The whole poem follows the rhyme scheme of &amp;quot;a-b-a-b, c-d-c-d&amp;quot;. Bian Zhilin replaces feet in the poem with duns. There are fours duns in the first and the third lines and three duns in the second and fourth lines in translation. And the translated version follows the same rhyme scheme with the original. The whole poem is translated and expressed in quite appropriate way.&lt;br /&gt;
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====Percy Bysshe Shelley's ''Song to the Men of England''====&lt;br /&gt;
Percy Bysshe Shelley, as one of the famous romantic poets, pursued freedom and resisted violence in his short life. He encouraged people to stand and fight for a better life and was branded a &amp;quot;complete revolutionary&amp;quot; by Marx. And Song to the Men of England was written by Shelley after &amp;quot;Peterloo incident&amp;quot; in Manchester in 1819 to reveal the cruel nature of reactionary rulers and call on people to revolt bravely. Here is an excerpt of Song to the Men of England:&lt;br /&gt;
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Men of England, wherefore plough&lt;br /&gt;
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For the lords who lay ye low?&lt;br /&gt;
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Wherefore weave with toil and care&lt;br /&gt;
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The rich robes your tyrants wear?&lt;br /&gt;
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Wherefore feed and clothe and save&lt;br /&gt;
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From the cradle to the grave&lt;br /&gt;
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Those ungrateful drones who would&lt;br /&gt;
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Drain your sweat——nay, drink your blood?&lt;br /&gt;
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'''Bian Zhilin's Translation:'''&lt;br /&gt;
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英国的|人民，|为什么|犁地&lt;br /&gt;
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报答|老爷们|踩你们|成泥？&lt;br /&gt;
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为什么|辛勤|劳苦|去织布，&lt;br /&gt;
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让那些|恶霸|穿华丽|衣服？&lt;br /&gt;
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为什么|你们|从摇篮|到坟冢&lt;br /&gt;
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尽供给|和保养|那许多|雄峰？&lt;br /&gt;
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他们|不感激，|还非常|坚决，&lt;br /&gt;
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要喝干|你们的汗|——再加|血；&lt;br /&gt;
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(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
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This excerpt is about the clash between two classes of society, the poor working class and the rich nobles. The major theme of this poem is exploitation. People plow for the sake of the lords, who are like drone bees that do no work but live off of the works of others. The narrator is urging the workers to make a stand as they are being treated unfairly. &lt;br /&gt;
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Bian Zhilin practices his poetry translation strategies of &amp;quot;translating poetry in metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; in this poem. In the original poem, each of two stanzas consists of four lines of iambic tetrameter, rhyming &amp;quot;a-a-b-b, a-a-b-b&amp;quot;. In the translated version, there are also two stanzas composed of four lines. And in each line, there are four duns which replaces the four feet in the original poem. The rhyme scheme in translated version is the same as that in the original.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translate the poem faithfully and vividly. For example, he translates &amp;quot;lay ye low&amp;quot; into &amp;quot;踩你们成泥&amp;quot; which well preserves the images of the original work. And &amp;quot;tyrants&amp;quot; in the fourth line of the first stanza is translated into &amp;quot;恶霸&amp;quot; which is concise and accurate. In the second stanza, &amp;quot;From the cradle to the grave&amp;quot; modifies &amp;quot;the men of England&amp;quot; rather than those &amp;quot;ungrateful drones&amp;quot;, Bian Zhilin understands the linguistic structure of the poem and translates it into &amp;quot;你们从摇篮到坟冢&amp;quot;. &amp;quot;坟冢&amp;quot; is more formal than &amp;quot;坟墓&amp;quot; and it's suitable for poetry, from which we can see the precision of Bian Zhilin's choose of words. In the last line, Bian Zhilin uses a dash and the words &amp;quot;再加&amp;quot; to highlight the brutal nature of the rulers. Actually, this translation is a good practice of his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===Chapter 4 Critical Thinking of Bian Zhilin's Translation Theories===&lt;br /&gt;
There is no doubt that Bian Zhilin's translation theories greatly promoted the development of English poetry translation in China. His &amp;quot;faithfulness, similarity and translation&amp;quot; is the inheritance and innovation of Chinese traditional translation theories. And it indeed provides a new way for poetry translation. Besides, Bian Zhilin thinks poetry should be translated into poetry rather than prose. In other words, translators should translate poetry in a poetical and metrical way. He stresses the importance of the unity between form and content and thinks high quality translation should be a unity of content and artistic style of the original text.&lt;br /&gt;
&lt;br /&gt;
Despite Bian Zhilin's great contribution to literary translation theories, I think there are still some problems existing in Bian Zhilin's translation strategies. In Bian Zhilin's opinion, translators can replace foot with dun thus achieving similar rhythmical effect in Chinese version with the English original. It seems that it is a quite advisable and feasible method. Bur actually, it cannot be practiced widely. In English poetry, each foot consists of two syllables, which is fixed and regular. But things are changed in Chinese. The character numbers in each dun in Chinese are not fixed. There may be one or two or three or four characters in each dun, so different people may have different divisions of duns based on their different understanding of context. Therefore, the division of duns may be disordered and random, which makes &amp;quot;replacing foot with dun&amp;quot; not advisable in many cases.&lt;br /&gt;
&lt;br /&gt;
Another problem in Bian Zhilin's translation theories is the ignorance of metrical patterns of foot. In English poetry, there are different metrical patterns like iambus, trochee, spondee and pyrrhic and so on. But there are no such meters in Chinese. &amp;quot;Replacing foot with dun&amp;quot; only considers the correspondence of foot but ignores the correspondence of metrical patterns of foot, so Bian Zhilin's &amp;quot;translating poetry in metrical way&amp;quot; actually is not adequate. We know Chinese is a kind of tone language which has four tones. We can use four tones to correspond the metrical patterns of foot in English. But it's quite difficult in so far and still needs more exploration.&lt;br /&gt;
&lt;br /&gt;
===Chapter 5 Conclusion===&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. His literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and &amp;quot;translating poems in a poetical and metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; give us a lot of enlightenment in the translation of poems. This paper analyzes Bian Zhilin's translation of romantic poems to show his translation strategies. However, there are still some problems in his theories, for example, the division of duns are disordered and random which are based on the understanding of translators and there is no correspondence in metrical patterns of foot. These are the problems that are needed to be considered and solved.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Blake, William. Songs of Experience[M]. New York: Dover Publications, Inc., 1971.&lt;br /&gt;
&lt;br /&gt;
Durrant, Geoffrey. William Wordsworth [M]. Cambridge: Cambridge University Press, 1979.&lt;br /&gt;
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Nabokov, Vladimir. &amp;quot;Forward&amp;quot;, A.S.Pushkin, Eugene Onegin, Nabokov, V.trans. London: Routledge &amp;amp; Kegan Paul, 1964/1975, p.viii.&lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. Approaches to Translation. Oxford: Pergamon, 1981, p39.&lt;br /&gt;
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Bian Zhilin卞之琳(2002).《卞之琳文集》（中卷）. 安徽教育出版社, p503.&lt;br /&gt;
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Bian Zhilin卞之琳(2000).《卞之琳文集》（上卷）. 安徽教育出版社, p8.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(1994).《从&amp;lt;西窗集&amp;gt;到&amp;lt;西窗小书&amp;gt;》.[英] 克里斯托弗·衣修伍德《紫罗兰姑娘》, 卞之琳译. 中国工人出版社, p8-9.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2007).《人与诗：忆旧说新》（增订本）. 安徽教育出版社, p319.&lt;br /&gt;
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Bian Zhilin卞之琳(2005). 《英国诗选》. 商务印书馆, p156.&lt;br /&gt;
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Chen Xiying陈西滢(1984).《论翻译》. 罗新璋编《翻译论集》. 商务印书馆, p401-402.&lt;br /&gt;
&lt;br /&gt;
Fu Lei傅雷(1984).《论文学翻译书》. 罗新璋编《翻译论集》. 商务印书馆, p694.&lt;br /&gt;
&lt;br /&gt;
Li Changshuan李长栓(2004). 《非文学翻译理论与实践》. 中国对外翻译出版公司, p57.&lt;br /&gt;
&lt;br /&gt;
Shen Suru沈苏儒(1998).《论信达雅：严复翻译理论研究》. 商务印书馆, p8.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜(1991).《西方翻译简史》.商务印书馆, p24.&lt;br /&gt;
&lt;br /&gt;
Yan Fu严复(1984).《&amp;lt;天演论&amp;gt;译例言》.罗新璋编《翻译论集》. 商务印书馆, p136.&lt;br /&gt;
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=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday, 2012) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær, 2015; von Flotow, 2010). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh (2015) argues that translation is one of the traditional communicating methods between communities all around the world. Jothiraj (2004) states that “translation plays an important role in the inter-lingual process of communication” (p. 1). Translation is essential for cultures and languages to exchange information. Newmark (1988) defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects. Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
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Nida (1964) indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style. Larson (1998) has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context. &lt;br /&gt;
&lt;br /&gt;
Culture plays a considerable role, Snell-Hornby (1988, p. 33) assumed that “Culture refers to all socially conditioned aspects of human life”. Another definition of culture is formulated by Goodenough (1957, p. 167). For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term. By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
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The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline (2003, p.16) thought that “religion is an important institutional network that binds people to one another.” But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
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This study is aimed to probe Newmark's (1988) translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion (1988, p. 81), seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL. &lt;br /&gt;
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===Translation and Culture===&lt;br /&gt;
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2. Translation and Culture &lt;br /&gt;
&lt;br /&gt;
Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.  &lt;br /&gt;
The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988, 7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988, 5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988, 7).  &lt;br /&gt;
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In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford (1965) defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language” (Catford 1965, 20). According to Venuti’s translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader” (Venuti 1995, 18). Schjoldager stated that “a translation is a text that expresses what another text has expressed in another language” (Schjoldager 2008, 19). Culture is a complex whole which includes knowledge, belief, art, law, morals, customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan (2014), claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014, 2). Hermanns (1999) contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures. Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014, 2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark (2001), illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001, 328). &lt;br /&gt;
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Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
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2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
&lt;br /&gt;
Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora, fauna, food, clothes, housing, work, leisure, politics, law, and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988, 327) Christine Nord names them “culturemes” (Nord 1997, 9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012, 1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Aixela, 1997; Davies, 2003), others choose cultural words (Newmark, 2003) or culture-bound phenomena/concepts (Baker, 1992, Newmark, 2003, Robinson, 2003). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker, 1992, 21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988, 94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988, 95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988, 95).&lt;br /&gt;
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2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
&lt;br /&gt;
The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85, P. 22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003, 16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.&lt;br /&gt;
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===Types of Translation ===&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
Newmark (1988) determines 8 types of translation which are: &lt;br /&gt;
 &lt;br /&gt;
3.1 Word-for-Word Translation &lt;br /&gt;
&lt;br /&gt;
This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
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3.2 Literal translation &lt;br /&gt;
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In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
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3.4 Semantic Translation &lt;br /&gt;
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Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
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3.5 Adaptation &lt;br /&gt;
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This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015, 15). &lt;br /&gt;
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3.6 Free Translation &lt;br /&gt;
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The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
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3.7 Idiomatic Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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3.8 Communicative Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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===Translation Strategies  ===&lt;br /&gt;
&lt;br /&gt;
4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
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4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela (1996), translators need to choose several strategies based on the source language culture and target culture.  He distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, he tries to command by the level of their intercultural intervention. He divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies). &lt;br /&gt;
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4.1.1. Conservation: &lt;br /&gt;
In conservation, the less compelling process includes repetition, orthographic adaptation, linguistic translation, extratextual gloss and intratextual gloss. &lt;br /&gt;
&lt;br /&gt;
4.1.1.1 Repetition: In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus, the translator keeps as much as possible the original reference (Aixela, 1996, p. 61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
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4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
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4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
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4.1.1.4 Extra-textual Gloss: Here, the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes, endings, words, ideas, translators in dictionaries, italics and so on. &lt;br /&gt;
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4.1.1.5 Intra-textual Gloss: It's like the past but the translator feels that he/she can include the globe as an indirect part of the text, not to distract the reader. &lt;br /&gt;
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4.2.1 Substitution &lt;br /&gt;
In substitution, According (Aixela, 1996) “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here”. &lt;br /&gt;
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4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
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4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
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4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela, 1997, p.63). &lt;br /&gt;
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4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Shokri, Ketabi, 2015, p.8). &lt;br /&gt;
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4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela, 1996, p. 64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
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4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela, 1997). &lt;br /&gt;
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4.3 Mona Baker’s Translation Strategies &lt;br /&gt;
Baker’s strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation. (Baker, 1992). He suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies, which are the following: &lt;br /&gt;
&lt;br /&gt;
4.3.1 Translation by a more general word: According to Baker, this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
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4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
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4.3.3 Translation by cultural substitution: This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
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4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
&lt;br /&gt;
4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
&lt;br /&gt;
4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
&lt;br /&gt;
4.3.7 Translation by omission: Losing phrases or words that are not vital to text development. &lt;br /&gt;
&lt;br /&gt;
4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view, however, Baker's (1992) translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
&lt;br /&gt;
===Cultural Categories  ===&lt;br /&gt;
5. Cultural categories &lt;br /&gt;
 &lt;br /&gt;
5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
5.1.2 Material culture &lt;br /&gt;
Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.” &lt;br /&gt;
5.1.3 Social culture &lt;br /&gt;
The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
5.1.4 Organisation &lt;br /&gt;
Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
 &lt;br /&gt;
5.2 Newmark Classification CSIs &lt;br /&gt;
Newmark (1988) established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items.&lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
 &lt;br /&gt;
Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
&lt;br /&gt;
2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
&lt;br /&gt;
3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
&lt;br /&gt;
4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
&lt;br /&gt;
5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
&lt;br /&gt;
6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
&lt;br /&gt;
7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
&lt;br /&gt;
8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
&lt;br /&gt;
9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
&lt;br /&gt;
10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
&lt;br /&gt;
11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
&lt;br /&gt;
12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
&lt;br /&gt;
13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
&lt;br /&gt;
14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
&lt;br /&gt;
16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
&lt;br /&gt;
17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
&lt;br /&gt;
18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
&lt;br /&gt;
19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
&lt;br /&gt;
20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
&lt;br /&gt;
21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
&lt;br /&gt;
22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
&lt;br /&gt;
23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
&lt;br /&gt;
24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996, 31), “translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by (Newmark 1988, 81), “translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.” &lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation, then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions. &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity, as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts, the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term, and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part, but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark (1988) has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9. &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark’s strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                           	 قرُۡءٰنًا	Quran &lt;br /&gt;
 	                         ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference               	 يعَۡقوُۡب	Yaqub &lt;br /&gt;
 	                            اِسۡحٰق	Ishaq &lt;br /&gt;
 	                         يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark (1988) were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However, the translator must be competent in using the translation procedures to provide an accurate translation. &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abdi, H. (2019). Translating culture-specific items (CSIs) as a conundrum for Iranian MA translation students: Considering the level of study. Journal of new advances in English Language Teaching and Applied Linguistics, 1(1), 88-109. &lt;br /&gt;
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Aguado-Gimenez, P., &amp;amp; Pérez-Paredes, P. F. (2005). Translation-strategies use: A classroombased examination of Baker’s taxonomy. Meta: journal des traducteurs/Meta: &lt;br /&gt;
Translators' Journal, 50(1), 294-311. &lt;br /&gt;
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Ahmadi, M. R.S and Nosrati, Fatemah. (2012). Domestication and Foreignization Strategies in Translation of Culture-Specific Items. Translations of English-Persian Children’s Literature. San Francisco: Grin Publishing. Google Books. &lt;br /&gt;
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Al Saleh, R. A. (2019). An Application of Newmark's Procedures to Muhammad Abul Quasem's Alleman, J. C. Bee. W. Ulitkin, I. Files, F., Zetzsche, J., Chatonnet-Marton, P. &amp;amp; y del Árbol, E. V. Translation Strategies. &lt;br /&gt;
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Al-Sofi, B. B. M. A., &amp;amp; Abouabdulqader, H. (2020). Bridging the gap between translation and culture: towards a cultural dimension of translation. International journal of linguistics, literature and culture, 6(1), 1-13. &lt;br /&gt;
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Baker, M., 1992. In Other Words: A Coursebook on Translation. London: Routledge, p.20–42. &lt;br /&gt;
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Blažytė, D., &amp;amp; Liubinienė, V. (2016). Culture-specific items (CSI) and their translation strategies in Martin Lindstrom’s&amp;quot; Brand sense&amp;quot;. Kalbų studijos, (29), 42-57. &lt;br /&gt;
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Bush, P. (1998) &amp;quot;Literary Translation.&amp;quot; In: M. Baker, ed. Routledge Encyclopedia of Translation Studies, London: Routledge, pp.127-130. &lt;br /&gt;
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Catford. J. C. (1965). A linguistic theory of translation. Oxford: Oxford University Press. &lt;br /&gt;
English Translation of Mohammad Al-Ghazali's Islamic Guidance.Literature and Culture, 6(1), 1-13. &lt;br /&gt;
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Gečaitė, L. (2020). Culture-Specific Items and Their Translation Strategies in Victoria Hislop's Novel The Sunrise.” (2020). &lt;br /&gt;
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Hassan, B. E. A. (2014). Between English and Arabic: A practical course in translation. &lt;br /&gt;
Cambridge Scholars Publishing. &lt;br /&gt;
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Hermans, T. (1999). Translation in systems. Manchester: St. Jerome Publication  House, J. (Ed.). (2014). Translation: a multidisciplinary approach. Springer. &lt;br /&gt;
Issa, A. L. S. M., &amp;amp; Hammood, L. H. R.- Quranic-Specific Phrases under the Study of Translation; Significance and Applications. &lt;br /&gt;
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Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. (33), p. 83-87). &lt;br /&gt;
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Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. 33, p. 83-87). &lt;br /&gt;
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Lambert, J. (1998) Literary Translation. In: M. Baker, ed. Routledge Encyclopedia of Translation Studies. London: Routledge, 130-134. &lt;br /&gt;
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Landers, Clifford E. (2001) Literary Translation: A practical guide. New Jersey University Press: Multilingual Maters. &lt;br /&gt;
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Lustig, Myron, W. and Koeser, Joline  (2003), Intercultural Competence: Interpersonal Communication Across Cultures, Boston: Allyn and Bacon. &lt;br /&gt;
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Malmkjær, K. (1993). Who Can Make Nice A Better Word Than Pretty? Collocation, Translation, and Psycholoinguistics. In: Baker, M., Francis, G. and Tognini-Bonelli, E. &lt;br /&gt;
eds. Text and Technology. Philadelphia/Amsterdam: John Benjamins Publishing Company. pp.213-32. &lt;br /&gt;
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Mosavat, S., &amp;amp; Rahimpour, S. (2016). The Most and Least Used Translation Strategies for &lt;br /&gt;
Conveying Culture-Specific-Items in Young Adult Literature from English into Persian. International Journal of Humanities and Cultural Studies (IJHCS) ISSN 23565926, 1853-1873. &lt;br /&gt;
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Munday, J. (1997). Systems in Translation: A computer-assisted systemic approach to the analysis of translation of García Márquez. Ph.D thesis, University of Bradford. &lt;br /&gt;
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Education Press &lt;br /&gt;
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Newmark, Peter. (1988). A Textbook of Translation. New Jersey: Prentice-Halls &lt;br /&gt;
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Nord, Christiane. (1997). Translating as a Purposeful Activity: Functionalist Approaches &lt;br /&gt;
Explained. Manchester: St. Jerome. Accessed 10 November. 2018. Google Books Schjoldager, A. (2008). Understanding translation. Academica: Århus. &lt;br /&gt;
&lt;br /&gt;
Silalahi, M., &amp;amp; Lubis, S. (2013). Translation Procedures of Cultural Terms Found In Sejarah Bilingual For Students of Senior High School. &lt;br /&gt;
Valipoor, K., &amp;amp; andAzizeh Chalak, H. H. T. (2019). Cultural-specific items in translation of the Holy Quran by Irving: 43-51. &lt;br /&gt;
&lt;br /&gt;
Venuti, L. (1995). The translator’s invisibility: A history of translation. London and New York: &lt;br /&gt;
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Widiarto, O. V. V. (2016). The translation procedures of cultural expressions applied in a game of thrones translated into Perebutan Tahta novel by Barokah Ruziati (Doctoral dissertation, Dian Nuswantoro University).&lt;br /&gt;
&lt;br /&gt;
=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
===An Overview on Translation Studies  ===&lt;br /&gt;
&lt;br /&gt;
===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
&lt;br /&gt;
=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the researcher wants to highlight the different concepts about the fundamental question &amp;quot;what is idiomatic expression&amp;quot; of different critics, theorists and linguistic experts, and prominent scholars of translation studies. Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
&lt;br /&gt;
Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda Corelli 2006, 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984, 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992, 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to (Newmark 1981, 11), “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”&lt;br /&gt;
.	The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to (Corelli 2006, 53), English has a sizeable idiomatic base.&lt;br /&gt;
About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.&lt;br /&gt;
The main issue that idiomatic and fixed expressions pose for translators, according to (Baker 1992, 65), is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.&lt;br /&gt;
&lt;br /&gt;
Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.&lt;br /&gt;
&lt;br /&gt;
===Literature Review ===&lt;br /&gt;
In this chapter, the author/researcher defines the strategy and its different definitions from the perspective of different subjects and fields. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented. Krings defines it as the content of the project, while Seguinet divided the term into three steps. However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. &lt;br /&gt;
&lt;br /&gt;
The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward.&lt;br /&gt;
Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint.&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to (Seguinot 1989, 27) (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.&lt;br /&gt;
&lt;br /&gt;
Furthermore, (Loescher 1991, 8) defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot; As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998, 4) claim moreover, (Bell 1998, 188) distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.&lt;br /&gt;
&lt;br /&gt;
According to (Venuti 1998, 240), &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot; He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to (Jaaskelainen 2005, 15), product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.&lt;br /&gt;
&lt;br /&gt;
Furthermore, (Jaaskelainen 2005, 16) distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making. (Newmark 1988, 221) distinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016, 13).&lt;br /&gt;
&lt;br /&gt;
The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010, 15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017, 54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
&lt;br /&gt;
Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985, 9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female.&lt;br /&gt;
Several research articles are found on translated work (license and khol do) of Urdu famous short stories writer Sadat Hassan Manto's from a different perspective like psychoanalysis, postcolonial, feminist approaches but to explore the problem of translations strategies face by translator Aatish Taseer during the process of translation has not been mention till date. To summarize this, the research includes a critical, in-depth, comprehensive analysis of issues that previously did not address.&lt;br /&gt;
&lt;br /&gt;
=== Theoritical Framework ===&lt;br /&gt;
&lt;br /&gt;
Different strategies have been used, like using an idiom of similar meaning and similar form, the idiom of similar meaning and different form, translation by Paraphrasing, translation by omission. The approach of employing idioms of similar meaning and form, according to Mona Baker, entails using an idiom in the target language that can express about the same meaning as the source language idiom, as well as having lexical similarity. On the other hand, this type of matching happens periodically as well as regularly.&lt;br /&gt;
&lt;br /&gt;
Similarly, employing idioms with similar meanings but different forms means that it is possible to locate an idiom or fixed expression in the target text language that has a similar meaning to the source idiom or expression but is made up of distinct lexical elements. Consider the case of English and French, both of which use the idiom mentioned above. In English, one good deed is rewarded with another, whereas in French, handsome deeds are rewarded with handsome deeds.&lt;br /&gt;
&lt;br /&gt;
Furthermore, we did not come across any idioms in the category mentioned above during translating idioms. To deal with this issue, the translators used the most popular approach, known as a translation by paraphrase, which is short, straightforward, and time-saving. When a match cannot be identified in the target language or when it appears improper to employ idiomatic language in target material due to aesthetic differences between the source and target languages, this is the most typical approach for translating an idiom from source to target language. However, one thing to keep in mind is that a perfect translation is not required is necessary or possible.&lt;br /&gt;
&lt;br /&gt;
Last but not least, to overcome the problem of idiom translation, the translator employs the strategy of translation by omission. This can be defined as an idiom being omitted entirely in the target text with a single word. This is done because the idiom has no close match in the target language; its meaning cannot be easily paraphrased or due to stylistic reasons. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
3.4 Data analysis Techniques:&lt;br /&gt;
Textual analysis is the method of data analysis in qualitative research that brings forth the hidden and potent message, structure, and function of research in giving text, Alan Mckee (defines textual analysis as whenever we perform textual analysis on the text, we make an educated guess at some time of the most likely interpretations that might be made of that text (Alan Mckee 2001, 3)&lt;br /&gt;
Analysis of the translation of short stories in light of Mona baker's theory &amp;quot;khol do and license&amp;quot; are short stories written by Sadat Hassan Manto and translated by many translators from Urdu into English. During translation, the translator adopted many strategies for translating idiomatic expression, sometimes by Paraphrasing, sometimes by omission, sometimes using similar idioms of form and meaning while sometimes using different words and the same form, the whole.&lt;br /&gt;
&lt;br /&gt;
===Discussion and Analysis===&lt;br /&gt;
&lt;br /&gt;
The chapter analyzes and discusses all the data collected by the author/researcher from different sources. All the examples of idioms are first identified, then translated into the target text, and back-translated for the sole purpose of exploring the strategies being used by the translator. A separate section is given to every strategy with its related example. Moreover, the idiomatic expression, the target work for finding, is highlighted through the bold letter.&lt;br /&gt;
&lt;br /&gt;
4.1	Translation by Paraphrasing:&lt;br /&gt;
&lt;br /&gt;
Based on our findings, the most often used strategy was &amp;quot;translation by paraphrasing.&amp;quot; An inspection also reveals that Aatish Taseer preferred this strategy. Here are some examples applied by the translators, and in the following section, the logic behind their preference towards this strategy is elaborate. The following are examples from two short stories of Sadat Husain Manto's &amp;quot;khol do&amp;quot; and &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 1: &lt;br /&gt;
&lt;br /&gt;
ST: Sirajuddin ne subah das baji anki kholi to logo ka ail mutalatam samandar deka.&lt;br /&gt;
&lt;br /&gt;
TT: Ten a.m., Siraj Uddin opens his eyes on the cold floor of the camp, seeing the swelling sea of men.&lt;br /&gt;
&lt;br /&gt;
BT: sub ke das baji jab Sirajuddin ne apni anki koli to logo ka aik ublaha howa samandar ka nizara dekni laga.&lt;br /&gt;
&lt;br /&gt;
So, the above idioms are literal idioms being translated with the help of Paraphrasing because there is no perfect equivalent of mutalatam words in English languages. A similar look at another idiom from short stories &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&lt;br /&gt;
ST: Khuda tomahra bala kari.&lt;br /&gt;
&lt;br /&gt;
TT: Your God will reward&lt;br /&gt;
&lt;br /&gt;
BT: Is ka badla khoda tomahi di.&lt;br /&gt;
&lt;br /&gt;
Here, the word reward is being used for Bala Kari, an example of transitional by Paraphrasing.&lt;br /&gt;
Let  take another example from &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
&lt;br /&gt;
ST: unkho nai Jan khateli pa rak kar sakena ko donda.&lt;br /&gt;
&lt;br /&gt;
TT: even putting their lives online, they search sakina &lt;br /&gt;
&lt;br /&gt;
BT: apni zindagio ko khatri me dal kar unkho nai sakina ko dond nekala.&lt;br /&gt;
&lt;br /&gt;
The above idioms are examples of pure idiom translated from Urdu into English with the help of paraphrases strategies. However, under the same strategies, the idioms of another short story of Manto,s &amp;quot;license,&amp;quot; are translated by Aatish Taseer. Some of the examples are given below.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
ST: Abu kochwan bara cheel jabela ta. It is the binomial type of idioms taken from the first sentence of the short story &amp;quot;license&amp;quot; by Sadat &lt;br /&gt;
Hasan Manto &lt;br /&gt;
&lt;br /&gt;
TT: Abu kochwan is stylish man.&lt;br /&gt;
&lt;br /&gt;
BT: Abu kochwan aik wazahdar admi ta.&lt;br /&gt;
&lt;br /&gt;
From the above idiom, it is clear that there is no perfect equivalence of cheela chabela idiom in English; that is, the translator goes &lt;br /&gt;
through paraphrasing strategies. Look at another example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
ST: Lein har waqat bank bani rekhi ka usi be had showk ta&lt;br /&gt;
&lt;br /&gt;
TT: He had a weakness for style and fashion.&lt;br /&gt;
&lt;br /&gt;
BT: Dan saj ke rekhna uski kamzori me sai ik ta.&lt;br /&gt;
&lt;br /&gt;
So all of the above examples, which are analyzed one by one, are examples of idioms being translated through paraphrasing strategies. (De Beaugrande and Dressler 1981, 50) define paraphrases as &amp;quot;approximate conceptual equivalence among outwardly different material.&amp;quot; Similarly, in this regard, Hirst defines paraphrases as &amp;quot;talk(ing) about the same situation in a different way.&amp;quot; Munday declared that &amp;quot;equivalence is particularly useful in translating idioms and proverbs” For instance, if the English idiom like a bear with a sore head is rendered into Persian as (mesle borje zahremar), meaning like a tower of snake venom, the strategy of equivalence has been applied. &lt;br /&gt;
&lt;br /&gt;
According to Leonardi, &amp;quot;Equivalence can be said to be the central issue in translation.&amp;quot; In this regard, house believes that &amp;quot;a translation text should match not only its source text in function but also employ equivalent situational-dimensional means to achieve that function&amp;quot; (Baker 2002, 49).  who shares this approach, states that equivalence is used &amp;quot;for the sake of convenience—because most translators are used to it rather than because it has any theoretical status&amp;quot; (Kenny 1998, 77). &lt;br /&gt;
&lt;br /&gt;
Despite different attitudes to the concept of equivalence, most specialists pay much attention to its meaning in the theory of translation. The translation is a form of communication, and that is why it is vital to establish equivalence between the source text and the target text. Although Vinay and Darbelnet believe that equivalence is used differently than in modern translation theory, it is evident that equivalence is one of the basic concepts of translation that cannot be neglected. Consequently, based on the Above mentioned studies using Paraphrasing in translation stands as the core concept in the process of translation, and still, most of the translators cling to it for producing a more comprehensible and explicable text. These language ideas and translation models are ideal constructs, presented abstractly in order to be differentiated precisely. They may exist in an uneasy combination in actual theories and practices, resulting in logical tensions or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation. Theories and actions must be contextualized in historical settings. They've been utilized as analytical tools to describe various topics in section introductions. Theoretical writings and current events these language notions and translation models are ideal constructs expressed in an abstract manner in order to be distinguished precisely in real-life hypotheses they may exist in an uncomfortable mix, resulting in logical conflicts or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
4.2	Using an idiom of Similar Meaning and Form &lt;br /&gt;
&lt;br /&gt;
As mentioned earlier, this strategy type is being used by Aatish Taseer during their translated work of Manto's short stories &amp;quot;khol do&amp;quot; and&amp;quot; license&amp;quot; on an occasional basis. Some examples are mention below.&lt;br /&gt;
&lt;br /&gt;
From khol do.&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
ST: Larki ka rang zard hogaya.&lt;br /&gt;
&lt;br /&gt;
TT: The girl's face became fail&lt;br /&gt;
&lt;br /&gt;
BT: larki ka rang zar hogya.&lt;br /&gt;
&lt;br /&gt;
Similarly, another example from the license is&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: Abu our us ke mat beer hogaie&lt;br /&gt;
&lt;br /&gt;
TT: They fall in love with each other.&lt;br /&gt;
&lt;br /&gt;
BT: WO ik dosri ke mokhbat me geriftar hogaie&lt;br /&gt;
&lt;br /&gt;
The above idioms are pure ones and are being translated with the help of similar meanings and similar forms.&lt;br /&gt;
&lt;br /&gt;
The procedures: transposition, modulation, equivalence, and adaptation, and when it comes to defining the term Equivalence, (Vinay and Darbelnet 2000, 90) propose that it consists in rendering &amp;quot;the same situation … by two texts using completely different stylistic and structural methods&amp;quot;, and when it comes to translating idiomatic expressions like &amp;quot;Il pleut à seaux&amp;quot; it can be translated as &amp;quot;It is raining cats and dogs&amp;quot; using the idiom of similar form and meaning in the target language.&lt;br /&gt;
&lt;br /&gt;
As (Baker 1992, 12) states, this strategy involves using an idiom in the TL which conveys roughly the same meaning as that of the source language idiom and, in addition, consists of identical lexical items. The salient point is that this kind of match can only occasionally be achieved, which cannot be picked up more often by translators. Accordingly, both translators mentioned in the current study had quite a slim chance of using this strategy type. &lt;br /&gt;
&lt;br /&gt;
4.3 Using an idiom of similar meaning but different form:&lt;br /&gt;
&lt;br /&gt;
During translating Manto short stories, &amp;quot;khol do&amp;quot; and &amp;quot;license,&amp;quot; some of the idioms are translated with the help of this strategy. Some of the examples are given below from two different short stories.&lt;br /&gt;
&lt;br /&gt;
Example number one is from the short story &amp;quot;khol do&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
ST: Aur bolwai gos ayai thee?&lt;br /&gt;
&lt;br /&gt;
TT: The roitors come abroad.&lt;br /&gt;
&lt;br /&gt;
BT: pasadi bahar agai hai.&lt;br /&gt;
&lt;br /&gt;
The above idiom is a pure type of idiom being translated with the help of above mention strategy. The word rioter is being used for bolwai, which is not a perfect word for bolwai. In Urdu bolwai, people believe in violence when minorities or the low population of any country want some rights. These people stop them by using violence, burn down their properties, rapes women, and do things like that. Another example from the license is below.&lt;br /&gt;
&lt;br /&gt;
Example 9:&lt;br /&gt;
&lt;br /&gt;
ST: Dosri kotwal abu ko dek kar jal ban ho jati.&lt;br /&gt;
&lt;br /&gt;
TT: The other coachman burn with envy.&lt;br /&gt;
&lt;br /&gt;
BT: Abu ke kamyabi dek kar aur kotwal abu sai khasad karni lagi’&lt;br /&gt;
&lt;br /&gt;
The above idioms are a pure idiom that reflects the effect of jealousy between competitors to achieve equivalency. Aatish Taseer uses envy word for jal ban instead of other which have similar meaning but different form. Look at the other example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: Dino lat vo lagal se kam karni laga.&lt;br /&gt;
&lt;br /&gt;
TT: Dino came with an excuse.&lt;br /&gt;
&lt;br /&gt;
BT: Dino abb bahi tarashni laga.&lt;br /&gt;
	&lt;br /&gt;
The above idioms are types of binomial idioms translated with the help of idioms with similar meanings and different forms. (Newmark 1988, 81) mentions the difference between translation methods and translation procedures. He writes that &amp;quot;[w]hile translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language&amp;quot; (Newmark 1988, 81). Idiomatic translation in his definition reproduces the 'message' of the original. However, it distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original, leading to using an idiom of similar meaning but a different form. Besides, it is often possible to find an idiom or fixed expression in the target language with a meaning similar to that of the source idiom or expression but which consists of different lexical items (Baker 1992, 12). Therefore, translators discover idiomatic expressions in the target language with different forms than in the source language. In the current study, the translators approached this strategy merely for 9% of the total times, which means the frequency of Iranian and English idioms with the same meaning and different forms is not considered high. &lt;br /&gt;
&lt;br /&gt;
4.4 Translation by omission:&lt;br /&gt;
&lt;br /&gt;
A translator is less using these strategies, and we did not find any clue on this type of strategy in an area under consideration.&lt;br /&gt;
&lt;br /&gt;
=== Findings===&lt;br /&gt;
&lt;br /&gt;
(Mandelbit 1995) believed that idioms with different cognitive mapping in the target language would be more challenging to translate. After conducting study and data analysis of collected data, the result revealed that the translator frequently used three out of four strategies of the Mona Baker model during the translation process, which is a translation by Paraphrasing, translation by similar meaning and similar form, translation by similar meaning and different form. In contrast, translation by omission does not found in his work.&lt;br /&gt;
After detail and careful analysis of data, more than half of idioms like &amp;quot;swelling sea of man,” my lord break his arrogance, “weakness for style and fashion.&amp;quot; As I mentioned earlier, many more are translated under the umbrella of Paraphrasing, which is considered the most common method used for translating idioms.&lt;br /&gt;
&lt;br /&gt;
Similarly, we also reflect strategies like similar meaning and different form and similar meaning and similar form. The idiom &amp;quot;rioter came abroad,” burn with envy,” The girl's face became pale, &amp;quot; They fall in love with each other&amp;quot; are translated with the help of two mention strategies, respectively.&lt;br /&gt;
&lt;br /&gt;
Although translation by omission is a strategy used on rare occasions because of its meaning, its meaning cannot be easily paraphrased or stylistic reason. Here, the researcher also did not find any idiom translated with the help of the omission strategy.&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
Go through detailed discussion and analysis of data collected from my source. We finally concluded that the idioms present in two short stories, &amp;quot;khol do&amp;quot; and &amp;quot;License,&amp;quot; are translated under the frame of Mona Baker's idiomatic model. Translation by Paraphrasing is mainly used while idioms of similar meaning and form and idioms of similar meaning and different forms are used occasionally. The researcher discusses all the strategies with related examples in the order of maximum used to minimum used. The strategy by omission did not find it works. All the data are collected from different sources and analyzed with the help of different researcher tools, and the result is written in light of the finding. Different from previous studies, the writer presents the strategies to translate idioms by each type of idiomatic expression found in the story. From the result, it is considered the translation of idiomatic expressions in the story is quite accurate. As the number of accurate data is more the data which is not related to the translation. We take conclusion from the translation through idiomatic expression and paraphrasing is the best way to translate a novel or a story however it is very difficult job to do because it needs more accurate and precise knowledge about the source language and an inspiring method to express ideas in the target language. However, translation is thing through which we can connect the world with each other and also we can study and observe diverse cultures.            &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abu-Saydeh, A. F. (2004). Translation of English idioms into Arabic. Babel, 114-131.&lt;br /&gt;
&lt;br /&gt;
Ahsan, S. (2020). A comparative study of two translations of manto's short story &amp;quot;Toba Tek&amp;quot;. International Journal of English Language Studies, 12-27.&lt;br /&gt;
&lt;br /&gt;
Alexander, R. J. (1987). Mimeograph. In R. J. Alexander (Ed.) Collocation and Culture. Trier: University of Trier, West Germany.&lt;br /&gt;
&lt;br /&gt;
Al-Qinai, J. (2000). Translation quality assessment. strategies, parameters and procedures. Translator's Journal, 497-519.&lt;br /&gt;
&lt;br /&gt;
Bayashi, J. (2020). Japanese-English translation: An advanced guide. Oxfordshire: Routledge.&lt;br /&gt;
&lt;br /&gt;
Das, V. &amp;amp;. (1995). Critical events: An anthropological perspective on contemporary India. New Delhi: Oxford Printing Press.&lt;br /&gt;
&lt;br /&gt;
Mufti, A. (2007). The Language of English India. In I. &amp;amp;. End (Ed.) Enlightenment in the Colony. Princeton University Press.&lt;br /&gt;
&lt;br /&gt;
Waka Xia, L. (2019). A discourse analysis of news translation in China. Syydney: Routledge.&lt;br /&gt;
&lt;br /&gt;
= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
===Ambiguity===&lt;br /&gt;
&lt;br /&gt;
===Lexical and Structural Mismatches===&lt;br /&gt;
&lt;br /&gt;
===Multiword units: Idioms and Collocations===&lt;br /&gt;
&lt;br /&gt;
===Summary===&lt;br /&gt;
&lt;br /&gt;
===Further Reading===&lt;/div&gt;</summary>
		<author><name>Atta Ur Rahman</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=130897</id>
		<title>Translation types, strategies, styles, methods</title>
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		<updated>2021-12-10T15:37:45Z</updated>

		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* Discussion and Analysis */&lt;/p&gt;
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&lt;div&gt;'''Translation types, strategies, styles, methods'''&lt;br /&gt;
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[[Translation_types,_strategies,_styles,_methods|Overview Page of Translation types, strategies, styles, methods]]&lt;br /&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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==Abstract==&lt;br /&gt;
''Legend of Zhen Huan'', as an excellent Chinese TV series, has successfully entered the American market. However, the American version of Legend of Zhen Huan still has some shortcomings in translation. By comparing and analyzing the subtitle texts of the ''Legend of Zhen Huan'' in China and the United States, this paper aims to discuss the problems existing in the overseas translation of the ''legend of Zhen Huan'' and the translation strategies and methods adopted in the subtitle translation of the American version, so as to provide some enlightenment for Chinese costume dramas to reach the world in the future.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
Translation strategy and translation methods; ''Legend of Zhen Huan''; Subtitle translation&lt;br /&gt;
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==Introduction==&lt;br /&gt;
The TV series ''Legend of Zhen Huan'' is Imperial-harem competing play produced by the Beijing Television Arts Center in 2011. This play is adapted from a novel of the same name written by Liu Lianzi, which mainly tells the story of the young girl Zhen Huan growing up from an unsophisticated young girl to an empress dowager who is good at politics. Since its debut in China in 2012, ''the Legend of Zhen Huan'' has been a hit among Chinese audiences, with its ratings rising and even forming “Zhen Huan craze” for a time. The reason why the play has received so much praise, on the one hand, is that the film and television script is well-produced; on the other hand, it is because the plots and dialogues of the characters in the play cover a wealth of historical and cultural knowledge, embodying the profundity of Chinese culture.&lt;br /&gt;
Due to its great success in the domestic market, the series finally attracted the attention of foreign producers: the American team adapted the original ''Legend of Zhen Huan'', cutting the 76-episode original drama into six episodes,which was officially launched on Netflix’s paid website in the United States on March 15, 2015. It is the first Chinese TV series to be broadcast on mainstream TV stations in the United States. &lt;br /&gt;
However, the American version of the ''Legend of Zhen Huan'' failed to be sought after by audiences in the US, with most viewers abandoning the show after only one or two episodes.The English lines of the ''Legend of Zhen Huan''’s have ever been criticized by some Chinese audiences. After a deep study of the reason, in addition to the lack of content caused by a large amount of deletion and cutting, another important reason is the insufficiency of subtitle translation. This paper attempts to explore the translation strategies of the subtitle of ''Legend of Zhen Huan'', hoping to provide some inspiration for the subtitle translation of domestic film and television works of the same type.&lt;br /&gt;
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==Literature Review==&lt;br /&gt;
&lt;br /&gt;
===Previous studies in Subtitle Tranlation abroad===&lt;br /&gt;
In the early 1970s, Doller Up (1974) published a paper entitled “On Subtitle in TV Programs” on Babel, an authoritative journal of the International Association of Translators, which was the first time that scholars paid special attention to subtitle translation. In addition, he creatively pointed out the great value of TV subtitles to foreign language teaching, and then made contributions to the cause of education.&lt;br /&gt;
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In 1976, Istvan Fodor published a book called Film Dubbing: Aspects of Phonology, Semiotic Aesthetics, and Psychology, which centered on film dubbing from an acoustic perspective. Fodor argues that because each country’s language and culture are unique and irreplaceable, it is almost impossible to achieve perfect “synchronization” in all aspects of the translation of film(Fodor 1976:82).&lt;br /&gt;
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In 1982, Christopher Titford first proposed the concept of “restricted translation” in his article “Subtitling: Restricted Translation”. He believes that the limitations of film and television as a medium themselves are the main cause of problems encountered by translators in practice (Titford 1982:113).&lt;br /&gt;
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In 1992, Ivarsson, a Swedish subtitling translation scholar, published his book Subtitling for Media: A Handout of Art, which can be said to be the first comprehensive study of subtitling translation works in Europe. In this book, Ivarsson introduces the development of subtitle translation technology in detail. The most representative subtitle translation scholars are Gambill and Gottlieb, who are two translation theorists. Yves Gambill, a Finnish translator, is a very important expert in the field of film and television translation. Gambill has a wide range of research fields, he has compiled a large number of academic monographs, such as language transfer and Audiovisual Communication: bibliography, which discusses the classification of translation patterns, translation strategies, translation audience and so on (Gambill 1997).&lt;br /&gt;
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===Previous studies on Subtitle translation at home===&lt;br /&gt;
The research on subtitle translation in China mainly focuses on the English translation of Chinese films, and a large number of such papers and articles have been published, which are also the most representative research results of subtitle translation in China. In addition, with more and more domestic films moving toward the international stage, some attention has been paid to the study of Chinese subtitles.&lt;br /&gt;
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The study on Chinese and English subtitle translation can be divided into several fields, including film and television language characteristics, subtitle translation methods, subtitle translation history and so on.&lt;br /&gt;
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Subtitle translation methods can be broadly divided into two categories. One category refers to some practical translation methods and skills summed up by translators based on their years of translation experience, such as the seven kinds of experiences of film and television translation proposed by Qian Shaochang (2000), which stresses the importance of “translation” in the output of films and TV plays. The other is related to domestic MA papers. They usually start with some translation theories, such as German functional translation theory, Eugene Nida’s functional equivalence theory, relevance theory, and Susan Basnett’s cultural translation theory, and finally conclude translation methods such as domestication, foreignization, literal translation, free translation, omission and so on.&lt;br /&gt;
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In recent years, with the increasing popularity of American TV series in China, the phenomenon of online subtitle translation has begun to attract attention from all sides. As time went by, subtitle translation goes beyond the simple purpose of satisfying the entertainment needs of movie fans, and begin to be applied to teaching practice and students’ self-learning process. This phenomenon is bound to attract academic attention. For example, Wang Hui (2005) discussed this issue in his article “The Impact of Subtitling on Vocabulary Acquisition”. This paper draws some conclusions which are beneficial to foreign language teaching.&lt;br /&gt;
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However, there are still many deficiencies in the study on subtitle translation. The only literature we can refer to is few books on the translation of film and television subtitle. In other words, subtitle translation is not discussed in detail.&lt;br /&gt;
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==Subtitle translation features==&lt;br /&gt;
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===Subtitle translation needs to be brief and comprehensive===&lt;br /&gt;
Subtitle translation should not be lengthy for two reasons: First, because the screen keeps switching, each screen stay can not be very long, the scene with the character’s dialogue switches over more quickly, in a matter of seconds, which is fleeting. Second, whether it is the large screen in the cinema or the small screen in the home, due to space constraints, if the subtitle translation is not simple enough, it will lead to an increase in the number of words in the target language, not to mention the English words that take up more space than Chinese phrases. English words take up more space than Chinese phrases.&lt;br /&gt;
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Take the Chinese phrase “Computer”for example, the English equivalent word is computer. The Chinese verb “来”corresponds to the English word “Come”. In general, English words have more characters than their Chinese counterparts, except in rare cases. Since the length of the word can not be artificially controlled, subtitle translation will put a higher demand on the number of words. In a typical presentation, Chinese and English subtitles are displayed simultaneously at the bottom of the screen, up to two lines of Chinese and two lines of English.&lt;br /&gt;
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If there are too many words, the limited space can not accommodate in a few seconds, the audience will have a dazzling feeling as well. Therefore, one of the distinctive features of subtitle translation is its concise use of words.&lt;br /&gt;
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===Subtitling translation requires natural equivalence===&lt;br /&gt;
The subtitling of the target language should be as natural as the subtitling of the source language. The subtitle translation discussed in this paper is mainly about the dialogue of the characters in the play. On the one hand, the style of dialogue is colloquial, in this sense,It is important   for the translator to pay attention to whether the subtitle translation that the target language audience can hear and see is in line with their daily speaking style.If the original spoken language is translated formally and rigidly, the audience of the target language will feel less natural and fluent, and their movie-watching experience can not be comparable with that of the source language audience. On the other hand, the spoken language features of the characters can clearly shape the characters in the play. If the translator does not grasp the spoken features of the characters, the target audience can not understand the character’s connotation as well as the source audience.&lt;br /&gt;
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Therefore,if a character needs to say something filthy, or even taboo, to make the character stand out, the subtitle translator must also translate the same filthy and taboo.These taboos should inevitably appear in the subtitle translation, and we should not mince words about them. The same is true of English to Chinese subtitle translation and Chinese to English translation. Because these taboo words are the extension of the role connotation, improper handling will affect the target audience's understanding of the connotation of the role.&lt;br /&gt;
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===Subtitle translation needs to be easy to understand===&lt;br /&gt;
The film and Television Play is the Popular Entertainment Program, so subtitle translation should be clear at a glance. There are thousands of people watching TV dramas, and their knowledge and cultural level vary widely, and their appreciation level is naturally mixed.Film and TV series have such a wide audience, which requires subtitle translation to take care of the needs of the majority of the audience whether from the perspective of box office and Audience Rating, or from the perspective of cultural communication.&lt;br /&gt;
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==Theory of Domestication and Foreignization==&lt;br /&gt;
In the process of translation, the translator should determine the general direction of translation, cultivate a good sense of culture, and fully understand that translation is an important feature of information exchange across different languages and cultures. But how to achieve that? There are two opposite strategies in translation: foreignization and domestication. The terms of domestication and foreignization were put forward by Laurence Venutti in his book Translators’ invisibility in 1995:&lt;br /&gt;
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===Domestication===&lt;br /&gt;
The domestication strategy is to localize the source language, take the target language or target readers as the destination, and convey the content of the original text in the way that the target language readers are accustomed to.Domestication requires the translator to be closer to the target language reader, and the translator must speak like the native author.This translation strategy will often make the translation transparent, smooth, relaxed and natural, close to the reader to the greatest extent, so as to dilute the strangeness brought by the original text.In film and television subtitle translation, domestication is often used in order to make the audience understand the film smoothly.&lt;br /&gt;
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===Foreignization===&lt;br /&gt;
The foreignization strategy is completely opposite to the domestication strategy, which is oriented by the source language culture and that &amp;quot;the translator should not disturb the author as much as possible to make the reader close to the author&amp;quot;.Foreignization advocates believe that the main purpose of translation is cultural communication, so the translation should try its best to preserve the language and cultural information contained in the source language.Only in this way can the exchange and fusion of source and target cultures be achieved through translation. In addition, they believe that the translator should believe the reader’s imagination and intelligence to the utmost, and believe that when reading the translated version, the reader should not only understand the simple words, but also understand the foreign culture through the words, and they have the capacity to understand the culture. &lt;br /&gt;
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Of course, as two translation strategies, domestication and foreignization are the unity of opposites and they complement each other. Absolute domestication and absolute foreignization do not exist.&lt;br /&gt;
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==Case Study==&lt;br /&gt;
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===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
The essence of “foreignization”is “the tendency toward the original author”, that is, the translator tries to be close to the original author in his translation (Xiong Bing, 2014). In the words of the Friedrich Schleiermacher, this means that the translator“Tries not to disturb the original author, but to take the reader to the original author”(Robinson, 2006:229) . Specifically in Translation, the translator tries to retain the original language, literariness, cultural characteristics and exotic customs (Xiong Bing, 2014) . Therefore, the nature of foreignization strategy is mainly in favor of the original author, and its defects are mainly reflected in the readability of the translation. In other words, the translation may be blunt and not well received and understood by the audience. Therefore, the translation effect is not ideal for the target audience.&lt;br /&gt;
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====Literal Translation====&lt;br /&gt;
Literal translation means keeping both the content and the form of the original text in the translation when the language conditions permit, especially the metaphor, image, national and local color of the original text.The vast majority of subtitle translation of the Us version of ''Legend of Zhen Huan'' adopts literal translation. Look at the following example:&lt;br /&gt;
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Example 1&lt;br /&gt;
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Chinese version：嬛嬛一袅楚宫腰。&lt;br /&gt;
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American version：the slim waist of the concubines of the Chu palace.&lt;br /&gt;
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For the word “Huan”in the name of Zhen Huan, the American version uses the Foreignization method, which is translated literally as the slim waist of the concubines of the Chu palace.Western audiences may be confused by the subtitles,Western audiences may be confused by the subtitles, because Zhen Huan is clearly a woman from the Qing Dynasty, how come another Chu Palace? In terms of accuracy and the conveying of cultural context, this translation is well-done, but it creates a barrier for the audience to understand. Therefore, the translation can throw out on its real meaning, such as translated into As my name, Huan, means graceful women with slim waist, &amp;quot;Chu palace&amp;quot; here means can be omitted.&lt;br /&gt;
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Example 2&lt;br /&gt;
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Chinese version：一片冰心在玉壶&lt;br /&gt;
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American version：A jade vessel is the symbol of a pure heart.&lt;br /&gt;
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“Jade Vessel”in Chinese has a unique associative meaning, while the meaning of these words in English is vacant. Western audiences just think that Dr. Wen is evaluating his character, but they can’t hear his pure love for Zhen Huan, so on the basis of foreignization, it’s better to add some domestication translation to make it easier for the audience to understand.&lt;br /&gt;
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The American versions of examples 1 and 2 are very literal and concise translations, because the original subtitles have no hidden meaning.However, due to the wrong choice of translation methods, a small number of translated subtitles are just like translation cavities.If the cultural significance of the original text is lost, the translation may be regarded as a failure.In a sense, actors’ performances and lines are the &amp;quot;booster&amp;quot; of the plot development of the TV series.However, if the audience can not understand the original meaning, the story will be much less attractive in the eyes of the audience.For example:&lt;br /&gt;
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Example 3&lt;br /&gt;
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Chinese version：“赏你一丈红”&lt;br /&gt;
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American version：Then I will award Attendant Xia the Scarlet Red.&lt;br /&gt;
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In the original subtitle of example 3, “一丈红” (yi zhang hong,  literally “two-meter-long red”) is used to punish a palace maid or a  concubine who had done something wrong in China’s ancient imperial palace. The specific content of the penalty goes as follows: a two-meter-long and two-inch-thick board was used by the performer to give the guilty palace maid or concubine a good beating on their waist or the place below it until their bones were broken and the blood gushed out.   Looking from the distance, you will see that the blood covered a long distance. Thus, it is called “一丈红”. &lt;br /&gt;
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In the American version of Legend of Zhen Huan, it is translated into “the Scarlet Red”. the word Scarlet itself means “Lewd and sinful,”as in the Scarlet letter. It is very appropriate to translate &amp;quot;red&amp;quot; with scarlet. However, this partial literal translation runs counter to the American audience’s way of thinking, which they think it as nothing more than a horror show. In this way, the specific penalty content will be lost, and the target audience can't feel that the harem struggle is everywhere in the court, and can't get the equal effect for them.&lt;br /&gt;
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In this way, the specific content of the penalty will be lost, the target audience can not feel the Harem struggle existed everywhere in the imperial court and the equivalent effects cannot be obtained for them.&lt;br /&gt;
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====Zero Translation====&lt;br /&gt;
The so-called &amp;quot;zero translation&amp;quot; means that some elements of the source language are directly introduced into the target language without the ready-made words in the target language (Xiong Bing, 2014). This translation method is mainly used to translate the names of people and officials in the English version of the ''Legend of Zhen Huan''. That’s because in ancient China, there was a very strict patriarchal system with the ideas of three cardinal guides and the five constant virtues.&lt;br /&gt;
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In the eyes of the Chinese people, the distinction between the titles of concubines and concubines is clear at a glance, but it is difficult for foreigners to see these things, because medieval European monarchs were nominally allowed only one wife, there is no such complicated hierarchy of appellation among women. Therefore, such titles as &amp;quot;贵妃&amp;quot;, &amp;quot;妃&amp;quot;, &amp;quot;嫔&amp;quot;, &amp;quot;贵人&amp;quot;, &amp;quot;常在&amp;quot; and &amp;quot;答应&amp;quot; are presented in a dynamic equivalent way (words with similar functions in the source language), for example:&lt;br /&gt;
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Example 4&lt;br /&gt;
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熹贵妃——Noble Consort Xi    华妃——Consort Hua&lt;br /&gt;
&lt;br /&gt;
莞嫔 ——Concubine Huan       沈贵人——Lady Shen&lt;br /&gt;
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夏常在——Attendant Xia       小主——Young Mistress&lt;br /&gt;
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敦亲王：Prince Dun            舒太妃：Consort Dowager Shu&lt;br /&gt;
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Example 4 only shows a few official titles of the characters in the ''Legend of Zhen Huan''. However, the translation subtitles in this example reveal a subtitle rule that the American version of the ''Legend of Zhen Huan'' Uses Zero Translation for personal names and free translation for official titles. And we can clearly see the efforts of translators to represent this hierarchical culture in ancient China. However, this method of translation can not meet the needs of the current audience, because the ancient Chinese culture is broad and profound, and the official titles of emperors and concubines in the play conform to the traditional Chinese culture&lt;br /&gt;
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However, the cultural ideologies of the American people and the Chinese people are very different. Traditional translation can not convey the characteristics of the characters and the intensification of their contradictions. The American people have not experienced the five thousand years of slavery and feudalism in China, nor do English dictionaries or translation related books have Chinese cultural vocabulary. In addition, the current subtitle translation does not advocate the use of a large number of notes, which will have a negative impact on the effect of watching the drama.&lt;br /&gt;
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Therefore, notes are usually used only for the first appearance of a character, in order to provide the necessary introduction in enough subtitling space.When they appear a second time, the introduction will be omitted.As for the conflicts between the characters and the progress of the plot, it is difficult for the target audience unfamiliar with Chinese History to adapt to the culture and conflict in the play. Therefore, it is hard to arouse their interest in watching this drama.&lt;br /&gt;
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===Translation Methods under Domesticating Strategy===&lt;br /&gt;
Opposite to the foreignizing strategy, domestication is characterized by the “tendency toward the target recipients” (Xiong Bing, 2014). In other words, the translator tries to be as close to the target recipients in the translation as possible. In Schleiermacher’s words, it means that translators “try not to disturb the reader, but to bring the original author to the reader” (Robinson, 2006: 229). Specifically speaking, in the translation, the translator uses the language, literary devices, cultural elements that the target language readers love to replace the language, literary devices and cultural elements of the original language as much as possible, and abides by the language, literary devices and cultural norms of the original language (Xiong Bing, 2014). &lt;br /&gt;
&lt;br /&gt;
The domesticating strategy is a translation strategy just opposite to the foreignizing strategy. Its advantage is that the translation can be fluent, easy to understand, and easily accepted by the target recipients; or it tries to meet the specific needs of the target audience. However, the domesticating strategy also has some shortcomings. The first weakness of it is the loss of the language, literariness, culture and other important elements of the source text, so that the target audience cannot appreciate the exotic authentic language and cultural practices. This cannot help the cultural exchange and dissemination between different ethnic groups. The second weakness is that the domesticating strategy of the translated text may lead to semantic loss and semantic ambiguity in translated texts.&lt;br /&gt;
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====Omission====&lt;br /&gt;
Omission is a very important method in domestication strategy.The Syntactic structure of English emphasizes &amp;quot;hypotaxis&amp;quot;, and there are appropriate connecting elements between each component of a sentence to express their mutual relations, which emphasizes the consistency and coordination of grammatical relations.The structure of Chinese sentences is &amp;quot;parataxis&amp;quot;, and the relationship between each component of the sentence depends more on the intention, and less on the linking component. The structure form is relatively relaxed, and the words and sentences are relatively simple.Therefore, Omission is one of the most common methods in Chinese text translation.Word reduction means that in translation, the translator must grasp the differences between Chinese and English, omit the unnecessary linking elements in Chinese, make the translation smooth, avoid stiff and cumbersome, and eliminate unnecessary words and words as far as possible.There are many examples of reducing words in the translation of Legend of Zhen Huan.&lt;br /&gt;
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Example 1&lt;br /&gt;
&lt;br /&gt;
Chinese version:“先敬罗衣后敬人。” &lt;br /&gt;
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American version: “The clothing completes the person.”&lt;br /&gt;
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This Chinese idiom means that people will first look at the clothes they are wearing and judge their social status according to the clothes. There is a derogatory element in it.However, in the translation of this sentence, the translator adopted the word reduction method and did not translate every word.The word &amp;quot;complete&amp;quot; expresses the idea that &amp;quot;clothes make the man&amp;quot;, but fails to express the meaning intended in the original text.Therefore, the author thinks that can continue to use the Omission here, will change its translated into “According to clothing to estimate people’s status.”&lt;br /&gt;
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Example 2&lt;br /&gt;
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Chinese version: “花开堪折直须折，莫待无花空折枝。” &lt;br /&gt;
&lt;br /&gt;
American version: One must pick a flower at the prime of its bloom, Do not wait until the blossom fade and falls.&lt;br /&gt;
&lt;br /&gt;
There are three Chinese characters for &amp;quot;折&amp;quot; in this sentence, but the translator did not show any of them in the Process of English translation.Shall we say that he did not translate the Chinese meaning?Of course not. The translator must have noticed these three &amp;quot;fold&amp;quot; characters in the process of translation. If one of them is translated out, the sentence will appear too long-winded and not in line with the characteristics of subtitle translation.Therefore, the translator starts from the meaning of the original text to persuade people to cherish, and cleverly leaves out the word &amp;quot;折&amp;quot;, which not only avoids repetition, but also conveys the meaning of the original text.This reflects the three principles of Skopos theory: &amp;quot;Based on the source language, pay attention to the culture in the target language, the intention of translation activities and the acceptance state of the American audience&amp;quot;.&lt;br /&gt;
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====Addition====&lt;br /&gt;
Addition is also an important translation method in domestication strategy.Augmentation refers to the use of structural and semantic augmentation to compensate for linguistic and cultural deficiencies in the target text.Structural supplement refers to the addition of omitted words or replaced words to make the content of translation more complete.Semantic supplement refers to the translator's addition of nouns, verbs, summative words, explanatory words and conjunctions to compensate for the lack of language and culture in the target text so that readers can understand the original text.&lt;br /&gt;
&lt;br /&gt;
Example 1&lt;br /&gt;
&lt;br /&gt;
Chinese version:“他不忍叫你明珠暗投。”  &lt;br /&gt;
&lt;br /&gt;
American version:&amp;quot;You will not be granted an ordinary life when you can live an extraordinary one.&lt;br /&gt;
&lt;br /&gt;
In this example, the translator adopted Addition method to make a explanatory translation for &amp;quot;明珠暗投&amp;quot; , the translation of &amp;quot;be granted an ordinary life when you can live an extraordinary one.&amp;quot;As we know, Chinese idioms are one of the wonders of The Han culture, and they often show rich implicit meanings in condensed four-character sentences.In the translation of this sentence, it is easy for us to understand the meaning of &amp;quot; 明珠暗投&amp;quot;&amp;quot;, but how to make the American audience understand, the translator needs to make an explanation, so that the American audience can understand the implicit meaning of the original text, so as to reduce the cultural burden.&lt;br /&gt;
&lt;br /&gt;
Example 2&lt;br /&gt;
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Chinese version：“臣妾一与社稷无功，二与龙脉无助。” &lt;br /&gt;
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American version:“Firstly, I have made no contribution to the nation. Secondly, I have begotten no heirs.&lt;br /&gt;
&lt;br /&gt;
In example 2, the translator interprets &amp;quot;社稷&amp;quot; as &amp;quot;nation&amp;quot; for readers to understand.&amp;quot;社稷&amp;quot; has always been a synonym for &amp;quot;nation&amp;quot; in Chinese, just as &amp;quot;White House&amp;quot; is a synonym for &amp;quot;America&amp;quot;. In addition, there is no English equivalent for &amp;quot;nation&amp;quot;, so it is appropriate for the translator to use &amp;quot;nation&amp;quot;.Heirs to dragon vein, a Feng shui concept meaning undulating mountains, succeed.Later, the royal family regarded it as the lifeblood of the country, so they would call the royal blood &amp;quot;dragon vein&amp;quot;.Heirs to dragon Vein, which in this case means heirs to the emperor's children, succeed in translating it into Heirs to the emperor.It's less common and more advanced than the word &amp;quot;children&amp;quot;, which is often thrown around.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
The subtitle translation strategy of Legend of Zhen Huan generally focuses on domestication, and tends to transform implicit meaning into explicit meaning.When the meaning of the source language is complex and difficult to be understood by the target language audience, the translation strategy of domestication is usually adopted, and the expressions used in the target language are adopted.If there is an equivalent or similar expression between the target language and the source language, alienation should be considered, and a concise explanation should be added if conditions permit, so that the cultural essence of the source language can be preserved and the audience can experience the charm and national characteristics of traditional Chinese culture.&lt;br /&gt;
&lt;br /&gt;
As a translation strategy, absolute domestication and absolute foreignization do not exist in translation practice.The task of the translator is to make the best use of the two strategies in practice according to the specific language characteristics, the purpose, the language characteristics of the source language and the target language, and the national culture, so as to bridge the cultural differences between the two countries.&lt;br /&gt;
&lt;br /&gt;
==Reference==&lt;br /&gt;
[１]Dollerup, Cay. On Subtitles in Television Programs[J]. Babel, 1974, (20): 197-202. &lt;br /&gt;
&lt;br /&gt;
[２]Ivstor, Fordor. Film Dubbing: Phonetic Semiotic, Esthetic and Psychological Aspects[C]. John Benjamins, 1976. &lt;br /&gt;
&lt;br /&gt;
[３]Schleiermacher, F. On the Different Methods of Translation[A]. In Robinson, D.(ed.). Western Translation Theory: From Herodotus to Nietzsche[C]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
&lt;br /&gt;
[４]Titford, Christopher.Subtitling: Constrained Translation[J]. Lebende Sprachen, 1982, 27(3):113-116.  &lt;br /&gt;
&lt;br /&gt;
[５]钱绍昌. 影视翻译──翻译园地中愈来愈重要的领域[J]. 中国翻译, 2000(1):61-65.&lt;br /&gt;
&lt;br /&gt;
[６]汪徽.字幕对伴随性词汇习得的影响[J].外语电化教学,2005(2):47-52. &lt;br /&gt;
&lt;br /&gt;
[７]熊兵. 翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J]. 中国翻译, 2014(3):82-88.&lt;br /&gt;
&lt;br /&gt;
=2 刘晓 The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
[[Trans_Type_EN_2]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
With the rapid growth of economy, people's pursuit of life quality is gradually increasing. Travelling abroad has become a hot topic nowadays. The rapid development of overseas travel has increased the market demand for tourism translation, and more stringent requirements for tourism translators. How to deal with the translation problems caused by the cultural differences between Chinese and English during the translation process is of great importance to improve the quality of tourism translation. The communicative translation strategy in Newmark's translation theory focuses on the effect that the translation brings to the target language readers, which is of certain guiding significance to the E-C translation of tourism texts. Therefore, this paper takes ''Everglades National Park, Florida (Excerpt)'' as an example to analyze the specific translation strategies and methods in the application of Newmark's translation theory in tourism texts, so as to provide reference for other translators.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Translation strategy and translation methods; Peter Newmark; Tourism texts&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
This paper is based on the English-Chinese translation of ''Everglades National Park, Florida (Excerpt)''. By analyzing the application of Peter Newmark's communicative transaltion in the translation, the author proposes some translation methods, which can be provided for future references.  This chapter mainly introduces the background information and significance of the report, and the domestic research status.&lt;br /&gt;
&lt;br /&gt;
====Research background====&lt;br /&gt;
&lt;br /&gt;
With the development of the world, various kinds of tourism appear in people’s life, and has unprecedentedly, extremely widely spread a variety of culture and lifestyle. Tourism has become a rising sunrise industry in modern society (Jin Huikang, 2007). To a foreign country to enjoy the beautiful scenery can make people know the colorful world and further know what they want. And this activity also has made tourism translation a reality and a thriving discipline.&lt;br /&gt;
&lt;br /&gt;
However, due to the different geographical environments, cultural differences and historical backgrounds in different countries, many translators often ignore the disadvantages brought by differences in language and cultural habits in the process of translation, so that the original meaning of the original text will be lost in the process of transmission, which may cause confusion for tourists and cannot achieve the purpose of offering them accurate information and stimulating their interest.&lt;br /&gt;
&lt;br /&gt;
Therefore, in order to make it more convenient for domestic citizens to travel abroad, translators should choose appropriate translation strategies and methods according to the cultural differences between China and foreign countries in the process of tourism English translation, so that tourists can form an objective and correct understanding of scenic spots. The semantic translation and communicative translation strategies in Peter Newmark’s Theories respectively focus on whether the meaning of the original text is exactly reproduced and the effect and influence that the translation brings to the target language readers, which are of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
&lt;br /&gt;
====Research significance====&lt;br /&gt;
&lt;br /&gt;
In theory, based on Peter Newmark’s translation theories, this paper chooses the semantic translation strategy and puts forward appropriate translation methods for the English-Chinese translation of tourist text -- the ''Everglades National Park, Florida (Excerpt)'', which is of certain guiding significance for English - Chinese translation of tourist texts.&lt;br /&gt;
Based on the practice of the ''Everglades National Park, Florida (Excerpt)'' English - Chinese translation and the analysis of Newmark’s communicative translation strategy’s application, this paper sums up some translation methods, such as voice change, objective and personal subject changing, adding conjunctions, etc. And these methods can be provided for future references in the translation study and practice of others, which has a certain practical significance.&lt;br /&gt;
&lt;br /&gt;
====Literature review====&lt;br /&gt;
&lt;br /&gt;
Through the analysis of Newmark’s communicative translation in recent years, it can be found that there are many references for the guidance of communicative translation on tourism translation texts. He Xueyun (2005) proposes that the public notices and signs should belong to the vocative functional text and focus on the reader-centered communicative translation, which can give foreigners a better environment for travel, study and work in China. For such a style, the communicative translation theory should be chosen, the target readers put in the first place and always in mind, and their culture and receptivity taken into account. Jin Huikang (2006) believes that tour guide words must have a specific expected function, which are a kind of texts that integrate informative, expressive and vocative functions. Therefore, tourism translation should aim at effective attraction for overseas tourists, and the translator should grasp the group characteristics of overseas tourists and audiences when carrying out tourism propaganda or translating tourism materials. Ma Chen (2010) points out that the tourism text is a kind of article mainly based on vocative function, and the core of which is to accurately convey information for readers. Liu Anhong (2013) proposes tourism text as a kind of publicity material, aiming to stimulate tourists’ interest in visiting. According to the division of Newmark, the tourism text should belong to the text with the vocative function as its main function and the informative function as its secondary function. Therefore, the translation of tourism text should effectively achieve the effects similar to the original text.&lt;br /&gt;
&lt;br /&gt;
From the combing of previous literatures, it can be found that there are many studies on the translation of tourism texts guided by Newmark’s communicative translation strategy. However, at present, there are few studies on the translation of tourism texts from English to Chinese, and more studies focus on the Chinese- English translation. For this reason, this paper is based on the translation practice of ''Everglades National Park, Florida (Excerpt)'' to provide some reference for future English – Chinese translation of tourism.&lt;br /&gt;
&lt;br /&gt;
===Tourism Texts===&lt;br /&gt;
&lt;br /&gt;
====General Introduction====&lt;br /&gt;
&lt;br /&gt;
Tourism text is an important carrier for readers to obtain scenic spot information, and Tourism text is to stimulate readers' desire to travel by introducing tourist attractions and resources, and its ultimate purpose is to meet readers' expectations and arouse readers' enthusiasm by delivering tourism information. In other words, the dominant function of tourism text is vocative function. At the same time, tourism texts also provide readers with information they like, from which people can acquire relevant knowledge such as culture and customs, natural geography, etc. Therefore, informative function is also its important feature. It can be seen that the two most important functions of tourism texts are respectively informative and vocative one, whose premise is to provide information and purpose is to attract tourists. &lt;br /&gt;
&lt;br /&gt;
In addition, we should realize that translation of tourism texts is a professional translation of tourist attractions and resources for target readers, and its essence is a communicative behavior. If the translator fails to properly deal with the differences between cultures, it will often fail to achieve the expected results. Therefore, during the translation process, more attention should be paid to the accuracy and effectiveness of the information, so as to make the translation conform to the target readers’ reading habits and aesthetic expectation (Li Daosheng, 2000). This requires the translator to put the reader's acceptance first in the process of translation. That is, tourism text translation should not only realize the conversion from one language to another, but also take language barriers and cultural differences into account. Therefore, in order to achieve the goal of successful communication, translators should flexibly apply various translation strategies and adopt appropriate translation methods according to the text types of tourism texts.&lt;br /&gt;
&lt;br /&gt;
====Introduction to the ''Everglades National Park, Florida (Excerpt)''====&lt;br /&gt;
&lt;br /&gt;
Established in 1974, Everglades National Park covers 2,354 square miles, or 6,097 square kilometers (1.4 million acres). Located at the tip of southern Florida, it is the largest subtropical wildlife sanctuary in the continental United States. Everglades National Park protects an unparalleled landscape which provides important habitat for numerous rare and endangered species such as the manatee, American crocodile, and the elusive Florida panther.&lt;br /&gt;
&lt;br /&gt;
''Everglades National Park, Florida (Excerpt)'' is excerpted from a notice from U.S. National Park Service about the phased reopening of the park, including alerts of the reopening, activities, safety and accessibility. It can also be regarded as a travel guide, which describes the journey towards people and offers help to the tourists who want to go there, and which often includes the description of the best travel time, transportation, accommodation, scenic spots and matters needing attention. As a practical text, its main purpose is to introduce and promote tourist scenic spots, that is the Everglades National Park in Florida. Its vocative and informative function are very prominent, and it has the characteristics of reader-orientation, the effectiveness of information transmission and timeliness.&lt;br /&gt;
&lt;br /&gt;
===Newmark's Translation Theory===&lt;br /&gt;
&lt;br /&gt;
====General introduction of Peter Newmark's translation theories====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark, a well-known translation theorist, is one of the main figures in the founding of translation studies in the English-speaking world in 20th century. Newmark devoted himself to studying the past and present of Western translation, and put forward his own views on this basis. Newmark’s translation theories mainly include three parts, that is, the classification of text types, translation approaches, and the lately correlative theory of translation.&lt;br /&gt;
&lt;br /&gt;
According to Karl Buhler’s knowledge of language features and Jacobson’s classification of them, Newmark proposed six functions of language informative function, expressive function, vocative function, phatic function, aesthetic function, and lastly metalingual function. (Hou Yingying, 2020) Then Newmark divided text types into three: expressive-functional texts, informative-functional texts, vocative-functional texts.&lt;br /&gt;
&lt;br /&gt;
After putting forward these three text types, Peter Newmark suggested eight translation approaches or strategies. Firstly, from the perspective of focusing on the source language, he suggested word-for-word translation, literal translation, faithful translation and semantic translation; Secondly, from the perspective of focusing on the target language, he suggested adaptation, free translation, idiomatic translation and communicative translation (Newmark, 2001:45).&lt;br /&gt;
&lt;br /&gt;
In 2007, Newmark came up with a new theory, that is, correlative theory of translation, which means that “The more serious and important the language of the original or source text, the more closely it should be translated.” (Newmark, 2007)&lt;br /&gt;
&lt;br /&gt;
In conclusion, Peter Newmark has proposed many significant theories and made extensive discussion on those concepts, which will have a great influence on the translation practice.&lt;br /&gt;
&lt;br /&gt;
====Semantic translation and communicative translation====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark divided text genres into “expressive text”, “informative text” and “vocative text” in his classic work ''Approaches to Translation''. Imaginative literary works, such as poems, songs, novels and dramas, authoritative statements, autobiographies, essays and personal correspondence, etc. are expressive texts. All the formatted texts with science and technology, industry and commerce, and economy as themes belong to informative texts. And vocative text refers to all texts that can infect readers and make them “get information”.&lt;br /&gt;
&lt;br /&gt;
With reference to these three kinds of texts, Newmark further creatively proposed the concepts of semantic translation and communicative translation: “communicative translation” means that the effect of the target text on the reader of the target language is as much as the effect of the original text on the reader of the source language; “semantic translation” refers to the reproduction of the context of the source text as accurately as possible under the premise of the semantic and syntactic structure of the target language. He believed that only communicative translation and semantic translation can achieve the two major goals of translation: being accurate, and being economic (effective).&lt;br /&gt;
&lt;br /&gt;
In ''About Translation'', Newmark made a detailed comparison of the characteristics of semantic translation and communicative translation from different aspects, and pointed out that the fundamental difference between them lies in that when the information and the effect are in conflict, communicative translation lays more emphasis on effect than content, while semantic translation lays more emphasis on content than effect. Communicative translation can give the translator full freedom, the translator can reorganize the syntax, eliminate the original obscure places in the source language, and make the language conform to the standard of the target language. However, semantic translation emphasizes the content of the information itself, tries to make the form of the target text similar to the form of the original text, and retains the language characteristics and expressive style of the original author. Therefore, compared with semantic translation, communicative translation is more subjective and can better reflect the translator’s creativity and it attaches great importance to the communicative effect of translation, the key to which is to convey information, make readers of the target language think, act and feel, and play an inductive role in making the translation natural and smooth, and more readable. &lt;br /&gt;
&lt;br /&gt;
Newmark pointed out that the translation of expressive texts should employ semantic translation, while informative and vocative texts communicative translation which is reader-centered. The most direct purpose of tourism texts translation is to convey information to readers on the premise of attracting readers’ attention and leaving readers with deep memories, so that readers can take actions -- to visit tourist attractions and pay attention to matters that should be paid attention to. Thus, it can be seen that the tourism text belongs to the vocative text and the communicative translation should be applied. &lt;br /&gt;
&lt;br /&gt;
To sum up, Newmark’s communicative translation focus on the effect that the translation brings to the target language readers, which is of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
&lt;br /&gt;
===Case Study===&lt;br /&gt;
&lt;br /&gt;
The purpose of communicative translation is to try to make the translation have the same effect on the target reader as the original does on the source reader. That is to say, the key point of communicative translation is to be loyal to the target language and the target text reader, that is, the source language is required to obey the target language and culture, leaving no doubt or obscurity to the reader, and eliminating difficulties and obstacles in reading or communication for the reader as far as possible.&lt;br /&gt;
&lt;br /&gt;
Because the translator wants to achieve a certain communicative purpose, emphasizes the effect and has a specific target audience, the translation has inevitably broken the restrictions of the original text, pursuing smoothness, clarity, directness and conformity with conventions. In this part, the author analyzes the specific application of communicative translation in the translation practice of the ''Everglades National Park, Florida (Excerpt)'' from three aspects: lexical, syntactic and textual analysis.&lt;br /&gt;
&lt;br /&gt;
====At Lexical Level====&lt;br /&gt;
&lt;br /&gt;
Generally speaking, there is partial equivalence between English and Chinese, that is, similar expressions in Chinese can replace the meaning of English words or phrases (Liu Junping, 2009). In the following, two translation methods used in lexical translation will be introduced: conversion of part of speech and the translation of public signs.&lt;br /&gt;
&lt;br /&gt;
1)Conversion of part of speech&lt;br /&gt;
&lt;br /&gt;
Example 1:&lt;br /&gt;
&lt;br /&gt;
ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors.''&lt;br /&gt;
&lt;br /&gt;
TT: 个人、团体或家庭都能在这找到适合的户外活动。&lt;br /&gt;
&lt;br /&gt;
Analysis: As we all know, English belongs to the Indo-European language family, while Chinese the Sino-Tibetan language family. Many differences exist between English and Chinese in terms of vocabulary and grammatical structure. Therefore, in the process of translating English into Chinese, due to the different ways of expression between English and Chinese some sentences can be translated word by word, while most sentences cannot. In order to make the Chinese translation smooth and natural, some words in the original text need to be converted into different parts of speech in the target text without sticking to the surface structure of the original text. In other words, some words in the original text can be converted into other parts of speech in Chinese on the premise of being faithful to the original meaning and retaining the original effect. &lt;br /&gt;
&lt;br /&gt;
The original sentence uses a nominal phrase “no shortage of” to express the meaning that no matter how many people come together for outdoor activities, there are always options. The translator translates it into a verbal phrase, that is, everyone can find a suitable outdoor activity here, so that the meaning gets across and the whole sentence flows naturally.&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&lt;br /&gt;
ST: ''Accessibility: No immediate trails.''&lt;br /&gt;
&lt;br /&gt;
TT: 如何前往：没有路径可直接到达。&lt;br /&gt;
&lt;br /&gt;
Analysis: As English tends to use more nouns with static narratives, while Chinese tends to use more verbs with dynamic ones. The static tendency of English mainly comes from nominalization, a common phenomenon in English. Nominalization mainly refers to the use of nouns (phrases) to express the information originally expressed by verbs (phrases), such as the use of abstract nouns to express actions, behaviors, changes, states, etc (Lian Shuneng, 1993). For example, “accessibility” in Example 2 is an abstract noun, which is used to show the way to one place. Chinese, on the other hand, tends to use verbs. So, in order to better convey the effect and let the reader read without any doubt or discomfort, the translator converted the noun into a verb phrase, that is “如何前往”. Likewise, in the noun phrase “no immediate trails”, the author wants to say that there is no direct way (to arrive at the destination). When translating, if it is directly translated into a noun phrase “没有直达路”, the reader may feel difficult to read. So, if it is translated into “there is no direct path can reach that place”, the sentence will be more smoothly and convey the original information and the effect is also retained.&lt;br /&gt;
&lt;br /&gt;
2)Public signs&lt;br /&gt;
&lt;br /&gt;
Example 3 &amp;amp; 4:&lt;br /&gt;
&lt;br /&gt;
ST: ''Things To Do'' &lt;br /&gt;
&lt;br /&gt;
TT: 活动介绍&lt;br /&gt;
&lt;br /&gt;
ST: ''What you can do''&lt;br /&gt;
&lt;br /&gt;
TT: 解决措施&lt;br /&gt;
&lt;br /&gt;
Analysis: As mentioned in the theoretical framework above, tourism text belongs to vocative text. As a kind of tourism text, public signs are a special style for specific people to achieve a certain communicative purpose. Its application scope is very wide, almost involved in every aspect of our daily life, such as street signs, billboards, road signs, shop signs, warnings, propaganda, travel briefs and so on. As a communicative tool, it conveys necessary and useful information to the public by means of a few words, simple and easy to understand icons or the combination of both (He Xueyun, 2006). Therefore, it can be seen that public signs feature lots of nouns, verbs, phrases and abbreviations and more often, fixed expression, which means in translation, only concise and idiomatic expression can fully convey the effect of the original text.&lt;br /&gt;
&lt;br /&gt;
Just as the example 3, once the original text is translated literally, that is “要做的事情”, it sounds rather awkward, which not only does not convey the meaning of the source text that was intended as an introduction to the activities that can be done, but also may lead the reader to believe that this section is about what is required. However, if it is translated into “活动介绍”, readers can clearly know the main content of this part and can find out the activities they are interested in. This expression is very concise and also in line with the Chinese language habits. The same is true of example 4.&lt;br /&gt;
&lt;br /&gt;
Example 5 &amp;amp; 6:&lt;br /&gt;
&lt;br /&gt;
ST: ''Alligators and crocodiles - Crocodilians are one of the reasons people visit the park, however, these are wild animals that can be dangerous to humans.''&lt;br /&gt;
&lt;br /&gt;
TT: 小心短吻鳄和鳄鱼——鳄鱼是人们参观公园的原因之一，然而，这些野生动物对人类会很危险。&lt;br /&gt;
&lt;br /&gt;
ST: ''Poisonous plants - The park’s ecosystems support a variety of plant life including some that cause reactions to human skin.''&lt;br /&gt;
&lt;br /&gt;
TT: 警惕有毒植物——公园的生态系统支持多种植物的生长，包括一些会对是人类皮肤过敏的植物。&lt;br /&gt;
&lt;br /&gt;
Analysis: Tourist texts belong to the vocative text, emphasizing the transfer of the effect of the information and the empathy of the reader. This requires the translator to pay attention to the internal logic of the text, modify the translated text to make it clear in the process of tourism translation without sticking to the original form and give full consideration to the core position of readers. &lt;br /&gt;
Examples 5 and 6 are in the same sentence structure -- firstly species are given, and then that the species could be in some danger is pointed out. If it is translated in accordance with the original text word by word, then the front part is just posing out that species. However, if such warning words as “小心” or “警惕” are added, it can let the reader know before he continues reading that this species may be dangerous when visiting, and then with reading below, the reader will know why it is dangerous. This will prepare the reader mentally, and the reading will be smoother.&lt;br /&gt;
&lt;br /&gt;
====At Syntactical Level====&lt;br /&gt;
&lt;br /&gt;
Two aspects are included in syntactic analysis, which are change of subjects and passive voice, and the punctuation.&lt;br /&gt;
&lt;br /&gt;
1)Change of subjects and passive voice&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: ''Wading birds, cormorants, Purple Gallinules, and nesting Anhingas may be found along the path anytime of the day during the winter (dry) season.''&lt;br /&gt;
&lt;br /&gt;
TT: 在冬季（旱季），任何时候您都可以在沿路发现涉水鸟类、鸬鹚、紫雀和筑巢的美洲蛇鸟。&lt;br /&gt;
&lt;br /&gt;
Analysis: English tends to use more impersonal subjects, which means it rarely uses the personal subject to describe but expresses how objective things act on people’s perception to things appear in an objective tone. So, the structure is often like this: inanimate subject + animate subject (Lian Shuneng, 2010). Chinese pays more attention to subjective thinking, and often describes objective things from the point of view of oneself, or tends to describe people and their behavior or state, so the personal subject is often used. When the personal subject is clear, Chinese often implies or omits it.&lt;br /&gt;
Passive voice is a common grammatical phenomenon in English. In some styles, the use of passive sentences has almost become a habit of expression. Passive sentences give rise to the tendency of using impersonal subjects, and vice versa. Chinese uses fewer passive forms. The main reason for this difference is that the use of passive forms in Chinese is limited, and the mark of the passive voice, such as “让”, “给”, “受”, mostly expresses displeasure.&lt;br /&gt;
&lt;br /&gt;
Therefore, in example 7, the translator transformed the passive voice into the active voice and the impersonal subjects “Wading birds, cormorants, Purple Gallinules, and nesting Anhingas” into the personal subjects “您”. What’s more, as this tourism text is written for readers, the use of the second person subject can shorten the distance. &lt;br /&gt;
&lt;br /&gt;
Example 8 &amp;amp; 9: &lt;br /&gt;
&lt;br /&gt;
ST: ''Wading birds, American Coots, Osprey, White-crowned Pigeons, warblers, Red-shouldered Hawks, Anhingas, rails, Painted Buntings and other transients are best viewed here in the morning.''&lt;br /&gt;
&lt;br /&gt;
TT: 早晨在这里观赏涉禽、美洲骨顶鸡、鱼鹰、白头鸽、莺、赤肩鹫、美洲蛇鸟、秧鸡、彩绘鹀和其他过路的鸟类的效果最好。&lt;br /&gt;
&lt;br /&gt;
ST: ''In the summer, fewer programs are offered.''&lt;br /&gt;
&lt;br /&gt;
TT: 夏季提供的项目较少。&lt;br /&gt;
&lt;br /&gt;
Analysis: Just as what has been said above, English has a tendency to use impersonal subjects and passive voice, while Chinese is exactly the opposite. And when the subject is clear, Chinese often implies or omits it, which is just like example 8 the personal subject “you” is omitted. &lt;br /&gt;
In example 9, the omitted subject is the national park, and the temporal adverbial phrase “in the summer” becomes the subject in form, which is a common expression in Chinese. That is because subjects in Chinese are not only in various forms, but also dispensable: it can denote giving, receiving, time, place.&lt;br /&gt;
 &lt;br /&gt;
2)Punctuation&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: ''Connecting trails through the Pinelands run 7 miles (11 km) west from the Long Pine Key campground to Pine Glades Lake along the main park road.''&lt;br /&gt;
&lt;br /&gt;
TT: 这些小道从长松岛营地向西延伸7英里（11公里），穿过一片松林地，连通公园主路边松林湖。&lt;br /&gt;
&lt;br /&gt;
Analysis: English sentences are complicated, and subordination is one of the most important characteristics of modern English, which features right-branching, sentences long and complex, made in “architecture style”. Conversely, Chinese sentences are relatively short, and commonly use scattered sentences, loose sentences, tight sentences or composite sentences with parallel structure. Chinese features left-branching, and sentences are made in “chronicle style”, using clauses to streamline the thoughts. &lt;br /&gt;
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So, when there are many prepositional phrases in the original English sentence, the translator can divide the long sentence into several short sentences and recognize those by adding comma, which can help readers to sort out the logic of the original text and get the main information. By using communicative translation, the translator divided the original sentence into three sentences. The logical sequence is that “The trails run seven miles (11 kilometers) west from the Long Pine Key campground. Passing through the Pinelands, they lead to Pine Glades Lake along the main park road.”, which shows the location of both the Long Pine Key campground, the Pinelands and Pine Glades Lake correctly, leaving no doubt to readers of the target language.&lt;br /&gt;
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Example 11:&lt;br /&gt;
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ST: ''In keeping with Monroe County’s closure order for beaches, North Nest Key and all waters within 100 yards from the shore will be closed for protection of park resources during the holiday weekend. The closure will begin on Friday, July 3 at 6 a.m.''&lt;br /&gt;
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TT: 根据门罗县对海滩的关闭安排，为保护公园资源，北巢岛和离海岸100码以内的所有水域将自7月3日星期五早上6点起暂停对外开放。&lt;br /&gt;
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Analysis: In the original text there are two sentences, which can be combined to make the meaning complete and language pithy in the target language. And it can be taken into consideration to reconstruct them by replacing full stop with comma. By considering communicative translation, the translator put two prepositional phrases in advance as adverbials, which are “in keeping with Monroe County’s closure order for beaches” and “for protection of park resources during the holiday weekend”, and then turned the second sentence into a temporal adverbial phrase and put it in the main clause as an adverbial. So, the whole structure is “In keeping with Monroe County’s closure order for beaches and for protection of park resources during the holiday weekend, North Nest Key and all waters within 100 yards from the shore will be closed from Friday, July 3 at 6 a.m.” By doing so, the information is concisely conveyed, and Chinese readers can well understand it.&lt;br /&gt;
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====At Textual Level====&lt;br /&gt;
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Discourse refers to the actual language unit used and is the whole language constituted by a series of consecutive paragraphs or sentences in the communication process. In general, a text consists of words, phrases, sentences and sentence cluster (Lan Lingyan, 2020), among which the components were cohesion in form and coherence in semantics.&lt;br /&gt;
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Example 12:&lt;br /&gt;
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ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors. The diverse habitats allow for enjoyable activities ranging from hiking, canoeing, kayaking, biking, fresh and saltwater fishing, and camping in the ultimate wilderness.''&lt;br /&gt;
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TT: 个人、团体或家庭都能在这找到适合的户外活动。无论是步行、乘坐独木舟、划皮划艇、骑自行车，还是在淡水或海水钓鱼、在终极荒野地露营，您都可以饱览多样的自然环境、尽享快乐。&lt;br /&gt;
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Analysis: Coherence in a piece of writing refers to the principle that all paragraphs, sentences or ideas are combined so well that they form a united whole. Coherent translation has smooth structural, grammatical, and logical movement from one sentence or idea to the next and the reader does not have to pause and guess at the meaning caused by gaps in development between ideas, sentences and paragraphs. &lt;br /&gt;
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In example 12, the last topic of the fist sentence in the original sentence is outdoor activities, while the subject of the second sentence is the diverse habitats. This is a shift in the topic, which may make the readers pause and guess at the logical relation between them. Therefore, in translation, guided by communicative translation, the translator needs to mind the text coherence and to make proper adjustments. Out of this, the translator put the activities in the second sentences as the subject of the second sentence in the target text, so that the first sentence can pass through smoothly to the next one, so does the understanding of readers.&lt;br /&gt;
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Example 13:&lt;br /&gt;
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ST: ''Everglades National Park is a popular spot for saltwater and freshwater sport fishing. Boats can be chartered at Flamingo. Be sure to check a visitor center for park fishing regulations and closed areas.''&lt;br /&gt;
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TT: 大沼泽地国家公园是一个很受欢迎的钓海水鱼和淡水鱼的地方。在弗拉明戈可以租船。在钓鱼之前，一定要阅读游客中心的公园捕鱼规定和封闭区域。&lt;br /&gt;
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Analysis: Cohesion can be thought of as all the grammatical and lexical links that link one part of a text to another. This includes the use of synonyms, lexical sets, pronouns, verb tenses, time references, grammatical reference, etc. For example, ‘it’, ‘neither’ and ‘this’ all refer to an idea previously mentioned.&lt;br /&gt;
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In example 13, this paragraph mainly talks about fishing in the Everglades National Park, with a topic sentence and two explanatory sentences: one introducing the place for chartering and the other cautions. There are no grammatical or lexical links within these three sentences, and the logic is connected by semantics. Considering well understanding of readers in the target language, the translator added one lexical link “before fishing” between the last two sentences, to make the reader understand that he or she should read the rules and precautions of fishing before going fishing. Also, with repeating the key word “fishing”, the central idea of this whole paragraph is prominent, and the sentences are logically and smoothly linked to express the intended meaning, thus making this paragraph a cohesive group.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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====Major findings====&lt;br /&gt;
For the text, the tourism text belongs to the vocative text, which focuses on conveying the information and effect, so the communicative translation theory should be adopted to this kind of translation. As for this original text, the first part that introduces the outdoor activities belongs to the tourism advertisements, which are descriptive with vivid words. Tourism advertising is infective, with short and concise words, full of creativity, lively and concise sentence structure, and strong attraction. While the announcement that informs of the operating status of the park is a quite different style. The wording is formal, standard, accurate and stylized. Secondly, the source text involves a wide range of knowledge and large vocabulary. For example, “hardwood hammock” for “硬木吊床” and “Geocaching” for “寻宝”. &lt;br /&gt;
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Based on the analysis of examples from lexical, syntactic and textual levels, some translation methods can be proposed. On one hand, when translating, some words in the target text can be converted into different parts of speech in the original text to make the language natural and idiomatic. On the other hand, when doing English – Chinese translation, in most cases, passive voice should be changed into active voice, personal subject is favored in Chinese, and subjects can also be omitted sometimes. Lastly, as English and Chinese have lots of differences in sentences, the translator should change the order of the sentences sometimes to make them smooth and fluent, and some words can be added to make the meaning coherent.&lt;br /&gt;
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====Limitations====&lt;br /&gt;
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Besides some major findings, there are also many limitations in this translation practice. Firstly, communicative translation focuses on the effect conveyed by the translation rather than the information, which can easily make the translator ignore some original. So, in the translation, other available translation theories should also be taken into account to achieve best translation. &lt;br /&gt;
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Then, when translating a text, whether it is a tourism text or a literary works, they cannot be translated immediately. Relevant information and background should be collected in advance, and otherwise some mistakes which should be avoided will be made. For example, “Snail Kite (蜗鸢)” might be translated as “蜗牛风筝” if the translator does not look it up in advance.&lt;br /&gt;
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===References===&lt;br /&gt;
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[1] Newmark, Peter. About Translation[M]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
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[2] Newmark. Approaches to translation[M]. Shanghai Foreign Language Education Press, 2001. &lt;br /&gt;
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[3] Newmark, Peter. A New Theory of Translation[J]. Sborník Prací Filozofické Fakulty Brněnské Univerzity, 2007(13)&lt;br /&gt;
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[4] Newmark, Peter. A Textbook of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2001:39-42. &lt;br /&gt;
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[5] 贺学耘.汉英公示语翻译的现状及其交际翻译策略[J].外语与外语教学, 2006(03):57-59.&lt;br /&gt;
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[6] 侯莹莹.凯瑟琳娜·莱斯与彼得·纽马克文本类型翻译理论之比较研究[J].海外英语, 2020(22):49-50+60. &lt;br /&gt;
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[7] 金惠康.跨文化旅游翻译探讨[J].上海翻译, 2007(01):31-34.&lt;br /&gt;
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[8] 兰灵艳.交际翻译理论指导下《家庭生活》（节选）汉译实践报告[D].南昌大学, 2020.&lt;br /&gt;
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[9] 李道胜. 汉英语义对比分析[J]. 语言教育, 2000(4):4-5.&lt;br /&gt;
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[10] 连淑能.《英汉对比研究》[M]. 北京：高等教育出版社, 1993.&lt;br /&gt;
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[11] 刘安洪.跨文化交际视角下的旅游文本翻译策略研究[J].中华文化论坛, 2013(10):160-163. &lt;br /&gt;
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[12] 刘军平，西方翻译理论通史[M]. 武汉：武汉大学出版社, 2009.&lt;br /&gt;
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[13] 马忱.交际翻译策略对汉英旅游翻译的启示[J].郑州航空工业管理学院学报(社会科学版), 2010,29(06):119-121.&lt;br /&gt;
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=3 刘越 Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
[[Trans_Type_EN_3]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
There are many translation practices under the guidance of communicative translation theory, but there are not many translation practices in Korean novels. Through this translation practice, we hope to summarize the translation methods and strategies adopted in the translation of novel subject matter under the guidance of communicative translation theory in terms of vocabulary, sentence and rhetoric. In this paper, under the guidance of communicative translation theory of Korean novels &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; to analyze translation strategies and translation methods, let us hope that through the work of human changes in temperature to realize that the most warm affection and the most simple human feelings, seems to be the fact that more and more far from us, let us together to explore the history of the &amp;quot;family&amp;quot; gradually forgotten by us and meaning, Wake up our sense of affection, cause our emotional resonance.&lt;br /&gt;
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===Keywords===&lt;br /&gt;
Communicative translation theory; Korean novels; Translation methods and strategies&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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===The emergence and development of communicative translation===&lt;br /&gt;
According to the function of language, i.e. the purpose for which it is used, Newmark proposes the following three text types: expressive function, informative function, and evocative function.&lt;br /&gt;
At the heart of the expressive function is the use of words by the speaker or author to express his or her thoughts and feelings. The author's unique form of language is as important as the content.Expressive function texts emphasise the authority of the original author, and translations should follow the principle of &amp;quot;original author first&amp;quot;, faithful to both the content of the ideas expressed by the original author and the language style of the original author, without regard to the reaction of the target reader. The core of the information function is the external context, i.e. all the information about a topic, or the unspeakable reality. At the heart of the information text is the &amp;quot;authenticity&amp;quot; of the content; the author's language is secondary. Translation should be based on the principle of &amp;quot;authenticity first&amp;quot;. The call to action is reader-centred and aims to &amp;quot;call the reader to action, to think, to feel&amp;quot;. The translation should follow the principle of 'reader first', putting the reader of the target language first. The translator can make full use of the advantages of the incoming language, without adhering to the expressions of the original, so that the translated language can achieve the same effect as the original.&lt;br /&gt;
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On this basis, two translation concepts, communicative translation and semantic translation, are proposed. Newmark believes that the theory of communicative translation focuses on the understanding and reaction of the recipient, the reader of the translation, and more on the effect rather than the content of the translated expression. The translator can give full play to the advantages of the translated language and introduce foreign elements into the culture of the translated language, with the advantages of naturalisation, Italian translation and idiomatic translation. Semantic translation attaches importance to the original text, focuses on its semantic content and strives to preserve the culture of the original text, and has the advantages of word-for-word, word-for-word and faithful translation. Communicative translation is suitable for informative and attractive texts such as autobiographies, personal emotional declarations, important political statements (or other statements), most non-literary texts, news, intellectual articles and books, textbooks, reports, scientific and technical literature, official correspondence, promotional material, advertisements, announcements, popular fiction. ( Yang 1989:68-71)# His communicative and semantic translations have largely enriched the study of translation theory and influenced the field of translation.&lt;br /&gt;
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===The applicability of communicative translation theory to the translation of popular novels===&lt;br /&gt;
First of all, the core content of communicative translation theory is that on the basis of being faithful to the content of the original text, it focuses on the readers' understanding ability and feelings, and pays more attention to the expression effect of the target text than the content. For the translator, the translator can give full play to the advantages of the target language and get rid of the constraints of the language structure of the original text. If the original text is illogical, ambiguous, and there are redundant words and ambiguities in the sentence, as well as dialects, coarse slang and other phenomena in the article, the translator has the right to reorganize the syntax and improve it by using collocation and common sentence patterns in accordance with the habits of the target language, so as to make the language more standardized. Translators also have the right to correct errors and omissions in the original text.( Shuang 1999(05):840）&lt;br /&gt;
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Secondly, according to Newmark's text type, communicative translation theory is applicable to vocative texts, which focus on the inspiring effect and take the target readers as the center. The purpose of translation is to elicit the desired response, including popular books and best-selling novels. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. The novel is mainly composed of characters, plots and descriptions of the environment to reflect the social reality. Novel is a literary genre that conveys thoughts and feelings and arouses readers' resonance. It belongs to appeal text, so communicative translation theory is suitable for novel translation.&lt;br /&gt;
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The most important thing in novel translation is to convey the content of the original text and the author's thoughts and feelings to the readers, and to arouse the readers' deep thinking and empathy. When translating a novel, we should describe the plot of the original text to the readers and try to get close to the literary image described by the author and the literary artistic conception created in the novel.&lt;br /&gt;
If only follow the content style and text structure of the original text, it will violate the original intention of translation, making the translation obscure and unclear. Under the guidance of communicative translation theory, the translator can give full play to the advantages of the target language, modify and polish the original text, adjust the logic of expression, eliminate the differences between the original text and the target text, and get a smooth translation. At the same time, the translator can also pay more attention to the target readers, fully consider the reading habits and thinking mode of the target readers, and use easy to understand language vocabulary to convey the information of the source text and the thoughts and feelings of the source text author to the readers, so that the target text readers and the source text readers get the same effect.&lt;br /&gt;
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=== Case study under the guidance of communicative translation theory===&lt;br /&gt;
Guided by Peter Newmark's communicative translation theory, the author carries out translation practice on two short stories &amp;quot;The Innocent Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. Under the guidance of communicative translation theory, this section adopts the strategies of translation modification and meaning extension to solve the problems of ambiguous and implicit sentences in novels. At the sentence level, the strategy of paraphrase, syntactic and translation is adopted. In the aspect of rhetoric, this paper adopts the translation strategies of addition and repetition, and makes a case study to explore and summarize the translation methods and strategies applicable to novel subject matter under the guidance of communicative translation theory.&lt;br /&gt;
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=== The application of communicative translation theory at lexical level===&lt;br /&gt;
'''Transliteration'''&lt;br /&gt;
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The translation method refers to the conversion of parts of speech in the original text, such as changing nouns into verbs, adjectives into verbs, etc., so as to make the translation conform to the expression habits of the target language. Different languages have different linguistic phenomena and cultural backgrounds. In order to make the translation more in line with the language expression habits of The Chinese people and convey the correct meaning of the original text to The Chinese readers, every word in the Korean sentence cannot be translated dead, and some parts of speech in The Korean language have to be changed in translation.(Chen 1994)# The following is a case study of translating a part of speech in the original text into another part of speech in Chinese.&lt;br /&gt;
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Eg.1 그럴 때의 아이는 이제 노인이 아니라 소년가장 같았다.&lt;br /&gt;
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First translation：那一刻我觉得孩子不像老人，而像少年家长。 &lt;br /&gt;
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Retranslation：那一刻我觉得他不像一个历经沧桑的老人，而像一个饱经世故的孩子。&lt;br /&gt;
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&amp;quot;소 년 가 장&amp;quot; is a noun, the author looked up Chinese dictionary, found &amp;quot;소 년 가 장&amp;quot; in Korean means &amp;quot;가 정 의 생 계 를 실 질 적 으 로 책 임 지 고, 어 렵 게 생 계 를 유 지 하 는 소 년&amp;quot;, at the beginning of translation, in accordance with the original literal translation is &amp;quot;young parents&amp;quot;, but is not in conformity with the Chinese expression habit, it is not easy to let Chinese readers understand, The author in the guidance of communicative translation theory, through the network search and found the dictionary lookup &amp;quot;소 년 가 장&amp;quot; and Chinese proverb &amp;quot;the poor children early master&amp;quot; has the same effect, but here can make statements impassability, in order not to cause the reader to understand the problems, the author give full play to the advantages of the Chinese, the author by using the method of adaptation, Phrases collocation and considering the Chinese habit, the term &amp;quot;소 년 가 장&amp;quot; divided &amp;quot;소 년&amp;quot; and &amp;quot;가 장&amp;quot; two nouns, and the term &amp;quot;가 장&amp;quot; translated into adjectives &amp;quot;world&amp;quot;, the &amp;quot;소 년&amp;quot; translated into &amp;quot;children&amp;quot;, both to convey the meaning of the original, and can make readers easily understand the content.&lt;br /&gt;
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Eg.2：거기에 아이가 자신을 만나려 하지 않기 때문에 돈을 주지 않는 것이라는 비난의 말이 반복해서 쓰여 있었기 때문이다. &lt;br /&gt;
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Translation ：文件上反复指责说孩子不想认他这个父亲，所以不给抚养费。&lt;br /&gt;
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In the original text 비 난&amp;quot; is a noun, the author according to the original text in translation translated into &amp;quot;document and is accused of child, father didn't want to see him the accused, so not to support&amp;quot;, at the same time with the two accused, groundwork or at the back of the verb &amp;quot;blame&amp;quot;, also make the repetitive, so the author under the guidance of communicative translation theory, When translated again, the noun &amp;quot;비 project-oriented&amp;quot; is translated into the verb &amp;quot;blame&amp;quot;, so that the translation is easy to understand.&lt;br /&gt;
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Extension of meaning Extension translation method is refers to according to the specific context of contact and words in the original context, starting from the basic meaning of Korean original words, through the letter of the word or phrase in the sentence, its excellent implied meaning appropriately, use some conforms to the Chinese expression habit of character words, the content of the original essence of accurate expression.&lt;br /&gt;
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Eg.3：①텔레비전을 쳐다보던 아이가 대뜸 내밷었다. ②동식이 집을 나서자마자 엄마는 휴이히히히, 하는 기괴한 한숨을 길게 내뱉었다.&lt;br /&gt;
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Translation：①正在看电视的儿子突然吐槽道：“妈，你快看，电视里那个人真像我爸”。 ②母亲就“唉！”长长地叹了一口气。&lt;br /&gt;
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The author by looking up the dictionary, in the original &amp;quot;내 밷 다&amp;quot; has two meanings: (1) 입 안 에 있 던 것 을 입 밖 으 로 뱉 어 내 보 내 다. (2) 마 음 에 내 키 지 아 니 하 거 나 못 마 땅 한 어 조 로 불 쑥 말 하 다. &lt;br /&gt;
Chinese meaning is &amp;quot;vomit, and said,&amp;quot; the author under the guidance of communicative translation theory, reader's expressions and words in Chinese habit as the center, contact the original context and context, considering the words collocation, adopt the method of the extension, the &amp;quot;내 밷 다&amp;quot; translated into &amp;quot;fun&amp;quot; and &amp;quot;sigh&amp;quot;, not only conforms to the present context, and in accordance with the Chinese language habits.&lt;br /&gt;
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Eg.4: ①그러니까 엄마는 내가 돈 얘기 할 것을 미리 알고서 지금 차단막을 치는 것이리라. ②형이 옆구리를 툭 치며. ③까지는 살큼 익혀서 찬지름 치고 조선간장으로 조물조물 무쳐노면 고기반찬보다 낫드라. &lt;br /&gt;
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Translation：①但母亲好像早已看透了我的心思，先堵住了我的口。 ②大哥用胳膊肘戳了我一下。 ③蒸个七八分熟的时候撒上香油好好拌一下就行了，这样比那些荤食都好吃。&lt;br /&gt;
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The verb &amp;quot;치&amp;quot; would give many different meanings with different words, such as ①&amp;quot;beating, beating, beating, playing&amp;quot;.② take, base, wrap, erect, ③ feed, feed, etc. On the basis of communicative translation theory, and fully understand the original meaning, context, and considering Chinese words collocation is used, depending on the context, the extension method was adopted, will &amp;quot;치 다&amp;quot; translated into &amp;quot;blocking&amp;quot;, &amp;quot;stamp&amp;quot;, &amp;quot;and&amp;quot; verb, such as to conform to the Chinese habits of expression.&lt;br /&gt;
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===The expression of communicative translation theory at the sentence level===&lt;br /&gt;
Communicative translation theory is pointed out that to the readers, the translator should give full play to the advantages of the target language, to make the translation conform to the target language expression of habit, not to leave any arcane to readers, while Korean and Chinese belong to different language families, there are differences in expression habit, this summary is mainly under the guidance of communicative translation theory, This paper analyzes the translation of sentences in The Pure Man and The Goat Family by means of paraphrase, syntactic and combined translation.&lt;br /&gt;
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'''Interpretation method'''&lt;br /&gt;
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Hermeneutic method is also an interpretative translation method. Because Chinese and Korean have different expression habits, in the process of translation, we can use the paraphrase method to explain some ambiguous sentences, which can not only make the translation clear, but also accurately convey the original purpose.&lt;br /&gt;
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Eg.5：어느날, 아이가 눈에 보이는 사물들을 가리켜 얼마짜리냐고 물었을 때, 어떤 행위를 가리켜 얼마 받느냐고 물었을 때, 나는 어린것이 별걸다 궁금해한다고 면박을 줬다. 면박을 주는 것으로 마음에 이는 민망함을 무마시켰다. 아이의 입에서 처음 돈 얘기가 나왔을 때, 그때 나는 이미 알아챘어야 했는지도 모른다.&lt;br /&gt;
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First Translation: 当某一天，孩子们指着各种东西问花了多少钱，挣了多少钱时，我当面斥责说“小孩子家家的，真是什么都好奇”。我以这种当面驳斥的方式来掩饰心中的尴尬。当我第一次从孩子嘴里听到关于钱的话题时,我可能就已经觉察到了些什么。&lt;br /&gt;
&lt;br /&gt;
Retranslation: 当某一天，孩子们指着各种东西问价格时，我当面斥责说‘小孩子家的，问这个做什么’，以此来掩饰我内心的尴尬。当我第一次从孩子嘴里听到关于钱的话题时，我可能已经觉察到时代变了，我那‘不知钱为何物’的时代过去了。&lt;br /&gt;
&lt;br /&gt;
The author at the beginning of the translation of &amp;quot;그 때 나 는 이 미 알 아 챘 어 야 했 는 지 도 모 른 다&amp;quot;, literal translation is &amp;quot;I may already have noticed what&amp;quot;, but the specific perceive what is not clear, causing distress to Chinese readers, by contacting the above learned that the &amp;quot;I&amp;quot; as a child is the hairpin, objects such as pottery fragments, But now the child is the &amp;quot;money&amp;quot;, the author under the guidance of communicative translation theory, to the readers, adopting the tactics of interpretation method, interpreted &amp;quot;I perceived that the&amp;quot; content &amp;quot;I might have been aware of The Times have changed, I that 'I don't know the money was the era of the past&amp;quot;, thus the author want to convey the original concept of the era of the change of the clear expression come out.&lt;br /&gt;
&lt;br /&gt;
Eg.6：영호야, 명절 때만이라도 꼭 아빠한데 가봐, 가기 싫으면 연락이라도 드리고.아빠가 아무리 네 맘에 안 들더라도 너는 네 할 도리를 해야 떳떳한 사람이 되는 거야,알았지?&lt;br /&gt;
&lt;br /&gt;
First Translation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。只有做了自已应该做的才能做一个光明磊落的人，知道吗？&lt;br /&gt;
&lt;br /&gt;
Retranslation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。为人处事和忠孝贤良是亘古不变的，要想做一个光明磊落的人，就要做好自己的分内之事，知道吗？阿姨的话要记住哦。&lt;br /&gt;
&lt;br /&gt;
Early in the translation of &amp;quot;너 는 네 할 도 리 를 해 야 떳 떳 한 사 람 이 되 는 거 야&amp;quot;, the corresponding Chinese literal translation is &amp;quot;only do oneself should do can do a aboveboard person&amp;quot;, but &amp;quot;할 도 리&amp;quot; what, did not explain clearly in the original, need the reader to consider, in order not to leave readers obscure place, The author puts the advantage of Chinese into full play and interprets &amp;quot;up 도 wish to be good&amp;quot; into English by means of context and translation theory. At the same time, I also think that this is the advice of adults. It is necessary to tell him this truth in a soft and powerful tone. After this sentence, &amp;quot;Remember what aunt said&amp;quot; is added to make the original meaning clearly conveyed to readers, so that readers can better understand the original content.&lt;br /&gt;
&lt;br /&gt;
'''demolition syntax'''&lt;br /&gt;
&lt;br /&gt;
Deconstruction is the breaking down of a long sentence into several shorter sentences. As Korean and Chinese belong to different language families, there are many differences in syntax. The word order of Korean sentences is the structure of SOV, and narration is the main body and focus of the sentence, and there are a large number of long sentences, which rely on word endings to express various grammatical meanings. No amount of sentence elements will cause meaning confusion.&lt;br /&gt;
&lt;br /&gt;
However, the word order of Chinese sentences is the SVO structure, which depends on vocabulary, function words and word order to distinguish sentence components, so the sentence structure is simple, mainly short sentences. The translation of Korean long sentences into Chinese sentence groups can make the translation logical, smooth and accurate.&lt;br /&gt;
&lt;br /&gt;
Eg.7：동식의 이혼에 책임이 없다고 할 수는 없는 형제들이 돈을 모아 동식에게 새집을 지어줬는데 집안 새것이면 뭐 하냐고 동식이 폭력을 휘두를 조짐을 보이자 그 팔아 종류의 폭력을 아버지에게 당해본 엄마는 지레 겁을 먹고 소를 팔아 동식에게 새장가 갈 자금을 쥐여줄 수밖에 없었다.&lt;br /&gt;
&lt;br /&gt;
First Translation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子。挨过父亲打的母亲因为对东植这种动不动就挥拳头打人的行为心有余悸，并觉得只有新房子没用，就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
&lt;br /&gt;
Retranslation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子，母亲因为挨过父亲的打，所以对东植这种动不动就挥拳头打人的行为心有余悸，觉得只有新房子无济于事，改不了他的暴力行为，索性就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
&lt;br /&gt;
The original text Is a long sentence, &amp;quot;는 데&amp;quot; is a long attributive clause, behind the author under the guidance of communicative translation theory, using the translation, in the resolution of a sentence, adjust the structure of the sentence, but his father mother &amp;quot;dragged&amp;quot; compared to read man translationese is too heavy, have the taste of Korean Chinese, is not in conformity with the Chinese expression habit, the author on the basis of this, The translation has been revised and polished to make it smooth and smooth.&lt;br /&gt;
&lt;br /&gt;
'''Cotranslation'''&lt;br /&gt;
&lt;br /&gt;
Cotranslation refers to the combined translation of two or more sentences in the original text. Using the combined translation method to translate, will reduce the long winded translation, obtain a smooth and smooth translation.&lt;br /&gt;
&lt;br /&gt;
Eg.8 ：나는 큰오빠와 작은오빠가 아버지가 남긴 논을 가져간 것을 알고 있었다. 큰언니, 작은언니가 결혼할 때 밭을 가져 갔다는 것도. 동식은 제 몫이 논도 밭도 아닌 집인 것에 불만을 품고 쓰러져가는 슬레이트집에 불을 질렀다.&lt;br /&gt;
&lt;br /&gt;
First Translation：我知道大哥和二哥结婚时分走了家里的水田，大姐和二姐结婚时分走了家里的旱地，东植因为分到的不是田和地，而是即将坍塌的的石板屋，一气之下就在屋里放了火。&lt;br /&gt;
&lt;br /&gt;
Retranslation：哥哥姐姐们结婚时把家里的水田和旱地都分走了。而东植分到的是即将坍塌的的石板屋，他对此很不满，一气之下就放火烧了房子。&lt;br /&gt;
&lt;br /&gt;
Are two sentences in the original, the author first translation, according to the original text translated into two other subject-predicate bin structure of the sentence, but &amp;quot;big sister&amp;quot; &amp;quot;big brother&amp;quot; &amp;quot;sister&amp;quot; &amp;quot;second brother&amp;quot; will be read repetitive, so the author under the guidance of communicative translation theory, adopt the method of r the appellation of original elements became the &amp;quot;brothers and sisters&amp;quot;, and the two sentence elements into a simple sentence, Reduce redundant redundant.&lt;br /&gt;
&lt;br /&gt;
===The embodiment of communicative translation at the rhetorical level===&lt;br /&gt;
Communicative translation theory points out that should take the readers as heavy, compared to convey to the readers the article content, pay more attention to the expression effect, good expression effect can cause the resonance of the readers, caused the reader's thinking, and good expression effect depends on the use of rhetoric, this summary is mainly under the guidance of communicative translation theory, adopt different translation strategies, The rhetorical translation in The Innocent Man and The Goat Family is analyzed.&lt;br /&gt;
&lt;br /&gt;
'''Addition'''&lt;br /&gt;
&lt;br /&gt;
Addition is a translation method that adds content to the target text in order to accurately express the meaning of the source text, meet the needs of the target text readers and make the target text conform to the expression habits of the target language. Since Chinese and Korean have different pragmatic ways and expressive habits, some words or sentences should be added in the translation to make the translation more consistent with the Chinese context, the reader's expressive habits and the exact meaning of the original text.&lt;br /&gt;
&lt;br /&gt;
Eg.9：나는 아이 아빠의 돈을 ‘그깟 돈’이라고 표현했다.&lt;br /&gt;
&lt;br /&gt;
First Translation：我把孩子爸爸的钱称为“那么点儿钱”。&lt;br /&gt;
&lt;br /&gt;
Retranslation：我把孩子爸爸给的钱称为“塞牙缝的钱”。&lt;br /&gt;
&lt;br /&gt;
&amp;quot;그깟&amp;quot; is a contraction of &amp;quot;그까짓&amp;quot;. It means so little, so little. The amount of money given by the father of the child is very small. The author under the guidance of communicative translation theory, give full play to the advantages of target language, adopt the method of thickening of translation, the use of metaphor, the &amp;quot;그 깟 돈&amp;quot; translated into accord with the readers expression habit &amp;quot;for all of the money&amp;quot;, making it easy to understand, more intuitive said the little amount, so as to impress the reader.&lt;br /&gt;
&lt;br /&gt;
'''Repetition'''&lt;br /&gt;
&lt;br /&gt;
Repetition refers to the translation technique of appropriately repeating a part of words or sentences in translation. The repetition method can make the meaning of the translation more clear, further strengthen the appeal of the article, highlight the thoughts and feelings of the article, and achieve a good rhetorical effect.&lt;br /&gt;
&lt;br /&gt;
Eg.10：아비를 한번도 찾지 않다가 돈 달라고, 그것도 법정에서 애 얼굴을 봐야 하는 아비 된 자의 참담한 심정을 당신들이 아느냐고.&lt;br /&gt;
&lt;br /&gt;
First Translation：孩子一次也没来看过我这个父亲，却开口要钱？而且只有上了法院，我才好不容易看孩子一眼，你们理解我这个做父亲的心情和处境吗！&lt;br /&gt;
&lt;br /&gt;
Retranslation：孩子一次也没来看过我就跟我开口要钱，只有上了法院，我才好不容易看孩子一眼，我这个做父亲的苦楚，悲凉的的心情，你们理解吗！理解吗！&lt;br /&gt;
&lt;br /&gt;
The author by contacting the specific context, as a father, no contact for many years but children themselves to court, the state of mind should be both angry and sad, based on the theory of communicative translation, using the skill of verb repetition, to &amp;quot;알 다&amp;quot; repeated translation, to emphasize my angry tone, in order to make the article more vivid and accurate meaning.&lt;br /&gt;
&lt;br /&gt;
=== conclusion===&lt;br /&gt;
This paper selected the south Korean writer Kong Shanyu stories &amp;quot;well bead film&amp;quot; in the two novel &amp;quot;pure people&amp;quot; and &amp;quot;the goat family&amp;quot; has carried on the translation practice, the two novels are using the simple nature of language and a small amount of dialect vocabulary, shape lifelike characters, are described by family members of the past, let the past and reality contrast, It reflects the social reality that with the development of society, people have become selfish and indifferent, and the most simple family and human feelings seem to be more and more far away from us, so as to explore the history and significance of the &amp;quot;family&amp;quot; and the simple social atmosphere, which are gradually forgotten by Koreans.&lt;br /&gt;
&lt;br /&gt;
The core of Peter Newmark's communicative translation theory is that on the basis of being faithful to the content of the original text, the translator can give full play to the advantages of the target language, get rid of the constraints of the language structure of the original text, and pay attention to the effect of the expression of the target text. According to Newmark's text type, communicative translation theory applies to appeal texts, which focus on the target reader and aim to elicit the desired response, including popular books, popular novels and so on. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. Under the guidance of Peter Newmark's communicative translation theory, the author analyzes and discusses the translation strategies in the Pure Man and The Goat Family, which are complicated sentences, ambiguous meanings and implicit expressions.&lt;br /&gt;
&lt;br /&gt;
From the lexical level analysis, the author mainly combined with the context, to Chinese readers as the center, to comply with the Chinese expression and language habits, consider the reader's understanding ability, on the basis of Chinese used to translation and translation methods of extension, so as to satisfy the to the original readers and the translation of the original dual need of the readers have the same effect, At the same time, it also ensures the accuracy and flexibility of the translation words, so as to conform to the translator's lexical habits.&lt;br /&gt;
From the statement level analysis, &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; appeared in the text of the long sentence and attributive clause, at the same time, some relatively obscure sentences substance, so the author adopted the method of interpretation, syntax and translation of translation strategies, to explain the sentence, split, reorganization, thus reducing the sentence's mad outages and ideographic unclear, The translation is in line with the habits of Chinese readers and effectively conveys the essence of the original text. From the rhetoric analysis, communicative translation theory points out that compared with the content, should attach great importance to the expression of the translation effect, good expression effect depends on the use of rhetoric, so the author USES the translation strategy of work and repetition, has carried on the modification to the original and polishing, to strengthen the artistic effect and influence of the translation, make readers for the characters vivid impression, Arouse readers' reflection and emotional resonance.&lt;br /&gt;
&lt;br /&gt;
Therefore, the results of this study indicate that the communicative translation theory is of guiding significance to the Chinese translation of Korean novels and can provide a reference for similar translation practices. Communicative translation theory is pointed out that to the reader as the center, the translator can get rid of the original text, giving full play to the advantages of target language to adjust the structure and logic, to make the translation easy to understand, but there may be lack of scattering situation, so the translator should properly our subjective initiative, to insure the effect of readers in at the same time, also used to avoid the above situation. In addition, there are also shortcomings in the translation, but the author still hopes that this translation practice can provide reference for the future Korean-Chinese translation practice. At the same time, through this translation practice, the author has realized his own shortcomings. In the future, the author will continue to learn, accumulate practical experience, and strive to improve his literary accomplishment and language foundation, and improve his translation level.&lt;br /&gt;
&lt;br /&gt;
===Reference===&lt;br /&gt;
&lt;br /&gt;
'''English Literature:'''&lt;br /&gt;
&lt;br /&gt;
[1]. GAO Chang. The Application of Peter Newmark's Communicative Translation Theory to the Translation of Chinese Historical Allusions [J]. Overseas English, 2013(11).&lt;br /&gt;
&lt;br /&gt;
[2]. JIAN Fang. Newmark's Translation Theory and Film Names [J]. Overseas English, 2010(08).&lt;br /&gt;
&lt;br /&gt;
[3]. LI Xin, ZHANG Zhe. On Peter Newmark’s Semanic Translation &amp;amp; Communicative Translation[J]. Overseas English, 2015（03）.&lt;br /&gt;
&lt;br /&gt;
'''Korean literature:'''&lt;br /&gt;
&lt;br /&gt;
[4]. Gong Seon-ok. In the 1980s, my literature Gwangju, and my life's hardship [J]. History of Criticism, 1995 (08).&lt;br /&gt;
&lt;br /&gt;
[5]. Kang Young-mi. Preliminary review of the singing movement in the 1970s and 1980s [J]. Mental Culture Research 41(3), 2018.(09).&lt;br /&gt;
&lt;br /&gt;
[6]. Kim Young Hee. Modern and Alternative Experience and Women--Park Wan-seo, Kim In-sook, and Gong Sun-ok's novel [J]. Creation and Criticism 23(3), 1995(09).&lt;br /&gt;
&lt;br /&gt;
[7]. Osunbang. A study of the translation of novels in modern China and the two-way translation of Sino-Korean novels[J]. Seoul: Sungsil University Press, 2008.&lt;br /&gt;
&lt;br /&gt;
'''Chinese Literature:'''&lt;br /&gt;
&lt;br /&gt;
[8]. Chen Lin. A comparison of Eugene A. Naida and Peter Newmark's translation theories [J]. Journal of Xiangtan University (Social Science Edition), 1994,(08): 87-91.&lt;br /&gt;
&lt;br /&gt;
[9]. Si Jitao and Yan Honglan. The translation of split sentences and combined sentences in English-Chinese translation[J]. Journal of Guangxi Right River Nationalities Teachers College,2005(02):21&lt;br /&gt;
&lt;br /&gt;
[10]. Chen Lin. A comparison of Eugene A. Naida and Peter Newmark's translation theory [J]. Journal of Xiangtan University (Social Science Edition), 1994, (08).&lt;br /&gt;
&lt;br /&gt;
[11]. Yang Shi-Zhuo. A brief analysis of Newmark's theory of semantic and communicative translation[J]. Fujian Foreign Language, 1989:68-71.&lt;br /&gt;
&lt;br /&gt;
=毛雅文On Translation Strategies and Methods in Chinese Translation of English Prose --- Chinese Translation of Robert Lynd’s &amp;quot;Pleasures of Ignorance&amp;quot; as an example=&lt;br /&gt;
&lt;br /&gt;
'''浅析英语散文汉译中的翻译策略——以罗伯特·林德《无知的乐趣》汉译本为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_4]]&lt;br /&gt;
&lt;br /&gt;
毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Prose, together with poetry, novel and drama, is a kind of literary form. It is not limited to rhythm, plot and characters, flexible in form, real and natural. English prose has a long history and various types, so it becomes an important object in translation practice and research. In China, the most famous English prose writers are Francis Bacon and Charles Lamb, hence, their works can be regarded as the focus of studies on Chinese translation of English prose. In fact, Chinese translation of English prose draws less attention in translation circle of China, compared with that of English poetry and drama. With English prose as the starting point, this paper will introduce the characteristics of English prose and the domestic studies on its Chinese translation, and take the Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, the representative work of English modern prose writer Robert Lynd, as an example to analyze its translation strategies and methods.&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
散文是与诗歌、小说、戏剧并称的一种文体，不拘泥于韵律、情节、人物，形式灵活，真实自然。英语散文历史悠久，类型多样，是翻译实践与研究中的重要研究对象。在我国，最著名的英语散文家是弗朗西斯·培根和查尔斯·兰姆，他们的作品也因此成为英语散文汉译的重点。而事实上，我国翻译界更加重视的是诗歌与小说的汉译，英语散文汉译的研究相较之下比较滞后。本文将以英语散文为切入点，介绍英语散文的特点及其在我国的汉译研究，并以英国现代散文家罗伯特·林德的代表作《无知的乐趣》汉译本为例，主要分析其中的策略及方法。&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Pleasures of Ignorance&amp;quot;; Chinese translation of English prose; translation strategies; translation methods; translation techniques&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
&lt;br /&gt;
《无知的乐趣》；英语散文汉译；翻译策略；翻译方法；翻译技巧&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
This chapter will point to the research background and its significance, and briefly set forth the structure of this paper and the methods used.&lt;br /&gt;
&lt;br /&gt;
'''Research Background and Significance'''&lt;br /&gt;
&lt;br /&gt;
In recent years, with the deepening of the reform and opening-up, the channels of international cultural exchange have become increasingly unblocked, and China's translation industry has also flourished. The studies on translation theory, drawing lesson from western translation studies, have yielded fruitful results, and more noteworthily, remarkable achievements have been made in studies on literary translation for all to see. (Hou Qiang 2014: 1)&lt;br /&gt;
&lt;br /&gt;
Prose is a basic literary form in written or spoken language that typically exhibits a natural flow of speech and grammatical structure. A large number of works in philosophy, history, economics, journalism, etc, are examples of works written in prose. It can be seen that prose, which is widely used for creation, occupies an important position in literature. However, there are few researchers majoring in prose translation, still fewer ones who specialize in Chinese translation of English prose. In view of the above, this paper, based on previous studies, will study the Chinese translation of English prose, and take the Chinese translation by Liu Bingshan of ''The Pleasures of Ignorance'' created by the English prose writer Robert Lynd, exploring its characteristics in translation strategies and methods, so as to provide better understanding and some reference for the appreciation and translation of English prose. (He Xiuqin 2018: 6) (Song Jie 2018: 1)&lt;br /&gt;
&lt;br /&gt;
'''Methodology and Structure'''&lt;br /&gt;
&lt;br /&gt;
This paper will employ the methods of literature research and case analysis. The paper consists of three parts. The first section is literature review, explicating the distinctive properties and linguistic features of English prose, and the prose translation with its principles, as well as introducing the previous studies on Chinese translation of English prose at home. The second part, the core of this paper, will take Liu Bingshan's Chinese translation version of Robert Lynd's prose work &amp;quot;Pleasures of Ignorance&amp;quot; as an example, carry out the interpretation of this translation in terms of its types, styles as well as strategies and methods employed. Lastly, the conclusion will point to the findings in this study and the weaknesses in the paper.&lt;br /&gt;
&lt;br /&gt;
===Literature Review===&lt;br /&gt;
&lt;br /&gt;
This part will draw into the domestic previous studies on Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
With regard to Chinese translation of English prose, at present, there are few domestic scholars dedicated to its systematic research. According to the different perspectives, the relevant researches at home can be roughly divided into three categories.&lt;br /&gt;
&lt;br /&gt;
First, concerning research on the theory of Chinese translation of English prose into Chinese, there are relatively small number of studies in this direction. One of the most fruitful works is ''The Study and Translation of British and American Prose'' co-authored by Zhao Xiuming and Zhao Zhangjin (2010), which makes a detailed investigation of the literary characteristics, historical evolution and style evolution of British and American prose. The work also discusses the basic principles of English prose translation in terms of pre-translation text analysis, historical and cultural context, artistic principles, and styles, etc., which can offer a reference for the further study of the theories and practices of English prose translation. (Hou Qiang 2014: 4)&lt;br /&gt;
&lt;br /&gt;
Second, regarding research on the famous translators of English and American prose with their translation styles and skills, Xia Ying explored the style of Professor Cao's translation of Francis Bacon with the essay titled &amp;quot;Research on Professor Cao Minglunss Chinese translation of bacon prose&amp;quot;. (Xia Ying, 2012:165-166) Some others probed into Liu Bingshanss and Li Shicong's thoughts on prose translation which have guiding significance for prose translation practice. (Hou Qiang 2014: 4)&lt;br /&gt;
&lt;br /&gt;
Third, as regards research on the practice of Chinese translation English prose based on translation theory, Huang Jianling (2021) analyzed the Chinese translation of Bacon's essays from the perspective of translation aesthetics. Hu Hongyun (2013) translates and elaborates on the British prose Farewell in vocabulary, semantics, style and cultural transmission, on the basis of Eugene Nida's Functional Equivalence theory. (Hou Qiang 2014: 5)&lt;br /&gt;
&lt;br /&gt;
These researches and investigations have laid a solid foundation for future studies and the analysis in this paper.&lt;br /&gt;
&lt;br /&gt;
===Overview of English Prose===&lt;br /&gt;
&lt;br /&gt;
Prose can be defined in broad sense and in narrow sense. In broad sense, prose refers to all the written and oral works in a loose form free from parallelism; and in narrow sense, it specifically means the writings with certain literary qualities, such as essays, and a literary genre juxtaposed with poetry, novel, drama and movie-television literature.&lt;br /&gt;
&lt;br /&gt;
This section will clarify the distinctive characteristics and linguistic features of English prose, as well as its translation principles.&lt;br /&gt;
&lt;br /&gt;
'''Distinctive Features of English Prose'''&lt;br /&gt;
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As an independent literary genre, English prose has its own distinctive characteristics.&lt;br /&gt;
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The first characteristic is its expression of sincere feeling. Prose mostly depicts the real people, things and scenery, and is generated based on record and recollection of life. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. So in this sense, prose can be considered as an earnest conversation between the author and the readers. (Zhang Baohong 2011: 28)&lt;br /&gt;
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Secondly, English prose is characterized by the wide material selection. In English prose, one detail, episode and facet of life can be used to display the author's specific emotions and circumstances, and all materials related to the theme can also be employed. It places no emphasis on rhythm and rhyme, like poetry, as well as to plot and characters, like drama. (Zhang Baohong 2011: 29)&lt;br /&gt;
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Besides, English prose features the free and loose structure. The structure of prose writings is free and flexible. Prose is elastic and natural and boasts descriptive, argumentative and lyrical qualities, thereof constituting its most distinctive advantage. There are no strict restrictions and fixed patterns in the prose structure, but its flexibility and randomness is not tantamount to disorder and scatter, and its choice of theme and expression of feelings should be closely centered on one main line. (Zhang Baohong 2011: 29)&lt;br /&gt;
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'''Linguistic Features of English Prose'''&lt;br /&gt;
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Compared with other literary forms, prose has no more skills to resort to. Therefore, as regards the form of artistic expression, English prose mainly has recourse to its own language features.&lt;br /&gt;
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First and foremost, succinctness and fluency characterize English prose language. The concise prose language not only fully delivers the content that the author intends to convey, but effectively shows the author's emotions and attitude towards persons and things. This is not the result of the author's deliberate elaboration, but the natural overflow of his or her plain and pure emotion. The fluency of prose language refers to both the informal use of words and phrases, and the author's sound expression of feelings. (Zhang Baohong 2011: 29)&lt;br /&gt;
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Meanwhile, colloquial style and literary grace are characteristic of prose language. As prose mainly focuses on description of the author's personal stories and sentiments, thus, he speaks or writes with his own posture, style and tone, as if he is confiding to the readers, so as to highlight the agreeable conversation style and unique colloquial style. Colloquial prose language is natural due to its simplicity, friendly owing to its ease of communication, and true thanks to its individuality. (Zhang Baohong 2011: 30)&lt;br /&gt;
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Furthermore, another linguistic feature of English prose is the smooth rhythm and reading. The rhythmic beauty of prose language is reflected in phonetic respect and in sentence patterns. The prose reading is catchy, with no obstacles and awkwardness, and its rhythm is in line with the natural law of oral breathing pauses as well as with the ups and downs of feelings. (Zhang Baohong 2011: 30)&lt;br /&gt;
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'''Principles of English Prose Translation'''&lt;br /&gt;
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The beauty of prose lies in its language and artistic conception, the two permeating each other and jointly creating the artistic charm of prose. In prose translation practice, the following principles can be observed to reproduce the artistic appeal.&lt;br /&gt;
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Keep an eye on sound and rhythm. Despite that the sound and rhythm of prose are often internal, not as obvious, regular and musical as that of poetry, they are not disordered with no aesthetic purpose. On the contrary, they effectively represent the variation of emotion in the prose, and are consistent with its unique aesthetic interest. This illustrates that in prose translation, on the one hand, the translators should recognize the great value and significance of prose sound and rhythm; on the other hand, with the intention of reproducing the linguistic subtleties of the original text, the translators can fully touch its aesthetic interest from the cadence between the lines, and perceive its inner rhythm from sentence length and speech speed. (Zhang Baohong 2011: 30)&lt;br /&gt;
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Pay attention to personalized mode of discourse. Different writers with various discourse modes bring about manifold writing styles. Not only is the personalized mode of discourse reflected in the author's choice of words and sentences as well as layout of the prose, but also in his thoughts and aesthetic interest. As a result, the translators can start with analyzing the original writer's one classic work and then his anthology and even look closely at the literary features of his age, in order to grasping the writer's personalized discourse mode, which is of particular importance to reproduce his artistic personality and the characteristics of his emotional expression in translation practice. (Zhang Baohong 2011: 31)&lt;br /&gt;
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Place a premium on the unity of scene and emotion. The unity of scene and interest in prose is embodied in diverse ways of language expression and structure, as well as the images or settings created by the author. In translation practice, based on the unity of scene and interest in the prose, it is beneficial to preserve and reproduce the overall aesthetic orientation of the original text through aesthetic reconstruction in word selection and layout, so that the translated text can obtain the aesthetic taste similar to the original prose.(Zhang Baohong 2011: 31)&lt;br /&gt;
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All in all, a general understanding of English prose can facilitate the study of its Chinese translation.&lt;br /&gt;
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===Case Study of Chinese Translation of &amp;quot;Pleasures of Ignorance&amp;quot;===&lt;br /&gt;
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The selected source text is &amp;quot;The Pleasures of Ignorance&amp;quot;, written by Robert Lynd. &lt;br /&gt;
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Robert Lynd (1879-1949), born in Belfast, Northern Ireland, was a modern critic and prose writer. He, together with E. V. Lucas, was a pioneer in reviving the tradition of Charles Lamb's prose. And The Pleasures of Ignorance is one of his notable prose works.&lt;br /&gt;
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This prose points out that it is because ignorance that people are interested in the nature and the world and their pursue knowledge, and the process of seeking knowledge is full of pleasure, by which the author emphasizes the importance of learning more and gaining insight. The article reveals somewhat erudition and aesthetic sensibility, as well as love for nature and and passion for life. From his leisurely writing, the author's maturity of thought and capability in usage of words is unveiled. Though the tone of the original text makes the readers feel that the author is chatting with them, giving people familiarity and closeness, it is not particularly colloquial. On the contrary, there is a kind of exactness and elegance of the learned between the lines, thus it can be seen that the case text is a typical scholar prose. (Zhu Mingju 2007: 326)&lt;br /&gt;
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The translator Professor Liu Bingshan firmly grasps these features of the original text and conveys the original style by carefully choosing words and sentences, with the principles of faithfulness, smoothness and expressiveness. His Chinese translation of &amp;quot;The Pleasures of Ignorance&amp;quot; will be analyzed in terms of translation strategies and methods. (Zhu Mingju 2007: 326)&lt;br /&gt;
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There is the natural connection between translation strategies and translation methods, but the two concepts are often confused. It is generally believed that translation strategies (such as foreignization and domestication) are at the cultural level, while the translation methods (such as literal translation and free translation) are at the textual level. Translation methods are the approaches, steps and techniques used to achieve a specific translation purpose based on a certain translation strategy in translation activities, whereas translation strategies are a collection of principles and methods. Consequently, this paper will enunciate the translation text on the basis of translation methods under foreignization strategy and domestication strategy respectively. (Xiong Bing 2014: 84)&lt;br /&gt;
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====Translation Methods under Foreignizing Strategy====&lt;br /&gt;
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Foreignization is a strategy in which a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. This strategy is &amp;quot;an ethnodeviant pressure on target-language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad&amp;quot; to have alien reading experience. The translation methods under foreignization employed in Professor Liu's target text include literal translation, zero-translation and transliteration. (Venuti, 2004: 20) (Lian Shuneng 2006: 13)&lt;br /&gt;
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=====Literal Translation=====&lt;br /&gt;
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Literal translation is in fact looser renditions that replace individual source language words with individual target language wors wherever possible, and cling as closely as possible to the source language word order in the target language. (Lian Shuneng 2006: 12)&lt;br /&gt;
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Specifically, in the case translation text, the translator faithfully retains some personal pronouns and demonstrative pronouns in the original text. For example, &lt;br /&gt;
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(1)It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance.&lt;br /&gt;
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同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
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(2)This ignorance, however, is not altogether miserable.&lt;br /&gt;
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不过，这种无知也并非全然不幸。&lt;br /&gt;
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(3)But your and my ignorance is not confined to cuckoos.&lt;br /&gt;
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但是，你我的无知并不仅限于杜鹃这一方面。&lt;br /&gt;
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(4)A contemporary English novelist was once asked by a foreigner what was the most important crop in England.&lt;br /&gt;
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一个外国人问一位当代英国小说家，英国最重要的农作物是什么。&lt;br /&gt;
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The translation of these sentences, though properly altering the word order and voice with the adherence to the target-language syntactic norms, does not adopt the usage of transferred meaning in dealing with lexical sense.&lt;br /&gt;
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The use of literal translation, especially the retaining of the personal pronouns, like &amp;quot;we&amp;quot; and &amp;quot;you and I&amp;quot;, conveys the style of the original text, showing friendliness and intimacy.&lt;br /&gt;
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=====Zero-Translation=====&lt;br /&gt;
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Zero translation refers to the translation in which the translators do not use the ready-made words in the target language to translate the source language words. This translation phenomenon occurs when adjustments must be made due to the differences in the syntactic structures of the two languages. For example, some articles and personal pronouns are not translated in E-C translation. (Fang Mengzhi 2011: 108)&lt;br /&gt;
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In Professor Liu's Translation, zero-translation is particularly displayed by omission, a translation technique. For instance,&lt;br /&gt;
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Omission of the expletives ''It'' and ''There'':&lt;br /&gt;
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(5)''It'' is impossible to take a walk in the country oneself without being amazed at the vast continent of one's own ignorance.&lt;br /&gt;
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任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
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(6)''There'' are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy.&lt;br /&gt;
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这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。&lt;br /&gt;
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Omission of English articles:&lt;br /&gt;
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(7)Thousands of men and women live and die without knowing the difference between ''a'' beech and ''an'' elm, between ''the'' song of ''a'' thrush and ''the'' song of ''a'' blackbird.&lt;br /&gt;
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成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
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Omission of pronouns:&lt;br /&gt;
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(8)... as she (the cuckoo) lays ''her'' egg on the ground and takes it in ''her'' bill to the nest in which it is destined to breed infanticide.&lt;br /&gt;
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把蛋下到地面上，然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。&lt;br /&gt;
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The application of zero-translation can render the translation text concise, neat and fluent, and make the rhythm of the prose more natural and flexible, conforming to the principle of prose translation.&lt;br /&gt;
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=====Transliteration=====&lt;br /&gt;
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Proper names such as the names of persons and places of foreign countries, are, as a rule, to be transliterated, i.e., to be translated by using Chinese characters to represent the sound in articulating these names. (Lian Shuneng 2006: 344)&lt;br /&gt;
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In transliteration, the translators should follow the original pronunciation of proper names, in Liu's translation, for example,&lt;br /&gt;
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(9)Hamlet 哈姆雷特 Pickwick 匹克威克 (both transliterated from English)&lt;br /&gt;
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Besides, in transliteration, the translators sometimes should also use the standard pronunciation of the Chinese characters. One of the difficulties in transliterating a foreign name in Chinese characters lies in the lack of many foreign sounds in Chinese, and the variation in the pronunciation of the Chinese characters causes confusion. The remedy is to fix certain Chinese characters for a certain syllable of foreign names. And many long-standing translated names, though not named after the original sounds, have been recognized by the world and are generally invariable. (Lian Shuneng 2006: 346)&lt;br /&gt;
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For example, in the translation in case study. For example, in the translation in case study,&lt;br /&gt;
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(10)Montaigne 蒙田 (not 蒙泰涅)&lt;br /&gt;
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Transliteration plays a crucial role in translation of proper nouns and technical terms, which ensures the correct conveyance of information.&lt;br /&gt;
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The translation methods under foreignization are able to make the translation process more visible, by means of showing how translators are deeply involved in the construction of culture and ideology. The use of these methods can retain the foreignness of the source text and produce on the target-language readers an effect as close as possible to that obtained on the readers of the original, through which the readers can further understand the foreign expressions and cultures, realizing the differences between the two countries.&lt;br /&gt;
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====Translation Methods under Domesticating Strategy====&lt;br /&gt;
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Domestication is a strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for target language readers. This strategy is &amp;quot;an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home&amp;quot;. In other words, as regards the use of domesticating strategy, the translators are required to make target-language readers feel familiar and close through conveying the content of the original text with the expressions to which TL readers are accustomed. And in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, free translation method and imitation method under domestication are used and displayed in several translation techniques. (Venuti 2004: 20) (Lian Shuneng 2006: 14)&lt;br /&gt;
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=====Free Translation=====&lt;br /&gt;
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Free translation, also known as sense-for-sense translation, emphasizes transfer of the meaning or &amp;quot;spirit&amp;quot; of a source text over accurate reproduction of the original wording. The purpose of this method is to accommodate the needs of the target-language readers by producing a text which conforms to the linguistic and textual norms of the target language and culture which does not therefore sound &amp;quot;foreign&amp;quot;. (Shuttleworth &amp;amp; Cowie, 2014: 59)(Lian Shuneng 2006: 12)&lt;br /&gt;
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Such a method, in this case study, is specifically embodied in the choice of words packed with Chinese characteristics, that is, diction, also a translation technique. For example,&lt;br /&gt;
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(11)Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is ''the exception''.&lt;br /&gt;
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在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是''凤毛麟角''。&lt;br /&gt;
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(12)It is not that we have not seen the birds. It is simply that we ''have not noticed'' them.&lt;br /&gt;
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所以如此，并不是因为这些鸟我们没有见过，而只是因为我们''习焉不察''。&lt;br /&gt;
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(13)When in the oak’s green arms the cuckoo ''sings'', &lt;br /&gt;
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And first delights men in the ''lovely springs''.&lt;br /&gt;
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杜鹃在橡树的绿色怀抱里''啭啼''，&lt;br /&gt;
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第一个为人们带来''欢欣、美好的春意''。&lt;br /&gt;
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In translating these sentences, the translator transfers some words into vocabulary or phrases with conspicuously Chinese features. For instance, the transfer of &amp;quot;the exception&amp;quot; and &amp;quot;have not noticed&amp;quot; to Chinese idioms &amp;quot;凤毛麟角&amp;quot; (that describes rare and precious items) and &amp;quot;习焉不察&amp;quot; (which means that one is too accustomed to something to call it in questions), respectively, exemplifies the typical Chinese four-character structure. Moreover, the verb &amp;quot;sings&amp;quot; is transferred to &amp;quot;啭啼&amp;quot; (that describes birds' melodious chirp), a Chinese term composed of two words with the same left side, which is one of common and special linguistic phenomena in Chinese language. Meanwhile, &amp;quot;the lovely springs&amp;quot; is transferred to &amp;quot;欢欣、美好的春意&amp;quot; (a joyful and wonderful feeling brought by the spring) through abstraction.&lt;br /&gt;
Thus, it can be seen that the application of free translation can reproduce the sense of the original text more smoothly and idiomatically. And the wide adoption of the four-character structures enhance the academic atmosphere of the translation version.&lt;br /&gt;
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=====Imitation=====&lt;br /&gt;
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With regard to the use of imitation, the translators do not stick to the meaning details of the original text, let alone its vocabulary and syntactic structure, but take the original text as a reference model, either by deleting and condensing to only translate its gist and key information, or by adding and expanding to deliver more information than that in the original text. For instance, (Xiong Bing 2014: 85)&lt;br /&gt;
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(14)Thousands of ''men and women'' ''live and die'' ''without knowing'' the difference between a beech and an elm, between the song of a thrush and the song of a blackbird.&lt;br /&gt;
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成千上万的''男男女女''，''从生到死''，''一辈子''也''说不出''山毛榉和榆树有什么区别，''听不出''画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
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In the translation of this sentence, a variety of translation techniques are employed. &lt;br /&gt;
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①　Conversion:&lt;br /&gt;
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The translator uses conversion to alter the syntactic structure of the original sentence. &lt;br /&gt;
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The predicate &amp;quot;live and die&amp;quot; is converted into the preposition phrase &amp;quot;从生到死&amp;quot; as the adverbial in Chinese.&lt;br /&gt;
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And the adverbial preposition phrase in the source text &amp;quot;without knowing&amp;quot; is converted into the predicate in Chinese translation.&lt;br /&gt;
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②　Division:&lt;br /&gt;
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In accordance with the need of Chinese expression, &amp;quot;without knowing&amp;quot; is divided into two verb phrases &amp;quot;说不出&amp;quot; and &amp;quot;听不出&amp;quot; in Chinese as the predicate.&lt;br /&gt;
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③　Addition:&lt;br /&gt;
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With the addition of the expression &amp;quot;一辈子&amp;quot;, the translator highlights the long time between life and death.&lt;br /&gt;
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④　Repetition:&lt;br /&gt;
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The plural form &amp;quot;men and women&amp;quot; is translated into the reiterative locution &amp;quot;男男女女&amp;quot; by repetition. &lt;br /&gt;
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The change of sentence structure via techniques such as conversion and division as well as of vocabulary via repetition and addition render the translation natural and smooth, showing the translator’s superb handling of the original text.&lt;br /&gt;
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(15)...we are all the ''more'' delighted ''at the spectacle of'' its ''runaway flight'' as it (the cuckoo) ''hurries'' from wood to wood conscious of its crimes ...&lt;br /&gt;
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一日''看见''它（杜鹃）因为自己犯了罪而''煌惶不安地''从这个林子飞''逃''向那个林子 ... 我们才会觉得''大大''开心。&lt;br /&gt;
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In this example, there are also various translation techniques used.&lt;br /&gt;
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①　Conversion:&lt;br /&gt;
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Firstly, the preposition phrase &amp;quot;at the spectacle of&amp;quot; is converted into the verb &amp;quot;看见&amp;quot; in Chinese. &lt;br /&gt;
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Secondly, the noun phrase &amp;quot;runaway flight&amp;quot; is converted into Chinese verbs &amp;quot;飞&amp;quot; (fly) and &amp;quot;逃&amp;quot; (escape). &lt;br /&gt;
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Besides, the verb &amp;quot;hurries&amp;quot; (that means to move quickly in a particular direction) is converted into &amp;quot;惶惶不安地&amp;quot; (which means to feel panic, afraid and utterly uneasy), a Chinese adverb to modify the verbs &amp;quot;飞&amp;quot; and &amp;quot;逃&amp;quot;, which endows the subject cuckoo with somewhat human characteristic.&lt;br /&gt;
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②　Repetition:&lt;br /&gt;
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The adjective &amp;quot;more&amp;quot; is translated into the reiterative locution &amp;quot;大大&amp;quot;, a Chinese adverb equivalent to &amp;quot;very&amp;quot; or &amp;quot;extremely&amp;quot; in English to modify the adjective &amp;quot;delighted&amp;quot;. &lt;br /&gt;
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In this example, the adjustment of the sentence order and conversion of parts of speech make the translation more consistent with the word sequence in Chinese. Meanwhile, the choice of words such as the Chinese four-character structure &amp;quot;惶惶不安&amp;quot; conveys the romantic charm beyond the original text. And there are also indicators of use of repetition embodied in the typical Chinese reiterative locutions like &amp;quot;惶惶&amp;quot; and &amp;quot;大大&amp;quot;.&lt;br /&gt;
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(16)I have myself a ''capricious'' and ''leaking'' memory.&lt;br /&gt;
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我自己的记忆力也是''漏洞百出''、''不听使唤''。&lt;br /&gt;
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Although this is a short sentence, it still contains the flexible use of translation techniques.&lt;br /&gt;
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①　Conversion:&lt;br /&gt;
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At first, the original object &amp;quot;memory&amp;quot; is converted to the subject in the Chinese translation.&lt;br /&gt;
And then, the subject &amp;quot;I&amp;quot; with its appositive &amp;quot;myself&amp;quot; is converted into the attribute &amp;quot;我自己的&amp;quot; to modify the subject in the translation &amp;quot;记忆&amp;quot;.&lt;br /&gt;
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②　Addition:&lt;br /&gt;
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On account of the conversion of the subject and the verb, the original predicate &amp;quot;have&amp;quot; is inappropriate. The addition of &amp;quot;也是&amp;quot; that is equivalent to the verb &amp;quot;be&amp;quot; in English enforces the completeness of sentence structure. And this is a structural addition mainly due to the structural difference between Chinese and English.&lt;br /&gt;
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③　Diction:&lt;br /&gt;
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The two vivid adjective &amp;quot;capricious&amp;quot; and &amp;quot;leaking&amp;quot; are translated as &amp;quot;不听使唤&amp;quot; and &amp;quot;漏洞百出&amp;quot; respectively which are typical Chinese four-character structures. The Chinese adjective &amp;quot;漏洞百出(的)&amp;quot; means that the loopholes appear one after another, which is often used to describe that one's writing or speech is untenable because of lack of sufficient reasons and grounds. And here, this word shows the author's weak memory with which he forgets things time and again. And the other adjective &amp;quot;不听使唤(的)&amp;quot; generally depicts that someone loses control and is not obedient to the rules or instructions. Here, the word properly demonstrates that the author cannot manipulate his memory well and also cannot preclude it from being weaker. The use of these two words conforms to the choice of affective and stylistic meanings.&lt;br /&gt;
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In this example, the conversion of the subject and object as well as the change of the predicate enable the translation to be more closely accord with the Chinese sentential structure. Moreover, the two figurative adjectives packed with personified traits not only fully  convey the author's intention, but also enhance literariness of the translation and even display a lively mood beyond the original text.&lt;br /&gt;
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(17)We know, again, that, the blossom precedes and ''not succeeds'' the fruit of the apple-tree, but ''this does not lessen our amazement at'' the beautiful holiday of a May orchard.&lt;br /&gt;
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另外，我们知道苹果树''先''开花，''后''结果，可是五月''一旦''到来，果园里一片欢闹的花海。''我们不是仍然惊为奇观吗？''&lt;br /&gt;
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This is a typical example of the imitation method embodied in the use of diverse translation techniques.&lt;br /&gt;
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①　Conversion:&lt;br /&gt;
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Regarding the conversion of word classes, the noun &amp;quot;blossom&amp;quot; is converted into the Chinese verb &amp;quot;开花&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Concerning the conversion of sentence members, the object in the clause &amp;quot;apple-tree&amp;quot; is converted into the subject &amp;quot;苹果树&amp;quot; in the Chinese translation. And the attribute &amp;quot;May&amp;quot; is converted into the adverbial in Chinese as &amp;quot;五月一旦到来&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Considering the conversion of sentence patterns, the negative sentence &amp;quot;this does not lessen our amazement at...&amp;quot; is converted into a interrogative sentence &amp;quot;我们不是仍然惊为奇观吗？&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Negation:&lt;br /&gt;
&lt;br /&gt;
The negative form &amp;quot;not succeeds&amp;quot; in English is translated into the affirmative form &amp;quot;后结果&amp;quot; in Chinese, intensifying a positive tone on which Chinese language often places emphasis.&lt;br /&gt;
&lt;br /&gt;
③　Division:&lt;br /&gt;
&lt;br /&gt;
The original complicated sentence in English is divided into several simplex clauses and phrases in Chinese, which underlines the &amp;quot;chronicle style&amp;quot; of Chinese language with frequent use of shorter or composite structures.&lt;br /&gt;
&lt;br /&gt;
④　Addition:&lt;br /&gt;
&lt;br /&gt;
Now that the original sentence is divided into smaller components, it is necessary to supply connectors for better cohesion. The addition of the logical connectors in Chinese such as &amp;quot;先&amp;quot;, &amp;quot;后&amp;quot;, &amp;quot;一旦&amp;quot; and &amp;quot;仍然&amp;quot; render the translation more smooth and expressive.&lt;br /&gt;
&lt;br /&gt;
In this instance, the translator flexibly takes advantage of the techniques such as conversion, negation and division, not only contributing to the diversity of sentence patterns but also adding sense of warmth and vividness of the translation. Additionally, the semantic addition of logical connectors render the translation more cohesive and coherent.&lt;br /&gt;
&lt;br /&gt;
(18)Once more I shall ''see'' the world as a garden through ''the eyes'' of a stranger, ''my breath taken away with surprise by the painted fields''.&lt;br /&gt;
&lt;br /&gt;
那时，我像一个陌生者进人大花园，''放眼四望''，''五色缤纷''的原野再一次使我''目不暇接''，''心迷神醉''。&lt;br /&gt;
&lt;br /&gt;
As regards this example, the translator enriches the meaning of the original text and creates a more balmy atmosphere by employing various translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Division:&lt;br /&gt;
&lt;br /&gt;
The long complex sentence, composed of two clauses, is divided into several separated clauses in arranged in a certain order, which renders the translation rhythmic and highlights the focus of expression.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
The addition of the Chinese set phrase &amp;quot;目不暇接&amp;quot; (which means that so many wonderful things and so swift change of scenery come into sight that the eyes are kept fully occupied) makes the context more coherent, as it echoes &amp;quot;see&amp;quot; and &amp;quot;the eyes&amp;quot; in the preceding and connects the &amp;quot;painted fields&amp;quot; in the following that greet the author's eyes and take his breath away.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The verb &amp;quot;see&amp;quot; is translated into &amp;quot;放眼四望&amp;quot; (to look around), the noun phrase &amp;quot;breath taken away with surprise&amp;quot; into &amp;quot;心醉神迷&amp;quot; (to be thrown into ecstasies), and the adjective &amp;quot;painted&amp;quot; into &amp;quot;五彩缤纷&amp;quot; (colorful). These recurring four-character structures in translation are loaded with positive meanings, and proper to depict the attractive scenery and to be used in scholar prose.&lt;br /&gt;
&lt;br /&gt;
④　Conversion:&lt;br /&gt;
&lt;br /&gt;
The original clause &amp;quot;my breath taken away with surprise by the painted fields&amp;quot; is in passive voice, and is converted into the active voice in Chinese translation &amp;quot;五色缤纷的原野再一次使我目不暇接，心迷神醉&amp;quot;. This kind of conversion is due to the fact that the Chinese passive form marked by &amp;quot;被&amp;quot; is traditionally felt to be an &amp;quot;inflictive voice&amp;quot;, mainly expressing things unpleasant or undesirable, contrasted with the cheerful aura overflowing the original text. &lt;br /&gt;
&lt;br /&gt;
The translator employs short clauses separated from the original complex sentence to bestow smoothness and naturalness on the translation and strengthen its artistic appeal. Furthermore, the translator selects the words that tally with the affective, contextual and stylistic meanings of the original. And the opportune addition of words and change of voice also polish the translation.    &lt;br /&gt;
&lt;br /&gt;
The reasonable use of the imitation translation method can make the translation more idiomatic and vivid, and even enable the translation overshadow the original text in terms of showcasing the artistic and aesthetic charm.&lt;br /&gt;
&lt;br /&gt;
In a word, translation methods under domesticating strategy will involve he careful selection of texts which lend themselves to being translated in this manner, the conscious adoption of a fluent, natural-sounding target language style, the adaptation of target text to conform to target discourse types, the interpolation of explanatory material, the removal of source language REALIA and the general harmonization of target text with target language preconceptions and preferences. These methods can render the translation highly literary, aesthetic and readable, and also can to some extent optimize the source text. The appropriate application of domesticating translation is able to even become a sublimation of the original.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
This paper makes an analysis of translation strategies and translation methods in English prose, with translator Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot; created by Robert Lynd as an example. With translation strategies and methods as the starting point, this paper considers Chinese translation of English prose as the research subject. The paper first introduces English prose along with its distinctive properties, linguistics features and principles of its translation. And then this paper carries out the interpretation of translation strategies and methods in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot; in which the application of translation methods as well as techniques under foreignizing and domesticating strategies are elaborated, and the concrete effects they exert are also elucidated.&lt;br /&gt;
&lt;br /&gt;
====Major Findings====&lt;br /&gt;
&lt;br /&gt;
Based on the above study of translation strategies and methods employed in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, the features or common ground of Chinese translation of English prose in terms of translation strategies and methods can be generally summarized.&lt;br /&gt;
&lt;br /&gt;
In Chinese translation of English prose, foreignization strategy and domestication strategy are both used in the light of the style, linguistic features, and syntactic structures of the source text.&lt;br /&gt;
&lt;br /&gt;
But, on the whole, the domesticating translation strategy which includes translation methods such as free translation and imitation is applied more frequently compared with foreignization. This is because that prose translation actually falls into literary translation that is special on the grounds of the unique characteristics of the original literary works. In literary works, or specifically, in English prose, some words are not used with their literal meanings but their connotative or extension meanings, so literal translation under foreignization may not correctly convey the real significance of the original text. Meanwhile, in English prose, there are complex syntactic structures whose translation cannot be carried out with no proper conversion and alteration. Additionally, multiple rhetoric devices such as metaphor, metonymy and allusion are used in English literary works, and the literal translation of these figures of speech may elude the target-language readers because of the cultural differences and the obscurity of the translation. However, the appropriate adoption of translation methods under domestication strategy, to some extent, can give the target-language readers a sense of closeness and deliver the aesthetic charm with the premise that the real meaning of the original text can be ensured.&lt;br /&gt;
&lt;br /&gt;
In terms of translation methods under foreignizing strategy, literal translation is used when the lexical meaning of the source text is lucid and the syntactic structures in it are relatively simple and clear, so the translators need not find a new path in the mode of expression in order to be faithful to the source text. And the use of literal translation can convey the information more objectively and avoid the interference of translators' subjective factors. Meanwhile, in Chinese translation of English prose, the use of zero-translation is frequent but imperceptible, with the omission of some words peculiar to English, such as expletives it and there, English articles and pronouns, but sometimes the English pronouns can also be retained to show a sense of closeness and friendliness. Besides, transliteration is used for the translation of proper nouns and technical terms not only in English prose but also in almost all text types, with conforming to the principles of being named after the original sound and of the translated names accepted through common practice. In a word, translation methods under foreignization can ensure the objective conveyance of information of the original text and preserve its foreignness and unique cultural values that can enrich the target-language readers' knowledge and their languages.&lt;br /&gt;
&lt;br /&gt;
With regard to translation methods under domesticating strategy, in Chinese translation English prose, free translation and imitation method are oftentimes employed. English prose, as one of the English literary genres, boasts distinctive features of literature, such as aesthetic value, language with hidden meanings and the usual use of figures of speech as well as culturally loaded images, which may not be shown vividly and be easily understood by target-language readers via literal or word-for-word translation. Thus, translation methods under domestication, with careful choice of words, proper adjustment of syntactic structures and sentence sequence, and appropriate sublimation of the original text, can express the original author's feelings more lively, render the translation more fluent, idiomatic and expressive, and display the aesthetic charm of the source text.&lt;br /&gt;
&lt;br /&gt;
At the lexical level, in Chinese translation of English prose, the translation techniques --- diction, addition, conversion and repetition --- are usually used. The typical Chinese four-character structures appear time from time in Chinese translation, and the translators choose the words in line with the affectionate, contextual and stylistic meanings of the original prose, which intensify literariness and satisfy the characteristics of scholar prose. Moreover, the addition of Chinese conjunctive words and logical connectors by which sentences in translation are connected into a text can create better cohesion. Furthermore, the conversion of word classes in translation is based on the contrastive studies of English and Chinese, viz., English with its nominal style is static whereas Chinese with its verbal style is dynamic. Besides, it is one of the peculiarities of Chinese to reduplicate characters or words in word-formation and to repeat the similar or same word or expression in a discourse for expressiveness and parallelism, which can render translation more appealing to Chinese readers and produce rhetorical and grammatical effect.&lt;br /&gt;
&lt;br /&gt;
At the syntactic level, the translation techniques --- conversion and division--- are often employed in Chinese translation of English prose. To start with, conversion in the syntactic respect involves conversions of sentence members, sentence patterns and the voice. The conversion of word classes often results in the conversion of sentence members, and the alteration of sentences patterns like the inter-conversion between assertive or negative sentences and question sentences can variegate sentence types in translation. The conversion of passive voice in English prose into active voice in Chinese translation is due to the preference for active forms that can produce positive effect in Chinese language. What's more, part of sentences in English prose are longer and complicated because of subordination, a fundamental feature of English, and it may be hard to reproduce the original thought with following the original sentence structure in translation, hence the division of complex English sentences into word-groups, clauses or simplex sentences in Chinese can endow Chinese translation of English prose with more naturalness, fluency and sense of rhythm.&lt;br /&gt;
&lt;br /&gt;
The research on the features of translation strategies and methods in Chinese translation of English prose, theoretically can offer a deeper insight into English prose and its translation, and practically can help to some extent improve the quality of Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
====Limitations and Suggestions====&lt;br /&gt;
&lt;br /&gt;
There are drawbacks in this paper: firstly, the paper takes only one piece of English prose as an example in case study, so it lacks strong persuasiveness; secondly, since there are few researchers on prose translation at home and abroad, especially those specializing in Chinese translation of English prose, this paper resorts to insufficient literature guidance and reference; thirdly, owing to the confined conditions and narrow academic capacity, this paper is devoid of enough depth and breadth as well as favorable insight and acuity, thus the theoretical support and practical assistance it provides are bound to be limited. As a consequence, it is expected that researchers in this field can cooperate well to build up a system to minimize the possible errors and create more thorough and holistic works to enunciate and improve Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
[1] Lawrence Venuti. Rethinking Translation: Discourse, Subjectivity, Ideology [C]. London and New York: Routledge, 1992: 5-20.&lt;br /&gt;
&lt;br /&gt;
[2] Lawrence Venuti. The Translator's Invisibility: A History of Translation [M]. Shanghai: Shanghai Foreign Language Education Press 上海: 上海教育出版社, 2004: 7-25.&lt;br /&gt;
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[3] Mark Shuttleworth. Moira Cowie. Dictionary of Translation Studies [M]. London and New York: Routledge, 2014: 43-44, 59, 144-145.&lt;br /&gt;
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[4] 方梦之. 中国译学大辞典 [M]. 上海: 上海教育出版社, 2011: 108.&lt;br /&gt;
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Fang Mengzhi. Dictionary of Translation Studies in China [M]. Shanghai: Shanghai Foreign Language Education Press, 2011: 108 &lt;br /&gt;
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Hou Qiang. On the Translation Strategies of English Prose: A Case Study of the Chinese version in &amp;quot;Han Suyin Award for Young Translators&amp;quot; [D]. Xiamen: Xiamen University, 2014.&lt;br /&gt;
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&lt;br /&gt;
===Appendix===&lt;br /&gt;
&lt;br /&gt;
(The original text:)&lt;br /&gt;
&lt;br /&gt;
The Pleasures of Ignorance&lt;br /&gt;
&lt;br /&gt;
By Robert Lynd&lt;br /&gt;
&lt;br /&gt;
It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance. It is impossible to take a walk in the country oneself without being amazed at the vast continent of one’s own ignorance. Thousands of men and women live and die without knowing the difference between a beech and an elm, between the song of a thrush and the song of a blackbird. Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is the exception. It is not that we have not seen the birds. It is simply that we have not noticed them. We have been surrounded by birds all our lives, yet so feeble is our observation that many of us could not tell whether or not the chaffinch sings, or the colour of the cuckoo. We argue like small boys as to whether the cuckoo always sings as he flies or sometimes in the branches of a tree-whether Chapman drew on his fancy or his knowledge of nature in the lines:&lt;br /&gt;
&lt;br /&gt;
When in the oak's green arms the cuckoo sings, &lt;br /&gt;
&lt;br /&gt;
And first delights men in the lovely springs.&lt;br /&gt;
&lt;br /&gt;
This ignorance, however, is not altogether miserable. Out of it we get the constant pleasure of discovery. Every fact of nature comes to us each spring, if only we are sufficiently ignorant, with the dew still on it. If we have lived half a lifetime without having ever seen a cuckoo, and know it only as a wandering voice, we are all the more delighted at the spectacle of its runaway flight as it hurries from wood to wood conscious of its crimes and at the way in which it halts hawk-like in the wind, its long tail quivering, before it dares descend on a hillside of fir-trees where avenging presences may lurk. It would be absurd to pretend that the naturalist does not also find pleasure in observing the life of the birds, but his is a steady pleasure, almost a sober and plodding occupation, compared to the morning enthusiasm of the man who sees a cuckoo for the first time, and, behold, the world is made new.&lt;br /&gt;
&lt;br /&gt;
And, as to that, the happiness even of the naturalist depends in some measure upon his ignorance,which still leaves him new worlds of this kind to conquer. He may have reached the very Z of knowledge in the books, but he still feels half ignorant until he has confirmed each bright particular with his eyes. He wishes with his own eyes to see the female cuckoo—rare spectacle!—as she lays her egg on the ground and takes it in her bill to the nest in which it is destined to breed infanticide. He would sit day after day with a field-glass against his eyes in order personally to endorse or refute the evidence suggesting that the cuckoo does lay on the ground and not in a nest.And, if he is so far fortunate as to discover this most secretive of birds in the very act of laying, there still remain for him other fields to conquer in a multitude of such disputed questions as whether the cuckoo’s egg is always of the same colour as the other eggs in the nest in which she abandons it. Assuredly the men of science have no reason as yet to weep over their lost ignorance. If they seem to know everything, it is only because you and I know almost nothing. There will always be a fortune of ignorance waiting for them under every fact they turn up. They will never know what song the Sirens sang to Ulysses any more than Sir Thomas Browne did.&lt;br /&gt;
&lt;br /&gt;
If I have called in the cuckoo to illustrate the ordinary man's ignorance, it is not because I can speak with authority on that bird. It is simply because, passing the spring in a parish that seemed to have been invaded by all the cuckoos of Africa, I realized how exceedingly little I, or anybody else I met, knew about them. But your and my ignorance is not confined to cuckoos. It dabbles in all created things, from the sun and moon down to the names of the flowers. I once heard a clever lady asking whether the new moon always appears on the same day of the week. She added that perhaps it is better not to know, because, if one does not know when or in what part of the sky to expect it,its appearance is always a pleasant surprise. I fancy, however, the new moon always comes as a surprise even to those who are familiar with her time-tables. And it is the same with the coming-in of spring and the waves of the flowers. We are not the less delighted to find an early primrose because we are sufficiently learned in the services of the year to look for it in March or April rather than in October. We know, again, that, the blossom precedes and not succeeds the fruit of the apple-tree, but this does not lessen our amazement at the beautiful holiday of a May orchard.&lt;br /&gt;
&lt;br /&gt;
At the same time there is, perhaps, a special pleasure in relearning the names of many of the flowers every spring. It is like rereading a book that one has almost forgotten. Montaigne tells us that he had so bad a memory that he could always read an old book as though he had never read it before. I have myself a capricious and leaking memory. I can read Hamlet itself and The Pickwick Papers as though they were the work of new authors and had come wet from the press, so much of them fades between one reading and another. There are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy. But this is only when life has an object beyond entertainment. In respect of mere luxury, it may be doubted whether there is not as much to be said for a bad memory as for a good one. With a bad memory one can go on reading Plutarch and The Arabian Nights all one's life. Little shreds and tags, it is probable, will stick even in the worst memory, just as a succession of sheep cannot leap through a gap in a hedge without leaving a few wisps of wool on the thorns. But the sheep themselves escape,and the great authors leap in the same way out of an idle memory and leave little enough behind.&lt;br /&gt;
&lt;br /&gt;
And, if we can forget books, it is as easy to forget the months and what they showed us, when once they are gone. Just for a moment I tell myself that I know May like the multiplication table and could pass an examination on its flowers, their appearance and their order. Today I can affirm confidently that the buttercup has five petals. (Or is it Six? I knew for certain last week.) But next year I shall probably have forgotten my arithmetic, and may have to learn once more not to confuse the buttercup with the celandine. Once more I shall see the world as a garden through the eyes of a stranger, my breath taken away with surprise by the painted fields. I shall find myself wondering whether it is science or ignorance which affirms that the swift (that black exaggeration of the swallow and yet a kinsman of the humming-bird) never settles even on a nest, but disappears at night into the heights of the air. I shall learn with fresh astonishment that it is the male, and not the female,cuckoo that sings. I may have to learn again not to call the champion a wild geranium, and to rediscover whether the ash comes early or late in the etiquette of the trees. A contemporary English novelist was once asked by a foreigner what was the most important crop in England. He answered without a moment's hesitation: &amp;quot;Rye&amp;quot;. Ignorance so complete as this seems to me to be touched with magnificence; but the ignorance even of illiterate persons is enormous. The average man who uses a telephone could not explain how a telephone works. He takes for granted the telephone, the railway train, the linotype, the aeroplane, as our grandfathers took for granted the miracles of the gospels. He neither questions nor understands them. It is as though each of us investigated and made his own only a tiny circle of facts. Knowledge outside the day's work is regarded by most men as a gewgaw. Still we are constantly in reaction against our ignorance. We rouse ourselves at intervals and speculate. We revel in speculations about anything at all—about life after death or about such questions as that which is said to have puzzled Aristotle, &amp;quot;why sneezing from noon to midnight was good, but from night to noon unlucky.&amp;quot; One of the greatest joys known to man is to take such a flight into ignorance in search of knowledge. The great pleasure of ignorance is, after all, the pleasure of asking questions. The man who has lost this pleasure or exchanged it for the pleasure of dogma, which is the pleasure of answering, is already beginning to stiffen. One envies so inquisitive a man as Jowett, who sat down to the study of physiology in his sixties. Most of us have lost the sense of our ignorance long before that age. We even become vain of our squirrel’s hoard of knowledge and regard increasing age itself as a school of omniscience. We forget that Socrates was famed for wisdom not because he was omniscient but because he realized at the age of seventy that he still knew nothing. (Zhu Mingju 2007: 319-322)&lt;br /&gt;
 &lt;br /&gt;
(Liu Bingshan's Chinese translation:)&lt;br /&gt;
&lt;br /&gt;
无知常乐&lt;br /&gt;
&lt;br /&gt;
刘炳善 译&lt;br /&gt;
&lt;br /&gt;
同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是凤毛麟角。所以如此，并不是因为这些鸟我们没有见过，而只是因为我们习焉不察。在我们一生中，鸟类始终就在我们周围，然而我们对于它们的观察总是那样马马虎虎，所以我们当中许多人都说不清花鸡到底会不会知，也不知道杜鹃究竟是什么颜色。对于有些问题、我们像小孩子一样争论不休、譬如说，杜鹃在飞着或栖身于树枝间的时候，是否一直不停地鸣，而查普曼下面两行诗的灵感究竟是来自他的想像还是来自他的自然知识∶&lt;br /&gt;
&lt;br /&gt;
杜鹃在橡树的绿色怀抱里啭啼，&lt;br /&gt;
&lt;br /&gt;
第一个为人们带来欢欣、美好的春意。&lt;br /&gt;
&lt;br /&gt;
不过，这种无知也并非全然不幸，因为正是由于它，我们才能不断尝到发现的乐趣。只要我们是的的确确地无知，那么每年大地春回，自然界的每一种事物都会带着它那清新的露珠重新出现在我们面前。如果我们活了半辈子，对于杜鹃除了听过它那飘忽不定的叫声，从来没有见过它是什么模样，那么，一日看见它因为自己犯了罪而煌惶不安地从这个林子飞逃向那个林子。或是看见它顶着风、像老鹰似的停留在半空中，它那长长的尾巴颤动着，不敢落下来，生怕有什么鸟儿藏在那山坡上的枞树林里等着要找它报仇。我们才会觉得大大开心。有人想着，博物学家整天观察鸟类，大概就不会觉得有什么趣儿了吧？其实大谬不然--他那持续不断的乐趣几平已经变成一种安详的职业习惯了，不像有人某天早晨突然第一次看见一只杜鹃，不胜雀跃之至，于是，看哪，天地也为之焕然一新了。&lt;br /&gt;
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说到这儿，甚至连博物学家的快乐在一定程度上也有赖于自己的无知；只有如此。才能给他留出一些新的领域有待他去征服。即使他已经攀登了书本知识的顶峰，他仍会感到自己不过是半通不通，每一个引人注目的细节还必须用自己的亲眼观察来加以一一证实。他盼着能亲眼看到雌杜鹃（这可是个稀罕物儿！）把蛋下到地面上。然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。因此，博物学家就要戴上望远镜，日复一日地坐在那里等待着亲眼证实或者否定那种认为杜鹃确实是在地面上而非在窠里下蛋的说法。而日，即使他很幸运，能够发现杜鹃下蛋实况，这个在鸟类来说算是极大的秘密，其他一大批有争议的问题还依然存在。就像新的领土有待他去开拓，例如，杜鹃的蛋跟它占用的窠里其他鸟的蛋是否总是一样颜色？自然，科学家没有理由为了自己失去无知而哭泣。如果他们看起来似乎是精通一切的话，那也不过因为你我差不多是一无所知罢了。实际上，当他们要把一件事实的盖子揭开的时候，某种命定的无知就在等待着他们。海妖们向尤利塞斯唱的究竟是什么歌儿？——他们永远不可能知道，正像托马斯·勃朗爵士也不知道一样。&lt;br /&gt;
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我请杜鹃来做例子以说明普通人的无知，并不是因为我有什么权威可以对这种鸟儿发发议论。不过，我曾在某个教区暂住，而那年春天从非洲飞来的杜鹃似乎全集合在那个地方，因此我也就有机会了解到我自己以及我所碰见的每一个人对于这种鸟儿的知识是如何地微不足道。但是，你我的无知并不仅限于杜鹃这一方面。它涉及到宇宙万物，从太阳、月亮一直到花卉的名字。有一天，我听见一位聪明伶俐的太太提出了这样一个问题∶新月是不是总在星期几露面？她接着又说：不知道倒好，正因为人不知道在什么时候、在天空的哪一带能看见它，新月一出现才给人带来一场惊喜。然而我想、哪怕入把月亮盈亏时间表记得再熟。看见新月出现还是不免又惊又喜，春回大地，花开花落，也莫不如此。尽管我们对一年四季草本节令了如指掌，知道樱草开花在三月四月而不在十月，不过看见一株早开花的樱草，我们还是照样地高兴。另外，我们知道苹果树先开花，后结果，可是五月一旦到来，果园里一片欢闹的花海。我们不是仍然惊为奇观吗？&lt;br /&gt;
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倘在每年春天，把许多花卉之名重温一遍，还另有一番风味。那就像把一本差不多忘得干干净净的书再重新念一遍。蒙田说过，他的记忆力很坏，所以他随时都能拿起一本旧书，像从未读过的新书一样地念。我自己的记忆力也是漏洞百出、不听使唤。我甚至能拿起《哈姆雷特》和《匹克威克外传》，当作是初登文坛的新作家刚刚印成白纸黑字的作品来念，因为自从上回念过以后，这两部书在我脑子里的印象已经模模糊糊了。这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。不过，在这种时候，人不仅想得到娱乐，还追求着什么目的。如果只讲享受的话，记忆力坏比记忆力好究竟差到哪里去，还真是大可怀疑哩。记忆力坏的人可以一辈子不断地念普卢塔克的《英雄传》和《天方夜谭》，而永远感到新鲜。很可能，最坏的记忆力也难免粘粘连连地留下一星半点的印象，恰如一只只绵羊从篱笆洞里接连通过，总不免在那刺条上留下一丝半缕的羊毛。然而，绵羊终归逃出去了，正像伟大的作家从我们不争气的记忆中消失。所留下的东西简直微不足道。&lt;br /&gt;
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既然读过的书我们可以忘得一干二净，那么一年十二个月以及每个月的风物，一旦时过境迁。我们同样可以轻而易举地把它们忘在脑后。在某个短暂时刻，我可以说自己对于五月就像对于乘法表那样熟悉，关于五月里的花木、开花时间乃至前后次序，我能通过考试。今天，我就敢肯定金凤花有五瓣。（难道是六瓣吗？上个礼拜我还记得清清楚楚来着。）可是，到了明年，我也许连算术也忘个干干净净;我得从头学起，以免把金凤花误认成白屈菜。那时，我像一个陌生者进人大花园，放眼四望，五色缤纷的原野再一次使我目不暇接，心迷神醉。那时，我也许要对这么一个问题拿不定注意，就是; 认为雨燕（那种简直像大号小燕子、又和蜂鸟沾点儿亲戚的黑鸟儿）从来不在窠里歇着，一到夜里就飞向高高的天空，到底是一种科学论断，还是一种无知妄说？当我知道了会唱歌的并不是雌杜鹃，而是雄杜鹃。我还要再次感到惊讶。我得重新学习，以免把剪秋罗当作野大竺葵；还要去重新发现白杨在树木生长的习惯法中究章算是早成材还是晚成材。某天。一个外国人问一位当代英国小说家，英国最重要的农作物是什么。他毫不犹豫地回答：“稞麦。”在我看来，这是一种堂而皇之派头的彻头彻尾的无知；不过，大大无知的也包括那些没有文化的人。普通人只会使用电话，却无法解释电话的工作原理。他把电话、火车、铸造排字机、飞机都看作当然之事，就像我们的祖父一代把福音书里的奇迹故事视为理所当然一样。对于这些事，他既不去怀疑，也不去了解。我们每个人似乎只对很小范围内的某几件事才真正下工夫去了解、弄清楚。大部分人把日常工作以外的一切知识统统当作花哨无用的玩意儿。然面，对于我们的无知，我们还是时时抗拒着，我们}有时振作起来，进行思索。我们随便找一个什么题目，对之思考，甚至入迷——关于死后的生命，或者关于某些据说亚里士多德也感到大惑不解的问题，例如“打喷嚏，从中午到子夜则吉，从夜晚至中午则凶，其故安在？”为求知识而陷入无知，这是人类所欣赏的最大乐事之一。归根结底，无知的极大乐趣即在于提出问题。一个人，如果失去了这种提问的乐趣，或者把它换成了教条的答案，并且以此为乐，那么，他的头脑已经开始僵化了。我们羡慕像裘伊特这样勤学好问之人，他到了六十多岁居然还能坐下来研究生理学。我们多数人不到他这么大的岁数就早已丧失了自己无知的感觉了。我们甚全像松鼠似的对自己小小的知识储存感到沾沾自喜，把与日俱增的年龄看作是培养无所不知的天然学堂。我们忘记了∶苏格拉底之所以以智慧名垂后世，并非因为他无所不知，而是因为他到了七十高龄还能明白自己仍然一无所知。 (Zhu Mingju 2007: 322-325)&lt;br /&gt;
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=毛优Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
[[Trans_Type_EN_5]]&lt;br /&gt;
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毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
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=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
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从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。	&lt;br /&gt;
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Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
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Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
翻译风格，巴黎的忧郁，郭宏安，亚丁&lt;br /&gt;
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==Introduction==&lt;br /&gt;
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The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
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Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations. Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
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==Liu Miqing’s theory of translation style==&lt;br /&gt;
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Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
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Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.&lt;br /&gt;
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In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
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==Form Markers==&lt;br /&gt;
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According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
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===Register Markers===&lt;br /&gt;
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“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
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The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
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Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
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Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
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Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
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This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
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===Lexical Markers===&lt;br /&gt;
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Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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'''Eg. (b)'''&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence, translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
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==Non-formal Markers==&lt;br /&gt;
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The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
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Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
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According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
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Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
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The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
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The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
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Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
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Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.&lt;br /&gt;
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==References==&lt;br /&gt;
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[1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[3] 刘宓庆 Liu Mingqing. 新编当代翻译理论[M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp;amp; Publishing Corporation, 2005.&lt;br /&gt;
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[4] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.&lt;br /&gt;
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[5] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.&lt;br /&gt;
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=秦建安 A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
[[Trans_Type_EN_7]]&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Lu Xun, chief commander of China's modern cultural revolution, is not only a great thinker and political commentator but the founder of modern Chinese literature. Kong I-Chi is one of the masterpieces of Lu Xun's novels. Although the total number of characters is less than 3,000 words, Lu Xun exposes the nature of feudal ethics and its negative influence through his character portrayal, which is loved by many readers home and aboard. The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but so as close as possible to the original text in terms of syntactic structure and wording. Therefore, his translations once became the authoritative version of Lu Xun's novels. From the perspective of Nida’s functional equivalence theory, this thesis conducts translation research on the English translation of the famous writer Yang Xianyi, analyzing whether the translation is functionally equivalent to the original text and construe the English translation of prose from the lexical, syntactic, and semantic level to try to explore the translation strategies, styles and methods of Kong I-Chi which aims to explain the functional equivalents in Lu Xun's short novel translation.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Functional Equivalence Theory; Lu Xun; Kong I-Chi;translation method&lt;br /&gt;
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===Introduction===&lt;br /&gt;
This chapter will be expanded with respect to the research background, its significance and the methodology. The literature review will also be included which describes the previous studies on the Functional Equivalence Theory and previous translation versions of ''Kong I-Chi''.&lt;br /&gt;
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'''Research Background and Significance'''&lt;br /&gt;
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As the most famous writer in modern China, Lu Xun has a decisive bearing on the modern history of Chinese literature. Lu Xun settled in a period of transformation in Chinese literature. His short stories are different from modern short stories in terms of text and expression. ''Kong I-Chi'' was written in 1918 when there was a turmoil in China. At that time, although the imperial examination system had been abolished, the education system had not changed, and many scholars had not shaken off the shackles of feudal tenets. &lt;br /&gt;
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''Kong I-Chi'' enjoys high reputation at home and abroad and has been translated into English, Japanese, French, Russian and other languages. Compared with other language versions, the English versions enjoy a wider spread and have deeper influence. In 1954, the couple Yang and Dai translated it into English and published Selected Stories of Lu Xun in which ''Kong I-Chi'' was included. Yang Xianyi and his wife Gladys Yang are great translator beyond all doubt. They are knowledgeable and familiar with Chinese and Western cultures also have devoted their life to translating excellent Chinese and Western literary works. Through their translation, we can better master the author's own novel intentions.&lt;br /&gt;
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'''Methodology'''&lt;br /&gt;
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In recent years, the translation of traditional Chinese literary works was attached great significance by both Chinese and foreign scholars. As an important part of ancient Chinese culture, though, it is a common genre in Chinese and foreign literature, the short novels cannot be neglected. For translators, how to deal with the modern and balance Chinese and Western cultural differences has become a salient problem. It is not only necessary to understand the characteristics of modern Chinese literature, but also to be very familiar with Chinese and Western cultures for the translator. Functional Equivalence Theory is put forward by American linguists Eugene Nida. According to him, two different languages represent two different cultures which will never be the same, but translation is a kind of communication between the two cultures and translators should try their best to achieve functional equivalence between the two languages rather than seek for rigid correspondence when making translation, which can accurately reproduce the source culture in the target language and eliminate cultural differences. It puts forward a new attitude to treat different languages and cultures, promoting language communication and mutual understandings among people. Thus, taking Nida’s theory as guidance, this research is meaningful not only for translation studies, but also for cultural exchanges.&lt;br /&gt;
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'''Literature Review'''&lt;br /&gt;
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As one of Nida’s major contribution to contemporary translation studies, Functional Equivalence Theory has brought about heated discussion among scholars at home and abroad since its birth. Many momentous works of Nida also have been translated and introduced into China, such as Nida on Translation edited and translated by Tan Zaixi (1999) and Language and Translation translated by Cai Yi (1985) which of them aroused great repercussions in Chinese translation field. As the prototypical member of Functional Equivalence Theory, receptor’s response theory draws scholars’ attention. Zhang Xiujuan (2015) points out that “receptor’s response theory breaks the tradition of Chinese translation that translators pay much attention to the text but may ignore the response of readers, and provides a new perspective for Chinese scholars to make studies on translation theories”.&lt;br /&gt;
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Kong I-Chi, as the most typical character in Lu Xun's novels in the teaching textbooks of Chinese junior high school students, has left an indelible impression in the hearts of Chinese people. The most recognized translators of ''Kong I-Chi'' include Yang and Dai, Lyle William and Edgar Snow. The translation of Lu Xun's novels during the period of Yang and Dai reach its heyday. For a long time, domestic and foreign publishing houses have published works translated by the couple. Since Edgar Snow lived in the same age as Lu Xun, his translation is closer to Lu Xun's life background. It wasn't until 1990 that the American scholar William Lyell's new American translation was published, and the new stage of the English translation of Lu Xun's novels began. The British English version translated by Yang and Dai is elegant and idiomatic, giving readers the good impression of pure British English.&lt;br /&gt;
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=== Theoretical Framework: Nida’s Functional Equivalence Theory ===&lt;br /&gt;
==== Introduction of Functional Equivalence Theory ==== &lt;br /&gt;
===== The Original of Functional Equivalence Theory  =====&lt;br /&gt;
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Nida's main academic activities unfold around the translation of the Bible. In the process of &amp;quot;Bible&amp;quot; translation, Nida started from reality and developed a set of his own translation theory, which eventually became one of the classics in translation studies. In 1964, Nida (1964) put forward “dynamic equivalence” in ''Toward a Science of Translating'', and gave it specific definition in ''The Theory and Practice of Translation'' (1969). In the mid-1980s, “dynamic equivalence” was replaced by “functional equivalence” to avoid misunderstandings on the term “dynamic”, which was the origin of Functional Equivalence Theory.&lt;br /&gt;
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=====The Development of Functional Equivalence Theory  =====&lt;br /&gt;
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The most important and the most intractable part in Functional Equivalence Theory is the disposal of message. The theory requires that the message in receptor’s language must be consistent with the source language. In such a translation, translators should strive to “reproduce as literally and meaningfully as possible the form and content of the original” (Nida 1964:159). Later he successfully applied the research results of modern linguistics to translation theory which also reciprocally pushed his theory forward. There are three stages in the development of Functional Equivalence Theory.&lt;br /&gt;
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The first stage is that starting from the essence of language; he used semantic theory to make an objective and accurate analysis of the referent and associative meaning of words. In Nida's point of view, various language structures have great similarities, and the deep structure is far more common than the surface structure. Therefore, the translation of the deep structure between languages can ensure the fidelity of the translation to the greatest extent. At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensue smoothness of the translation as much as possible. The faithful and fluent translation presupposes conditions for the equivalence of receptor’s response, which makes it possible to realize functional equivalence.&lt;br /&gt;
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The second stage is that the theory was prone to lay its foundation on information theory. Nida held the view that translation is the activity of converting information expressed in one language into information in another language, which is, converting information of one code into information of another code. The translation plays a communicative role in transmitting information. Only when the target reader obtains the same amount of information as the original reader can the relationship between the target language recipient and the target language information be basically the same as the relationship between the original language recipient and the original source information. Nida noticed that there is a receptive gap between the original reader and target reader especially when the original language and the target language belong to different language families and different cultures. Thus, in order to improve the amount of the receptor’s information as much as the original reader’s, Nida emphasizes the translator can moderately change the form of the original text to provide a better understanding for receptors.&lt;br /&gt;
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On third stage, Nida tended to embellish his theory from the perspective of social semiotics. Nida insisted that the translation means translation meaning, and semiotics is the most comprehensive system for analyzing meaning. In the book &amp;quot;''Language, Culture, and Translation''&amp;quot;, Nida pointed out that social semiotics studies all codes and codes of human society, and its focus is on the most comprehensive and complex symbol system used by mankind-Language. Therefore, in terms of decoding and encoding, no translation method is as comprehensive as the social semiotic translation method.&lt;br /&gt;
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Nida also recognized that there would never be complete equivalence and it was just a quaesitum. With further development of Functional Equivalence Theory, he thought that it has different degrees of adequacy and on that basis he put forward two levels of functional equivalence — the maximal level and the minimal level of equivalence. The former refers to “the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did” (Nida 1993:118), but this is just an ideal state which cannot be achieved especially when there are huge cultural and aesthetic differences between the two languages. While the latter means “the readers of a translated text should be able to comprehend it to point that they can conceive of how the original readers of the text must have understood and appreciated it” (Nida 1993: 118), and translation below this level can never be accepted. According to Nida, if a translation is between these two levels, it can be regarded as a good one.&lt;br /&gt;
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==== Basics of Functional Equivalence Theory  ==== &lt;br /&gt;
=====Receptor’s Response  =====&lt;br /&gt;
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In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s responce. When translators are working on translation, they are increasingly unable to ignore the reader's feedback on the translation. From the perspective of reception aesthetics, translation theorist Nida said that only when the reader accepts the translation can the translation be truly completed. Therefore, when translating, the translator cannot ignore the acceptability of the translation. The translator builds a bridge between the original author and the reader of the target language through translation, and it is the translation that can clearly reflect this bridge role.&lt;br /&gt;
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Receptor’s Response Theory draws attention to the reader and the reading process, rather than the author or the text. Pat Mora and James Welch define it as: &amp;quot;The theory emphasizes the importance of the reader's role in text understanding.&amp;quot; The same description also appears in many of Nida’s works in which the importance of “receptor’s response” is emphasized repeatedly. &lt;br /&gt;
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There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which was pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information need to be filled in by the reader himself. Such uncertainty occupies another very important position in this theory. This concept includes those vague factors, such as gaps and blanks. This kind of uncertainty encourages readers to add their own ideas when reading, so there is usually more than one understanding of a literal work. The third point is implicit reader also proposed by Isel, as opposed to the actual reader, which refers to the intended reader set by the writer himself who can concretize the text. Isel points out that the implicit reader is not the actual reader, but a reader that the author expects to design in the creative process, that is, the implicit recipient. It is a certain character that the artist conceives and pre-sets based on his experience or hobbies. The forth part is the identity theme. In other words, the work itself has no fixed objective meaning; only when the reader reshapes the work out of his own identity theme and the reader replicates his own fantasies during the reading process, the work can be given meaning. The last point is the interpretative group which was put forward by Stanley Fish. It refers to people who share the same interpretation strategy as we have. In a known context or reader group, the interpretation of the work meaning is the product from the group.&lt;br /&gt;
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===== Principles for Producing Functional Equivalence  =====&lt;br /&gt;
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To achieve the closest natural equivalence between the source language and target language, Nida put forward six principles as the guidance of different kinds and degrees of adjustments:&lt;br /&gt;
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1.	When the translation that strictly keeps the form of the source text makes receptors misunderstand the designative meaning, changes need to be made in the translated text, or a footnote should be added for further explanation if literal translation is still be selected.&lt;br /&gt;
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2.	When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aim to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.&lt;br /&gt;
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3.	When the translation that strictly keeps the form of the source text is so semantically and syntactically difficult that average readers may give up the attempt to understand it, changes should be made in the translated text and the nature of the changes needs to be indicated in the introduction or footnote.&lt;br /&gt;
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4.	When the translation that strictly keeps the form of the source text causes significant misconceptions on the associative meanings of the source text or huge loss in the appreciation for the stylistic values of the source text, changes should be made to reflect the associative meanings of the source text.&lt;br /&gt;
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5.	The way that a translation is to be used (such as a drama to be read or acted on the stage) is of great significance to the extent to which changes are to be made.&lt;br /&gt;
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6.	A source text that must be translated together with accompanying codes (such as songs and operas) generally requires numerous adjustments in all aspects, including phonology, lexicon, syntax, and discourse. (Nida 1993: 125-128).&lt;br /&gt;
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=== Introduction to Lu Xun and ''Kong I-Ch''i  === &lt;br /&gt;
==== Lu Xun and the values of ''Kong I-Chi'' ====&lt;br /&gt;
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To read and translate Kong I-Chi, you must first understand its author-Lu Xun.&lt;br /&gt;
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Lu Xun is a great writer. Mentioning classical literary works, no matter what innovative methods are adopted, whether realistic, romantic, or magical, the content should be close to life, reflect the reality of times and speak for the people. In terms of form, literary works should conform to the inherent rules of literary creation-forming a unique artistic style and achieving the perfect unity of truth, goodness, and beauty. Lu Xun's works fully meet the above requirements. &lt;br /&gt;
Lu Xun is also a famous thinker. Indeed, Lu Xun did not specifically study thinking or modes of thinking, nor did he have advanced theoretical monographs, but he, like thinkers in ancient and modern times, both at home and abroad, used suspicion and criticism as spiritual swords to explore truth and reveal. He held the view that it was his duty to awaken the sleeping souls of the Chinese people with literary works of various genres. The depth and breadth of his thinking is even higher than that of some contemporary thinkers. This is well reflected in his work Kong I-Chi.&lt;br /&gt;
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Lu Xun, who is a revolutionary, has a precious characteristic, that is, the purity of his revolutionary original intention. Lu Xun leaned towards socialism under the white horror of the low ebb of the Chinese revolution. What's more commendable is that as a sober realist, Lu Xun never conceives any romantic illusions about the revolution. No matter what difficulties the revolution encounters, Lu Xun always has an optimistic belief in the prospects of the revolution.&lt;br /&gt;
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From a general perspective, Lunatic's Diary is more macro and image specific than Kong I-Chi, while Kong I-Chi starts from the micro level, depicting the poor people at the bottom of society who was bullied and oppressed and lost their dignity as human beings. In addition, there are many opinions in the critics. For example, Mr. Lu Xun's Kong I-Chi was written to criticize the feudal imperial examination system, and some people think that it was sent out to criticize the “dark” old society. The famous critic Lin Zhihao believes that this novel is not only to assail at the corruption of the feudal imperial examination system, but also to reveal the persecution of people’s spiritual and ideology by the feudal education system in the dark old society. The social reality was that most scholars had been ruthlessly “eaten” up by the environment. When the shackles of thinking have been broken, we can dig into the deep meaning under the surface of Kong I-Chi, that is, the process of literati's loss of personality and the process of redemption under the background of the dark society of feudalism. Although the tragedy is redemptive, the process is also accompanied by a fall.&lt;br /&gt;
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==== Study on the Translation of ''Kong I-Chi''  ====&lt;br /&gt;
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''Kong I-Chi'' is a masterpiece of Lu Xun. The novel was created in the winter of 1918, published in the sixth volume of &amp;quot;''Italic text''New Youth&amp;quot; in April 1919. (刘家鸣1992: 15). ''Kong I-Chi'' is Lu Xun's most satisfying work (孙伏园等2000: 58), and it is also one of Lu Xun's novels that English translators are vying to translate resulting in an amount of English translation. &lt;br /&gt;
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So far, there are eight translations of ''Kong I-Chi'': 1)A British man E.H.F.Mills translated ''Con Y Ki'' from Jing Yinyu's French translation (Mills 1930: 42-50), included in ''The Tragedy of Ah Q and Other Contemporary Chinese Short Stories'' published by George Rutridge Bookstore in London in 1930; 2) The English translation of ''K’ung I-chi'' by the American Jin Shouzhuo (G.A.Kennedy 1932: 14-15), which was later included in ''Isaacs'' (Isaacs 1974: 25-32) edited by Yi Luosheng; 3) ''K’ung I-chi'' translated by Lin Jijin (Lin 1935:3-4); 4) Unsigned version of The Tragedy of ''K'ung I-Chi'' (Anonymous 1936: 2-3); 5) ''K’ung I-chi'' was co-translated by American journalists Edgar Snow and Yao Xinnong; 6) later comes to Yang Xianyi and Gladys's translation ''K'ung I-chi'' (hereinafter referred to as &amp;quot;Yang Translation&amp;quot;) (Yang &amp;amp; Gladys 1960: 40-46); 7)Then, famous American sinologist William Lyell translated ''Kong Yiji'' (Lyell 1990: 42-48); 8) other translation of ''Kong Yiji'' was produced by British sinologist Lan Shiling ( Lovell 2009: 32-36).&lt;br /&gt;
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This article focuses on Yang's translation, trying to explore Yang and Dai's translation strategies, styles and methods of ''Kong I-Chi'' from the lexical, syntactic and semantic levels, and aims to explain the functional equivalence in the English translation of Lu Xun's short stories.&lt;br /&gt;
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=== Analysis of the Translation of ''Kong I-Chi'' from the Perspective of Functional Equivalence  === &lt;br /&gt;
==== Lexical Analysis ====&lt;br /&gt;
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There are many cultural-loaded words in the original Kong I-Chi text, such as this. Culture-loaded words are deeply imprinted by the region and era of a certain language society which express things and concepts peculiar to a certain culture. Such words as “进学” and “秀才” not only carry rich cultural connotations, but also exist only in a certain culture which may be blank in another culture. It is this characteristic which is “I have and you do not have” that often becomes an obstacle to cross-cultural communication and translation. From the perspective of Functional Equivalence, this thesis will analyze how these words are handled in Yang's translation.&lt;br /&gt;
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In the sentence “幸亏荐头的情面大，辞退不得”, the word “荐头” was translated into “someone influential” by Yang and Dai. “荐头” is the person who introduces works to other people in ancient China. Such person is absolutely influential. But for reader, such influential people may be a nobleman or someone who is very authoritative in the area which may result in discrimination. The job introducers also can be regarded as common people instead of the influential. From the perspective of Functional Equivalence, Yang’s translation explicitly showed the deep meaning with loss of cultural characteristic.&lt;br /&gt;
The phrase “之乎者也” was translated into “archaisms” which stands for the use of an archaic expression. In Chinese, the original meaning of “之乎者也” is four auxiliary words commonly used in classical Chinese. Therefore, the word &amp;quot;之乎&amp;quot; also refers to the basic abilities that a scholar should possess. Later, it is used to ridicule the scholar who only knows how to analyze words while cannot solve practical problems. Functional equivalence theory requires efforts to create translations that not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. The word “archaisms” corresponds exactly to the description of Kong I-Chi in Lu Xun’s story who is a nerd.&lt;br /&gt;
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Other prototypical cultural-loaded word is “进学”. Yang translated it into “pass the official examination”. As a link in the imperial examination system in ancient China, “进学” means that the children of the Qing dynasties who can pass the examination will be admitted to the prefectural and county schools. Such system is unique to China. To achieve functional equivalence, that is, to allow non-native readers to understand this special cultural mark, the translator must explain this cultural phenomenon as much as possible or find a corresponding expression in the foreign language culture. The same in the word “秀才” on this sentence “你怎的连半个秀才也捞不到呢?” “秀才” also belong to the imperial system. “秀才” is a subject for selecting officials in ancient China, and it was once used as a special name for school students. Yang translated it into “passed the lowest official examination”. As the minimum requirement of the ancient imperial examination system, those who passed the selection examination were called  “秀才”. According to Nida’s theory, it perfectly expresses the ancient Chinese imperial examination system, and at the same time allows foreign language readers to understand Kong I-Chi’s knowledge background.&lt;br /&gt;
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==== Syntax Analysis ====&lt;br /&gt;
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In terms of syntax, the differences in sentence patterns between English and Chinese are the most salient. English emphasizes hypothesis while Chinese emphasizes parataxis, which leads to the conversion of sentence patterns in the process of translation. According to Nida's Functional Equivalence Theory, if the change in form is still insufficient to express the meaning and culture of the original text, the translation technique of &amp;quot;reconstruction&amp;quot; can be used to resolve cultural differences and make the source language and the target language equal in meaning. &amp;quot;Reconstruction&amp;quot; refers to the conversion of the deep structure of the source language into the surface structure of the target language (郭建中,2000 , P67), that is, the cultural connotation of the source language article is explained by the vocabulary of the target language.&lt;br /&gt;
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In ''Kong I-Chi'', when Kong I-Chi took our his money and ordered some food, other people started to sneer at his revenue sources and said “你一定又偷了人家东西了!” The exclamatory sentence in the original text showed others' affirmation of Kong I-Chi's theft. Yang translated it into “You must have been stealing again!” Here we can notice the tense of the two sentences. Lu Xun used the past tense in original text, which expresses that Kong I-Chi's stealing is an established fact. However, Yang used the present perfect continuous tense when translating. In English, the present perfect continuous tense manifests that something the subject has done in the past is still being done, and may continue in the future, expressing the continuation of an action. There is no need to add any other additional descriptions, just from this tense, readers can realize everyone's thoughts on Kong I-Chi's theft. Such reconstruction of tense verifies the application of Functional Equivalence Theory in turn.&lt;br /&gt;
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Afterwards, these people who deprecated him refuted Kong I-Chi's maintenance of himself, saying: “什么清白?” In Yang's translation, it is translated as “Pooh, good name indeed!” In the original text, it is originally an interrogative sentence, but Yang transformed it into an exclamation sentence, added English slang “pooh” in it and translated “清白” into good name. If the interrogative sentence in the original text is literally translated into &amp;quot;what’s the innocence&amp;quot;, the comic effect, that is, everyone's disdain for Kong I-Chi in the exclamatory sentence will not be achieved. The sentiment contained in the original text is successfully conveyed through the conversion of sentence patterns.&lt;br /&gt;
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When describing Kong I-Chi’s knowledge background, the original text mentioned: “幸而写得一笔好字，便替人家钞钞书”. In Yang’s translation, he didn’t directly translate it into a verb phrase instead of into a noun phrase which was “Happily, he was a good calligrapher.” Knowing the characteristics of English and Chinese languages, he metonymically recreated dynamic Chinese verb clauses into static noun clauses.&lt;br /&gt;
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==== Semantic Analysis ====&lt;br /&gt;
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How to eliminate cultural differences as much as possible so that the semantics of the original language can be perfectly embodied? From the perspective of Functional Equivalence Theory, the translator needs to transform the deep structure of the source language into the surface structure of the target language which requires translator to use the corresponding vocabulary in the target language to directly explain the connotation of the original text, so that the target readers can accept the translation more easily. For example, in the original text, the sentence “因为他姓孔，别人便从描红纸上的 ‘上大人孔乙己’这半懂不懂的话里，替他取下一个绰号，叫作孔乙己” includes an allusion: 上大人孔乙己 which refers to a character in the card game popular in ancient China. In such card game, the characters always are drawn in a red paper. For children in ancient China, the card game was easy to play and was a childhood memory.&lt;br /&gt;
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In Yang’s translation, he translated it into “As his surname was Kung, he was nicknamed ‘Kung I-chi’, the first three characters in a children's copybook.” Such translation omits a lot of information from the original text, such as “描红纸上” and “半懂不懂”. But Yang gave a substitute for the omission: he explained the game allusion about children which can be regarded as a strategy that helps foreign readers better understand how Kong I-Chi comes. &lt;br /&gt;
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Another illustration is the translation of this sentence: “孔乙己，你当真认识字么？” It seems fairly easy for common people to translate it with “Kong I-Chi, do you really know words?” , while Yang gave a different version: “Kung I-chi, do you really know how to read?” In our cognitive concepts, if a man knows how to read a word, then he must know this word. But if he knows the word, he may not only know how to read it, but even know how to write it. Such special mechanism is called conceptual metonymy. Yang metonymically narrowed the scope of the meaning of the word “认识”and accurately positioned the meaning of this understanding according to the context. The translator abandons the equivalence of form and achieves the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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This article selects Yang’s translation of &amp;quot;''Kong I-Chi''&amp;quot; as the study case, and analyzes the translation effect from three aspects: lexicon, syntax and semantics, combined with Nida’s Functional Equivalence Theory. It is believed that the translator flexibly uses a variety of translation methods to deal with the differences between English and Chinese languages, and the translation has realized functional equivalence as a whole.&lt;br /&gt;
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At the lexical level, the translator adopts the naturalization method when translating the proper nouns of &amp;quot; ''Kong I-Chi'' &amp;quot;, adding notes to individual words. The translation perfectly conveys the meaning of the original vocabulary. &lt;br /&gt;
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At the syntactic level, when there are differences in the expression of English and Chinese sentences, the translator will split the sentence, adjust the subject and object of the sentence, change the sentence structure and the sentence order to make the translation conform to the expression of the target language where the translation is smooth and natural. When translating the allusions of &amp;quot; ''Kong I-Chi'' &amp;quot;, the translator adopts literal translation and annotations. &lt;br /&gt;
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In terms of semantics, the translator uses the mechanism of conceptual metaphors to accurately show the original flavor.&lt;br /&gt;
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This article believes that the success of Yang’s English translation of &amp;quot;''Kong I-Chi''&amp;quot; lies in its fluent, natural language and exotic flavor. The author and translator of &amp;quot; ''Kong I-Chi'' &amp;quot; are both famous artists. The translation case from the English translation of &amp;quot;''Kong I-Chi''&amp;quot; reflects the practical application of the Functional Equivalence Theory in Lu Xun's novels. The writer also hopes that this thesis can provide ideas and inspirations for the English translation of other Lu Xun's novels.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Nida E.A. ''Language and Culture: Contexts in translating''. Shanghai: Shanghai Foreign Language Education Press.2001. &lt;br /&gt;
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[2]Nida, Eugene A.1964. Towardsa ''Science of Translating'', Leiden: E.J.Brill. &lt;br /&gt;
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[3]Nida, Eugene A.&amp;amp;Charles R.Taber, 1969, ''The Theory and Practice of Translation'', Leiden: E.J.Brill&lt;br /&gt;
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[4]鲁迅Lu Xun.鲁迅全集(第一卷)Selected Work of Lu Xun(volume Ⅰ）[M].北京Beijing:人民文学出版社People's Literature Publishing House ,1982.&lt;br /&gt;
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[5]谭载喜Tan Zaixi．新编奈达论翻译New Nida's Translation[M]．北京Beijing：中国对外翻译出版公司China Translation &amp;amp; Publishing Corporation，1999.&lt;br /&gt;
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[6]杨坚定Yang Jianding，孙鸿仁Sun Hongren．鲁迅小说英译版本综述A Summary of the English Versions of Lu Xun's Novels[J]．鲁迅研究月刊Lu Xun Research Monthly，2021(4)．&lt;br /&gt;
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[7]伊塞尔Iser.本文中的读者 Readers in this article[A]．二十世纪西方美学名著选（下）Selected Works of Western Aesthetics in the Twentieth Century (Part 2)[C]．上海Shanghai：复旦大学出版社Fudan University press,1998.&lt;br /&gt;
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[8]杨宪益.Yang Xianyi,戴乃迭 Dai Naidie译.鲁迅选集英文版(一) Selected Works of Lu Xun (1)[M].北京:外文出版社 Beijing: Foreign Languages Press,1980.&lt;br /&gt;
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[9]https://baike.baidu.com/item/%E5%8A%9F%E8%83%BD%E5%AF%B9%E7%AD%89%E7%90%86%E8%AE%BA/3373397?fr=aladdin&lt;br /&gt;
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[10]https://www.zhihu.com/question/29965932&lt;br /&gt;
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=颜子涵 Translation methods and strategies applicable to the style of biographical literature -- Taking Incidents in Life of Slave Girl (excerpt) as an example=&lt;br /&gt;
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[[Trans_Type_EN_8]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
The translated text of this article is a part of the English biography Incidents in Life of Slave Gir. The author of this work is Harriet Jacobs. This translation mainly takes the translation functional equivalence theory of American linguist Eugene A.Nida as the theoretical framework, adopts some translation skills in translation practice, and discusses the translation skills and Strategies of Chinese translation of such texts by analyzing the stylistic characteristics of biographical literature, especially African American autobiography. Through the Chinese translation of this autobiography, we can have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Autobiographical Literature; Black female slaves; Translation methods and Strategies&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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This paper is divided into four parts. The first part is an overview of the translation project, which mainly introduces the relevant situation of the translation project, the author and works of the translated text; The second part is the preliminary preparation of translation, including project text analysis and translation plan formulation; The third part, translation theory and case analysis, including functional equivalence theory, translation strategies and case analysis; The fourth part is the summary of the project, mainly on the problems encountered in translation, the experience and inspiration gained in the process of translation.&lt;br /&gt;
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This work belongs to the category of biographical literature. Biographical literature is a literary genre in which the author reproduces the characters' life stories and experiences, shows the characters' spiritual outlook and values, and depicts the characters' distinct love and hate and vivid personality through documentary writing and a variety of literary and artistic techniques. There are more than 50 characters involved in the biography. In the author's works, these characters are very vivid, such as the forbearance of a strong grandmother to the slave owner, the loyalty of a hard-working aunt to the slave owner, the oppression of female slaves by a crafty and sinister doctor, and the wit of Linda Brent, the heroine who pursues freedom and courage. In particular, the author's description of the heroine's seven years spent in a &amp;quot;cage&amp;quot; like cabin before she fled to the North more ruthlessly castigates the evil of slavery. The heroine's experience deeply moved her relatives and friends, including white slave owners. With the help of her relatives and friends, the heroine was able to escape to the north.&lt;br /&gt;
Taking the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework, this paper adopts the following translation skills in the process of translation: 1. The translation methods of foreignization and domestication are used to achieve partial functional equivalence between the source language and the target language, so as to reduce the lack of culture after translation. 2. According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to make the translation conform to the expression habits of the target language. 3. The methods of addition and subtraction are adopted to make the translation consistent with the original in grammar and language form, as well as in cultural background and word association. 4. The Conversion Transformation is adopted to make the translation more acceptable to the target language readers. By analyzing the stylistic characteristics of biographical literature, especially African American autobiography, the author discusses the translation skills and Strategies of Chinese translation of such texts.&lt;br /&gt;
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=== Text background===&lt;br /&gt;
From the beginning of the British northern colony to the early 20th century, blacks were brutally exploited and oppressed by the slavery system. In particular, female slaves not only had to bear heavy labor, but also suffered the destruction and abuse of supervisors. Since the publication of the first Autobiography of black slaves in 1760, some advanced elements in black slaves denounced and denounced the evils of slavery with their own experience, and made outstanding contributions to the abolition movement. The author of this work is Harriet Jacobs, whose pseudonym is Linda Brent. Born in a slave family, she fought tirelessly because she could not bear the persecution of slave owners on her and her children. After fleeing to the north, the author wrote a biography of his personal experience of being enslaved, exploited, persecuted, fleeing to the north and realizing freedom, which was published in 1861. Through the Chinese translation of this autobiography, more people have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves.&lt;br /&gt;
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===Research Purpose and Significance===&lt;br /&gt;
This autobiography of black women starts from the experience of childhood from the perspectives of black slaves and women. In the process of growing up, the author experienced different masters of good and evil. When she was a child, her hostess let the author learn to read and write. Later, she died of illness. Then the new owner, Dr. flint and his wife tortured and framed her. Later, for the freedom of her children, the author resolutely decided to flee to the north and enjoy the right to freedom with her children. In the process of pursuing freedom, he went through escape, pursuit, hiding until he went north by boat. The author selects simple but typical examples in daily life, through the description of characters' psychology and language, the contradictory struggle between the interests of opposite classes, the criminal complaint of slave trafficking, and the process of slaves fleeing to the north, reveals the slave owner's naked exploitation and fraud of slaves, and reveals the slave's sincerity, courage and longing for freedom. The simple language and narrative techniques of the work fully shape the tenacity, courage, intelligence and clear love and hate of the female slave Linda Brent, and show the readers the misfortune and suffering of many slaves.&lt;br /&gt;
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=== Translation theory and case analysis===&lt;br /&gt;
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3.1 functional equivalence theory&lt;br /&gt;
This translation practice report takes the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework. Eugene Nida is an American linguist and a famous translation theorist. From the perspective of etymology, according to the essence of translation, he put forward the famous dynamic equivalence translation theory, namely &amp;quot;functional equivalence&amp;quot;. In this theory, he pointed out that &amp;quot;translation is to reproduce the information of the source language from semantics to style in the most appropriate, natural and equivalent language&amp;quot;. He believes that translation is not only the equivalence of lexical meaning, but also the equivalence of semantic style and style. The information conveyed by translation includes both surface lexical information and deep cultural information. Equivalence in dynamic equivalence includes lexical equivalence, syntactic equivalence, textual equivalence and stylistic equivalence. Nida pointed out that the translation should be functionally equivalent to the original text. Judging whether the translation is equivalent to the original text should be based on the psychological response of the readers, that is, the translator should not only stay in the equivalence of structure and semantics, but strive to make the target readers produce the functions and effects that the original author wants to achieve through his works, so as to make the target readers after reading the translation, Get the same feelings as the original readers, and make translation really become a converter of thoughts, feelings and cultural information. Therefore, in literary translation, according to Nida's theory, the translator should take the four aspects of dynamic equivalence as the translation principle to accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
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The core of Nida's functional equivalence theory is &amp;quot;content is greater than form&amp;quot;, which emphasizes that when there is a conflict between content and form, content must precede form (Nida, 2004:203). Due to the differences between Chinese and Western ways of thinking and logical habits, in order to make the translation conform to the habits of readers in the target country and make it easier for readers in the target country to accept, the author has adopted different translation methods and strategies. According to the specific content of Nida theory, this paper intends to analyze its application in English-Chinese translation practice from four aspects. 1、 According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to achieve lexical semantic equivalence between the source language and the target language; second, addition and subtraction and part of speech conversion are used to make the translation conform to the expression habits of target slogans in grammar and language form and consistent with the original text in terms of cultural background and word association; third, forward and reverse translation is used to reproduce the original text Fourth, for the long and difficult sentences of the original text, the translation methods such as reorganization, sentence splitting and merging are adopted to make the language expression forms of the translation more rich and diverse, and more easily accepted by the target language readers.&lt;br /&gt;
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3.2 translation skills and case analysis&lt;br /&gt;
When translating vocabulary, the author mostly adopts the literal translation method to convey the information of the original text more accurately. If the meaning of the translation is not accurate enough or does not conform to the Chinese expression habits after the literal translation, the author adopts the free translation method, while for the long and difficult sentences with complex structure, the translational translation method and split method are adopted to make them conform to the Chinese expression habits and more acceptable to the readers.&lt;br /&gt;
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=== Translation skills, methods and case studies===&lt;br /&gt;
Case 1: literal translation and free translation to achieve semantic equivalence in vocabularyIn the process of translation, it is the basic quality of every translator to correctly express the source language in the target language. In order to achieve this goal, the translator must start with the smallest unit of the source language—vocabulary. In project translation, the author follows the functional translation theory and pursues semantic equivalence. First, we must ensure the equivalence of lexical meaning. The author mainly discusses the semantic equivalence of words from two aspects: literal translation and free translation.&lt;br /&gt;
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1. Literal translation  &lt;br /&gt;
Literal translation emphasizes the consistency between the original text and the translation in form and content, which helps to maintain the style of the original text. Literal translation is not a dead translation, a hard translation, or a literal translation. Literal translation emphasizes retaining its form and reaching its meaning.&lt;br /&gt;
The example 1:&lt;br /&gt;
“Nothing could please her better than to see me humbled and trampled upon” is literally translated as ”没有什么比看到我恭顺谦卑、任人践踏更让她快活啦。”&lt;br /&gt;
Analysis: in this sentence, humbled and trampled upon is used to express the due psychology and living state of slaves in the eyes of slave owners. Here, it can be translated into obedience, humility and trampling, which can reflect the coldness of slave owners and the misery of slaves.&lt;br /&gt;
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2. Free translation&lt;br /&gt;
Paraphrase emphasizes divine similarity. When the original text is quite different from the translation in terms of lexical meaning, syntactic structure and style, it can not be confined to the original text. Free translation should be adopted to explain the form of the original language in another language form, so as to correctly express the ideological thrust of the original text. Free translation should conform to the grammatical norms and expression habits of the target language, so as to make the translation more fluent and natural. Free translation is not arbitrary addition and deletion, nor random translation. Free translation emphasizes &amp;quot;preaching its spirit&amp;quot; rather than &amp;quot;retaining its shape&amp;quot;. The work belongs to biographical literature. There are great differences between the source language culture and the target language culture. The translator can not adhere to literal translation from beginning to end, but should carry out free translation according to needs, so as to achieve better translation effect.&lt;br /&gt;
The example 2:&lt;br /&gt;
I resolved to give him no cause to accuse me of being too much of a lady, so far as work was concerned.&lt;br /&gt;
literal translation: 就工作而言，我决心让他找不到口实指责我过分淑女。&lt;br /&gt;
free translation: 就工作而言，我决心让他找不到口实指责我养尊处优。&lt;br /&gt;
Analysis: a lady originally means 女士或优雅的女子. Too much of a lady is often understood as 十分优雅. Because the author could read and write and looked dignified, he had not done heavy work like other slaves before, &amp;quot;I&amp;quot; guessed that the young master was disgusted with it. Here, too much of a lady is translated by free translation, which reflects the inner contempt of the young master for &amp;quot;me&amp;quot;.&lt;br /&gt;
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Case 2: addition, subtraction and part of speech conversion make the translation achieve sentence meaning equivalence, which is in line with the expression habit of the target language.&lt;br /&gt;
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3. Additional translation&lt;br /&gt;
The example 4:&lt;br /&gt;
One day, she sat under the window where I was at work, crying that weary cry which makes a mother's heart bleed. &lt;br /&gt;
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一天，她就坐在我干活的那个房间的窗户外哭，哭得声嘶力竭让任何一个做母亲的心里流血。&lt;br /&gt;
Analysis: A mother literally means &amp;quot;一个母亲&amp;quot;, but the following clause is translated into &amp;quot;哭得声嘶力竭让一个母亲的心里流血&amp;quot;. The emotion of the translation is weak. In this article, &amp;quot;I&amp;quot; as a slave must work and can't take into account children and family affection, because in the slave owner's view, slaves are low animals and don't deserve feelings. Although I heard my daughter crying, I couldn't get over it. Any mother would be distressed to hear her daughter's cry. In order to make up for the lack of emotion in literal translation, the method of additional translation should be adopted here, which is translated as &amp;quot;任何一个母亲&amp;quot;&lt;br /&gt;
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4. Omission &lt;br /&gt;
The example 5:&lt;br /&gt;
The doctor stamped his foot at him in a rage, and exclaimed, &amp;quot;Get out of the way, you little damned rascal! If you don't, I'll cut off your head.&amp;quot;&lt;br /&gt;
translated text：医生愤怒地跺了他一脚，厉声说道：“滚开!他妈的小坏蛋，如果不听话，我把你的头砍下来!”&lt;br /&gt;
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Analysis: Dr. flint twice went to the north to pursue the fugitive slave &amp;quot;I&amp;quot; without success. He spent a lot of money and was full of anger. At this time, my son asked him if he had brought his mother back. Dr. flint stamped his feet angrily, scolded and threatened the child. Through the vivid description of Dr. Flint's body movements and language, his angry image jumped onto the paper,In order to achieve the same effect and achieve the equivalence of language style, the author uses even verbs according to the original &amp;quot;stamped his foot at him in a rage, and exclaimed&amp;quot; and translates it into &amp;quot;stamp his foot angrily and say&amp;quot; you little damned rascal!!! &amp;quot;It is also a typical strong adult's words towards weak children. In order to be concise and powerful, the author omits &amp;quot;you&amp;quot; and translates it into &amp;quot;他妈的小坏蛋&amp;quot;.&lt;br /&gt;
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The example 6:&lt;br /&gt;
But when winter came, the cold penetrated through the thin shingle roof, and I was dreadfully chilled.&lt;br /&gt;
translated text：上次遭遇蛇咬，现在我对蛇更惧怕了，踏上这个藏身的地方，我不由心惊胆颤。&lt;br /&gt;
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Analysis: My fear of snakes is literally translated as &amp;quot;我对蛇的恐惧&amp;quot;, and the subject of the following clause is &amp;quot;我&amp;quot;. In order to give the target readers a unified reading perspective, my fear of snakes had been increased is translated as: 我对蛇更惧怕了. By transforming the noun of fear into a verb, the translation is more concise and more in line with Chinese expression habits than literal translation.&lt;br /&gt;
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Case 3: The stylistic style of the original text is reproduced by positive and negative translation.&lt;br /&gt;
5.The Positive and Negative Translation&lt;br /&gt;
The example 7:Nobody respects a mother who forsakes her children; and if you leave them, you will never have a happy moment.&lt;br /&gt;
translated text 1：没有人尊重抛弃孩子的母亲，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
translated text 2：抛弃孩子的母亲会遭人唾弃，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
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Analysis: This sentence contains a negative indefinite pronoun—nobody. In translation text 1, the first half of the original text (Nobody respects a mother who forsakes her children) is translated into &amp;quot;没有人尊重抛弃孩子的母亲&amp;quot;. Although the meaning is translated, the expression is not authentic. Translation text 2 uses the positive and negative translation method to change negative into positive, and “Nobody respects” into &amp;quot;being despised&amp;quot; can better express the speaker's (my grandmother's) eagerness to oppose &amp;quot;I&amp;quot; to escape.&lt;br /&gt;
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Case 4:The translation methods of reorganization, sentence splitting and merging are adopted to make the translation conform to the expression habits of the target language&lt;br /&gt;
There are great differences between English and Chinese syntactic structures. English is a linear language. Its syntax takes the subject predicate structure as the central axis, while other components form branch lines in the form of branches and connect with the main axis through connectives. The logical relationship between sentences tends to be explicit,; Chinese is more parataxis, and the combination between the components in a sentence or between sentences mostly depends on the connection of semantics and uses fewer connectives. Chinese sentences are arranged under the command of theme, that is, the structure of &amp;quot;topic description&amp;quot; has various forms and free combination. The logical relationship between sentences is more implicit (Yang Lin, 2007: Preface). There are few logical relational words between clauses and between sentences. Therefore, the author adopts the reorganization method, combining syntax and disassembling syntax to realize the semantic equivalence of sentences, and studies the influence of sentence structure on the translation. The significance is to better guide the translation practice.&lt;br /&gt;
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5.Recasting&lt;br /&gt;
The example 7: This was the good old lady who paid fifty dollars for my grandmother, for the purpose of making her free, when she stood on the auction block.&lt;br /&gt;
translated text：这个老太太是个好人，当年外祖母站在拍卖台上，为了让外祖母获得自由她花五十美元买下了我的外祖母。&lt;br /&gt;
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Analysis: The original text contains two compound structures, one is an attributive clause, the other is a time adverbial clause. Because Chinese sentences are constructed according to the law of logical order, the word order is arranged according to the actual sequence and event order, which is divided into sequence in time, and pay attention to the causality in logic. The author adjusts the time adverbial clause to the front, first explain the time, then explain the reason, and finally the result. This reorganized translation plays an important role in shaping the relationship between sentences, which is in line with the characteristics of Chinese sentence structure.&lt;br /&gt;
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6.Sentence-combining&lt;br /&gt;
The example 8: There was joy and there was sadness in the sound. It made my tears flow.&lt;br /&gt;
translated text：无论是哭声还是笑声都会让我泪流满面。&lt;br /&gt;
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Analysis: The original text is two sentences. Considering the close causal relationship between the two sentences, the author adopts the translation method of combined sentence to translate it into one sentence, so that the target language readers can read it more naturally.&lt;br /&gt;
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7.Dismantle the syntactic&lt;br /&gt;
The example 9: My hope was that the doctor would get discouraged, and, for fear of losing my value, and also of subsequently finding my children among the missing, he would consent to sell us; and I knew somebody would buy us.&lt;br /&gt;
translated text：损失一个女奴，再赔上我的两个孩子，这正是弗林特医生所担心的。他会泄气并同意卖掉我们，我知道有人会买下我们，而这正是我所希望的！  &lt;br /&gt;
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Analysis: When dealing with long English sentences, the method of splitting is generally used to divide the original sentence into several parts and combine them according to their internal logical relationship. The adverbial clause after the subject of “My hope” consists of three parallel sentences, the second of which has a more complex cause adverbial. The author first takes apart the subject clause, first translates the clause, and then presents the subject at the end, which is in line with the characteristics of Chinese presentation before topic.&lt;br /&gt;
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Case 5: Stylistic equivalence&lt;br /&gt;
The basic task of translation is to faithfully present the original text, so it is necessary for the translator to pursue the style of the original text. To achieve stylistic equivalence, the translator needs to analyze and identify the stylistic markers in the original. The original text contains national language characteristics, historical allusions and religious beliefs, so it has cultural differences. In translation, it should reflect the style of the original text and optimize it accordingly, so as to realize the re creation of style and adapt to the communication of the target language.&lt;br /&gt;
The original text has strong religious and cultural content, simple and pious faith, and shows their enthusiasm and passion for them. In translation, we should not only show the feeling of religious belief and culture, but also optimize the sentence style and deal with alienation appropriately, so that readers can feel the piety and understand the author's writing intention.&lt;br /&gt;
The key to shaping the problem role lies in its adaptability to the style of the original language. Only by adopting appropriate translation methods, deeply understanding the cultural background of the original text and skillfully changing the style of the original text, can the style meaning of the original text be reproduced in the target language and better reflect its charm and artistic conception.&lt;br /&gt;
In a word, a biographical text should be well expressed first to make it conform to the expression habits of the target language. First, we should deeply understand the creative intention of the original author and think of what we think from the perspective of the original author, so as to realize the central idea of the original text. The premise of translation is that the translator should have profound language and cultural skills and deeply understand the particularity of different background cultures, Have a good command of the target language, and then use it flexibly.&lt;br /&gt;
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The example 10: She hasn't so much feeling for her children as a cow has for its calf. If she had, she would have come back long ago, to get them out of jail, and save all this expense and trouble. &lt;br /&gt;
translated text：她对孩子的感情还不如母牛呢，母牛还知道护犊子。如果她有感情，她很久以前就会回来把他们救出去了，也就没有这些代价和麻烦了。&lt;br /&gt;
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Analysis: This sentence is a complaint made by Dr. Flint's wife—my mistress, about my escape. Considering that cows in Chinese culture also have the image of caring for their cubs, The author translates call “feeling for her children as a cow has for its calf” as：“母牛还知道护犊子”, This not only achieves cultural equivalence, but also sounds colloquial. On the other hand, it is in line with the speaker's identity as a mean slave owner.[He was &amp;quot;a chip of the old block.&amp;quot; If he found any slave out after nine o'clock, he could whip him as much as he liked; and that was a privilege to be coveted.如果他发现任何人九点后（宵禁时刻）跑出去，他就会抓住并鞭打此人，直到他满意为止。这是别人垂涎三尺的特权。]&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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Through the development of this project, the author believes that the translation of biographical works needs to have a full understanding of the differences between Chinese and English languages and cultures, thinking habits and expression methods. Only after having an accurate understanding and grasp of the language characteristics and contents of the original text, can words and sentences be carefully selected and constantly modified and polished in the process of translation, Make it an excellent translation. The author summarizes the following points in the whole translation process:&lt;br /&gt;
The translation method of biographical text. Biographical text has both information function and expression function (Zhang Meifang, 2006). Therefore, in translation, the translator should not only correctly express the information of the original text, but also reflect the literariness of biographical literature. In view of the differences in thinking and logic between Chinese and English, different translation methods should be adopted in the translation process. For example, literal translation can be used in terms of vocabulary, so as to simply, clearly and accurately convey the meaning of the original text. If literal translation is not possible, free translation, addition or subtraction, positive and negative translation, such transformation and other methods should be adopted to strive to achieve literal semantic equivalence. In terms of sentences, according to the respective characteristics of Chinese and English sentence structures, translation skills such as reorganization, disassembly and combination of syntax are adopted in order to meet the reading habits of target language readers. Experience the language style of biographical literature. In this project, the author's narrative language is simple and simple, and do a good job in the analysis of the characteristics of biographical literature materials. For a translator, the types of material translation can be diverse, literary or scientific, so the translator must do a good job in the analysis of text materials when he gets a relatively unfamiliar translated text, Only after analyzing the materials thoroughly and finding out the characteristics can the preparatory work be done adequately. This project adopts biographical text, which is characterized by many names and place names and strong local cultural characteristics. Therefore, in order to improve the accuracy of translation, the author has made a lot of preparations before translation, including finding the author's relevant background information, relevant historical facts, as well as the folk customs at that time. With reference to the new English Chinese dictionary, the names of people and places in the text are translated uniformly. Due to sufficient preparation, these problems encountered in translation have been solved.&lt;br /&gt;
The author has two experiences in maintaining problem awareness in the translation process. &lt;br /&gt;
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First, if you encounter an uncertain word and sentence in the translation process, you should consult the relevant reference books in time or use the Internet. &lt;br /&gt;
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Second, when dealing with cultural problems, I often ask my classmates or experts in this field for advice, so as to solve the problems in time.&lt;br /&gt;
At the same time, there are some problems in the process: My translation experience is still shallow and the cultural knowledge reserve is insufficient. There are some disadvantages in this project.Because my Chinese level needs to be further improved, the translated language is still immature and not concise enough. Second, the lack of relevant knowledge leads to the fact that the unique things of foreign culture can only be translated directly and hard in translation, resulting in the stiff and rigid translation. Such as a box, covered with sheepskin, is called the gumbo box. A dozen beat on this, while other strike triangles and jawbones, to which bands of dancers keep time.&lt;br /&gt;
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Third, in translation, we should not only maintain the meaning of the original text, but also reflect the style of the original text. We can't have both fish and bear's paw—鱼和熊掌不可兼得。Therefore, I believe that only through a lot of translation practice and summing up experience can we improve our translation level.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Beardslee, Karen E. Through Slave Culture's Lens Comes the Abundant Source: Harriet A. Jacobs's Incidents in the Life of a Slave Girl.&amp;quot; MELUS 24 (1999): 37-58.&lt;br /&gt;
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[2]Jacobs Incidents in the life of a Slave Girl: Written by herself.&amp;quot; Languages &amp;amp;Literature 15(2001):314-336.&lt;br /&gt;
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[3]Incidents in Life of a Slave Girl chapters 16 to 30&lt;br /&gt;
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[4]李小春. (2016). 浅析英语翻译技巧及方法的应用. 读天下(20), 1.&lt;br /&gt;
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[5]李亚云.《一名女奴的人生际遇》之黑人女性身份建构[J].文学教育(上),2015(07):30-31.p&lt;br /&gt;
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[6]李亚云. 《一名女奴的人生际遇》之黑人母性分析[D].中央民族大学,2016.&lt;br /&gt;
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[7]付娟. 英汉翻译中拆句法和合并法的有机结合探析[J]. 好家长, 2016(38):1.&lt;br /&gt;
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=邝艳丽 On the Translation Strategies of English Version of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hong-Ming and Xu Yuanchong=&lt;br /&gt;
[[Trans_Type_EN_9]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
''Lun Yu'', one of Chinese classics, records behavior and thoughts of Confucius and his disciples. ''Lun Yu'', intensively reflecting Chinese Confucianism, plays a significant role in Chinese culture. Dating from 1809, there are about sixty translations of ''Lun Yu'' during the two hundred years. This paper will study the two English versions of ''Lun Yu'' by Ku Hung-ming and Xu Yuanchong from the the theory of Horizon Fusion proposed by Hans-Georg Gadamer, mainly the core conceptual words in ''Lun Yu''. Besides, the paper will explore the translation strategies adopted by the two translators from different visions such as the horizons of the original text, the translator and the target culture. The better translation of core conceptual words will come to a conclusion through the contrastive analysis.&lt;br /&gt;
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===Keywords===&lt;br /&gt;
Fusion of horizons; Ku Hong-Ming; ''Lun Yu''; Xu Yuanchong&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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''Lun Yu'', as a carrier of Confucianism, has profound influence on the culture all over the world. Confucianism has largely influenced the development of European philosophy, which provide new theoretical basis for European Enlightenment in the eighteenth century (Li Zongzheng 2016: 112-116). In Voltaire’s opinion, the discovery of Chinese culture is important to the process of European society, just as what what has been discovered by Vasco da Dagama and Magellan to the nature (Bao Xiankuo 2001: 62-67). With the continuing development of China in the recent years, China exerts more and more significant influence on the world. In the meanwhile, more and more people would like to learn Chinese language and cultures. When it comes to Chinese culture, all the people, Chinese and foreigners, nearly think of Confucianism, which is generally regarded as the important components of Chinese traditional culture, as well as the mainstream of the spirit of national modern culture. Moreover, Confucianism is intensively embodied in the ancient work called ''Lun Yu'', which records the behaviors and thoughts of Confucius and his disciples mainly in the form of dialogues. ''Lun Yu'' involves so many aspects such as politics, education and so on. The wide and profound influence of Confucianism on the world attributes the success to the development of translations of ''Lun Yu'' by Chinese or foreign translators.&lt;br /&gt;
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''Lun Yu'' is a classic work. The reason why classics remains classics is that it can be translated and re-translated. The language itself of ''Lun Yu'' is difficult to be understood, and what are reflected by ''Lun Yu'' such as history, thoughts, culture and culture is also hard to be understood. Therefore, translators in different times produce different translations of ''Lun Yu'' due to different constrictions of subjective or objective factors. Derrida, holding the point of hermeneutics, considers that the understanding of works is open and that the understanding of text by the readers is always unfinished and uncertain for reading is the process of creation. ''Lun Yu'', acclaimed as one of the leading classics in the course of Chinese literature’s development, is always given new life by the scholars. Therefore, every translation version of classics deserves to be studiedin the different times. Moreover, the employment of fusion of horizons may not only be a reference for English translation of ancient Chinese classics, but also be beneficial foe the spread of traditional culture. &lt;br /&gt;
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This paper chooses two English translation versions of ''Lun Yu'', one by Ku Hung-ming, the other one by Xu Yuanchong. The paper mainly makes a contrastive study of different translation strategies adopted by the two translators from the perspective of fusion of horizons. In order to make an in-depth study, the thesis will focus on the analysis of the translation of core conceptual words of ''Lun Yu'', and aim to present a more appropriate translation to both fully express the content of Chinese culture and make western readers easier to understand.&lt;br /&gt;
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===Overview on the Theory of Fusion of Horizons===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====Fusion of Hrizons====&lt;br /&gt;
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Hans-Georg Gadamer is the greatest thinker in 20th century when his academic work ''Truth and Method'' was published. The publishment brought about widespread attention in the world and helped him reach the immortal status in the field of philosophy. Actually, the theory used in this paper is originated from ''Truth and Method''. “Horizon” was first proposed by Edmund Husserl, a great German philosopher. For the concept of “Horizon”, Husserl believed that “everything worldly giving is given under the horizon. Finally, everything given by the world itself has the horizon of the world, and it is only for this reason that it is realized as the world.” (Wei Fangyuan 2013: 134-136)&lt;br /&gt;
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It can be seen that “Horizon” in Husserl’s eye is related to consciousness. Husserl’s “Horizon” includes two ones, internal horizon and external horizon. Internal horizon refers to what previous knowledge people have grasped or not. External horizon refers to grasp or experience of another open horizon when people have internal horizon. Martin Heidegger, from the respective of Ontology, believed that “Horizon” is something real which has been known by human and exists previously. This becomes precondition of our understanding. Inspired by Martin Heidegger and Edmund Husserl, Hans-Georg Gadamer affirmed the importance of “Horizon”. In his Hermeneutic, “Horizon” refers to the process of understanding from a specific standpoint. And “Fusion of Horizons” means that the process of understanding in nature is open without fixed pattern and answer. “Fusion of Horizon is not onlly diachronic, but also synchronic. History and present, object and subject, self and other, all form an infinite unified entirety. (Wei Fangyuan 2013: 134-136 ) &lt;br /&gt;
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Gadamer thinks that, both the translator and the object which is explained by the translator have their own horizons. The object-- history, classics, personal life, philosophy or work of art—has its own historical horizons. When we understand historical classical works, philosophy or certain culture with the horizons given by the history, the conflict of two different horizons and historical background will inevitably happen. Translation neither demands the translator to totally give up his own horizon in order to get into the text’s horizons, nor allows the interpreter simply includes the text into his own horizons. Translator, starting from his original horizons, ceaselessly test his own “prejudice” and open his own horizons, in the contact with the object which is interpreted by the interpreter, then two different horizons forming a new horizon. This process is called “fusion of horizons”. The reason why it is possible to interpret historical text is the fusion of horizons of the readers and writers of the original text.&lt;br /&gt;
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====Fusion of Horizons in translation study====&lt;br /&gt;
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In the view of Hans-Georg Gadamer, any understandings is carried out in the stream of history for any interpreter and reader lives in the history in his or her own way. Historicity is the basic fact of human existence. People’s historical particularity and limitations cannot be eliminated and avoided. Both subject and object exist in historicity. History determines that people cannot get rid of historicity. Such question faced by Hermeneutics is not what we carry out but what caused on us by something beyond our willing and behavior. In the research of translation Gadamer’s “Fusion of Horizons” can be borrowed and reformed into views or perspective available to the translation study. (Li Ge 2020:50-63)&lt;br /&gt;
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To achieve such a horizon, means that we learn to see something beyond its restricted horizon. However, the reason why we do this is for watching the things in a more correct angle and in a bigger unity, rather than for avoid seeing it.(Gadamer, H. G. 2004: 304) We need to study translation from a higher point and in a more overall angle. Only in this way can we “full see” the parts of the integrity, which is the enlightenment brought by “fusion of horizons”. The precondition of translation is that the translator and the original text have the common horizons. If the translator does not know medicine, he cannot interpret some books about medicine, and vice versa. The translator need to understand the original text’s meanings at first, which means that he will get into the horizon of the original text, and overcome the difference to form a new horizon. This is the first fusion of horizons. The second one is that the translator gets into the horizons of the target readers. Then the third fusion of horizons, the final interpretation of the translator, is the fusion of the two texts after the first two fusions. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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During the process of translation, the horizons are produced in the history rather than in isolation. In the fusion of horizons, the past and the present, the subject and the object, form a unity. Everything exists in the point of history, and all the interpretation cannot be finished for good. The original text itself is historical. The language, content, thoughts and etc. in it are marked by characteristics of the times. The translator is also historical. He will be influenced by his identity, status and tradition. There does not exist “perfectness” and “standard” in the translation. It will vary with different historical period. So the study of translation also goes on. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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===Overview on the Translations of ''Lun Yu''===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====The history of translations of ''Lun Yu====&lt;br /&gt;
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''Lun Yu'' is as important to Chinese is the Bible is to Westerners. So ''Lun Yu''’s translation is hot in western countries. ''Lun Yu'', whose translation can be traced back as early as the end of 16th century, has been translated by lots of missionary, sinologist, philosopher, litterateur and other scholars. There have been more than 40 translation versions of ''Lun Yu'' so far. Its English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. In 1861 James Legge’s The Confucian Analects became the mark of the English translation of ''Lun Yu''. A Companion for Chinese Translators makes comments on the translation version that James Legge can roughly understand the meaning of the original text and that his enormous notes can show his serious and careful attitude to the translation of our Chinese classics. (Wang Hui 2003: 39-43) &lt;br /&gt;
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In 1898, Ku Hong-ming’s translation of Lun Yu was published in Shanghai. The reason why he retranslated Lun Yu is that he was not content with James Legge’s. Ku Hong-ming use the strategy of foreignization, trying to translate Lun Yu in the same way an educated British express his thoughts. And Ku thought the Chinese proper nouns should be omitted and some European writers’ saying in order to remove the feeling of strangeness of British readers. In 1938, Arthur Waley’s version of Lun Yu was published. Waley wrote long-winded introduction for the translation, which was accompanied by detailed notes for readers and was followed by the footnotes for in-depth discussion on the text. Cui Yonglu thought that Waley’s translation, retaining the original text’s meaning and culture and paying attention to the detail, is beneficial to scholars. In 1998, Roger Ames’ translation of Lun Yu was published. His retranslation, which is based on a philosophical perspective, exerted great influence in the world of translation at home and abroad. In 2005, Xu Yuanchong’s Thus Spoke the Master was published. The book’s title borrowed the name of well-known philosophical translation called Thus Spoke Zarathustra, which shows Chinese translators’ creative spirits. In addition, there are still so many translators, such as Ezra Pound, James Ware, Din Cheuk Lau, Lin Yu tang and so on. (Wang Hui 2003: 39-43) &lt;br /&gt;
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====Different angles of the study on the translations of ''Lun Yu''====&lt;br /&gt;
In the nearly 30 years, the study of ''Lun Yu''’s translation has become hot in the translation studies. Scholars have made lot of studies of ''Lun Yu''’s translation from different angles and theories. From the linguistic point of view, scholars focus on the equivalence of lexicon, syntax, text and style. Professor Liu Chongde wrote “A research into Waley’s English version of The Analects—And some comments on its English versions by Legge and D. C. Lau”. Professor Liu summarized the language features and style of the two translations by Waley and Legge. Besides, he compared James Legge’s version and D. C. Lau’s, and made a conclusion that the former one preferred the written English, complicated sentences and archaic words which were quite similar to the style of the original, while the latter one preferred using spoken English and simple sentences.(Liu Chongde 2001:15-17) &lt;br /&gt;
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From the cultural point of view, Yao Shun in Southwest Jiaotong University did “On English translation of Confucius notions from the perspective of Skopos theory—A case study on Legge’s and Waley’s Translation of ''Lun Yu''”. Yao concluded that translation cannot be measured only by the equivalence with the source text, other elements such as translators’ purposes and expectation of target readers should be taken allowance for and that amongst these factors, the intention of the target text ranks the first.(Yao Shun 2014: 42-43)&lt;br /&gt;
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From the sociological point of view, Zhang Xin in Jiangnan University did “A study on Xu Yuanchong’s English Translation of ''Lun Yu'' from the Sociological Perspective of Bourdieu”.   Zhang draw some tentative conclusions. Firstly, the original text must be valuable and unique with an international reputation to facilitate its dissemination in the world. Secondly, translators should pay full attention to the readability and acceptability of target readers to meet their anticipation. Thirdly, the success of a work is the combination of various social factors.(Zhang Xi 2020:80-89)&lt;br /&gt;
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=== The Translation of ''Lun Yu'' from Fusion of Horizons===&lt;br /&gt;
''Lun Yu'' has always been translated or retranslated into many languages. Before interpretation, interpreters are supposed to try to totally understand ''Lun Yu'' in the first step. However, in the matter of fact, the language of a text is really hard for translators to totally understand. Different cultural background and different translators may produce different translation version.&lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》） [8]”. In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. &lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
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Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》）”.In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. (Yao Sshun 2014:42-43) &lt;br /&gt;
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====Horizon of the translator====&lt;br /&gt;
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Ku Hung-ming (1857-1928) is not only a famous literary figure in modern China, but also a great translator. He became an influential scholar at the turn of the 20th century because of his works that advocated Confucianism. Ku’s traslated works, including Lun Yu and Zhong Yong, played a significant role in spreading traditional Chinese culture to the western world. Ku, well-versed in both Chinese and Western cultures, has a good command of nine languages such as English, French, Germany and so on. He is the first one was proficient in Western science and language in the late Qing Dynasty. Special background of growth and education makes his thoughts combine advantages between Chinese and Western cultures. He tried to translate Lun Yu as a work written by a educated English man in order to promote Chinese traditional culture to spread in Western countries. At the meanwhile, he added his thinking and understanding of Confucianism in order to express the truth and spirit of Confucian classics and Chinese belief system. In order to make Western readers accept to the most extent the Confucian culture, Ku adopted some special methods, such as using extreme translation strategy of Domestication to translate Chinese special expression; borrowing the expression in Western literature to translate some words; applying the strategy of combination of omission and addition.(Niu Xiyu 2021: 89-90)&lt;br /&gt;
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When translating Lun Yu, Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. Western readers are not familiar with Confucian core words whose total equivalence can not be found in the Wesern culture. Ku did not translate the core words according to the literal meaning, but according to his deep understanding of Confucian classics he adopted flexible methods to translate the words in different situation. Besides, in order to make the translation of Lun Yu more readable to Western readers, Ku adopted the stratedy of domestication to interprete Confucian thoughts in Western way of mind. On the one hand, Ku used Western terms to translate those Confucian concept words which is difficult to Western readers. For example, he translates “天” as “God”. On the other hand, he quoted those well-known writers and thinkers who are familiar to Western readers, such as Johann Wolfgang von Goethe, Ralph Waldo Emersonand so on. Ku tries to make the content and form of the translation to accord with the way of thinking and cognitive structure of Western people. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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Xu Yuanchong, professor in Peking University, has been devoting himself in Literature translation study. He accomplished numerous classical translations and proposed many translation theories. He makes contribution to the development of Chinese traditional career.In 1921, Xu Yuanchong was born in Jiangxi Province in China. Since he was a child, Xu Yuanchong had been deeply influenced by his families. His mother was well educated and his uncle worked as a translator. All of these inspired his passion of enjoying literature and going after beauty, as we can see the three-beauty-concept-concept proposed in his later books. His uncle succeeded in translating the play called Wang Baochuan into English, which caused a sensation when it was performed in England. Later on the British dramatist George Bernard Shaw interviewed his uncle, which inspired the great interests of Xu Yuanchong in learning English well. In 1938, he was admitted to the Foreign Languages Department of National Southwest United University with the seventh place. In 1939, he translated the book “别丢掉” written by Lin Huiyin at the first time in order to express his love for a girl. Then he fell in love with translation ever after. Although suffering a lot, he still insisted to be himself. Xu made a great contribution to the development of Chinese translation. Xu introduces the three-beauty-concept to translation theory. The theory of three beauty advocates that a translation should be as beautiful as the original in sense, in sound and in font. These three aspects call also be respectively called Beauty of Sense, Beauty of Sound, and Beauty of Form. Beauty of Sense, emphasizing the deeper meaning, is of the first-rate importance. Beauty of Sound, emphasizing rhyme and rhythm, is of the second-importance. Beauty of Form, emphasizing length, is of the third-rate importance. All of these have great influence on his translation. (Li Mi 2004: 83-84)&lt;br /&gt;
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====Horizon of the target language culture====&lt;br /&gt;
The purpose of translation is to be read by the target readers. However, the target individual is different. They differ from historical background, education, knowledge, and so on. Some foreign readers read Lun Yu just for broaden his vision and know Chinese culture, some study the translation just for doing academic researches. The ages of target readers also influence the translation. Some young readers with less knowledge need translation which can be easily understood. For those aged readers the sophisticated translations are needed. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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===Contrastive Analysis===&lt;br /&gt;
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As Confucian classics recording the words and deeds between Confucius and his disciples, Lun Yu deeply influences generations of Chinese people. Lun Yu combines Chinese rich culture from thousands of years and gathers immortal spirit of Eastern philosophy. Therefore, a number of scholars at home or abroad want to translate Lun Yu. Especially, the various academic conference that has taken place in the recent years attract many scholars to absorb Confucian wisdom and explore Chinese wisdom from the old classics.&lt;br /&gt;
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====Description of key conceptual words====&lt;br /&gt;
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''Lun Yu''’s English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. Since that many other scholars have thrown themselves in the wave of translation of ''Lun Yu''. The scholars at home and abroad attempt to know more about the Chinese society, language, and Chinese culture through ''Lun Yu''. However, in order to really understand and interpret ''Lun Yu'', we must be clear about the meaning of the core conceptual words in ''Lun Yu''. Whether the translation of the core conceptual words is right or not has something to do with whether the readers abroad can understand the real meaning of the classics ''Lun Yu''. The translation of core conceptual words is so critical that has drawn many scholars’ attention. However, in the present situation of translation, one core conceptual word has so many Chinese translation, and some translation is not very accurate, which will cause trouble for foreigner readers to understand the original meaning and its cultural meaning. For those core words concerning Chinese culture, if wrongly translated, will not cause foreigners’ misunderstanding Chinese traditional culture, but also influence the improvement of national cultural soft power. Thus, the discussion of the translation of ''Lun Yu'', especially that of the core words, is very important to the circles of translation and culture. There are lots of core conceptual words in Lun Yu, but This thesis will mainly discuss the five core words: “''ren''”, “''li''”, and “''junzi''”. &lt;br /&gt;
“''Ren''” is the supreme state of moral ideal advocated by Confucius, and the spirit and centre of Confucian theory. Xu Shen in the Eastern Han Dynasty made an explanation of the word “''ren''” in “Shuo-wen chieh-tzu”. He thought “''ren''” is combined by “''ren''”(man) and “er”(number 2), and that “''ren''” does not express the quantitative relation but the interpersonal relationship, more accurately the interpersonal relationship close to friendship. (Xu Shen 2013: 1458) According to The Notes of ''Lun Yu'' by Yang Bojun, “''ren''” appears 109 times in ''Lun Yu'' . (Yang Bojun, 2009)&lt;br /&gt;
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“''Li''” is another important concept in ''Lun Yu'' after “''ren''”. According to The Notes of ''Lun Yu'' by Yang Bojun, “''li''” appears 74 times. Obviously, “''li''” is one of main ideas repeated by Confucius. Its connotation has become one of the objects the scholars of every dynasty attempt to study and understand since the ''Lun Yu'' came out. Both “''ren''” and “''li''” work as the centre of Confucianism. They complement and perfect each other. Just as the saying in Lun Yu, “To Subdue Oneself and Return to the Proprieties is Perfect Virtue”. “Li” refers to external behavior, while “ren” refers to internal morality. “''Li''” is a general term the rules and regulation according to the moral demanding. “''Li''” can restrict personal behavior, improve interpersonal relationship and help building a harmony and orderly society. However, Confucius does not give an accurate explanation of “''li''”, but its meanings can be analyzed from the concrete sentences concerning “''li''”. (Yang Bojun 2009: 23)&lt;br /&gt;
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“''Junzi''”, first found in The Book of Songs, was roughly referred to noble man. Thereafter, “''junzi''” was widely used in many ancient classics such as The Book of Changes, Shangshu and so on. Based on the original meaning “the noble man”, “''junzi''”’s meaning was extended and expanded. In Lun Yu, the word “''junzi''” got extended meaning of morality. The core conceptual word “''junzi''” mainly placed emphasis on moral deeds, then developed into the important cultural icon in Confucianism. According to The Notes of ''Lun Yu'' by Yang Bojun, “''junzi''” appears 107 times in ''Lun Yu'' .(Yang Bojun 2009: 11)&lt;br /&gt;
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====Different translations of key conceptual words====&lt;br /&gt;
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Different translators will have different translation. &lt;br /&gt;
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“Ren” has rich meanings. Its translation will to the certain degree influence the understanding of Lun Yu and Chinese traditional culture. For example:&lt;br /&gt;
子曰：“巧言令色，鲜矣仁！”《学而》&lt;br /&gt;
Ku: Confucius remarked, “With plausible speech and fine manners will seldom be found moral character.” &lt;br /&gt;
Xu: A good man, said the Master, would rarely say what he does not believe, or pretend to appear better than he is.&lt;br /&gt;
From the translation above, it is seen that Ku adopts free translation, and the English sentence is in formal grammer and syntax which accords with Western readers’ language habits. While Xu’s translation is not in the form of direct speech and he changes the order of the target text and use the parenthesis so as to conform to the habits of target language readers. It can be easily seen that Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. And Xu employs free translation to make target readers better understand the meanings. For the translation of “ren”, Ku translated it into “moral character”. He thought “ren” is refers to all the morality, and that “ren” is the highest realm of life. The translation “moral character” is more in line with Western language habits. While Xu interpreted it into “a good person”, of which “good” has broad meanings just like “ren” which is a kind of moral category of extremely broad meanings in ancient China. By comparison, “mental character” is better translation for “ren”. (Yang Bojun 2009: 23) (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Li” is generally thought to have three main meanings. The first one is worshiping the God. The second one refers to a ceremony held to show respect or solemnity. The third one refers to the social and moral norms of the aristocratic hierarchy in slave society of feudal society. For example, &lt;br /&gt;
道之以道，齐之以礼，有耻且格 。（《为政》）&lt;br /&gt;
Ku: If, on the other hand, in government you depend upon the moral sentiment, and maintain order by encouragung education and good manners, the people will have a sense of shame for wrong – doing and, moreover, wil emulate what is good. &lt;br /&gt;
Xu: If they are led by virtue and order is kept by the rites, they would be conscientious and act in agreement with what is right. &lt;br /&gt;
Generally, “li” is rendered as “rites,” “customs,” “propriety,” “ritual,” “moral,” “rules of proper behavior,” and “worship.” However, Ku did not literally translated “li” but to fully understand its original meaning in such concrete situation to translated it into “education and good manners”. While Xu translated it into “rites”. In the Oxford dictionary, “rite” means a ceremony performed by a particular group, often for religious purpose. In Spring and Autumn and Warring States periods of China, the social order was in chaos. Actually, “rite” is a proper word full of Chinese speciality, which is really hard for Western readers to understand. Therefore, Ku’s translation “education and good manners” is better one. It not only convey Confucian thoughts but also make it readable to Western readers. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Junzi” is Confucian ideal character standard. Then what is “junzi”? In Confucian point of view, “junzi” should be erudite, which is an important standard of being “junzi”. First and the most, “junzi” should be a benevolent man. In addition, “junzi” and “xiaoren” form contrast. For example,&lt;br /&gt;
人不知，而不愠，不亦君子乎？（《学而》）&lt;br /&gt;
Ku: But he is truly a wise and good man who fees no discomposure even when he is not noticed of men.&lt;br /&gt;
Xu: Is he not an intelligentleman, who is careless alike of being known or unknown?&lt;br /&gt;
According to Oxford dictionary, the term “exemplary” refers to providing a good example for people to copy. Ku adopted free translation to interprete one word “junzi” into several words “wide and good man”, which is easy for Western peple to understand what “junzi” is. It can be seen that Ku had a thoroungh understanding of Confucian thoughts as well as well-versed in English. While, Xu translated it into “intelligentleman”, which cannot be found in dictionaries. It is a new word created by Xu. “Interlligentleman” is combined by “intelligent” and “gentleman”. In the Oxford dictionary, the term “intelligent” means good at learning, understanding and thinking in a logical way about things. “gentleman” refers to a man who is polite and well educated and who has excellent manners and always behaves well. “Intelligentlemen” seemly attempt to achieve formal equivalence with “junzi”. However, it is unfamiliar to Wetern readers. So Ku’s translation “a wise and goood man”. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
In this paper, we have talked over two translation versions of ''Lun Yu'' written by Ku Hung-ming and Xu Yuanchong, especially the core conceptual words in ''Lun Y''u. In the matter of fact, both of them had good command of Chinese and western cultures. But their interpretation of Lun Yu were quite different from each other. Here we use Gadamer’s “fusion of horizons” to explain why they had different understandings of Lun Yu. Understanding is regarded as the fusion of horizons between translator and the text in the hermeneutics, however, besides, the target readers should also be taken into consideration. Thus, in the paper, the horizons of the original text, two translators and target readers are expounded in detail. Under the contrast between the two translation versions, we could find out that Ku Hung-ming’s translation is better one which can more convey the meaning of original text and can be easier for the readers of the target culture from the perspective of the fusion of horizons. &lt;br /&gt;
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However, this paper could not give an in-depth research on the transaltion of ''Lun Yu'' because of the author’s limited knowledge and not thorough understanding of the theory of “fusion of horizons”. In addition, Confucianism has got more and more important influence on the world in the recent years. However, the study of translation of ''Lun Yu'' has not gone far enough. Though lots of scholars have achieved a lot in the field, there is still much work to do in the future. Written by --[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 03:41, 9 December 2021 (UTC)&lt;br /&gt;
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===Reference===&lt;br /&gt;
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Li Zongzheng, Ma Haidong 李宗政,马海东. (2016)《论语》英译的当代价值研究[J] [A study on the contemporary value of the ''Analects of Confucius''] 112-116.&lt;br /&gt;
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Wei Yuanfang 韦芳元. (2020) 浅析伽达默尔的视域融合理论[J].[On the Gadamer’s Theory Fusion of Horizons] 2013(12):134-136.&lt;br /&gt;
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Gadamer, H. G. Truth and Method[M]. New York: Continuum, 2004: 304.&lt;br /&gt;
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Wang Hui 王辉. (2003) 理雅各与《中国经典》[J]. [James Legge and Chinese Classics] 2003: 39-43.&lt;br /&gt;
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Lieu Chongde 刘重德. (2003)《论语》韦利英译本之研究—兼议里雅各、刘殿爵英译本[J]. [A Study of Lun Yu by Whaley—Discussion on contrastive analysis between James Legge and D.C.Lau)  2001: 15-17.&lt;br /&gt;
&lt;br /&gt;
Yao Shun 姚舜. (2014) 目的论视角下的儒家思想核心概念英译研究—以理雅各和韦利《论语》英译对比分析为例[D]. [A Study of Lun Yu Translated by Xu Yuanchong in the perspective of Skopostheory] 2014: 42-43.&lt;br /&gt;
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Niu Xiyu 牛汐语. (2021) 辜鸿铭《论语》译本中译者主体性的体现[J]. [The Presentation of Translator’s Subjectivity in Ku Hung-ming’s Lun Yu’s Translation] 2021:89-90.&lt;br /&gt;
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Li Mi 李谧. (2004) 许渊冲的诗译“三美”之说[J]. [Three Beauty in Poetic Translation of Xu Yuanchong] 2004: 83-84.&lt;br /&gt;
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Xu Shen 许慎. (2013)《说文解字》[Z]. [Shut-wen chieh-tzu] 2013: 1458&lt;br /&gt;
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Yang Bojun 杨伯峻. (2009)《论语释注》[Z]. [Annotation Analects] 2009: 213, 214, 215,2, 11, 23,&lt;br /&gt;
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Ku Hungming 辜鸿铭.(2011)《辜鸿铭英译&amp;lt;论语&amp;gt;》[M]. [The Discourses And Sayings of Confucius] 2011&lt;br /&gt;
&lt;br /&gt;
Yuanchong, Xu. (2013) Thus Spoke the Master[M]. Beijing: Dolphin Books, 2013: 12, 18.&lt;br /&gt;
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=杨柳青 Bian Zhilin's Literary Translation Theories and Practice  ——Take His Translation of Romantic Poems as examples=&lt;br /&gt;
[[Trans_Type_EN_10]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. He absorbed traditional translation theories dialectically and created translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; from the perspective of literary translation. Specifically, &amp;quot;Replacing foot with dun&amp;quot; is his poetry translation strategy. This paper will analyze Bian Zhilin translations of some romantic poems and shows some critical thinking about his literary translation theories.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Faithfulness, Similarity and Translation&amp;quot;; &amp;quot;Replacing Foot with Dun&amp;quot;; Romantic Poetry&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
&lt;br /&gt;
卞之琳文学翻译理论和实践 ——以其浪漫主义诗歌译作为例&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
卞之林是著名的中国翻译家、诗人。他辩证地吸收传统翻译理论，从文学翻译的角度创立了“信、似、译”的翻译理论。 具体而言，“以顿代步”是他的诗歌翻译策略。本文将对卞之琳的浪漫主义诗歌译作进行分析，并对其文学翻译理论提出一些批判性性思考。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
&lt;br /&gt;
“信、似、译”；“以顿代步”；浪漫主义诗歌&lt;br /&gt;
&lt;br /&gt;
===Chapter 1 Introduction of Bian Zhilin and Romanticism===&lt;br /&gt;
====Introduction of Bian Zhilin====&lt;br /&gt;
Bian Zhilin is a representative of Chinese modernist poetry, a famous literary critic and literary translator. He translated foreign literature especially poetry and Shakespeare's plays. He has devoted his whole life to the literature and cultural exchanges between China and foreign countries. He is known as &amp;quot;the master of Poetry and the leading scholar in translation in China&amp;quot;. He dialectically absorbed previous translation theories and formed his unique translation thoughts. His famous works include ''Leaves of Three Autumns'' which is his first volume of Poetry and contains verses filled with the melancholy and despair, ''Fish Eyes Collection'', ''The Han Garden Collection'' and ''Poems of a Decade'' and so on.&lt;br /&gt;
&lt;br /&gt;
====Introduction of Romanticism====&lt;br /&gt;
Romanticism is a reaction against the Enlightenment and rationalism in 18th century, and a rejection of the precepts of order, calm, harmony, balance, idealization, and rationality that typified in classicism and neoclassicism. English Romanticism is generally defined to begin in 1798 with the publication of William Wordsworth and Samuel Taylor Coleridge's Lyrical Ballads and end in 1832 with Walter Scott's death. Romanticists place the individual at the center of art and make literature most valuable as an expression of his or her unique feelings and particular attitudes and make its accuracy a portraying the individual's experience. &lt;br /&gt;
&lt;br /&gt;
Romanticism is a period of poetry. During this period, many poets created plenty of wonderful poems which vividly show the beauty of nature and humanistic thoughts. English romantic poets contain the elder generation and the younger generation. The elder generation, also called &amp;quot;lake poets&amp;quot; includes William Wordsworth, Samuel Taylor Coleridge and Robert Southey and so on. The younger generation includes George Gordon Byron, Percy Bysshe Shelley and John Keats and so on. Besides, William Blake also deserves attention. He is a pre-romanticist and a forerunner of the romantic poetry of the 19th century. In this paper, I will analyze poems of William Blake, William Wordsworth and Percy Bysshe Shelly to show Bian Zhilin's translation theories.&lt;br /&gt;
&lt;br /&gt;
===Chapter 2 Bian Zhilin's Literary Translation Theories===&lt;br /&gt;
====&amp;quot;Faithfulness, Similarity and Translation&amp;quot;====&lt;br /&gt;
Bian Zhilin is a famous poet, translator and literary researcher in China. For decades, he not only made remarkable achievements in the field of poetry and Chinese and foreign literature studies, but also left a valuable fortune in literary translation, especially in poetry translation. Bian Zhilin has formed clear and instructive translation thoughts and theoretical views through her long-term translation practice. These translation thoughts and theoretical views influenced his translation behavior and effect, formed his exquisite translation art, and also had a great influence in the field of translation. He broke through the traditional translation theories and put forward the translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot; which is based on dialectically absorbing and reasonably sublating the traditional translation theories.&lt;br /&gt;
&lt;br /&gt;
=====Faithfulness=====&lt;br /&gt;
It is well-known that &amp;quot;faithfulness, expressiveness and elegance&amp;quot; created by a modern Chinese translator Yan Fu has become the most widely spread and popular translation standards in history of modern Chinese translation. And it has always been in the mainstream in the field of translation in China. There has been a long debate in Chinese translation field around &amp;quot;faithfulness, expressive and elegance&amp;quot;. However, &amp;quot;faithfulness&amp;quot; put forward by Bian Zhilin has achieved the transcendence and unification of this debate. &lt;br /&gt;
&lt;br /&gt;
======Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
According to Yan Fu, &amp;quot;faithfulness&amp;quot; means a translation should be faithful to the content of the original which is the first requirement of translation. &amp;quot;Expressiveness&amp;quot; means a translation should be fluent and articulate. &amp;quot;Elegance&amp;quot; means a translation should use elegant words so as to make the translation literary (Luo Xinzhang 136). Yan Fu believed that only elegant words can express the essence of original text. And he advocated translator used classical Chinese before Han Dynasty, namely, pre-Qin period. In fact, Yan Fu translated a lot of works in accordance with this criterion. &lt;br /&gt;
&lt;br /&gt;
======Debates around Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
Many speakers thought highly of Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, and this criterion once became the only standard for evaluating the quality of translation. Many literary translators like Liang Qichao, Lu Xun praised this criterion.&lt;br /&gt;
&lt;br /&gt;
Though &amp;quot;Faithfulness, expressiveness and elegance&amp;quot; has been widely accepted, there were still many doubts about this criterion. Most translators acknowledged Yan Fu's &amp;quot;faithfulness,expressiveness and elegance&amp;quot;, but they doubted &amp;quot;elegance&amp;quot;. For example, Chen Xiying, a famous Chinese female translator, opposed &amp;quot;elegance&amp;quot; because she thought &amp;quot;faithfulness and expressiveness&amp;quot; is quite enough for non-literary works and &amp;quot;elegance&amp;quot; is not necessary. Even for literary works, &amp;quot;elegance&amp;quot; is not necessary since some characters in literary works are from countryside and their speeches apparently couldn't be elegant (Luo Xinzhang 401-402). &lt;br /&gt;
&lt;br /&gt;
However, though these opinions are different they have one thing in common: all these opinions divide &amp;quot;faithfulness, expressiveness and elegance&amp;quot; up and judge them separately. &lt;br /&gt;
&lt;br /&gt;
======Bian Zhilin's &amp;quot;faithfulness&amp;quot;======&lt;br /&gt;
Unlike most translators, Bian Zhilin has his own unique view. Bian Zhilin believes there is only one advisable standard in &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, that is &amp;quot;faithfulness&amp;quot;. According to Bian Zhilin, &amp;quot;faithfulness&amp;quot; means being loyal to the original text comprehensively, not only to the content of the original text, but also to the form (Bian Zhilin 503). It seems that there is no apparent difference between Yan Fu's faithfulness and Bian Zhilin's faithfulness. But that's not the case. &lt;br /&gt;
     &lt;br /&gt;
Firstly, Bian Zhilin doesn't totally deny the value of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. His faithfulness is mainly for literary translation which aims to highlight the artistic features of literary translation. Bian Zhilin believes that literary translation is an artistic and creative activity which not only includes language conversion but also involves the knowledge of literature, aesthetics, literature and art. He thinks &amp;quot;faithfulness, expressiveness and elegance&amp;quot; lays too much emphasis on the content and form of language which is not suitable for literary translation. &lt;br /&gt;
&lt;br /&gt;
Secondly, Bian Zhilin opposed the artificial separation of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. He thinks this separation is a kind of false perception which may cause the emphasis of one aspect and the neglect of the others. He thinks that artistic translation standard, strictly speaking, is only &amp;quot;faithfulness&amp;quot; which means the full fidelity to content and form. Actually, Bian Zhilin doesn't deny the existence value of expressiveness and elegance; instead, he seems &amp;quot;faithfulness, expressiveness and elegance&amp;quot; as a whole and &amp;quot;faithfulness&amp;quot; includes &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot;. Therefore, his faithfulness is comprehensive: both &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot; are internalized in &amp;quot;faithfulness&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Thirdly, Bian Zhilin believes &amp;quot;faithfulness&amp;quot; in literary translation means translation should be loyal to original text both in content and form. In others words, it's not desirable that translation be better or worse than the original. Besides, he holds that &amp;quot;faithfulness&amp;quot; in translation is not absolute but relative and it needs artistic creation of translators(Li Changshuan 57). What's more, literary translators should have the confidence in translating the &amp;quot;spirit&amp;quot; of the original so as to make translation vivid and expressive.&lt;br /&gt;
&lt;br /&gt;
All in all, Bian Zhilin believes the content and form of literary works are unified and indivisible, so is &amp;quot;faithfulness, expressiveness and elegance&amp;quot;.  At the same time, he admits &amp;quot;faithfulness&amp;quot; is relative rather than absolute considering difference between language and culture. Therefore, Bian Zhilin's faithfulness is inheritance and innovation of traditional translation theory and has important theoretical value.&lt;br /&gt;
&lt;br /&gt;
=====Similarity=====&lt;br /&gt;
======Formal Similarity and Spiritual Similarity======&lt;br /&gt;
Formal similarity means translation preserves the linguistic form of the original which includes words, grammar, sentence structure, figures of speech and types or forms of literature and so on. Any two languages have something both common and different. Those common features are the bases of formal similarity of translation. &lt;br /&gt;
&lt;br /&gt;
Spiritual similarity, on the contrary to formal similarity, means getting rid of the bondage of language form such as words, grammar when it is necessary. And translators should use authentic translation to convey the artistic features of the original. Spiritual similarity was first put forward by Mao Dun and was further advocated and practiced by Fu Lei. It has become one of the dominant theories in Chinese translation theories.&lt;br /&gt;
&lt;br /&gt;
======Debates around Formal Similarity and Spiritual Similarity======&lt;br /&gt;
In the field of Chinese translation, translators debated a lot around formal translation and spiritual translation. Many translators believe formal translation is more advisable than spirit translation. But others think differently. For instance, Chen Xiying believed there were three kinds of &amp;quot;faithfulness&amp;quot;, namely spiritual similarity, meaning similarity and formal similarity, among which spiritual similarity is superior, meaning similarity is the second and formal similarity is inferior. Chen Xiying held that formal similarity ignores the writing style of the original though it conveys the meaning of the original completely. Meaning translation is better than formal translation because it focuses on not only what the original writer says but also how he says it. But meaning translation is much more like imitation which cannot grasp the &amp;quot;spirit&amp;quot; of the original. Spirit translation, however, is the exact way to convey the &amp;quot;spirit&amp;quot; of the original. Besides, Yan Fu is another representative who pays more attention to spirit similarity than to formal similarity (Luo Xinzhang 694).&lt;br /&gt;
======Bian Zhilin's &amp;quot;Similarity&amp;quot;======&lt;br /&gt;
Bian Zhilin took a stand against the long-standing debate around formal similarity and spiritual similarity. In his opinion, there is only one word between formal similarity and spiritual similarity that is advisable——&amp;quot;Similarity&amp;quot;. Bian Zhilin holds that literary work is a unity of content and form; &amp;quot;form&amp;quot; and &amp;quot;spirit&amp;quot; in literary translation is complementary. On the one hand, &amp;quot;form&amp;quot; is the basis of &amp;quot;spirit&amp;quot; which means without concrete form, the spirit and artistic value of literary works can only be empty talk. On the other hand, &amp;quot;spirit&amp;quot; is the life of &amp;quot;form&amp;quot; which means literary works without &amp;quot;spirit&amp;quot; likes people without soul, which can only be empty body and meaningless form (Bian Zhilin 551).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Similarity&amp;quot; which was put forward by Bian Zhilin, actually contains the similarity both in formal similarity and spiritual similarity. In other words, ideal literary translation should achieve the unity of form and spirit. Bian Zhilin thinks literary translation can only achieve similarity with the original but not sameness (Bian Zhilin 8-9), which not only recognizes the difference between the original and the translation, but also acknowledges translators' creative efforts.&lt;br /&gt;
&lt;br /&gt;
=====Translation=====&lt;br /&gt;
======Literal Translation and Free Translation======&lt;br /&gt;
Literal Translation means expression forms and syntactic structure of the translated text should be as consistent as possible with the original when translators convey the meaning of the original text. Free translation, however, means translators should break the linguistic form of the original text and express the meaning of the original by using the customary expressions of the target language.&lt;br /&gt;
&lt;br /&gt;
======Debates around Literal Translation and Free Translation======&lt;br /&gt;
The debates between literal translation and free translation in the history of western translation can be date back to Cicero (106BC-43BC). Cicero opposed &amp;quot;word for word translation&amp;quot; (literal translation) which was deemed as &amp;quot;interpreter's translation&amp;quot; and advocated &amp;quot;sense for sense translation&amp;quot; (free translation) which was deemed as &amp;quot;orator's translation&amp;quot;(Tan Zaixi 24). Cicero's distinction about translation paved the way for following translators. For example, John Dryden published his views on literal translation and free translation. Dryden made distinction between metaphrase, phrase and imitation which was an extension of literal translation and free translation. What's more, Newmark thinks literal translation is preferred when the effect is the same (Newmark 39). And Nabokov holds that literal translation is true translation because it can convey the exact contextual meaning of the text as accurately as possible (Nabokov viii).&lt;br /&gt;
&lt;br /&gt;
======Bian Zhilin's Translation======&lt;br /&gt;
Bian Zhilin thinks only &amp;quot;translation&amp;quot; is advisable over the long-standing dispute over literal translation and free translation. Translation contains following meanings (Bian Zhilin 8).&lt;br /&gt;
&lt;br /&gt;
Firstly, literal translation and free translation are not contradictory but complementary. Too much emphasis on either side will only have a bad effect on literary translation. Bian Zhilin also criticizes translations that put too much emphasis on the source language or the target language.&lt;br /&gt;
&lt;br /&gt;
Secondly, translation cannot be creation. Translation should be based on the original text, not personal creation. But Bian Zhilin doesn't deny the creativity in translation and thinks the creativity is the life of translation as long as it is based on the original.&lt;br /&gt;
&lt;br /&gt;
====Bian Zhilin's Poetry Translation Strategies====&lt;br /&gt;
Absorbed thoughts from former and contemporary poets, Bian Zhilin created his poetry translation strategies. That is to translate English poetry in a poetical and metrical way and replace foot with dun. These strategies not only consider the western poetry patterns, but also considers the characteristics of Chinese, which has strong feasibility. Bian Zhilin's poetry translation strategies are closely related with his literary translation theory of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
=====Translating Poetry in A Poetical and Metrical Way=====&lt;br /&gt;
Bian Zhilin thinks that poetry is more a unity of content and form than other literary forms. Therefore, poetry translation includes both translation of poetry content and form. Bian Zhilin thinks poetry translation should be loyal to the original poem not only in content but also in form. Poems should be translated into the form of poem rather than prose. If the original poem is free verse, then translated version also should be free verse. If the original poem is metrical poem, then translation also should be a metrical one. (Bian Zhilin, 319) The coincidence between form and content in poetry translation is an embodiment of translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Meter is an important feature of poetry, including rhythm, rhythm and arrangement of words and stanzas. There are many differences in meter among poetry of different languages. And different poets and works use different meters. These become major factors of difficulties in poetry translation. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin thinks translators should preserve the metrical features of the original poems. In other words, translators should translate poetry in a metrical way. Therefore, poems should be translated by using equivalent meter. To be more specific, translators should translate foreign poems by using commonalities between Chinese traditional metrical basis and foreign metrical basis. It's not just simple application of foreign poetry patterns nor of Chinese traditional poetry patterns. Instead, it's the crossover of the two poetry patterns.&lt;br /&gt;
&lt;br /&gt;
=====Replacing Foot with Dun=====&lt;br /&gt;
The key to the metrical problem of poetry translation is what is the metrical unit of the line, &amp;quot;word&amp;quot; (a syllable) as a unit or &amp;quot;dun&amp;quot; (syllables) as a unit. Bian Zhilin believes metrical poems should be translated in equivalent &amp;quot;duns&amp;quot; which can replace meters and this kind of translation is without the limit of word numbers. This theory is well thought out and based on rhythmic characteristics of Chinese. As Bian Zhilin analyzed that when we speak Chinese, we usually say two or three Chinese characters as a &amp;quot;dun&amp;quot; in most cases, one character at least as a &amp;quot;dun&amp;quot; and four characters at most as a &amp;quot;dun&amp;quot;. This is the internal rules of Chinese. Chinese poems constitute stanzas, stanzas constitute lines and lines constitutes &amp;quot;duns&amp;quot;. Therefore, &amp;quot;dun&amp;quot; is the natural rhythmic units of Chinese poetry and reveals poems' &amp;quot;inherent music-like rhythm and beat&amp;quot;.&lt;br /&gt;
 &lt;br /&gt;
However, that &amp;quot;dun&amp;quot; is the basic metrical unit of the Chinese poetry doesn't mean the number of duns in each line is exactly the same. Bian Zhilin advocates dun of two characters and dun of three characters should be arranged alternately and adjusted mutually to meet the needs of poetic expression and produce an effect similar to feet in western poetry.&lt;br /&gt;
&lt;br /&gt;
===Chapter 3 Analyses of Bian Zhilin's Translation Practice===&lt;br /&gt;
Bian Zhilin put his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and poetry translation strategies of &amp;quot;replacing foot with dun&amp;quot; into practice. Here are three poem excerpts of romantic poets and Bian Zhilin's translation of them.&lt;br /&gt;
&lt;br /&gt;
====William Blake's ''The Tiger'' in ''Songs of Experience''====&lt;br /&gt;
William Blake is a representative of English romantic literature. He was hailed by 20th century critics as &amp;quot;the great prophet&amp;quot; who was a pioneer of romanticism. He broke neoclassical traditions in the 18th century and emphasized instinct, passion and imagination. Besides, Blake is a revolutionary poet and expressed strong revolutionary passion and rebellious spirit in his poem. The Tiger is one of his earliest lyrical poems. It eulogizes the shape and strength of the tiger. Here is an excerpt of it:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Tiger! Tiger! Burning bright&lt;br /&gt;
&lt;br /&gt;
In the forests of the night,&lt;br /&gt;
&lt;br /&gt;
What immortal hand or eye&lt;br /&gt;
&lt;br /&gt;
Could frame thy fearful symmetry?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
老虎！|老虎！|火一样的辉煌，&lt;br /&gt;
&lt;br /&gt;
烧穿了|黑夜的|森林和|草莽，&lt;br /&gt;
&lt;br /&gt;
什么样|非凡的|手和|眼睛&lt;br /&gt;
&lt;br /&gt;
能塑造|你一身|惊人的|匀称？&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of dun.)&lt;br /&gt;
&lt;br /&gt;
The excerpt shows the praise for the tiger. In the poem, Blake uses symbolization and compares the tiger to a fire that destroys everything. Bian Zhilin represents the perfect creation of the creator with the symmetry of the tiger. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem on the guidance of his theory of &amp;quot;faithfulness, similarity and translation&amp;quot;. In the first line of the excerpt, the use of &amp;quot;Tiger&amp;quot; with exclamation marks is a kind of call of the tiger——the king of the forest. Bian Zhilin translates them faithfully into &amp;quot;老虎！老虎！&amp;quot;. The third line is a rhetorical sentence that asks without answering, which reminds readers of the Creator——God, thus making the poetry profound. Bian Zhilin follows the rhythmic characteristics of the original poem and translates it artistically.  &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin also makes his translation according to his theory of &amp;quot;replacing foot with dun”. The above stanza consists of four lines of trochaic tetrameter. Therefore, there are four feet in each line. And in translated version, there are four lines of four duns. Each duns contains two or three characters, thus make the structure of the translated poem neat and have a strong rhythm.&lt;br /&gt;
&lt;br /&gt;
====William Wordsworth's ''The“Lucy”Series''====&lt;br /&gt;
William Wordsworth is also an important poet in English romanticism. He was made poet laureate and he strongly promoted the innovation of English poetry and the development of the Romantic movement. He believes &amp;quot;Poetry is the spontaneous overflow of powerful feelings&amp;quot;. The following excerpt is taken from his &amp;quot;Lucy&amp;quot; series:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
A slumber did my spirit seal&lt;br /&gt;
&lt;br /&gt;
I had no human fears&lt;br /&gt;
&lt;br /&gt;
She seemed a thing that could not feel&lt;br /&gt;
&lt;br /&gt;
The touch of earthly years &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
No motion has she now, no force&lt;br /&gt;
&lt;br /&gt;
She neither hears nor sees&lt;br /&gt;
&lt;br /&gt;
Rolled round in earth's diurnal course&lt;br /&gt;
&lt;br /&gt;
With rocks, and stones, and trees.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
迷糊|封住了|我的|精神；&lt;br /&gt;
&lt;br /&gt;
我没有|人世的|忧惶：&lt;br /&gt;
&lt;br /&gt;
她似乎|超然|物外，|不可能&lt;br /&gt;
&lt;br /&gt;
感觉到|岁月的|影响。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
现在|她无力了，|也不能|动弹；&lt;br /&gt;
&lt;br /&gt;
她不再|耳闻|目睹；&lt;br /&gt;
&lt;br /&gt;
卷在|地球的|日程里|滚转，&lt;br /&gt;
&lt;br /&gt;
混同了|岩石、|树木。&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
The above poem was written when Wordsworth went and stayed in Germany with his sister Dorothy in 1798 and 1799. It uses simple words and the meaning of the poems is quite clear. And Bian Zhilin's translation of the poem is quite faithful and vivid. &amp;quot;Slumber&amp;quot; in the first line of the original is translated into &amp;quot;迷糊&amp;quot; rather than &amp;quot;沉睡&amp;quot;, which gives readers a sense of &amp;quot;lazy charm&amp;quot;. And &amp;quot;fears&amp;quot; in the second line was translated into &amp;quot;忧惶&amp;quot;；it’s quite vivid and pertinent. Besides, the original poem consists of two stanzas with four lines of iambus. In each stanza, the first and the third line have four feet and the second and the fourth line have three feet. The whole poem follows the rhyme scheme of &amp;quot;a-b-a-b, c-d-c-d&amp;quot;. Bian Zhilin replaces feet in the poem with duns. There are fours duns in the first and the third lines and three duns in the second and fourth lines in translation. And the translated version follows the same rhyme scheme with the original. The whole poem is translated and expressed in quite appropriate way.&lt;br /&gt;
&lt;br /&gt;
====Percy Bysshe Shelley's ''Song to the Men of England''====&lt;br /&gt;
Percy Bysshe Shelley, as one of the famous romantic poets, pursued freedom and resisted violence in his short life. He encouraged people to stand and fight for a better life and was branded a &amp;quot;complete revolutionary&amp;quot; by Marx. And Song to the Men of England was written by Shelley after &amp;quot;Peterloo incident&amp;quot; in Manchester in 1819 to reveal the cruel nature of reactionary rulers and call on people to revolt bravely. Here is an excerpt of Song to the Men of England:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Men of England, wherefore plough&lt;br /&gt;
&lt;br /&gt;
For the lords who lay ye low?&lt;br /&gt;
&lt;br /&gt;
Wherefore weave with toil and care&lt;br /&gt;
&lt;br /&gt;
The rich robes your tyrants wear?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Wherefore feed and clothe and save&lt;br /&gt;
&lt;br /&gt;
From the cradle to the grave&lt;br /&gt;
&lt;br /&gt;
Those ungrateful drones who would&lt;br /&gt;
&lt;br /&gt;
Drain your sweat——nay, drink your blood?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
英国的|人民，|为什么|犁地&lt;br /&gt;
&lt;br /&gt;
报答|老爷们|踩你们|成泥？&lt;br /&gt;
&lt;br /&gt;
为什么|辛勤|劳苦|去织布，&lt;br /&gt;
&lt;br /&gt;
让那些|恶霸|穿华丽|衣服？&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
为什么|你们|从摇篮|到坟冢&lt;br /&gt;
&lt;br /&gt;
尽供给|和保养|那许多|雄峰？&lt;br /&gt;
&lt;br /&gt;
他们|不感激，|还非常|坚决，&lt;br /&gt;
&lt;br /&gt;
要喝干|你们的汗|——再加|血；&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
This excerpt is about the clash between two classes of society, the poor working class and the rich nobles. The major theme of this poem is exploitation. People plow for the sake of the lords, who are like drone bees that do no work but live off of the works of others. The narrator is urging the workers to make a stand as they are being treated unfairly. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin practices his poetry translation strategies of &amp;quot;translating poetry in metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; in this poem. In the original poem, each of two stanzas consists of four lines of iambic tetrameter, rhyming &amp;quot;a-a-b-b, a-a-b-b&amp;quot;. In the translated version, there are also two stanzas composed of four lines. And in each line, there are four duns which replaces the four feet in the original poem. The rhyme scheme in translated version is the same as that in the original.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translate the poem faithfully and vividly. For example, he translates &amp;quot;lay ye low&amp;quot; into &amp;quot;踩你们成泥&amp;quot; which well preserves the images of the original work. And &amp;quot;tyrants&amp;quot; in the fourth line of the first stanza is translated into &amp;quot;恶霸&amp;quot; which is concise and accurate. In the second stanza, &amp;quot;From the cradle to the grave&amp;quot; modifies &amp;quot;the men of England&amp;quot; rather than those &amp;quot;ungrateful drones&amp;quot;, Bian Zhilin understands the linguistic structure of the poem and translates it into &amp;quot;你们从摇篮到坟冢&amp;quot;. &amp;quot;坟冢&amp;quot; is more formal than &amp;quot;坟墓&amp;quot; and it's suitable for poetry, from which we can see the precision of Bian Zhilin's choose of words. In the last line, Bian Zhilin uses a dash and the words &amp;quot;再加&amp;quot; to highlight the brutal nature of the rulers. Actually, this translation is a good practice of his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===Chapter 4 Critical Thinking of Bian Zhilin's Translation Theories===&lt;br /&gt;
There is no doubt that Bian Zhilin's translation theories greatly promoted the development of English poetry translation in China. His &amp;quot;faithfulness, similarity and translation&amp;quot; is the inheritance and innovation of Chinese traditional translation theories. And it indeed provides a new way for poetry translation. Besides, Bian Zhilin thinks poetry should be translated into poetry rather than prose. In other words, translators should translate poetry in a poetical and metrical way. He stresses the importance of the unity between form and content and thinks high quality translation should be a unity of content and artistic style of the original text.&lt;br /&gt;
&lt;br /&gt;
Despite Bian Zhilin's great contribution to literary translation theories, I think there are still some problems existing in Bian Zhilin's translation strategies. In Bian Zhilin's opinion, translators can replace foot with dun thus achieving similar rhythmical effect in Chinese version with the English original. It seems that it is a quite advisable and feasible method. Bur actually, it cannot be practiced widely. In English poetry, each foot consists of two syllables, which is fixed and regular. But things are changed in Chinese. The character numbers in each dun in Chinese are not fixed. There may be one or two or three or four characters in each dun, so different people may have different divisions of duns based on their different understanding of context. Therefore, the division of duns may be disordered and random, which makes &amp;quot;replacing foot with dun&amp;quot; not advisable in many cases.&lt;br /&gt;
&lt;br /&gt;
Another problem in Bian Zhilin's translation theories is the ignorance of metrical patterns of foot. In English poetry, there are different metrical patterns like iambus, trochee, spondee and pyrrhic and so on. But there are no such meters in Chinese. &amp;quot;Replacing foot with dun&amp;quot; only considers the correspondence of foot but ignores the correspondence of metrical patterns of foot, so Bian Zhilin's &amp;quot;translating poetry in metrical way&amp;quot; actually is not adequate. We know Chinese is a kind of tone language which has four tones. We can use four tones to correspond the metrical patterns of foot in English. But it's quite difficult in so far and still needs more exploration.&lt;br /&gt;
&lt;br /&gt;
===Chapter 5 Conclusion===&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. His literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and &amp;quot;translating poems in a poetical and metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; give us a lot of enlightenment in the translation of poems. This paper analyzes Bian Zhilin's translation of romantic poems to show his translation strategies. However, there are still some problems in his theories, for example, the division of duns are disordered and random which are based on the understanding of translators and there is no correspondence in metrical patterns of foot. These are the problems that are needed to be considered and solved.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Blake, William. Songs of Experience[M]. New York: Dover Publications, Inc., 1971.&lt;br /&gt;
&lt;br /&gt;
Durrant, Geoffrey. William Wordsworth [M]. Cambridge: Cambridge University Press, 1979.&lt;br /&gt;
&lt;br /&gt;
Nabokov, Vladimir. &amp;quot;Forward&amp;quot;, A.S.Pushkin, Eugene Onegin, Nabokov, V.trans. London: Routledge &amp;amp; Kegan Paul, 1964/1975, p.viii.&lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. Approaches to Translation. Oxford: Pergamon, 1981, p39.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2002).《卞之琳文集》（中卷）. 安徽教育出版社, p503.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2000).《卞之琳文集》（上卷）. 安徽教育出版社, p8.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(1994).《从&amp;lt;西窗集&amp;gt;到&amp;lt;西窗小书&amp;gt;》.[英] 克里斯托弗·衣修伍德《紫罗兰姑娘》, 卞之琳译. 中国工人出版社, p8-9.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2007).《人与诗：忆旧说新》（增订本）. 安徽教育出版社, p319.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2005). 《英国诗选》. 商务印书馆, p156.&lt;br /&gt;
&lt;br /&gt;
Chen Xiying陈西滢(1984).《论翻译》. 罗新璋编《翻译论集》. 商务印书馆, p401-402.&lt;br /&gt;
&lt;br /&gt;
Fu Lei傅雷(1984).《论文学翻译书》. 罗新璋编《翻译论集》. 商务印书馆, p694.&lt;br /&gt;
&lt;br /&gt;
Li Changshuan李长栓(2004). 《非文学翻译理论与实践》. 中国对外翻译出版公司, p57.&lt;br /&gt;
&lt;br /&gt;
Shen Suru沈苏儒(1998).《论信达雅：严复翻译理论研究》. 商务印书馆, p8.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜(1991).《西方翻译简史》.商务印书馆, p24.&lt;br /&gt;
&lt;br /&gt;
Yan Fu严复(1984).《&amp;lt;天演论&amp;gt;译例言》.罗新璋编《翻译论集》. 商务印书馆, p136.&lt;br /&gt;
&lt;br /&gt;
=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday, 2012) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær, 2015; von Flotow, 2010). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh (2015) argues that translation is one of the traditional communicating methods between communities all around the world. Jothiraj (2004) states that “translation plays an important role in the inter-lingual process of communication” (p. 1). Translation is essential for cultures and languages to exchange information. Newmark (1988) defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects. Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
&lt;br /&gt;
Nida (1964) indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style. Larson (1998) has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context. &lt;br /&gt;
&lt;br /&gt;
Culture plays a considerable role, Snell-Hornby (1988, p. 33) assumed that “Culture refers to all socially conditioned aspects of human life”. Another definition of culture is formulated by Goodenough (1957, p. 167). For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term. By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
&lt;br /&gt;
The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline (2003, p.16) thought that “religion is an important institutional network that binds people to one another.” But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
&lt;br /&gt;
This study is aimed to probe Newmark's (1988) translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion (1988, p. 81), seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL. &lt;br /&gt;
&lt;br /&gt;
===Translation and Culture===&lt;br /&gt;
&lt;br /&gt;
2. Translation and Culture &lt;br /&gt;
&lt;br /&gt;
Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.  &lt;br /&gt;
The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988, 7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988, 5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988, 7).  &lt;br /&gt;
&lt;br /&gt;
In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford (1965) defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language” (Catford 1965, 20). According to Venuti’s translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader” (Venuti 1995, 18). Schjoldager stated that “a translation is a text that expresses what another text has expressed in another language” (Schjoldager 2008, 19). Culture is a complex whole which includes knowledge, belief, art, law, morals, customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan (2014), claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014, 2). Hermanns (1999) contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures. Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014, 2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark (2001), illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001, 328). &lt;br /&gt;
&lt;br /&gt;
Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
&lt;br /&gt;
2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
&lt;br /&gt;
Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora, fauna, food, clothes, housing, work, leisure, politics, law, and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988, 327) Christine Nord names them “culturemes” (Nord 1997, 9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012, 1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Aixela, 1997; Davies, 2003), others choose cultural words (Newmark, 2003) or culture-bound phenomena/concepts (Baker, 1992, Newmark, 2003, Robinson, 2003). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker, 1992, 21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988, 94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988, 95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988, 95).&lt;br /&gt;
&lt;br /&gt;
2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
&lt;br /&gt;
The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85, P. 22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003, 16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.&lt;br /&gt;
&lt;br /&gt;
===Types of Translation ===&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
Newmark (1988) determines 8 types of translation which are: &lt;br /&gt;
 &lt;br /&gt;
3.1 Word-for-Word Translation &lt;br /&gt;
&lt;br /&gt;
This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
&lt;br /&gt;
3.2 Literal translation &lt;br /&gt;
&lt;br /&gt;
In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
&lt;br /&gt;
3.4 Semantic Translation &lt;br /&gt;
&lt;br /&gt;
Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
&lt;br /&gt;
3.5 Adaptation &lt;br /&gt;
&lt;br /&gt;
This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015, 15). &lt;br /&gt;
&lt;br /&gt;
3.6 Free Translation &lt;br /&gt;
&lt;br /&gt;
The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
&lt;br /&gt;
3.7 Idiomatic Translation &lt;br /&gt;
&lt;br /&gt;
This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
&lt;br /&gt;
3.8 Communicative Translation &lt;br /&gt;
&lt;br /&gt;
This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
===Translation Strategies  ===&lt;br /&gt;
&lt;br /&gt;
4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
&lt;br /&gt;
4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela (1996), translators need to choose several strategies based on the source language culture and target culture.  He distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, he tries to command by the level of their intercultural intervention. He divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies). &lt;br /&gt;
&lt;br /&gt;
4.1.1. Conservation: &lt;br /&gt;
In conservation, the less compelling process includes repetition, orthographic adaptation, linguistic translation, extratextual gloss and intratextual gloss. &lt;br /&gt;
&lt;br /&gt;
4.1.1.1 Repetition: In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus, the translator keeps as much as possible the original reference (Aixela, 1996, p. 61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
&lt;br /&gt;
4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
&lt;br /&gt;
4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
&lt;br /&gt;
4.1.1.4 Extra-textual Gloss: Here, the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes, endings, words, ideas, translators in dictionaries, italics and so on. &lt;br /&gt;
&lt;br /&gt;
4.1.1.5 Intra-textual Gloss: It's like the past but the translator feels that he/she can include the globe as an indirect part of the text, not to distract the reader. &lt;br /&gt;
&lt;br /&gt;
4.2.1 Substitution &lt;br /&gt;
In substitution, According (Aixela, 1996) “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here”. &lt;br /&gt;
&lt;br /&gt;
4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
&lt;br /&gt;
4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
&lt;br /&gt;
4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela, 1997, p.63). &lt;br /&gt;
&lt;br /&gt;
4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Shokri, Ketabi, 2015, p.8). &lt;br /&gt;
&lt;br /&gt;
4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela, 1996, p. 64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
&lt;br /&gt;
4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela, 1997). &lt;br /&gt;
&lt;br /&gt;
4.3 Mona Baker’s Translation Strategies &lt;br /&gt;
Baker’s strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation. (Baker, 1992). He suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies, which are the following: &lt;br /&gt;
&lt;br /&gt;
4.3.1 Translation by a more general word: According to Baker, this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
&lt;br /&gt;
4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
&lt;br /&gt;
4.3.3 Translation by cultural substitution: This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
&lt;br /&gt;
4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
&lt;br /&gt;
4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
&lt;br /&gt;
4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
&lt;br /&gt;
4.3.7 Translation by omission: Losing phrases or words that are not vital to text development. &lt;br /&gt;
&lt;br /&gt;
4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view, however, Baker's (1992) translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
&lt;br /&gt;
===Cultural Categories  ===&lt;br /&gt;
5. Cultural categories &lt;br /&gt;
 &lt;br /&gt;
5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
5.1.2 Material culture &lt;br /&gt;
Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.” &lt;br /&gt;
5.1.3 Social culture &lt;br /&gt;
The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
5.1.4 Organisation &lt;br /&gt;
Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
 &lt;br /&gt;
5.2 Newmark Classification CSIs &lt;br /&gt;
Newmark (1988) established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items.&lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
 &lt;br /&gt;
Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
&lt;br /&gt;
2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
&lt;br /&gt;
3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
&lt;br /&gt;
4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
&lt;br /&gt;
5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
&lt;br /&gt;
6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
&lt;br /&gt;
7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
&lt;br /&gt;
8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
&lt;br /&gt;
9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
&lt;br /&gt;
10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
&lt;br /&gt;
11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
&lt;br /&gt;
12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
&lt;br /&gt;
13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
&lt;br /&gt;
14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
&lt;br /&gt;
16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
&lt;br /&gt;
17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
&lt;br /&gt;
18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
&lt;br /&gt;
19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
&lt;br /&gt;
20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
&lt;br /&gt;
21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
&lt;br /&gt;
22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
&lt;br /&gt;
23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
&lt;br /&gt;
24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996, 31), “translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by (Newmark 1988, 81), “translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.” &lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation, then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions. &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity, as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts, the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term, and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part, but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark (1988) has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9. &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark’s strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                           	 قرُۡءٰنًا	Quran &lt;br /&gt;
 	                         ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference               	 يعَۡقوُۡب	Yaqub &lt;br /&gt;
 	                            اِسۡحٰق	Ishaq &lt;br /&gt;
 	                         يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
===8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
===      This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
===8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
===8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
===The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark (1988) were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
===This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However, the translator must be competent in using the translation procedures to provide an accurate translation. &lt;br /&gt;
&lt;br /&gt;
===8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
===The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
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Widiarto, O. V. V. (2016). The translation procedures of cultural expressions applied in a game of thrones translated into Perebutan Tahta novel by Barokah Ruziati (Doctoral dissertation, Dian Nuswantoro University).&lt;br /&gt;
&lt;br /&gt;
=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
===An Overview on Translation Studies  ===&lt;br /&gt;
&lt;br /&gt;
===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
&lt;br /&gt;
=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
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In this chapter, the researcher wants to highlight the different concepts about the fundamental question &amp;quot;what is idiomatic expression&amp;quot; of different critics, theorists and linguistic experts, and prominent scholars of translation studies. Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
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Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
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&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda Corelli 2006, 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984, 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992, 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to (Newmark 1981, 11), “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”&lt;br /&gt;
.	The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to (Corelli 2006, 53), English has a sizeable idiomatic base.&lt;br /&gt;
About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.&lt;br /&gt;
The main issue that idiomatic and fixed expressions pose for translators, according to (Baker 1992, 65), is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.&lt;br /&gt;
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Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.&lt;br /&gt;
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===Literature Review ===&lt;br /&gt;
In this chapter, the author/researcher defines the strategy and its different definitions from the perspective of different subjects and fields. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented. Krings defines it as the content of the project, while Seguinet divided the term into three steps. However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. &lt;br /&gt;
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The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward.&lt;br /&gt;
Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint.&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to (Seguinot 1989, 27) (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.&lt;br /&gt;
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Furthermore, (Loescher 1991, 8) defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot; As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998, 4) claim moreover, (Bell 1998, 188) distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.&lt;br /&gt;
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According to (Venuti 1998, 240), &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot; He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to (Jaaskelainen 2005, 15), product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.&lt;br /&gt;
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Furthermore, (Jaaskelainen 2005, 16) distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making. (Newmark 1988, 221) distinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;&lt;br /&gt;
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Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016, 13).&lt;br /&gt;
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The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010, 15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017, 54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
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Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985, 9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female.&lt;br /&gt;
Several research articles are found on translated work (license and khol do) of Urdu famous short stories writer Sadat Hassan Manto's from a different perspective like psychoanalysis, postcolonial, feminist approaches but to explore the problem of translations strategies face by translator Aatish Taseer during the process of translation has not been mention till date. To summarize this, the research includes a critical, in-depth, comprehensive analysis of issues that previously did not address.&lt;br /&gt;
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=== Theoritical Framework ===&lt;br /&gt;
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Different strategies have been used, like using an idiom of similar meaning and similar form, the idiom of similar meaning and different form, translation by Paraphrasing, translation by omission. The approach of employing idioms of similar meaning and form, according to Mona Baker, entails using an idiom in the target language that can express about the same meaning as the source language idiom, as well as having lexical similarity. On the other hand, this type of matching happens periodically as well as regularly.&lt;br /&gt;
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Similarly, employing idioms with similar meanings but different forms means that it is possible to locate an idiom or fixed expression in the target text language that has a similar meaning to the source idiom or expression but is made up of distinct lexical elements. Consider the case of English and French, both of which use the idiom mentioned above. In English, one good deed is rewarded with another, whereas in French, handsome deeds are rewarded with handsome deeds.&lt;br /&gt;
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Furthermore, we did not come across any idioms in the category mentioned above during translating idioms. To deal with this issue, the translators used the most popular approach, known as a translation by paraphrase, which is short, straightforward, and time-saving. When a match cannot be identified in the target language or when it appears improper to employ idiomatic language in target material due to aesthetic differences between the source and target languages, this is the most typical approach for translating an idiom from source to target language. However, one thing to keep in mind is that a perfect translation is not required is necessary or possible.&lt;br /&gt;
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Last but not least, to overcome the problem of idiom translation, the translator employs the strategy of translation by omission. This can be defined as an idiom being omitted entirely in the target text with a single word. This is done because the idiom has no close match in the target language; its meaning cannot be easily paraphrased or due to stylistic reasons. &lt;br /&gt;
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3.4 Data analysis Techniques:&lt;br /&gt;
Textual analysis is the method of data analysis in qualitative research that brings forth the hidden and potent message, structure, and function of research in giving text, Alan Mckee (defines textual analysis as whenever we perform textual analysis on the text, we make an educated guess at some time of the most likely interpretations that might be made of that text (Alan Mckee 2001, 3)&lt;br /&gt;
Analysis of the translation of short stories in light of Mona baker's theory &amp;quot;khol do and license&amp;quot; are short stories written by Sadat Hassan Manto and translated by many translators from Urdu into English. During translation, the translator adopted many strategies for translating idiomatic expression, sometimes by Paraphrasing, sometimes by omission, sometimes using similar idioms of form and meaning while sometimes using different words and the same form, the whole.&lt;br /&gt;
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===Discussion and Analysis===&lt;br /&gt;
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The chapter analyzes and discusses all the data collected by the author/researcher from different sources. All the examples of idioms are first identified, then translated into the target text, and back-translated for the sole purpose of exploring the strategies being used by the translator. A separate section is given to every strategy with its related example. Moreover, the idiomatic expression, the target work for finding, is highlighted through the bold letter.&lt;br /&gt;
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4.1	Translation by Paraphrasing:&lt;br /&gt;
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Based on our findings, the most often used strategy was &amp;quot;translation by paraphrasing.&amp;quot; An inspection also reveals that Aatish Taseer preferred this strategy. Here are some examples applied by the translators, and in the following section, the logic behind their preference towards this strategy is elaborate. The following are examples from two short stories of Sadat Husain Manto's &amp;quot;khol do&amp;quot; and &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 1: &lt;br /&gt;
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ST: Sirajuddin ne subah das baji anki kholi to logo ka ail mutalatam samandar deka.&lt;br /&gt;
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TT: Ten a.m., Siraj Uddin opens his eyes on the cold floor of the camp, seeing the swelling sea of men.&lt;br /&gt;
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BT: sub ke das baji jab Sirajuddin ne apni anki koli to logo ka aik ublaha howa samandar ka nizara dekni laga.&lt;br /&gt;
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So, the above idioms are literal idioms being translated with the help of Paraphrasing because there is no perfect equivalent of mutalatam words in English languages. A similar look at another idiom from short stories &amp;quot;khol do.&amp;quot;&lt;br /&gt;
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Example 2:&lt;br /&gt;
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ST: Khuda tomahra bala kari.&lt;br /&gt;
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TT: Your God will reward&lt;br /&gt;
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BT: Is ka badla khoda tomahi di.&lt;br /&gt;
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Here, the word reward is being used for Bala Kari, an example of transitional by Paraphrasing.&lt;br /&gt;
Let  take another example from &amp;quot;khol do.&amp;quot;&lt;br /&gt;
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Example 3:&lt;br /&gt;
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ST: unkho nai Jan khateli pa rak kar sakena ko donda.&lt;br /&gt;
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TT: even putting their lives online, they search sakina &lt;br /&gt;
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BT: apni zindagio ko khatri me dal kar unkho nai sakina ko dond nekala.&lt;br /&gt;
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The above idioms are examples of pure idiom translated from Urdu into English with the help of paraphrases strategies. However, under the same strategies, the idioms of another short story of Manto,s &amp;quot;license,&amp;quot; are translated by Aatish Taseer. Some of the examples are given below.&lt;br /&gt;
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Example 4:&lt;br /&gt;
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ST: Abu kochwan bara cheel jabela ta. It is the binomial type of idioms taken from the first sentence of the short story &amp;quot;license&amp;quot; by Sadat &lt;br /&gt;
Hasan Manto &lt;br /&gt;
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TT: Abu kochwan is stylish man.&lt;br /&gt;
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BT: Abu kochwan aik wazahdar admi ta.&lt;br /&gt;
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From the above idiom, it is clear that there is no perfect equivalence of cheela chabela idiom in English; that is, the translator goes &lt;br /&gt;
through paraphrasing strategies. Look at another example from &amp;quot;license.&amp;quot;&lt;br /&gt;
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Example 5:&lt;br /&gt;
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ST: Lein har waqat bank bani rekhi ka usi be had showk ta&lt;br /&gt;
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TT: He had a weakness for style and fashion.&lt;br /&gt;
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BT: Dan saj ke rekhna uski kamzori me sai ik ta.&lt;br /&gt;
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So all of the above examples, which are analyzed one by one, are examples of idioms being translated through paraphrasing strategies. (De Beaugrande and Dressler 1981, 50) define paraphrases as &amp;quot;approximate conceptual equivalence among outwardly different material.&amp;quot; Similarly, in this regard, Hirst defines paraphrases as &amp;quot;talk(ing) about the same situation in a different way.&amp;quot; Munday declared that &amp;quot;equivalence is particularly useful in translating idioms and proverbs” For instance, if the English idiom like a bear with a sore head is rendered into Persian as (mesle borje zahremar), meaning like a tower of snake venom, the strategy of equivalence has been applied. &lt;br /&gt;
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According to Leonardi, &amp;quot;Equivalence can be said to be the central issue in translation.&amp;quot; In this regard, house believes that &amp;quot;a translation text should match not only its source text in function but also employ equivalent situational-dimensional means to achieve that function&amp;quot; (Baker 2002, 49).  who shares this approach, states that equivalence is used &amp;quot;for the sake of convenience—because most translators are used to it rather than because it has any theoretical status&amp;quot; (Kenny 1998, 77). &lt;br /&gt;
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Despite different attitudes to the concept of equivalence, most specialists pay much attention to its meaning in the theory of translation. The translation is a form of communication, and that is why it is vital to establish equivalence between the source text and the target text. Although Vinay and Darbelnet believe that equivalence is used differently than in modern translation theory, it is evident that equivalence is one of the basic concepts of translation that cannot be neglected. Consequently, based on the Above mentioned studies using Paraphrasing in translation stands as the core concept in the process of translation, and still, most of the translators cling to it for producing a more comprehensible and explicable text. These language ideas and translation models are ideal constructs, presented abstractly in order to be differentiated precisely. They may exist in an uneasy combination in actual theories and practices, resulting in logical tensions or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation. Theories and actions must be contextualized in historical settings. They've been utilized as analytical tools to describe various topics in section introductions. Theoretical writings and current events these language notions and translation models are ideal constructs expressed in an abstract manner in order to be distinguished precisely in real-life hypotheses they may exist in an uncomfortable mix, resulting in logical conflicts or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation.&lt;br /&gt;
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4.2	Using an idiom of Similar Meaning and Form &lt;br /&gt;
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As mentioned earlier, this strategy type is being used by Aatish Taseer during their translated work of Manto's short stories &amp;quot;khol do&amp;quot; and&amp;quot; license&amp;quot; on an occasional basis. Some examples are mention below.&lt;br /&gt;
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From khol do.&lt;br /&gt;
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Example 6:&lt;br /&gt;
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ST: Larki ka rang zard hogaya.&lt;br /&gt;
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TT: The girl's face became fail&lt;br /&gt;
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BT: larki ka rang zar hogya.&lt;br /&gt;
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Similarly, another example from the license is&lt;br /&gt;
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Example 7:&lt;br /&gt;
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ST: Abu our us ke mat beer hogaie&lt;br /&gt;
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TT: They fall in love with each other.&lt;br /&gt;
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BT: WO ik dosri ke mokhbat me geriftar hogaie&lt;br /&gt;
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The above idioms are pure ones and are being translated with the help of similar meanings and similar forms.&lt;br /&gt;
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The procedures: transposition, modulation, equivalence, and adaptation, and when it comes to defining the term Equivalence, (Vinay and Darbelnet 2000, 90) propose that it consists in rendering &amp;quot;the same situation … by two texts using completely different stylistic and structural methods&amp;quot;, and when it comes to translating idiomatic expressions like &amp;quot;Il pleut à seaux&amp;quot; it can be translated as &amp;quot;It is raining cats and dogs&amp;quot; using the idiom of similar form and meaning in the target language.&lt;br /&gt;
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As (Baker 1992, 12) states, this strategy involves using an idiom in the TL which conveys roughly the same meaning as that of the source language idiom and, in addition, consists of identical lexical items. The salient point is that this kind of match can only occasionally be achieved, which cannot be picked up more often by translators. Accordingly, both translators mentioned in the current study had quite a slim chance of using this strategy type. &lt;br /&gt;
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4.3 Using an idiom of similar meaning but different form:&lt;br /&gt;
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During translating Manto short stories, &amp;quot;khol do&amp;quot; and &amp;quot;license,&amp;quot; some of the idioms are translated with the help of this strategy. Some of the examples are given below from two different short stories.&lt;br /&gt;
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Example number one is from the short story &amp;quot;khol do&amp;quot;&lt;br /&gt;
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Example 8:&lt;br /&gt;
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ST: Aur bolwai gos ayai thee?&lt;br /&gt;
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TT: The roitors come abroad.&lt;br /&gt;
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BT: pasadi bahar agai hai.&lt;br /&gt;
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The above idiom is a pure type of idiom being translated with the help of above mention strategy. The word rioter is being used for bolwai, which is not a perfect word for bolwai. In Urdu bolwai, people believe in violence when minorities or the low population of any country want some rights. These people stop them by using violence, burn down their properties, rapes women, and do things like that. Another example from the license is below.&lt;br /&gt;
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Example 9:&lt;br /&gt;
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ST: Dosri kotwal abu ko dek kar jal ban ho jati.&lt;br /&gt;
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TT: The other coachman burn with envy.&lt;br /&gt;
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BT: Abu ke kamyabi dek kar aur kotwal abu sai khasad karni lagi’&lt;br /&gt;
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The above idioms are a pure idiom that reflects the effect of jealousy between competitors to achieve equivalency. Aatish Taseer uses envy word for jal ban instead of other which have similar meaning but different form. Look at the other example from &amp;quot;license.&amp;quot;&lt;br /&gt;
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Example 10:&lt;br /&gt;
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ST: Dino lat vo lagal se kam karni laga.&lt;br /&gt;
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TT: Dino came with an excuse.&lt;br /&gt;
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BT: Dino abb bahi tarashni laga.&lt;br /&gt;
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The above idioms are types of binomial idioms translated with the help of idioms with similar meanings and different forms. (Newmark 1988, 81) mentions the difference between translation methods and translation procedures. He writes that &amp;quot;[w]hile translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language&amp;quot; (Newmark 1988, 81). Idiomatic translation in his definition reproduces the 'message' of the original. However, it distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original, leading to using an idiom of similar meaning but a different form. Besides, it is often possible to find an idiom or fixed expression in the target language with a meaning similar to that of the source idiom or expression but which consists of different lexical items (Baker 1992, 12). Therefore, translators discover idiomatic expressions in the target language with different forms than in the source language. In the current study, the translators approached this strategy merely for 9% of the total times, which means the frequency of Iranian and English idioms with the same meaning and different forms is not considered high. &lt;br /&gt;
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4.4 Translation by omission:&lt;br /&gt;
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A translator is less using these strategies, and we did not find any clue on this type of strategy in an area under consideration.&lt;br /&gt;
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=== Findings===&lt;br /&gt;
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(Mandelbit 1995) believed that idioms with different cognitive mapping in the target language would be more challenging to translate. After conducting study and data analysis of collected data, the result revealed that the translator frequently used three out of four strategies of the Mona Baker model during the translation process, which is a translation by Paraphrasing, translation by similar meaning and similar form, translation by similar meaning and different form. In contrast, translation by omission does not found in his work.&lt;br /&gt;
After detail and careful analysis of data, more than half of idioms like &amp;quot;swelling sea of man,” my lord break his arrogance, “weakness for style and fashion.&amp;quot; As I mentioned earlier, many more are translated under the umbrella of Paraphrasing, which is considered the most common method used for translating idioms.&lt;br /&gt;
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Similarly, we also reflect strategies like similar meaning and different form and similar meaning and similar form. The idiom &amp;quot;rioter came abroad,” burn with envy,” The girl's face became pale, &amp;quot; They fall in love with each other&amp;quot; are translated with the help of two mention strategies, respectively.&lt;br /&gt;
&lt;br /&gt;
Although translation by omission is a strategy used on rare occasions because of its meaning, its meaning cannot be easily paraphrased or stylistic reason. Here, the researcher also did not find any idiom translated with the help of the omission strategy.&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
Go through detailed discussion and analysis of data collected from my source. We finally concluded that the idioms present in two short stories, &amp;quot;khol do&amp;quot; and &amp;quot;License,&amp;quot; are translated under the frame of Mona Baker's idiomatic model. Translation by Paraphrasing is mainly used while idioms of similar meaning and form and idioms of similar meaning and different forms are used occasionally. The researcher discusses all the strategies with related examples in the order of maximum used to minimum used. The strategy by omission did not find it works. All the data are collected from different sources and analyzed with the help of different researcher tools, and the result is written in light of the finding. Different from previous studies, the writer presents the strategies to translate idioms by each type of idiomatic expression found in the story. From the result, it is considered the translation of idiomatic expressions in the story is quite accurate. As the number of accurate data is more the data which is not related to the translation. We take conclusion from the translation through idiomatic expression and paraphrasing is the best way to translate a novel or a story however it is very difficult job to do because it needs more accurate and precise knowledge about the source language and an inspiring method to express ideas in the target language. However, translation is thing through which we can connect the world with each other and also we can study and observe diverse cultures.            &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abu-Saydeh, A. F. (2004). Translation of English idioms into Arabic. Babel, 114-131.&lt;br /&gt;
&lt;br /&gt;
Ahsan, S. (2020). A comparative study of two translations of manto's short story &amp;quot;Toba Tek&amp;quot;. International Journal of English Language Studies, 12-27.&lt;br /&gt;
&lt;br /&gt;
Alexander, R. J. (1987). Mimeograph. In R. J. Alexander (Ed.) Collocation and Culture. Trier: University of Trier, West Germany.&lt;br /&gt;
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Al-Qinai, J. (2000). Translation quality assessment. strategies, parameters and procedures. Translator's Journal, 497-519.&lt;br /&gt;
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Bayashi, J. (2020). Japanese-English translation: An advanced guide. Oxfordshire: Routledge.&lt;br /&gt;
&lt;br /&gt;
Das, V. &amp;amp;. (1995). Critical events: An anthropological perspective on contemporary India. New Delhi: Oxford Printing Press.&lt;br /&gt;
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Mufti, A. (2007). The Language of English India. In I. &amp;amp;. End (Ed.) Enlightenment in the Colony. Princeton University Press.&lt;br /&gt;
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Waka Xia, L. (2019). A discourse analysis of news translation in China. Syydney: Routledge.&lt;br /&gt;
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= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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===Key words ===&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
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===Ambiguity===&lt;br /&gt;
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===Lexical and Structural Mismatches===&lt;br /&gt;
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===Multiword units: Idioms and Collocations===&lt;br /&gt;
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===Summary===&lt;br /&gt;
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===Further Reading===&lt;/div&gt;</summary>
		<author><name>Atta Ur Rahman</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=130894</id>
		<title>Translation types, strategies, styles, methods</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=130894"/>
		<updated>2021-12-10T15:34:06Z</updated>

		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* Literature Review */&lt;/p&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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==Abstract==&lt;br /&gt;
''Legend of Zhen Huan'', as an excellent Chinese TV series, has successfully entered the American market. However, the American version of Legend of Zhen Huan still has some shortcomings in translation. By comparing and analyzing the subtitle texts of the ''Legend of Zhen Huan'' in China and the United States, this paper aims to discuss the problems existing in the overseas translation of the ''legend of Zhen Huan'' and the translation strategies and methods adopted in the subtitle translation of the American version, so as to provide some enlightenment for Chinese costume dramas to reach the world in the future.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
Translation strategy and translation methods; ''Legend of Zhen Huan''; Subtitle translation&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
The TV series ''Legend of Zhen Huan'' is Imperial-harem competing play produced by the Beijing Television Arts Center in 2011. This play is adapted from a novel of the same name written by Liu Lianzi, which mainly tells the story of the young girl Zhen Huan growing up from an unsophisticated young girl to an empress dowager who is good at politics. Since its debut in China in 2012, ''the Legend of Zhen Huan'' has been a hit among Chinese audiences, with its ratings rising and even forming “Zhen Huan craze” for a time. The reason why the play has received so much praise, on the one hand, is that the film and television script is well-produced; on the other hand, it is because the plots and dialogues of the characters in the play cover a wealth of historical and cultural knowledge, embodying the profundity of Chinese culture.&lt;br /&gt;
Due to its great success in the domestic market, the series finally attracted the attention of foreign producers: the American team adapted the original ''Legend of Zhen Huan'', cutting the 76-episode original drama into six episodes,which was officially launched on Netflix’s paid website in the United States on March 15, 2015. It is the first Chinese TV series to be broadcast on mainstream TV stations in the United States. &lt;br /&gt;
However, the American version of the ''Legend of Zhen Huan'' failed to be sought after by audiences in the US, with most viewers abandoning the show after only one or two episodes.The English lines of the ''Legend of Zhen Huan''’s have ever been criticized by some Chinese audiences. After a deep study of the reason, in addition to the lack of content caused by a large amount of deletion and cutting, another important reason is the insufficiency of subtitle translation. This paper attempts to explore the translation strategies of the subtitle of ''Legend of Zhen Huan'', hoping to provide some inspiration for the subtitle translation of domestic film and television works of the same type.&lt;br /&gt;
&lt;br /&gt;
==Literature Review==&lt;br /&gt;
&lt;br /&gt;
===Previous studies in Subtitle Tranlation abroad===&lt;br /&gt;
In the early 1970s, Doller Up (1974) published a paper entitled “On Subtitle in TV Programs” on Babel, an authoritative journal of the International Association of Translators, which was the first time that scholars paid special attention to subtitle translation. In addition, he creatively pointed out the great value of TV subtitles to foreign language teaching, and then made contributions to the cause of education.&lt;br /&gt;
&lt;br /&gt;
In 1976, Istvan Fodor published a book called Film Dubbing: Aspects of Phonology, Semiotic Aesthetics, and Psychology, which centered on film dubbing from an acoustic perspective. Fodor argues that because each country’s language and culture are unique and irreplaceable, it is almost impossible to achieve perfect “synchronization” in all aspects of the translation of film(Fodor 1976:82).&lt;br /&gt;
&lt;br /&gt;
In 1982, Christopher Titford first proposed the concept of “restricted translation” in his article “Subtitling: Restricted Translation”. He believes that the limitations of film and television as a medium themselves are the main cause of problems encountered by translators in practice (Titford 1982:113).&lt;br /&gt;
&lt;br /&gt;
In 1992, Ivarsson, a Swedish subtitling translation scholar, published his book Subtitling for Media: A Handout of Art, which can be said to be the first comprehensive study of subtitling translation works in Europe. In this book, Ivarsson introduces the development of subtitle translation technology in detail. The most representative subtitle translation scholars are Gambill and Gottlieb, who are two translation theorists. Yves Gambill, a Finnish translator, is a very important expert in the field of film and television translation. Gambill has a wide range of research fields, he has compiled a large number of academic monographs, such as language transfer and Audiovisual Communication: bibliography, which discusses the classification of translation patterns, translation strategies, translation audience and so on (Gambill 1997).&lt;br /&gt;
&lt;br /&gt;
===Previous studies on Subtitle translation at home===&lt;br /&gt;
The research on subtitle translation in China mainly focuses on the English translation of Chinese films, and a large number of such papers and articles have been published, which are also the most representative research results of subtitle translation in China. In addition, with more and more domestic films moving toward the international stage, some attention has been paid to the study of Chinese subtitles.&lt;br /&gt;
&lt;br /&gt;
The study on Chinese and English subtitle translation can be divided into several fields, including film and television language characteristics, subtitle translation methods, subtitle translation history and so on.&lt;br /&gt;
&lt;br /&gt;
Subtitle translation methods can be broadly divided into two categories. One category refers to some practical translation methods and skills summed up by translators based on their years of translation experience, such as the seven kinds of experiences of film and television translation proposed by Qian Shaochang (2000), which stresses the importance of “translation” in the output of films and TV plays. The other is related to domestic MA papers. They usually start with some translation theories, such as German functional translation theory, Eugene Nida’s functional equivalence theory, relevance theory, and Susan Basnett’s cultural translation theory, and finally conclude translation methods such as domestication, foreignization, literal translation, free translation, omission and so on.&lt;br /&gt;
&lt;br /&gt;
In recent years, with the increasing popularity of American TV series in China, the phenomenon of online subtitle translation has begun to attract attention from all sides. As time went by, subtitle translation goes beyond the simple purpose of satisfying the entertainment needs of movie fans, and begin to be applied to teaching practice and students’ self-learning process. This phenomenon is bound to attract academic attention. For example, Wang Hui (2005) discussed this issue in his article “The Impact of Subtitling on Vocabulary Acquisition”. This paper draws some conclusions which are beneficial to foreign language teaching.&lt;br /&gt;
&lt;br /&gt;
However, there are still many deficiencies in the study on subtitle translation. The only literature we can refer to is few books on the translation of film and television subtitle. In other words, subtitle translation is not discussed in detail.&lt;br /&gt;
&lt;br /&gt;
==Subtitle translation features==&lt;br /&gt;
&lt;br /&gt;
===Subtitle translation needs to be brief and comprehensive===&lt;br /&gt;
Subtitle translation should not be lengthy for two reasons: First, because the screen keeps switching, each screen stay can not be very long, the scene with the character’s dialogue switches over more quickly, in a matter of seconds, which is fleeting. Second, whether it is the large screen in the cinema or the small screen in the home, due to space constraints, if the subtitle translation is not simple enough, it will lead to an increase in the number of words in the target language, not to mention the English words that take up more space than Chinese phrases. English words take up more space than Chinese phrases.&lt;br /&gt;
&lt;br /&gt;
Take the Chinese phrase “Computer”for example, the English equivalent word is computer. The Chinese verb “来”corresponds to the English word “Come”. In general, English words have more characters than their Chinese counterparts, except in rare cases. Since the length of the word can not be artificially controlled, subtitle translation will put a higher demand on the number of words. In a typical presentation, Chinese and English subtitles are displayed simultaneously at the bottom of the screen, up to two lines of Chinese and two lines of English.&lt;br /&gt;
&lt;br /&gt;
If there are too many words, the limited space can not accommodate in a few seconds, the audience will have a dazzling feeling as well. Therefore, one of the distinctive features of subtitle translation is its concise use of words.&lt;br /&gt;
&lt;br /&gt;
===Subtitling translation requires natural equivalence===&lt;br /&gt;
The subtitling of the target language should be as natural as the subtitling of the source language. The subtitle translation discussed in this paper is mainly about the dialogue of the characters in the play. On the one hand, the style of dialogue is colloquial, in this sense,It is important   for the translator to pay attention to whether the subtitle translation that the target language audience can hear and see is in line with their daily speaking style.If the original spoken language is translated formally and rigidly, the audience of the target language will feel less natural and fluent, and their movie-watching experience can not be comparable with that of the source language audience. On the other hand, the spoken language features of the characters can clearly shape the characters in the play. If the translator does not grasp the spoken features of the characters, the target audience can not understand the character’s connotation as well as the source audience.&lt;br /&gt;
&lt;br /&gt;
Therefore,if a character needs to say something filthy, or even taboo, to make the character stand out, the subtitle translator must also translate the same filthy and taboo.These taboos should inevitably appear in the subtitle translation, and we should not mince words about them. The same is true of English to Chinese subtitle translation and Chinese to English translation. Because these taboo words are the extension of the role connotation, improper handling will affect the target audience's understanding of the connotation of the role.&lt;br /&gt;
&lt;br /&gt;
===Subtitle translation needs to be easy to understand===&lt;br /&gt;
The film and Television Play is the Popular Entertainment Program, so subtitle translation should be clear at a glance. There are thousands of people watching TV dramas, and their knowledge and cultural level vary widely, and their appreciation level is naturally mixed.Film and TV series have such a wide audience, which requires subtitle translation to take care of the needs of the majority of the audience whether from the perspective of box office and Audience Rating, or from the perspective of cultural communication.&lt;br /&gt;
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==Theory of Domestication and Foreignization==&lt;br /&gt;
In the process of translation, the translator should determine the general direction of translation, cultivate a good sense of culture, and fully understand that translation is an important feature of information exchange across different languages and cultures. But how to achieve that? There are two opposite strategies in translation: foreignization and domestication. The terms of domestication and foreignization were put forward by Laurence Venutti in his book Translators’ invisibility in 1995:&lt;br /&gt;
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===Domestication===&lt;br /&gt;
The domestication strategy is to localize the source language, take the target language or target readers as the destination, and convey the content of the original text in the way that the target language readers are accustomed to.Domestication requires the translator to be closer to the target language reader, and the translator must speak like the native author.This translation strategy will often make the translation transparent, smooth, relaxed and natural, close to the reader to the greatest extent, so as to dilute the strangeness brought by the original text.In film and television subtitle translation, domestication is often used in order to make the audience understand the film smoothly.&lt;br /&gt;
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===Foreignization===&lt;br /&gt;
The foreignization strategy is completely opposite to the domestication strategy, which is oriented by the source language culture and that &amp;quot;the translator should not disturb the author as much as possible to make the reader close to the author&amp;quot;.Foreignization advocates believe that the main purpose of translation is cultural communication, so the translation should try its best to preserve the language and cultural information contained in the source language.Only in this way can the exchange and fusion of source and target cultures be achieved through translation. In addition, they believe that the translator should believe the reader’s imagination and intelligence to the utmost, and believe that when reading the translated version, the reader should not only understand the simple words, but also understand the foreign culture through the words, and they have the capacity to understand the culture. &lt;br /&gt;
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Of course, as two translation strategies, domestication and foreignization are the unity of opposites and they complement each other. Absolute domestication and absolute foreignization do not exist.&lt;br /&gt;
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==Case Study==&lt;br /&gt;
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===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
The essence of “foreignization”is “the tendency toward the original author”, that is, the translator tries to be close to the original author in his translation (Xiong Bing, 2014). In the words of the Friedrich Schleiermacher, this means that the translator“Tries not to disturb the original author, but to take the reader to the original author”(Robinson, 2006:229) . Specifically in Translation, the translator tries to retain the original language, literariness, cultural characteristics and exotic customs (Xiong Bing, 2014) . Therefore, the nature of foreignization strategy is mainly in favor of the original author, and its defects are mainly reflected in the readability of the translation. In other words, the translation may be blunt and not well received and understood by the audience. Therefore, the translation effect is not ideal for the target audience.&lt;br /&gt;
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====Literal Translation====&lt;br /&gt;
Literal translation means keeping both the content and the form of the original text in the translation when the language conditions permit, especially the metaphor, image, national and local color of the original text.The vast majority of subtitle translation of the Us version of ''Legend of Zhen Huan'' adopts literal translation. Look at the following example:&lt;br /&gt;
&lt;br /&gt;
Example 1&lt;br /&gt;
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Chinese version：嬛嬛一袅楚宫腰。&lt;br /&gt;
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American version：the slim waist of the concubines of the Chu palace.&lt;br /&gt;
&lt;br /&gt;
For the word “Huan”in the name of Zhen Huan, the American version uses the Foreignization method, which is translated literally as the slim waist of the concubines of the Chu palace.Western audiences may be confused by the subtitles,Western audiences may be confused by the subtitles, because Zhen Huan is clearly a woman from the Qing Dynasty, how come another Chu Palace? In terms of accuracy and the conveying of cultural context, this translation is well-done, but it creates a barrier for the audience to understand. Therefore, the translation can throw out on its real meaning, such as translated into As my name, Huan, means graceful women with slim waist, &amp;quot;Chu palace&amp;quot; here means can be omitted.&lt;br /&gt;
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Example 2&lt;br /&gt;
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Chinese version：一片冰心在玉壶&lt;br /&gt;
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American version：A jade vessel is the symbol of a pure heart.&lt;br /&gt;
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“Jade Vessel”in Chinese has a unique associative meaning, while the meaning of these words in English is vacant. Western audiences just think that Dr. Wen is evaluating his character, but they can’t hear his pure love for Zhen Huan, so on the basis of foreignization, it’s better to add some domestication translation to make it easier for the audience to understand.&lt;br /&gt;
&lt;br /&gt;
The American versions of examples 1 and 2 are very literal and concise translations, because the original subtitles have no hidden meaning.However, due to the wrong choice of translation methods, a small number of translated subtitles are just like translation cavities.If the cultural significance of the original text is lost, the translation may be regarded as a failure.In a sense, actors’ performances and lines are the &amp;quot;booster&amp;quot; of the plot development of the TV series.However, if the audience can not understand the original meaning, the story will be much less attractive in the eyes of the audience.For example:&lt;br /&gt;
&lt;br /&gt;
Example 3&lt;br /&gt;
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Chinese version：“赏你一丈红”&lt;br /&gt;
&lt;br /&gt;
American version：Then I will award Attendant Xia the Scarlet Red.&lt;br /&gt;
&lt;br /&gt;
In the original subtitle of example 3, “一丈红” (yi zhang hong,  literally “two-meter-long red”) is used to punish a palace maid or a  concubine who had done something wrong in China’s ancient imperial palace. The specific content of the penalty goes as follows: a two-meter-long and two-inch-thick board was used by the performer to give the guilty palace maid or concubine a good beating on their waist or the place below it until their bones were broken and the blood gushed out.   Looking from the distance, you will see that the blood covered a long distance. Thus, it is called “一丈红”. &lt;br /&gt;
&lt;br /&gt;
In the American version of Legend of Zhen Huan, it is translated into “the Scarlet Red”. the word Scarlet itself means “Lewd and sinful,”as in the Scarlet letter. It is very appropriate to translate &amp;quot;red&amp;quot; with scarlet. However, this partial literal translation runs counter to the American audience’s way of thinking, which they think it as nothing more than a horror show. In this way, the specific penalty content will be lost, and the target audience can't feel that the harem struggle is everywhere in the court, and can't get the equal effect for them.&lt;br /&gt;
&lt;br /&gt;
In this way, the specific content of the penalty will be lost, the target audience can not feel the Harem struggle existed everywhere in the imperial court and the equivalent effects cannot be obtained for them.&lt;br /&gt;
&lt;br /&gt;
====Zero Translation====&lt;br /&gt;
The so-called &amp;quot;zero translation&amp;quot; means that some elements of the source language are directly introduced into the target language without the ready-made words in the target language (Xiong Bing, 2014). This translation method is mainly used to translate the names of people and officials in the English version of the ''Legend of Zhen Huan''. That’s because in ancient China, there was a very strict patriarchal system with the ideas of three cardinal guides and the five constant virtues.&lt;br /&gt;
&lt;br /&gt;
In the eyes of the Chinese people, the distinction between the titles of concubines and concubines is clear at a glance, but it is difficult for foreigners to see these things, because medieval European monarchs were nominally allowed only one wife, there is no such complicated hierarchy of appellation among women. Therefore, such titles as &amp;quot;贵妃&amp;quot;, &amp;quot;妃&amp;quot;, &amp;quot;嫔&amp;quot;, &amp;quot;贵人&amp;quot;, &amp;quot;常在&amp;quot; and &amp;quot;答应&amp;quot; are presented in a dynamic equivalent way (words with similar functions in the source language), for example:&lt;br /&gt;
&lt;br /&gt;
Example 4&lt;br /&gt;
&lt;br /&gt;
熹贵妃——Noble Consort Xi    华妃——Consort Hua&lt;br /&gt;
&lt;br /&gt;
莞嫔 ——Concubine Huan       沈贵人——Lady Shen&lt;br /&gt;
&lt;br /&gt;
夏常在——Attendant Xia       小主——Young Mistress&lt;br /&gt;
&lt;br /&gt;
敦亲王：Prince Dun            舒太妃：Consort Dowager Shu&lt;br /&gt;
&lt;br /&gt;
Example 4 only shows a few official titles of the characters in the ''Legend of Zhen Huan''. However, the translation subtitles in this example reveal a subtitle rule that the American version of the ''Legend of Zhen Huan'' Uses Zero Translation for personal names and free translation for official titles. And we can clearly see the efforts of translators to represent this hierarchical culture in ancient China. However, this method of translation can not meet the needs of the current audience, because the ancient Chinese culture is broad and profound, and the official titles of emperors and concubines in the play conform to the traditional Chinese culture&lt;br /&gt;
&lt;br /&gt;
However, the cultural ideologies of the American people and the Chinese people are very different. Traditional translation can not convey the characteristics of the characters and the intensification of their contradictions. The American people have not experienced the five thousand years of slavery and feudalism in China, nor do English dictionaries or translation related books have Chinese cultural vocabulary. In addition, the current subtitle translation does not advocate the use of a large number of notes, which will have a negative impact on the effect of watching the drama.&lt;br /&gt;
&lt;br /&gt;
Therefore, notes are usually used only for the first appearance of a character, in order to provide the necessary introduction in enough subtitling space.When they appear a second time, the introduction will be omitted.As for the conflicts between the characters and the progress of the plot, it is difficult for the target audience unfamiliar with Chinese History to adapt to the culture and conflict in the play. Therefore, it is hard to arouse their interest in watching this drama.&lt;br /&gt;
&lt;br /&gt;
===Translation Methods under Domesticating Strategy===&lt;br /&gt;
Opposite to the foreignizing strategy, domestication is characterized by the “tendency toward the target recipients” (Xiong Bing, 2014). In other words, the translator tries to be as close to the target recipients in the translation as possible. In Schleiermacher’s words, it means that translators “try not to disturb the reader, but to bring the original author to the reader” (Robinson, 2006: 229). Specifically speaking, in the translation, the translator uses the language, literary devices, cultural elements that the target language readers love to replace the language, literary devices and cultural elements of the original language as much as possible, and abides by the language, literary devices and cultural norms of the original language (Xiong Bing, 2014). &lt;br /&gt;
&lt;br /&gt;
The domesticating strategy is a translation strategy just opposite to the foreignizing strategy. Its advantage is that the translation can be fluent, easy to understand, and easily accepted by the target recipients; or it tries to meet the specific needs of the target audience. However, the domesticating strategy also has some shortcomings. The first weakness of it is the loss of the language, literariness, culture and other important elements of the source text, so that the target audience cannot appreciate the exotic authentic language and cultural practices. This cannot help the cultural exchange and dissemination between different ethnic groups. The second weakness is that the domesticating strategy of the translated text may lead to semantic loss and semantic ambiguity in translated texts.&lt;br /&gt;
&lt;br /&gt;
====Omission====&lt;br /&gt;
Omission is a very important method in domestication strategy.The Syntactic structure of English emphasizes &amp;quot;hypotaxis&amp;quot;, and there are appropriate connecting elements between each component of a sentence to express their mutual relations, which emphasizes the consistency and coordination of grammatical relations.The structure of Chinese sentences is &amp;quot;parataxis&amp;quot;, and the relationship between each component of the sentence depends more on the intention, and less on the linking component. The structure form is relatively relaxed, and the words and sentences are relatively simple.Therefore, Omission is one of the most common methods in Chinese text translation.Word reduction means that in translation, the translator must grasp the differences between Chinese and English, omit the unnecessary linking elements in Chinese, make the translation smooth, avoid stiff and cumbersome, and eliminate unnecessary words and words as far as possible.There are many examples of reducing words in the translation of Legend of Zhen Huan.&lt;br /&gt;
&lt;br /&gt;
Example 1&lt;br /&gt;
&lt;br /&gt;
Chinese version:“先敬罗衣后敬人。” &lt;br /&gt;
&lt;br /&gt;
American version: “The clothing completes the person.”&lt;br /&gt;
&lt;br /&gt;
This Chinese idiom means that people will first look at the clothes they are wearing and judge their social status according to the clothes. There is a derogatory element in it.However, in the translation of this sentence, the translator adopted the word reduction method and did not translate every word.The word &amp;quot;complete&amp;quot; expresses the idea that &amp;quot;clothes make the man&amp;quot;, but fails to express the meaning intended in the original text.Therefore, the author thinks that can continue to use the Omission here, will change its translated into “According to clothing to estimate people’s status.”&lt;br /&gt;
&lt;br /&gt;
Example 2&lt;br /&gt;
&lt;br /&gt;
Chinese version: “花开堪折直须折，莫待无花空折枝。” &lt;br /&gt;
&lt;br /&gt;
American version: One must pick a flower at the prime of its bloom, Do not wait until the blossom fade and falls.&lt;br /&gt;
&lt;br /&gt;
There are three Chinese characters for &amp;quot;折&amp;quot; in this sentence, but the translator did not show any of them in the Process of English translation.Shall we say that he did not translate the Chinese meaning?Of course not. The translator must have noticed these three &amp;quot;fold&amp;quot; characters in the process of translation. If one of them is translated out, the sentence will appear too long-winded and not in line with the characteristics of subtitle translation.Therefore, the translator starts from the meaning of the original text to persuade people to cherish, and cleverly leaves out the word &amp;quot;折&amp;quot;, which not only avoids repetition, but also conveys the meaning of the original text.This reflects the three principles of Skopos theory: &amp;quot;Based on the source language, pay attention to the culture in the target language, the intention of translation activities and the acceptance state of the American audience&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
====Addition====&lt;br /&gt;
Addition is also an important translation method in domestication strategy.Augmentation refers to the use of structural and semantic augmentation to compensate for linguistic and cultural deficiencies in the target text.Structural supplement refers to the addition of omitted words or replaced words to make the content of translation more complete.Semantic supplement refers to the translator's addition of nouns, verbs, summative words, explanatory words and conjunctions to compensate for the lack of language and culture in the target text so that readers can understand the original text.&lt;br /&gt;
&lt;br /&gt;
Example 1&lt;br /&gt;
&lt;br /&gt;
Chinese version:“他不忍叫你明珠暗投。”  &lt;br /&gt;
&lt;br /&gt;
American version:&amp;quot;You will not be granted an ordinary life when you can live an extraordinary one.&lt;br /&gt;
&lt;br /&gt;
In this example, the translator adopted Addition method to make a explanatory translation for &amp;quot;明珠暗投&amp;quot; , the translation of &amp;quot;be granted an ordinary life when you can live an extraordinary one.&amp;quot;As we know, Chinese idioms are one of the wonders of The Han culture, and they often show rich implicit meanings in condensed four-character sentences.In the translation of this sentence, it is easy for us to understand the meaning of &amp;quot; 明珠暗投&amp;quot;&amp;quot;, but how to make the American audience understand, the translator needs to make an explanation, so that the American audience can understand the implicit meaning of the original text, so as to reduce the cultural burden.&lt;br /&gt;
&lt;br /&gt;
Example 2&lt;br /&gt;
&lt;br /&gt;
Chinese version：“臣妾一与社稷无功，二与龙脉无助。” &lt;br /&gt;
&lt;br /&gt;
American version:“Firstly, I have made no contribution to the nation. Secondly, I have begotten no heirs.&lt;br /&gt;
&lt;br /&gt;
In example 2, the translator interprets &amp;quot;社稷&amp;quot; as &amp;quot;nation&amp;quot; for readers to understand.&amp;quot;社稷&amp;quot; has always been a synonym for &amp;quot;nation&amp;quot; in Chinese, just as &amp;quot;White House&amp;quot; is a synonym for &amp;quot;America&amp;quot;. In addition, there is no English equivalent for &amp;quot;nation&amp;quot;, so it is appropriate for the translator to use &amp;quot;nation&amp;quot;.Heirs to dragon vein, a Feng shui concept meaning undulating mountains, succeed.Later, the royal family regarded it as the lifeblood of the country, so they would call the royal blood &amp;quot;dragon vein&amp;quot;.Heirs to dragon Vein, which in this case means heirs to the emperor's children, succeed in translating it into Heirs to the emperor.It's less common and more advanced than the word &amp;quot;children&amp;quot;, which is often thrown around.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
The subtitle translation strategy of Legend of Zhen Huan generally focuses on domestication, and tends to transform implicit meaning into explicit meaning.When the meaning of the source language is complex and difficult to be understood by the target language audience, the translation strategy of domestication is usually adopted, and the expressions used in the target language are adopted.If there is an equivalent or similar expression between the target language and the source language, alienation should be considered, and a concise explanation should be added if conditions permit, so that the cultural essence of the source language can be preserved and the audience can experience the charm and national characteristics of traditional Chinese culture.&lt;br /&gt;
&lt;br /&gt;
As a translation strategy, absolute domestication and absolute foreignization do not exist in translation practice.The task of the translator is to make the best use of the two strategies in practice according to the specific language characteristics, the purpose, the language characteristics of the source language and the target language, and the national culture, so as to bridge the cultural differences between the two countries.&lt;br /&gt;
&lt;br /&gt;
==Reference==&lt;br /&gt;
[１]Dollerup, Cay. On Subtitles in Television Programs[J]. Babel, 1974, (20): 197-202. &lt;br /&gt;
&lt;br /&gt;
[２]Ivstor, Fordor. Film Dubbing: Phonetic Semiotic, Esthetic and Psychological Aspects[C]. John Benjamins, 1976. &lt;br /&gt;
&lt;br /&gt;
[３]Schleiermacher, F. On the Different Methods of Translation[A]. In Robinson, D.(ed.). Western Translation Theory: From Herodotus to Nietzsche[C]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
&lt;br /&gt;
[４]Titford, Christopher.Subtitling: Constrained Translation[J]. Lebende Sprachen, 1982, 27(3):113-116.  &lt;br /&gt;
&lt;br /&gt;
[５]钱绍昌. 影视翻译──翻译园地中愈来愈重要的领域[J]. 中国翻译, 2000(1):61-65.&lt;br /&gt;
&lt;br /&gt;
[６]汪徽.字幕对伴随性词汇习得的影响[J].外语电化教学,2005(2):47-52. &lt;br /&gt;
&lt;br /&gt;
[７]熊兵. 翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J]. 中国翻译, 2014(3):82-88.&lt;br /&gt;
&lt;br /&gt;
=2 刘晓 The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
[[Trans_Type_EN_2]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
With the rapid growth of economy, people's pursuit of life quality is gradually increasing. Travelling abroad has become a hot topic nowadays. The rapid development of overseas travel has increased the market demand for tourism translation, and more stringent requirements for tourism translators. How to deal with the translation problems caused by the cultural differences between Chinese and English during the translation process is of great importance to improve the quality of tourism translation. The communicative translation strategy in Newmark's translation theory focuses on the effect that the translation brings to the target language readers, which is of certain guiding significance to the E-C translation of tourism texts. Therefore, this paper takes ''Everglades National Park, Florida (Excerpt)'' as an example to analyze the specific translation strategies and methods in the application of Newmark's translation theory in tourism texts, so as to provide reference for other translators.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Translation strategy and translation methods; Peter Newmark; Tourism texts&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
This paper is based on the English-Chinese translation of ''Everglades National Park, Florida (Excerpt)''. By analyzing the application of Peter Newmark's communicative transaltion in the translation, the author proposes some translation methods, which can be provided for future references.  This chapter mainly introduces the background information and significance of the report, and the domestic research status.&lt;br /&gt;
&lt;br /&gt;
====Research background====&lt;br /&gt;
&lt;br /&gt;
With the development of the world, various kinds of tourism appear in people’s life, and has unprecedentedly, extremely widely spread a variety of culture and lifestyle. Tourism has become a rising sunrise industry in modern society (Jin Huikang, 2007). To a foreign country to enjoy the beautiful scenery can make people know the colorful world and further know what they want. And this activity also has made tourism translation a reality and a thriving discipline.&lt;br /&gt;
&lt;br /&gt;
However, due to the different geographical environments, cultural differences and historical backgrounds in different countries, many translators often ignore the disadvantages brought by differences in language and cultural habits in the process of translation, so that the original meaning of the original text will be lost in the process of transmission, which may cause confusion for tourists and cannot achieve the purpose of offering them accurate information and stimulating their interest.&lt;br /&gt;
&lt;br /&gt;
Therefore, in order to make it more convenient for domestic citizens to travel abroad, translators should choose appropriate translation strategies and methods according to the cultural differences between China and foreign countries in the process of tourism English translation, so that tourists can form an objective and correct understanding of scenic spots. The semantic translation and communicative translation strategies in Peter Newmark’s Theories respectively focus on whether the meaning of the original text is exactly reproduced and the effect and influence that the translation brings to the target language readers, which are of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
&lt;br /&gt;
====Research significance====&lt;br /&gt;
&lt;br /&gt;
In theory, based on Peter Newmark’s translation theories, this paper chooses the semantic translation strategy and puts forward appropriate translation methods for the English-Chinese translation of tourist text -- the ''Everglades National Park, Florida (Excerpt)'', which is of certain guiding significance for English - Chinese translation of tourist texts.&lt;br /&gt;
Based on the practice of the ''Everglades National Park, Florida (Excerpt)'' English - Chinese translation and the analysis of Newmark’s communicative translation strategy’s application, this paper sums up some translation methods, such as voice change, objective and personal subject changing, adding conjunctions, etc. And these methods can be provided for future references in the translation study and practice of others, which has a certain practical significance.&lt;br /&gt;
&lt;br /&gt;
====Literature review====&lt;br /&gt;
&lt;br /&gt;
Through the analysis of Newmark’s communicative translation in recent years, it can be found that there are many references for the guidance of communicative translation on tourism translation texts. He Xueyun (2005) proposes that the public notices and signs should belong to the vocative functional text and focus on the reader-centered communicative translation, which can give foreigners a better environment for travel, study and work in China. For such a style, the communicative translation theory should be chosen, the target readers put in the first place and always in mind, and their culture and receptivity taken into account. Jin Huikang (2006) believes that tour guide words must have a specific expected function, which are a kind of texts that integrate informative, expressive and vocative functions. Therefore, tourism translation should aim at effective attraction for overseas tourists, and the translator should grasp the group characteristics of overseas tourists and audiences when carrying out tourism propaganda or translating tourism materials. Ma Chen (2010) points out that the tourism text is a kind of article mainly based on vocative function, and the core of which is to accurately convey information for readers. Liu Anhong (2013) proposes tourism text as a kind of publicity material, aiming to stimulate tourists’ interest in visiting. According to the division of Newmark, the tourism text should belong to the text with the vocative function as its main function and the informative function as its secondary function. Therefore, the translation of tourism text should effectively achieve the effects similar to the original text.&lt;br /&gt;
&lt;br /&gt;
From the combing of previous literatures, it can be found that there are many studies on the translation of tourism texts guided by Newmark’s communicative translation strategy. However, at present, there are few studies on the translation of tourism texts from English to Chinese, and more studies focus on the Chinese- English translation. For this reason, this paper is based on the translation practice of ''Everglades National Park, Florida (Excerpt)'' to provide some reference for future English – Chinese translation of tourism.&lt;br /&gt;
&lt;br /&gt;
===Tourism Texts===&lt;br /&gt;
&lt;br /&gt;
====General Introduction====&lt;br /&gt;
&lt;br /&gt;
Tourism text is an important carrier for readers to obtain scenic spot information, and Tourism text is to stimulate readers' desire to travel by introducing tourist attractions and resources, and its ultimate purpose is to meet readers' expectations and arouse readers' enthusiasm by delivering tourism information. In other words, the dominant function of tourism text is vocative function. At the same time, tourism texts also provide readers with information they like, from which people can acquire relevant knowledge such as culture and customs, natural geography, etc. Therefore, informative function is also its important feature. It can be seen that the two most important functions of tourism texts are respectively informative and vocative one, whose premise is to provide information and purpose is to attract tourists. &lt;br /&gt;
&lt;br /&gt;
In addition, we should realize that translation of tourism texts is a professional translation of tourist attractions and resources for target readers, and its essence is a communicative behavior. If the translator fails to properly deal with the differences between cultures, it will often fail to achieve the expected results. Therefore, during the translation process, more attention should be paid to the accuracy and effectiveness of the information, so as to make the translation conform to the target readers’ reading habits and aesthetic expectation (Li Daosheng, 2000). This requires the translator to put the reader's acceptance first in the process of translation. That is, tourism text translation should not only realize the conversion from one language to another, but also take language barriers and cultural differences into account. Therefore, in order to achieve the goal of successful communication, translators should flexibly apply various translation strategies and adopt appropriate translation methods according to the text types of tourism texts.&lt;br /&gt;
&lt;br /&gt;
====Introduction to the ''Everglades National Park, Florida (Excerpt)''====&lt;br /&gt;
&lt;br /&gt;
Established in 1974, Everglades National Park covers 2,354 square miles, or 6,097 square kilometers (1.4 million acres). Located at the tip of southern Florida, it is the largest subtropical wildlife sanctuary in the continental United States. Everglades National Park protects an unparalleled landscape which provides important habitat for numerous rare and endangered species such as the manatee, American crocodile, and the elusive Florida panther.&lt;br /&gt;
&lt;br /&gt;
''Everglades National Park, Florida (Excerpt)'' is excerpted from a notice from U.S. National Park Service about the phased reopening of the park, including alerts of the reopening, activities, safety and accessibility. It can also be regarded as a travel guide, which describes the journey towards people and offers help to the tourists who want to go there, and which often includes the description of the best travel time, transportation, accommodation, scenic spots and matters needing attention. As a practical text, its main purpose is to introduce and promote tourist scenic spots, that is the Everglades National Park in Florida. Its vocative and informative function are very prominent, and it has the characteristics of reader-orientation, the effectiveness of information transmission and timeliness.&lt;br /&gt;
&lt;br /&gt;
===Newmark's Translation Theory===&lt;br /&gt;
&lt;br /&gt;
====General introduction of Peter Newmark's translation theories====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark, a well-known translation theorist, is one of the main figures in the founding of translation studies in the English-speaking world in 20th century. Newmark devoted himself to studying the past and present of Western translation, and put forward his own views on this basis. Newmark’s translation theories mainly include three parts, that is, the classification of text types, translation approaches, and the lately correlative theory of translation.&lt;br /&gt;
&lt;br /&gt;
According to Karl Buhler’s knowledge of language features and Jacobson’s classification of them, Newmark proposed six functions of language informative function, expressive function, vocative function, phatic function, aesthetic function, and lastly metalingual function. (Hou Yingying, 2020) Then Newmark divided text types into three: expressive-functional texts, informative-functional texts, vocative-functional texts.&lt;br /&gt;
&lt;br /&gt;
After putting forward these three text types, Peter Newmark suggested eight translation approaches or strategies. Firstly, from the perspective of focusing on the source language, he suggested word-for-word translation, literal translation, faithful translation and semantic translation; Secondly, from the perspective of focusing on the target language, he suggested adaptation, free translation, idiomatic translation and communicative translation (Newmark, 2001:45).&lt;br /&gt;
&lt;br /&gt;
In 2007, Newmark came up with a new theory, that is, correlative theory of translation, which means that “The more serious and important the language of the original or source text, the more closely it should be translated.” (Newmark, 2007)&lt;br /&gt;
&lt;br /&gt;
In conclusion, Peter Newmark has proposed many significant theories and made extensive discussion on those concepts, which will have a great influence on the translation practice.&lt;br /&gt;
&lt;br /&gt;
====Semantic translation and communicative translation====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark divided text genres into “expressive text”, “informative text” and “vocative text” in his classic work ''Approaches to Translation''. Imaginative literary works, such as poems, songs, novels and dramas, authoritative statements, autobiographies, essays and personal correspondence, etc. are expressive texts. All the formatted texts with science and technology, industry and commerce, and economy as themes belong to informative texts. And vocative text refers to all texts that can infect readers and make them “get information”.&lt;br /&gt;
&lt;br /&gt;
With reference to these three kinds of texts, Newmark further creatively proposed the concepts of semantic translation and communicative translation: “communicative translation” means that the effect of the target text on the reader of the target language is as much as the effect of the original text on the reader of the source language; “semantic translation” refers to the reproduction of the context of the source text as accurately as possible under the premise of the semantic and syntactic structure of the target language. He believed that only communicative translation and semantic translation can achieve the two major goals of translation: being accurate, and being economic (effective).&lt;br /&gt;
&lt;br /&gt;
In ''About Translation'', Newmark made a detailed comparison of the characteristics of semantic translation and communicative translation from different aspects, and pointed out that the fundamental difference between them lies in that when the information and the effect are in conflict, communicative translation lays more emphasis on effect than content, while semantic translation lays more emphasis on content than effect. Communicative translation can give the translator full freedom, the translator can reorganize the syntax, eliminate the original obscure places in the source language, and make the language conform to the standard of the target language. However, semantic translation emphasizes the content of the information itself, tries to make the form of the target text similar to the form of the original text, and retains the language characteristics and expressive style of the original author. Therefore, compared with semantic translation, communicative translation is more subjective and can better reflect the translator’s creativity and it attaches great importance to the communicative effect of translation, the key to which is to convey information, make readers of the target language think, act and feel, and play an inductive role in making the translation natural and smooth, and more readable. &lt;br /&gt;
&lt;br /&gt;
Newmark pointed out that the translation of expressive texts should employ semantic translation, while informative and vocative texts communicative translation which is reader-centered. The most direct purpose of tourism texts translation is to convey information to readers on the premise of attracting readers’ attention and leaving readers with deep memories, so that readers can take actions -- to visit tourist attractions and pay attention to matters that should be paid attention to. Thus, it can be seen that the tourism text belongs to the vocative text and the communicative translation should be applied. &lt;br /&gt;
&lt;br /&gt;
To sum up, Newmark’s communicative translation focus on the effect that the translation brings to the target language readers, which is of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
&lt;br /&gt;
===Case Study===&lt;br /&gt;
&lt;br /&gt;
The purpose of communicative translation is to try to make the translation have the same effect on the target reader as the original does on the source reader. That is to say, the key point of communicative translation is to be loyal to the target language and the target text reader, that is, the source language is required to obey the target language and culture, leaving no doubt or obscurity to the reader, and eliminating difficulties and obstacles in reading or communication for the reader as far as possible.&lt;br /&gt;
&lt;br /&gt;
Because the translator wants to achieve a certain communicative purpose, emphasizes the effect and has a specific target audience, the translation has inevitably broken the restrictions of the original text, pursuing smoothness, clarity, directness and conformity with conventions. In this part, the author analyzes the specific application of communicative translation in the translation practice of the ''Everglades National Park, Florida (Excerpt)'' from three aspects: lexical, syntactic and textual analysis.&lt;br /&gt;
&lt;br /&gt;
====At Lexical Level====&lt;br /&gt;
&lt;br /&gt;
Generally speaking, there is partial equivalence between English and Chinese, that is, similar expressions in Chinese can replace the meaning of English words or phrases (Liu Junping, 2009). In the following, two translation methods used in lexical translation will be introduced: conversion of part of speech and the translation of public signs.&lt;br /&gt;
&lt;br /&gt;
1)Conversion of part of speech&lt;br /&gt;
&lt;br /&gt;
Example 1:&lt;br /&gt;
&lt;br /&gt;
ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors.''&lt;br /&gt;
&lt;br /&gt;
TT: 个人、团体或家庭都能在这找到适合的户外活动。&lt;br /&gt;
&lt;br /&gt;
Analysis: As we all know, English belongs to the Indo-European language family, while Chinese the Sino-Tibetan language family. Many differences exist between English and Chinese in terms of vocabulary and grammatical structure. Therefore, in the process of translating English into Chinese, due to the different ways of expression between English and Chinese some sentences can be translated word by word, while most sentences cannot. In order to make the Chinese translation smooth and natural, some words in the original text need to be converted into different parts of speech in the target text without sticking to the surface structure of the original text. In other words, some words in the original text can be converted into other parts of speech in Chinese on the premise of being faithful to the original meaning and retaining the original effect. &lt;br /&gt;
&lt;br /&gt;
The original sentence uses a nominal phrase “no shortage of” to express the meaning that no matter how many people come together for outdoor activities, there are always options. The translator translates it into a verbal phrase, that is, everyone can find a suitable outdoor activity here, so that the meaning gets across and the whole sentence flows naturally.&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&lt;br /&gt;
ST: ''Accessibility: No immediate trails.''&lt;br /&gt;
&lt;br /&gt;
TT: 如何前往：没有路径可直接到达。&lt;br /&gt;
&lt;br /&gt;
Analysis: As English tends to use more nouns with static narratives, while Chinese tends to use more verbs with dynamic ones. The static tendency of English mainly comes from nominalization, a common phenomenon in English. Nominalization mainly refers to the use of nouns (phrases) to express the information originally expressed by verbs (phrases), such as the use of abstract nouns to express actions, behaviors, changes, states, etc (Lian Shuneng, 1993). For example, “accessibility” in Example 2 is an abstract noun, which is used to show the way to one place. Chinese, on the other hand, tends to use verbs. So, in order to better convey the effect and let the reader read without any doubt or discomfort, the translator converted the noun into a verb phrase, that is “如何前往”. Likewise, in the noun phrase “no immediate trails”, the author wants to say that there is no direct way (to arrive at the destination). When translating, if it is directly translated into a noun phrase “没有直达路”, the reader may feel difficult to read. So, if it is translated into “there is no direct path can reach that place”, the sentence will be more smoothly and convey the original information and the effect is also retained.&lt;br /&gt;
&lt;br /&gt;
2)Public signs&lt;br /&gt;
&lt;br /&gt;
Example 3 &amp;amp; 4:&lt;br /&gt;
&lt;br /&gt;
ST: ''Things To Do'' &lt;br /&gt;
&lt;br /&gt;
TT: 活动介绍&lt;br /&gt;
&lt;br /&gt;
ST: ''What you can do''&lt;br /&gt;
&lt;br /&gt;
TT: 解决措施&lt;br /&gt;
&lt;br /&gt;
Analysis: As mentioned in the theoretical framework above, tourism text belongs to vocative text. As a kind of tourism text, public signs are a special style for specific people to achieve a certain communicative purpose. Its application scope is very wide, almost involved in every aspect of our daily life, such as street signs, billboards, road signs, shop signs, warnings, propaganda, travel briefs and so on. As a communicative tool, it conveys necessary and useful information to the public by means of a few words, simple and easy to understand icons or the combination of both (He Xueyun, 2006). Therefore, it can be seen that public signs feature lots of nouns, verbs, phrases and abbreviations and more often, fixed expression, which means in translation, only concise and idiomatic expression can fully convey the effect of the original text.&lt;br /&gt;
&lt;br /&gt;
Just as the example 3, once the original text is translated literally, that is “要做的事情”, it sounds rather awkward, which not only does not convey the meaning of the source text that was intended as an introduction to the activities that can be done, but also may lead the reader to believe that this section is about what is required. However, if it is translated into “活动介绍”, readers can clearly know the main content of this part and can find out the activities they are interested in. This expression is very concise and also in line with the Chinese language habits. The same is true of example 4.&lt;br /&gt;
&lt;br /&gt;
Example 5 &amp;amp; 6:&lt;br /&gt;
&lt;br /&gt;
ST: ''Alligators and crocodiles - Crocodilians are one of the reasons people visit the park, however, these are wild animals that can be dangerous to humans.''&lt;br /&gt;
&lt;br /&gt;
TT: 小心短吻鳄和鳄鱼——鳄鱼是人们参观公园的原因之一，然而，这些野生动物对人类会很危险。&lt;br /&gt;
&lt;br /&gt;
ST: ''Poisonous plants - The park’s ecosystems support a variety of plant life including some that cause reactions to human skin.''&lt;br /&gt;
&lt;br /&gt;
TT: 警惕有毒植物——公园的生态系统支持多种植物的生长，包括一些会对是人类皮肤过敏的植物。&lt;br /&gt;
&lt;br /&gt;
Analysis: Tourist texts belong to the vocative text, emphasizing the transfer of the effect of the information and the empathy of the reader. This requires the translator to pay attention to the internal logic of the text, modify the translated text to make it clear in the process of tourism translation without sticking to the original form and give full consideration to the core position of readers. &lt;br /&gt;
Examples 5 and 6 are in the same sentence structure -- firstly species are given, and then that the species could be in some danger is pointed out. If it is translated in accordance with the original text word by word, then the front part is just posing out that species. However, if such warning words as “小心” or “警惕” are added, it can let the reader know before he continues reading that this species may be dangerous when visiting, and then with reading below, the reader will know why it is dangerous. This will prepare the reader mentally, and the reading will be smoother.&lt;br /&gt;
&lt;br /&gt;
====At Syntactical Level====&lt;br /&gt;
&lt;br /&gt;
Two aspects are included in syntactic analysis, which are change of subjects and passive voice, and the punctuation.&lt;br /&gt;
&lt;br /&gt;
1)Change of subjects and passive voice&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: ''Wading birds, cormorants, Purple Gallinules, and nesting Anhingas may be found along the path anytime of the day during the winter (dry) season.''&lt;br /&gt;
&lt;br /&gt;
TT: 在冬季（旱季），任何时候您都可以在沿路发现涉水鸟类、鸬鹚、紫雀和筑巢的美洲蛇鸟。&lt;br /&gt;
&lt;br /&gt;
Analysis: English tends to use more impersonal subjects, which means it rarely uses the personal subject to describe but expresses how objective things act on people’s perception to things appear in an objective tone. So, the structure is often like this: inanimate subject + animate subject (Lian Shuneng, 2010). Chinese pays more attention to subjective thinking, and often describes objective things from the point of view of oneself, or tends to describe people and their behavior or state, so the personal subject is often used. When the personal subject is clear, Chinese often implies or omits it.&lt;br /&gt;
Passive voice is a common grammatical phenomenon in English. In some styles, the use of passive sentences has almost become a habit of expression. Passive sentences give rise to the tendency of using impersonal subjects, and vice versa. Chinese uses fewer passive forms. The main reason for this difference is that the use of passive forms in Chinese is limited, and the mark of the passive voice, such as “让”, “给”, “受”, mostly expresses displeasure.&lt;br /&gt;
&lt;br /&gt;
Therefore, in example 7, the translator transformed the passive voice into the active voice and the impersonal subjects “Wading birds, cormorants, Purple Gallinules, and nesting Anhingas” into the personal subjects “您”. What’s more, as this tourism text is written for readers, the use of the second person subject can shorten the distance. &lt;br /&gt;
&lt;br /&gt;
Example 8 &amp;amp; 9: &lt;br /&gt;
&lt;br /&gt;
ST: ''Wading birds, American Coots, Osprey, White-crowned Pigeons, warblers, Red-shouldered Hawks, Anhingas, rails, Painted Buntings and other transients are best viewed here in the morning.''&lt;br /&gt;
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TT: 早晨在这里观赏涉禽、美洲骨顶鸡、鱼鹰、白头鸽、莺、赤肩鹫、美洲蛇鸟、秧鸡、彩绘鹀和其他过路的鸟类的效果最好。&lt;br /&gt;
&lt;br /&gt;
ST: ''In the summer, fewer programs are offered.''&lt;br /&gt;
&lt;br /&gt;
TT: 夏季提供的项目较少。&lt;br /&gt;
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Analysis: Just as what has been said above, English has a tendency to use impersonal subjects and passive voice, while Chinese is exactly the opposite. And when the subject is clear, Chinese often implies or omits it, which is just like example 8 the personal subject “you” is omitted. &lt;br /&gt;
In example 9, the omitted subject is the national park, and the temporal adverbial phrase “in the summer” becomes the subject in form, which is a common expression in Chinese. That is because subjects in Chinese are not only in various forms, but also dispensable: it can denote giving, receiving, time, place.&lt;br /&gt;
 &lt;br /&gt;
2)Punctuation&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: ''Connecting trails through the Pinelands run 7 miles (11 km) west from the Long Pine Key campground to Pine Glades Lake along the main park road.''&lt;br /&gt;
&lt;br /&gt;
TT: 这些小道从长松岛营地向西延伸7英里（11公里），穿过一片松林地，连通公园主路边松林湖。&lt;br /&gt;
&lt;br /&gt;
Analysis: English sentences are complicated, and subordination is one of the most important characteristics of modern English, which features right-branching, sentences long and complex, made in “architecture style”. Conversely, Chinese sentences are relatively short, and commonly use scattered sentences, loose sentences, tight sentences or composite sentences with parallel structure. Chinese features left-branching, and sentences are made in “chronicle style”, using clauses to streamline the thoughts. &lt;br /&gt;
&lt;br /&gt;
So, when there are many prepositional phrases in the original English sentence, the translator can divide the long sentence into several short sentences and recognize those by adding comma, which can help readers to sort out the logic of the original text and get the main information. By using communicative translation, the translator divided the original sentence into three sentences. The logical sequence is that “The trails run seven miles (11 kilometers) west from the Long Pine Key campground. Passing through the Pinelands, they lead to Pine Glades Lake along the main park road.”, which shows the location of both the Long Pine Key campground, the Pinelands and Pine Glades Lake correctly, leaving no doubt to readers of the target language.&lt;br /&gt;
&lt;br /&gt;
Example 11:&lt;br /&gt;
&lt;br /&gt;
ST: ''In keeping with Monroe County’s closure order for beaches, North Nest Key and all waters within 100 yards from the shore will be closed for protection of park resources during the holiday weekend. The closure will begin on Friday, July 3 at 6 a.m.''&lt;br /&gt;
&lt;br /&gt;
TT: 根据门罗县对海滩的关闭安排，为保护公园资源，北巢岛和离海岸100码以内的所有水域将自7月3日星期五早上6点起暂停对外开放。&lt;br /&gt;
&lt;br /&gt;
Analysis: In the original text there are two sentences, which can be combined to make the meaning complete and language pithy in the target language. And it can be taken into consideration to reconstruct them by replacing full stop with comma. By considering communicative translation, the translator put two prepositional phrases in advance as adverbials, which are “in keeping with Monroe County’s closure order for beaches” and “for protection of park resources during the holiday weekend”, and then turned the second sentence into a temporal adverbial phrase and put it in the main clause as an adverbial. So, the whole structure is “In keeping with Monroe County’s closure order for beaches and for protection of park resources during the holiday weekend, North Nest Key and all waters within 100 yards from the shore will be closed from Friday, July 3 at 6 a.m.” By doing so, the information is concisely conveyed, and Chinese readers can well understand it.&lt;br /&gt;
&lt;br /&gt;
====At Textual Level====&lt;br /&gt;
&lt;br /&gt;
Discourse refers to the actual language unit used and is the whole language constituted by a series of consecutive paragraphs or sentences in the communication process. In general, a text consists of words, phrases, sentences and sentence cluster (Lan Lingyan, 2020), among which the components were cohesion in form and coherence in semantics.&lt;br /&gt;
&lt;br /&gt;
Example 12:&lt;br /&gt;
&lt;br /&gt;
ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors. The diverse habitats allow for enjoyable activities ranging from hiking, canoeing, kayaking, biking, fresh and saltwater fishing, and camping in the ultimate wilderness.''&lt;br /&gt;
&lt;br /&gt;
TT: 个人、团体或家庭都能在这找到适合的户外活动。无论是步行、乘坐独木舟、划皮划艇、骑自行车，还是在淡水或海水钓鱼、在终极荒野地露营，您都可以饱览多样的自然环境、尽享快乐。&lt;br /&gt;
&lt;br /&gt;
Analysis: Coherence in a piece of writing refers to the principle that all paragraphs, sentences or ideas are combined so well that they form a united whole. Coherent translation has smooth structural, grammatical, and logical movement from one sentence or idea to the next and the reader does not have to pause and guess at the meaning caused by gaps in development between ideas, sentences and paragraphs. &lt;br /&gt;
&lt;br /&gt;
In example 12, the last topic of the fist sentence in the original sentence is outdoor activities, while the subject of the second sentence is the diverse habitats. This is a shift in the topic, which may make the readers pause and guess at the logical relation between them. Therefore, in translation, guided by communicative translation, the translator needs to mind the text coherence and to make proper adjustments. Out of this, the translator put the activities in the second sentences as the subject of the second sentence in the target text, so that the first sentence can pass through smoothly to the next one, so does the understanding of readers.&lt;br /&gt;
&lt;br /&gt;
Example 13:&lt;br /&gt;
&lt;br /&gt;
ST: ''Everglades National Park is a popular spot for saltwater and freshwater sport fishing. Boats can be chartered at Flamingo. Be sure to check a visitor center for park fishing regulations and closed areas.''&lt;br /&gt;
&lt;br /&gt;
TT: 大沼泽地国家公园是一个很受欢迎的钓海水鱼和淡水鱼的地方。在弗拉明戈可以租船。在钓鱼之前，一定要阅读游客中心的公园捕鱼规定和封闭区域。&lt;br /&gt;
&lt;br /&gt;
Analysis: Cohesion can be thought of as all the grammatical and lexical links that link one part of a text to another. This includes the use of synonyms, lexical sets, pronouns, verb tenses, time references, grammatical reference, etc. For example, ‘it’, ‘neither’ and ‘this’ all refer to an idea previously mentioned.&lt;br /&gt;
&lt;br /&gt;
In example 13, this paragraph mainly talks about fishing in the Everglades National Park, with a topic sentence and two explanatory sentences: one introducing the place for chartering and the other cautions. There are no grammatical or lexical links within these three sentences, and the logic is connected by semantics. Considering well understanding of readers in the target language, the translator added one lexical link “before fishing” between the last two sentences, to make the reader understand that he or she should read the rules and precautions of fishing before going fishing. Also, with repeating the key word “fishing”, the central idea of this whole paragraph is prominent, and the sentences are logically and smoothly linked to express the intended meaning, thus making this paragraph a cohesive group.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
====Major findings====&lt;br /&gt;
For the text, the tourism text belongs to the vocative text, which focuses on conveying the information and effect, so the communicative translation theory should be adopted to this kind of translation. As for this original text, the first part that introduces the outdoor activities belongs to the tourism advertisements, which are descriptive with vivid words. Tourism advertising is infective, with short and concise words, full of creativity, lively and concise sentence structure, and strong attraction. While the announcement that informs of the operating status of the park is a quite different style. The wording is formal, standard, accurate and stylized. Secondly, the source text involves a wide range of knowledge and large vocabulary. For example, “hardwood hammock” for “硬木吊床” and “Geocaching” for “寻宝”. &lt;br /&gt;
&lt;br /&gt;
Based on the analysis of examples from lexical, syntactic and textual levels, some translation methods can be proposed. On one hand, when translating, some words in the target text can be converted into different parts of speech in the original text to make the language natural and idiomatic. On the other hand, when doing English – Chinese translation, in most cases, passive voice should be changed into active voice, personal subject is favored in Chinese, and subjects can also be omitted sometimes. Lastly, as English and Chinese have lots of differences in sentences, the translator should change the order of the sentences sometimes to make them smooth and fluent, and some words can be added to make the meaning coherent.&lt;br /&gt;
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====Limitations====&lt;br /&gt;
&lt;br /&gt;
Besides some major findings, there are also many limitations in this translation practice. Firstly, communicative translation focuses on the effect conveyed by the translation rather than the information, which can easily make the translator ignore some original. So, in the translation, other available translation theories should also be taken into account to achieve best translation. &lt;br /&gt;
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Then, when translating a text, whether it is a tourism text or a literary works, they cannot be translated immediately. Relevant information and background should be collected in advance, and otherwise some mistakes which should be avoided will be made. For example, “Snail Kite (蜗鸢)” might be translated as “蜗牛风筝” if the translator does not look it up in advance.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
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[1] Newmark, Peter. About Translation[M]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
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[2] Newmark. Approaches to translation[M]. Shanghai Foreign Language Education Press, 2001. &lt;br /&gt;
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[3] Newmark, Peter. A New Theory of Translation[J]. Sborník Prací Filozofické Fakulty Brněnské Univerzity, 2007(13)&lt;br /&gt;
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[4] Newmark, Peter. A Textbook of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2001:39-42. &lt;br /&gt;
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[5] 贺学耘.汉英公示语翻译的现状及其交际翻译策略[J].外语与外语教学, 2006(03):57-59.&lt;br /&gt;
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[6] 侯莹莹.凯瑟琳娜·莱斯与彼得·纽马克文本类型翻译理论之比较研究[J].海外英语, 2020(22):49-50+60. &lt;br /&gt;
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[7] 金惠康.跨文化旅游翻译探讨[J].上海翻译, 2007(01):31-34.&lt;br /&gt;
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[8] 兰灵艳.交际翻译理论指导下《家庭生活》（节选）汉译实践报告[D].南昌大学, 2020.&lt;br /&gt;
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[9] 李道胜. 汉英语义对比分析[J]. 语言教育, 2000(4):4-5.&lt;br /&gt;
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[10] 连淑能.《英汉对比研究》[M]. 北京：高等教育出版社, 1993.&lt;br /&gt;
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[11] 刘安洪.跨文化交际视角下的旅游文本翻译策略研究[J].中华文化论坛, 2013(10):160-163. &lt;br /&gt;
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[12] 刘军平，西方翻译理论通史[M]. 武汉：武汉大学出版社, 2009.&lt;br /&gt;
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[13] 马忱.交际翻译策略对汉英旅游翻译的启示[J].郑州航空工业管理学院学报(社会科学版), 2010,29(06):119-121.&lt;br /&gt;
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=3 刘越 Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
[[Trans_Type_EN_3]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
There are many translation practices under the guidance of communicative translation theory, but there are not many translation practices in Korean novels. Through this translation practice, we hope to summarize the translation methods and strategies adopted in the translation of novel subject matter under the guidance of communicative translation theory in terms of vocabulary, sentence and rhetoric. In this paper, under the guidance of communicative translation theory of Korean novels &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; to analyze translation strategies and translation methods, let us hope that through the work of human changes in temperature to realize that the most warm affection and the most simple human feelings, seems to be the fact that more and more far from us, let us together to explore the history of the &amp;quot;family&amp;quot; gradually forgotten by us and meaning, Wake up our sense of affection, cause our emotional resonance.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
Communicative translation theory; Korean novels; Translation methods and strategies&lt;br /&gt;
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===Introduction===&lt;br /&gt;
&lt;br /&gt;
===The emergence and development of communicative translation===&lt;br /&gt;
According to the function of language, i.e. the purpose for which it is used, Newmark proposes the following three text types: expressive function, informative function, and evocative function.&lt;br /&gt;
At the heart of the expressive function is the use of words by the speaker or author to express his or her thoughts and feelings. The author's unique form of language is as important as the content.Expressive function texts emphasise the authority of the original author, and translations should follow the principle of &amp;quot;original author first&amp;quot;, faithful to both the content of the ideas expressed by the original author and the language style of the original author, without regard to the reaction of the target reader. The core of the information function is the external context, i.e. all the information about a topic, or the unspeakable reality. At the heart of the information text is the &amp;quot;authenticity&amp;quot; of the content; the author's language is secondary. Translation should be based on the principle of &amp;quot;authenticity first&amp;quot;. The call to action is reader-centred and aims to &amp;quot;call the reader to action, to think, to feel&amp;quot;. The translation should follow the principle of 'reader first', putting the reader of the target language first. The translator can make full use of the advantages of the incoming language, without adhering to the expressions of the original, so that the translated language can achieve the same effect as the original.&lt;br /&gt;
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On this basis, two translation concepts, communicative translation and semantic translation, are proposed. Newmark believes that the theory of communicative translation focuses on the understanding and reaction of the recipient, the reader of the translation, and more on the effect rather than the content of the translated expression. The translator can give full play to the advantages of the translated language and introduce foreign elements into the culture of the translated language, with the advantages of naturalisation, Italian translation and idiomatic translation. Semantic translation attaches importance to the original text, focuses on its semantic content and strives to preserve the culture of the original text, and has the advantages of word-for-word, word-for-word and faithful translation. Communicative translation is suitable for informative and attractive texts such as autobiographies, personal emotional declarations, important political statements (or other statements), most non-literary texts, news, intellectual articles and books, textbooks, reports, scientific and technical literature, official correspondence, promotional material, advertisements, announcements, popular fiction. ( Yang 1989:68-71)# His communicative and semantic translations have largely enriched the study of translation theory and influenced the field of translation.&lt;br /&gt;
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===The applicability of communicative translation theory to the translation of popular novels===&lt;br /&gt;
First of all, the core content of communicative translation theory is that on the basis of being faithful to the content of the original text, it focuses on the readers' understanding ability and feelings, and pays more attention to the expression effect of the target text than the content. For the translator, the translator can give full play to the advantages of the target language and get rid of the constraints of the language structure of the original text. If the original text is illogical, ambiguous, and there are redundant words and ambiguities in the sentence, as well as dialects, coarse slang and other phenomena in the article, the translator has the right to reorganize the syntax and improve it by using collocation and common sentence patterns in accordance with the habits of the target language, so as to make the language more standardized. Translators also have the right to correct errors and omissions in the original text.( Shuang 1999(05):840）&lt;br /&gt;
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Secondly, according to Newmark's text type, communicative translation theory is applicable to vocative texts, which focus on the inspiring effect and take the target readers as the center. The purpose of translation is to elicit the desired response, including popular books and best-selling novels. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. The novel is mainly composed of characters, plots and descriptions of the environment to reflect the social reality. Novel is a literary genre that conveys thoughts and feelings and arouses readers' resonance. It belongs to appeal text, so communicative translation theory is suitable for novel translation.&lt;br /&gt;
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The most important thing in novel translation is to convey the content of the original text and the author's thoughts and feelings to the readers, and to arouse the readers' deep thinking and empathy. When translating a novel, we should describe the plot of the original text to the readers and try to get close to the literary image described by the author and the literary artistic conception created in the novel.&lt;br /&gt;
If only follow the content style and text structure of the original text, it will violate the original intention of translation, making the translation obscure and unclear. Under the guidance of communicative translation theory, the translator can give full play to the advantages of the target language, modify and polish the original text, adjust the logic of expression, eliminate the differences between the original text and the target text, and get a smooth translation. At the same time, the translator can also pay more attention to the target readers, fully consider the reading habits and thinking mode of the target readers, and use easy to understand language vocabulary to convey the information of the source text and the thoughts and feelings of the source text author to the readers, so that the target text readers and the source text readers get the same effect.&lt;br /&gt;
&lt;br /&gt;
=== Case study under the guidance of communicative translation theory===&lt;br /&gt;
Guided by Peter Newmark's communicative translation theory, the author carries out translation practice on two short stories &amp;quot;The Innocent Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. Under the guidance of communicative translation theory, this section adopts the strategies of translation modification and meaning extension to solve the problems of ambiguous and implicit sentences in novels. At the sentence level, the strategy of paraphrase, syntactic and translation is adopted. In the aspect of rhetoric, this paper adopts the translation strategies of addition and repetition, and makes a case study to explore and summarize the translation methods and strategies applicable to novel subject matter under the guidance of communicative translation theory.&lt;br /&gt;
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=== The application of communicative translation theory at lexical level===&lt;br /&gt;
'''Transliteration'''&lt;br /&gt;
&lt;br /&gt;
The translation method refers to the conversion of parts of speech in the original text, such as changing nouns into verbs, adjectives into verbs, etc., so as to make the translation conform to the expression habits of the target language. Different languages have different linguistic phenomena and cultural backgrounds. In order to make the translation more in line with the language expression habits of The Chinese people and convey the correct meaning of the original text to The Chinese readers, every word in the Korean sentence cannot be translated dead, and some parts of speech in The Korean language have to be changed in translation.(Chen 1994)# The following is a case study of translating a part of speech in the original text into another part of speech in Chinese.&lt;br /&gt;
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Eg.1 그럴 때의 아이는 이제 노인이 아니라 소년가장 같았다.&lt;br /&gt;
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First translation：那一刻我觉得孩子不像老人，而像少年家长。 &lt;br /&gt;
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Retranslation：那一刻我觉得他不像一个历经沧桑的老人，而像一个饱经世故的孩子。&lt;br /&gt;
&lt;br /&gt;
&amp;quot;소 년 가 장&amp;quot; is a noun, the author looked up Chinese dictionary, found &amp;quot;소 년 가 장&amp;quot; in Korean means &amp;quot;가 정 의 생 계 를 실 질 적 으 로 책 임 지 고, 어 렵 게 생 계 를 유 지 하 는 소 년&amp;quot;, at the beginning of translation, in accordance with the original literal translation is &amp;quot;young parents&amp;quot;, but is not in conformity with the Chinese expression habit, it is not easy to let Chinese readers understand, The author in the guidance of communicative translation theory, through the network search and found the dictionary lookup &amp;quot;소 년 가 장&amp;quot; and Chinese proverb &amp;quot;the poor children early master&amp;quot; has the same effect, but here can make statements impassability, in order not to cause the reader to understand the problems, the author give full play to the advantages of the Chinese, the author by using the method of adaptation, Phrases collocation and considering the Chinese habit, the term &amp;quot;소 년 가 장&amp;quot; divided &amp;quot;소 년&amp;quot; and &amp;quot;가 장&amp;quot; two nouns, and the term &amp;quot;가 장&amp;quot; translated into adjectives &amp;quot;world&amp;quot;, the &amp;quot;소 년&amp;quot; translated into &amp;quot;children&amp;quot;, both to convey the meaning of the original, and can make readers easily understand the content.&lt;br /&gt;
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Eg.2：거기에 아이가 자신을 만나려 하지 않기 때문에 돈을 주지 않는 것이라는 비난의 말이 반복해서 쓰여 있었기 때문이다. &lt;br /&gt;
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Translation ：文件上反复指责说孩子不想认他这个父亲，所以不给抚养费。&lt;br /&gt;
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In the original text 비 난&amp;quot; is a noun, the author according to the original text in translation translated into &amp;quot;document and is accused of child, father didn't want to see him the accused, so not to support&amp;quot;, at the same time with the two accused, groundwork or at the back of the verb &amp;quot;blame&amp;quot;, also make the repetitive, so the author under the guidance of communicative translation theory, When translated again, the noun &amp;quot;비 project-oriented&amp;quot; is translated into the verb &amp;quot;blame&amp;quot;, so that the translation is easy to understand.&lt;br /&gt;
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Extension of meaning Extension translation method is refers to according to the specific context of contact and words in the original context, starting from the basic meaning of Korean original words, through the letter of the word or phrase in the sentence, its excellent implied meaning appropriately, use some conforms to the Chinese expression habit of character words, the content of the original essence of accurate expression.&lt;br /&gt;
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Eg.3：①텔레비전을 쳐다보던 아이가 대뜸 내밷었다. ②동식이 집을 나서자마자 엄마는 휴이히히히, 하는 기괴한 한숨을 길게 내뱉었다.&lt;br /&gt;
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Translation：①正在看电视的儿子突然吐槽道：“妈，你快看，电视里那个人真像我爸”。 ②母亲就“唉！”长长地叹了一口气。&lt;br /&gt;
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The author by looking up the dictionary, in the original &amp;quot;내 밷 다&amp;quot; has two meanings: (1) 입 안 에 있 던 것 을 입 밖 으 로 뱉 어 내 보 내 다. (2) 마 음 에 내 키 지 아 니 하 거 나 못 마 땅 한 어 조 로 불 쑥 말 하 다. &lt;br /&gt;
Chinese meaning is &amp;quot;vomit, and said,&amp;quot; the author under the guidance of communicative translation theory, reader's expressions and words in Chinese habit as the center, contact the original context and context, considering the words collocation, adopt the method of the extension, the &amp;quot;내 밷 다&amp;quot; translated into &amp;quot;fun&amp;quot; and &amp;quot;sigh&amp;quot;, not only conforms to the present context, and in accordance with the Chinese language habits.&lt;br /&gt;
&lt;br /&gt;
Eg.4: ①그러니까 엄마는 내가 돈 얘기 할 것을 미리 알고서 지금 차단막을 치는 것이리라. ②형이 옆구리를 툭 치며. ③까지는 살큼 익혀서 찬지름 치고 조선간장으로 조물조물 무쳐노면 고기반찬보다 낫드라. &lt;br /&gt;
&lt;br /&gt;
Translation：①但母亲好像早已看透了我的心思，先堵住了我的口。 ②大哥用胳膊肘戳了我一下。 ③蒸个七八分熟的时候撒上香油好好拌一下就行了，这样比那些荤食都好吃。&lt;br /&gt;
&lt;br /&gt;
The verb &amp;quot;치&amp;quot; would give many different meanings with different words, such as ①&amp;quot;beating, beating, beating, playing&amp;quot;.② take, base, wrap, erect, ③ feed, feed, etc. On the basis of communicative translation theory, and fully understand the original meaning, context, and considering Chinese words collocation is used, depending on the context, the extension method was adopted, will &amp;quot;치 다&amp;quot; translated into &amp;quot;blocking&amp;quot;, &amp;quot;stamp&amp;quot;, &amp;quot;and&amp;quot; verb, such as to conform to the Chinese habits of expression.&lt;br /&gt;
&lt;br /&gt;
===The expression of communicative translation theory at the sentence level===&lt;br /&gt;
Communicative translation theory is pointed out that to the readers, the translator should give full play to the advantages of the target language, to make the translation conform to the target language expression of habit, not to leave any arcane to readers, while Korean and Chinese belong to different language families, there are differences in expression habit, this summary is mainly under the guidance of communicative translation theory, This paper analyzes the translation of sentences in The Pure Man and The Goat Family by means of paraphrase, syntactic and combined translation.&lt;br /&gt;
&lt;br /&gt;
'''Interpretation method'''&lt;br /&gt;
&lt;br /&gt;
Hermeneutic method is also an interpretative translation method. Because Chinese and Korean have different expression habits, in the process of translation, we can use the paraphrase method to explain some ambiguous sentences, which can not only make the translation clear, but also accurately convey the original purpose.&lt;br /&gt;
&lt;br /&gt;
Eg.5：어느날, 아이가 눈에 보이는 사물들을 가리켜 얼마짜리냐고 물었을 때, 어떤 행위를 가리켜 얼마 받느냐고 물었을 때, 나는 어린것이 별걸다 궁금해한다고 면박을 줬다. 면박을 주는 것으로 마음에 이는 민망함을 무마시켰다. 아이의 입에서 처음 돈 얘기가 나왔을 때, 그때 나는 이미 알아챘어야 했는지도 모른다.&lt;br /&gt;
&lt;br /&gt;
First Translation: 当某一天，孩子们指着各种东西问花了多少钱，挣了多少钱时，我当面斥责说“小孩子家家的，真是什么都好奇”。我以这种当面驳斥的方式来掩饰心中的尴尬。当我第一次从孩子嘴里听到关于钱的话题时,我可能就已经觉察到了些什么。&lt;br /&gt;
&lt;br /&gt;
Retranslation: 当某一天，孩子们指着各种东西问价格时，我当面斥责说‘小孩子家的，问这个做什么’，以此来掩饰我内心的尴尬。当我第一次从孩子嘴里听到关于钱的话题时，我可能已经觉察到时代变了，我那‘不知钱为何物’的时代过去了。&lt;br /&gt;
&lt;br /&gt;
The author at the beginning of the translation of &amp;quot;그 때 나 는 이 미 알 아 챘 어 야 했 는 지 도 모 른 다&amp;quot;, literal translation is &amp;quot;I may already have noticed what&amp;quot;, but the specific perceive what is not clear, causing distress to Chinese readers, by contacting the above learned that the &amp;quot;I&amp;quot; as a child is the hairpin, objects such as pottery fragments, But now the child is the &amp;quot;money&amp;quot;, the author under the guidance of communicative translation theory, to the readers, adopting the tactics of interpretation method, interpreted &amp;quot;I perceived that the&amp;quot; content &amp;quot;I might have been aware of The Times have changed, I that 'I don't know the money was the era of the past&amp;quot;, thus the author want to convey the original concept of the era of the change of the clear expression come out.&lt;br /&gt;
&lt;br /&gt;
Eg.6：영호야, 명절 때만이라도 꼭 아빠한데 가봐, 가기 싫으면 연락이라도 드리고.아빠가 아무리 네 맘에 안 들더라도 너는 네 할 도리를 해야 떳떳한 사람이 되는 거야,알았지?&lt;br /&gt;
&lt;br /&gt;
First Translation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。只有做了自已应该做的才能做一个光明磊落的人，知道吗？&lt;br /&gt;
&lt;br /&gt;
Retranslation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。为人处事和忠孝贤良是亘古不变的，要想做一个光明磊落的人，就要做好自己的分内之事，知道吗？阿姨的话要记住哦。&lt;br /&gt;
&lt;br /&gt;
Early in the translation of &amp;quot;너 는 네 할 도 리 를 해 야 떳 떳 한 사 람 이 되 는 거 야&amp;quot;, the corresponding Chinese literal translation is &amp;quot;only do oneself should do can do a aboveboard person&amp;quot;, but &amp;quot;할 도 리&amp;quot; what, did not explain clearly in the original, need the reader to consider, in order not to leave readers obscure place, The author puts the advantage of Chinese into full play and interprets &amp;quot;up 도 wish to be good&amp;quot; into English by means of context and translation theory. At the same time, I also think that this is the advice of adults. It is necessary to tell him this truth in a soft and powerful tone. After this sentence, &amp;quot;Remember what aunt said&amp;quot; is added to make the original meaning clearly conveyed to readers, so that readers can better understand the original content.&lt;br /&gt;
&lt;br /&gt;
'''demolition syntax'''&lt;br /&gt;
&lt;br /&gt;
Deconstruction is the breaking down of a long sentence into several shorter sentences. As Korean and Chinese belong to different language families, there are many differences in syntax. The word order of Korean sentences is the structure of SOV, and narration is the main body and focus of the sentence, and there are a large number of long sentences, which rely on word endings to express various grammatical meanings. No amount of sentence elements will cause meaning confusion.&lt;br /&gt;
&lt;br /&gt;
However, the word order of Chinese sentences is the SVO structure, which depends on vocabulary, function words and word order to distinguish sentence components, so the sentence structure is simple, mainly short sentences. The translation of Korean long sentences into Chinese sentence groups can make the translation logical, smooth and accurate.&lt;br /&gt;
&lt;br /&gt;
Eg.7：동식의 이혼에 책임이 없다고 할 수는 없는 형제들이 돈을 모아 동식에게 새집을 지어줬는데 집안 새것이면 뭐 하냐고 동식이 폭력을 휘두를 조짐을 보이자 그 팔아 종류의 폭력을 아버지에게 당해본 엄마는 지레 겁을 먹고 소를 팔아 동식에게 새장가 갈 자금을 쥐여줄 수밖에 없었다.&lt;br /&gt;
&lt;br /&gt;
First Translation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子。挨过父亲打的母亲因为对东植这种动不动就挥拳头打人的行为心有余悸，并觉得只有新房子没用，就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
&lt;br /&gt;
Retranslation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子，母亲因为挨过父亲的打，所以对东植这种动不动就挥拳头打人的行为心有余悸，觉得只有新房子无济于事，改不了他的暴力行为，索性就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
&lt;br /&gt;
The original text Is a long sentence, &amp;quot;는 데&amp;quot; is a long attributive clause, behind the author under the guidance of communicative translation theory, using the translation, in the resolution of a sentence, adjust the structure of the sentence, but his father mother &amp;quot;dragged&amp;quot; compared to read man translationese is too heavy, have the taste of Korean Chinese, is not in conformity with the Chinese expression habit, the author on the basis of this, The translation has been revised and polished to make it smooth and smooth.&lt;br /&gt;
&lt;br /&gt;
'''Cotranslation'''&lt;br /&gt;
&lt;br /&gt;
Cotranslation refers to the combined translation of two or more sentences in the original text. Using the combined translation method to translate, will reduce the long winded translation, obtain a smooth and smooth translation.&lt;br /&gt;
&lt;br /&gt;
Eg.8 ：나는 큰오빠와 작은오빠가 아버지가 남긴 논을 가져간 것을 알고 있었다. 큰언니, 작은언니가 결혼할 때 밭을 가져 갔다는 것도. 동식은 제 몫이 논도 밭도 아닌 집인 것에 불만을 품고 쓰러져가는 슬레이트집에 불을 질렀다.&lt;br /&gt;
&lt;br /&gt;
First Translation：我知道大哥和二哥结婚时分走了家里的水田，大姐和二姐结婚时分走了家里的旱地，东植因为分到的不是田和地，而是即将坍塌的的石板屋，一气之下就在屋里放了火。&lt;br /&gt;
&lt;br /&gt;
Retranslation：哥哥姐姐们结婚时把家里的水田和旱地都分走了。而东植分到的是即将坍塌的的石板屋，他对此很不满，一气之下就放火烧了房子。&lt;br /&gt;
&lt;br /&gt;
Are two sentences in the original, the author first translation, according to the original text translated into two other subject-predicate bin structure of the sentence, but &amp;quot;big sister&amp;quot; &amp;quot;big brother&amp;quot; &amp;quot;sister&amp;quot; &amp;quot;second brother&amp;quot; will be read repetitive, so the author under the guidance of communicative translation theory, adopt the method of r the appellation of original elements became the &amp;quot;brothers and sisters&amp;quot;, and the two sentence elements into a simple sentence, Reduce redundant redundant.&lt;br /&gt;
&lt;br /&gt;
===The embodiment of communicative translation at the rhetorical level===&lt;br /&gt;
Communicative translation theory points out that should take the readers as heavy, compared to convey to the readers the article content, pay more attention to the expression effect, good expression effect can cause the resonance of the readers, caused the reader's thinking, and good expression effect depends on the use of rhetoric, this summary is mainly under the guidance of communicative translation theory, adopt different translation strategies, The rhetorical translation in The Innocent Man and The Goat Family is analyzed.&lt;br /&gt;
&lt;br /&gt;
'''Addition'''&lt;br /&gt;
&lt;br /&gt;
Addition is a translation method that adds content to the target text in order to accurately express the meaning of the source text, meet the needs of the target text readers and make the target text conform to the expression habits of the target language. Since Chinese and Korean have different pragmatic ways and expressive habits, some words or sentences should be added in the translation to make the translation more consistent with the Chinese context, the reader's expressive habits and the exact meaning of the original text.&lt;br /&gt;
&lt;br /&gt;
Eg.9：나는 아이 아빠의 돈을 ‘그깟 돈’이라고 표현했다.&lt;br /&gt;
&lt;br /&gt;
First Translation：我把孩子爸爸的钱称为“那么点儿钱”。&lt;br /&gt;
&lt;br /&gt;
Retranslation：我把孩子爸爸给的钱称为“塞牙缝的钱”。&lt;br /&gt;
&lt;br /&gt;
&amp;quot;그깟&amp;quot; is a contraction of &amp;quot;그까짓&amp;quot;. It means so little, so little. The amount of money given by the father of the child is very small. The author under the guidance of communicative translation theory, give full play to the advantages of target language, adopt the method of thickening of translation, the use of metaphor, the &amp;quot;그 깟 돈&amp;quot; translated into accord with the readers expression habit &amp;quot;for all of the money&amp;quot;, making it easy to understand, more intuitive said the little amount, so as to impress the reader.&lt;br /&gt;
&lt;br /&gt;
'''Repetition'''&lt;br /&gt;
&lt;br /&gt;
Repetition refers to the translation technique of appropriately repeating a part of words or sentences in translation. The repetition method can make the meaning of the translation more clear, further strengthen the appeal of the article, highlight the thoughts and feelings of the article, and achieve a good rhetorical effect.&lt;br /&gt;
&lt;br /&gt;
Eg.10：아비를 한번도 찾지 않다가 돈 달라고, 그것도 법정에서 애 얼굴을 봐야 하는 아비 된 자의 참담한 심정을 당신들이 아느냐고.&lt;br /&gt;
&lt;br /&gt;
First Translation：孩子一次也没来看过我这个父亲，却开口要钱？而且只有上了法院，我才好不容易看孩子一眼，你们理解我这个做父亲的心情和处境吗！&lt;br /&gt;
&lt;br /&gt;
Retranslation：孩子一次也没来看过我就跟我开口要钱，只有上了法院，我才好不容易看孩子一眼，我这个做父亲的苦楚，悲凉的的心情，你们理解吗！理解吗！&lt;br /&gt;
&lt;br /&gt;
The author by contacting the specific context, as a father, no contact for many years but children themselves to court, the state of mind should be both angry and sad, based on the theory of communicative translation, using the skill of verb repetition, to &amp;quot;알 다&amp;quot; repeated translation, to emphasize my angry tone, in order to make the article more vivid and accurate meaning.&lt;br /&gt;
&lt;br /&gt;
=== conclusion===&lt;br /&gt;
This paper selected the south Korean writer Kong Shanyu stories &amp;quot;well bead film&amp;quot; in the two novel &amp;quot;pure people&amp;quot; and &amp;quot;the goat family&amp;quot; has carried on the translation practice, the two novels are using the simple nature of language and a small amount of dialect vocabulary, shape lifelike characters, are described by family members of the past, let the past and reality contrast, It reflects the social reality that with the development of society, people have become selfish and indifferent, and the most simple family and human feelings seem to be more and more far away from us, so as to explore the history and significance of the &amp;quot;family&amp;quot; and the simple social atmosphere, which are gradually forgotten by Koreans.&lt;br /&gt;
&lt;br /&gt;
The core of Peter Newmark's communicative translation theory is that on the basis of being faithful to the content of the original text, the translator can give full play to the advantages of the target language, get rid of the constraints of the language structure of the original text, and pay attention to the effect of the expression of the target text. According to Newmark's text type, communicative translation theory applies to appeal texts, which focus on the target reader and aim to elicit the desired response, including popular books, popular novels and so on. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. Under the guidance of Peter Newmark's communicative translation theory, the author analyzes and discusses the translation strategies in the Pure Man and The Goat Family, which are complicated sentences, ambiguous meanings and implicit expressions.&lt;br /&gt;
&lt;br /&gt;
From the lexical level analysis, the author mainly combined with the context, to Chinese readers as the center, to comply with the Chinese expression and language habits, consider the reader's understanding ability, on the basis of Chinese used to translation and translation methods of extension, so as to satisfy the to the original readers and the translation of the original dual need of the readers have the same effect, At the same time, it also ensures the accuracy and flexibility of the translation words, so as to conform to the translator's lexical habits.&lt;br /&gt;
From the statement level analysis, &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; appeared in the text of the long sentence and attributive clause, at the same time, some relatively obscure sentences substance, so the author adopted the method of interpretation, syntax and translation of translation strategies, to explain the sentence, split, reorganization, thus reducing the sentence's mad outages and ideographic unclear, The translation is in line with the habits of Chinese readers and effectively conveys the essence of the original text. From the rhetoric analysis, communicative translation theory points out that compared with the content, should attach great importance to the expression of the translation effect, good expression effect depends on the use of rhetoric, so the author USES the translation strategy of work and repetition, has carried on the modification to the original and polishing, to strengthen the artistic effect and influence of the translation, make readers for the characters vivid impression, Arouse readers' reflection and emotional resonance.&lt;br /&gt;
&lt;br /&gt;
Therefore, the results of this study indicate that the communicative translation theory is of guiding significance to the Chinese translation of Korean novels and can provide a reference for similar translation practices. Communicative translation theory is pointed out that to the reader as the center, the translator can get rid of the original text, giving full play to the advantages of target language to adjust the structure and logic, to make the translation easy to understand, but there may be lack of scattering situation, so the translator should properly our subjective initiative, to insure the effect of readers in at the same time, also used to avoid the above situation. In addition, there are also shortcomings in the translation, but the author still hopes that this translation practice can provide reference for the future Korean-Chinese translation practice. At the same time, through this translation practice, the author has realized his own shortcomings. In the future, the author will continue to learn, accumulate practical experience, and strive to improve his literary accomplishment and language foundation, and improve his translation level.&lt;br /&gt;
&lt;br /&gt;
===Reference===&lt;br /&gt;
&lt;br /&gt;
'''English Literature:'''&lt;br /&gt;
&lt;br /&gt;
[1]. GAO Chang. The Application of Peter Newmark's Communicative Translation Theory to the Translation of Chinese Historical Allusions [J]. Overseas English, 2013(11).&lt;br /&gt;
&lt;br /&gt;
[2]. JIAN Fang. Newmark's Translation Theory and Film Names [J]. Overseas English, 2010(08).&lt;br /&gt;
&lt;br /&gt;
[3]. LI Xin, ZHANG Zhe. On Peter Newmark’s Semanic Translation &amp;amp; Communicative Translation[J]. Overseas English, 2015（03）.&lt;br /&gt;
&lt;br /&gt;
'''Korean literature:'''&lt;br /&gt;
&lt;br /&gt;
[4]. Gong Seon-ok. In the 1980s, my literature Gwangju, and my life's hardship [J]. History of Criticism, 1995 (08).&lt;br /&gt;
&lt;br /&gt;
[5]. Kang Young-mi. Preliminary review of the singing movement in the 1970s and 1980s [J]. Mental Culture Research 41(3), 2018.(09).&lt;br /&gt;
&lt;br /&gt;
[6]. Kim Young Hee. Modern and Alternative Experience and Women--Park Wan-seo, Kim In-sook, and Gong Sun-ok's novel [J]. Creation and Criticism 23(3), 1995(09).&lt;br /&gt;
&lt;br /&gt;
[7]. Osunbang. A study of the translation of novels in modern China and the two-way translation of Sino-Korean novels[J]. Seoul: Sungsil University Press, 2008.&lt;br /&gt;
&lt;br /&gt;
'''Chinese Literature:'''&lt;br /&gt;
&lt;br /&gt;
[8]. Chen Lin. A comparison of Eugene A. Naida and Peter Newmark's translation theories [J]. Journal of Xiangtan University (Social Science Edition), 1994,(08): 87-91.&lt;br /&gt;
&lt;br /&gt;
[9]. Si Jitao and Yan Honglan. The translation of split sentences and combined sentences in English-Chinese translation[J]. Journal of Guangxi Right River Nationalities Teachers College,2005(02):21&lt;br /&gt;
&lt;br /&gt;
[10]. Chen Lin. A comparison of Eugene A. Naida and Peter Newmark's translation theory [J]. Journal of Xiangtan University (Social Science Edition), 1994, (08).&lt;br /&gt;
&lt;br /&gt;
[11]. Yang Shi-Zhuo. A brief analysis of Newmark's theory of semantic and communicative translation[J]. Fujian Foreign Language, 1989:68-71.&lt;br /&gt;
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=毛雅文On Translation Strategies and Methods in Chinese Translation of English Prose --- Chinese Translation of Robert Lynd’s &amp;quot;Pleasures of Ignorance&amp;quot; as an example=&lt;br /&gt;
&lt;br /&gt;
'''浅析英语散文汉译中的翻译策略——以罗伯特·林德《无知的乐趣》汉译本为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_4]]&lt;br /&gt;
&lt;br /&gt;
毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Prose, together with poetry, novel and drama, is a kind of literary form. It is not limited to rhythm, plot and characters, flexible in form, real and natural. English prose has a long history and various types, so it becomes an important object in translation practice and research. In China, the most famous English prose writers are Francis Bacon and Charles Lamb, hence, their works can be regarded as the focus of studies on Chinese translation of English prose. In fact, Chinese translation of English prose draws less attention in translation circle of China, compared with that of English poetry and drama. With English prose as the starting point, this paper will introduce the characteristics of English prose and the domestic studies on its Chinese translation, and take the Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, the representative work of English modern prose writer Robert Lynd, as an example to analyze its translation strategies and methods.&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
散文是与诗歌、小说、戏剧并称的一种文体，不拘泥于韵律、情节、人物，形式灵活，真实自然。英语散文历史悠久，类型多样，是翻译实践与研究中的重要研究对象。在我国，最著名的英语散文家是弗朗西斯·培根和查尔斯·兰姆，他们的作品也因此成为英语散文汉译的重点。而事实上，我国翻译界更加重视的是诗歌与小说的汉译，英语散文汉译的研究相较之下比较滞后。本文将以英语散文为切入点，介绍英语散文的特点及其在我国的汉译研究，并以英国现代散文家罗伯特·林德的代表作《无知的乐趣》汉译本为例，主要分析其中的策略及方法。&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Pleasures of Ignorance&amp;quot;; Chinese translation of English prose; translation strategies; translation methods; translation techniques&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
&lt;br /&gt;
《无知的乐趣》；英语散文汉译；翻译策略；翻译方法；翻译技巧&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
This chapter will point to the research background and its significance, and briefly set forth the structure of this paper and the methods used.&lt;br /&gt;
&lt;br /&gt;
'''Research Background and Significance'''&lt;br /&gt;
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In recent years, with the deepening of the reform and opening-up, the channels of international cultural exchange have become increasingly unblocked, and China's translation industry has also flourished. The studies on translation theory, drawing lesson from western translation studies, have yielded fruitful results, and more noteworthily, remarkable achievements have been made in studies on literary translation for all to see. (Hou Qiang 2014: 1)&lt;br /&gt;
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Prose is a basic literary form in written or spoken language that typically exhibits a natural flow of speech and grammatical structure. A large number of works in philosophy, history, economics, journalism, etc, are examples of works written in prose. It can be seen that prose, which is widely used for creation, occupies an important position in literature. However, there are few researchers majoring in prose translation, still fewer ones who specialize in Chinese translation of English prose. In view of the above, this paper, based on previous studies, will study the Chinese translation of English prose, and take the Chinese translation by Liu Bingshan of ''The Pleasures of Ignorance'' created by the English prose writer Robert Lynd, exploring its characteristics in translation strategies and methods, so as to provide better understanding and some reference for the appreciation and translation of English prose. (He Xiuqin 2018: 6) (Song Jie 2018: 1)&lt;br /&gt;
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'''Methodology and Structure'''&lt;br /&gt;
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This paper will employ the methods of literature research and case analysis. The paper consists of three parts. The first section is literature review, explicating the distinctive properties and linguistic features of English prose, and the prose translation with its principles, as well as introducing the previous studies on Chinese translation of English prose at home. The second part, the core of this paper, will take Liu Bingshan's Chinese translation version of Robert Lynd's prose work &amp;quot;Pleasures of Ignorance&amp;quot; as an example, carry out the interpretation of this translation in terms of its types, styles as well as strategies and methods employed. Lastly, the conclusion will point to the findings in this study and the weaknesses in the paper.&lt;br /&gt;
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===Literature Review===&lt;br /&gt;
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This part will draw into the domestic previous studies on Chinese translation of English prose.&lt;br /&gt;
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With regard to Chinese translation of English prose, at present, there are few domestic scholars dedicated to its systematic research. According to the different perspectives, the relevant researches at home can be roughly divided into three categories.&lt;br /&gt;
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First, concerning research on the theory of Chinese translation of English prose into Chinese, there are relatively small number of studies in this direction. One of the most fruitful works is ''The Study and Translation of British and American Prose'' co-authored by Zhao Xiuming and Zhao Zhangjin (2010), which makes a detailed investigation of the literary characteristics, historical evolution and style evolution of British and American prose. The work also discusses the basic principles of English prose translation in terms of pre-translation text analysis, historical and cultural context, artistic principles, and styles, etc., which can offer a reference for the further study of the theories and practices of English prose translation. (Hou Qiang 2014: 4)&lt;br /&gt;
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Second, regarding research on the famous translators of English and American prose with their translation styles and skills, Xia Ying explored the style of Professor Cao's translation of Francis Bacon with the essay titled &amp;quot;Research on Professor Cao Minglunss Chinese translation of bacon prose&amp;quot;. (Xia Ying, 2012:165-166) Some others probed into Liu Bingshanss and Li Shicong's thoughts on prose translation which have guiding significance for prose translation practice. (Hou Qiang 2014: 4)&lt;br /&gt;
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Third, as regards research on the practice of Chinese translation English prose based on translation theory, Huang Jianling (2021) analyzed the Chinese translation of Bacon's essays from the perspective of translation aesthetics. Hu Hongyun (2013) translates and elaborates on the British prose Farewell in vocabulary, semantics, style and cultural transmission, on the basis of Eugene Nida's Functional Equivalence theory. (Hou Qiang 2014: 5)&lt;br /&gt;
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These researches and investigations have laid a solid foundation for future studies and the analysis in this paper.&lt;br /&gt;
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===Overview of English Prose===&lt;br /&gt;
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Prose can be defined in broad sense and in narrow sense. In broad sense, prose refers to all the written and oral works in a loose form free from parallelism; and in narrow sense, it specifically means the writings with certain literary qualities, such as essays, and a literary genre juxtaposed with poetry, novel, drama and movie-television literature.&lt;br /&gt;
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This section will clarify the distinctive characteristics and linguistic features of English prose, as well as its translation principles.&lt;br /&gt;
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'''Distinctive Features of English Prose'''&lt;br /&gt;
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As an independent literary genre, English prose has its own distinctive characteristics.&lt;br /&gt;
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The first characteristic is its expression of sincere feeling. Prose mostly depicts the real people, things and scenery, and is generated based on record and recollection of life. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. So in this sense, prose can be considered as an earnest conversation between the author and the readers. (Zhang Baohong 2011: 28)&lt;br /&gt;
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Secondly, English prose is characterized by the wide material selection. In English prose, one detail, episode and facet of life can be used to display the author's specific emotions and circumstances, and all materials related to the theme can also be employed. It places no emphasis on rhythm and rhyme, like poetry, as well as to plot and characters, like drama. (Zhang Baohong 2011: 29)&lt;br /&gt;
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Besides, English prose features the free and loose structure. The structure of prose writings is free and flexible. Prose is elastic and natural and boasts descriptive, argumentative and lyrical qualities, thereof constituting its most distinctive advantage. There are no strict restrictions and fixed patterns in the prose structure, but its flexibility and randomness is not tantamount to disorder and scatter, and its choice of theme and expression of feelings should be closely centered on one main line. (Zhang Baohong 2011: 29)&lt;br /&gt;
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'''Linguistic Features of English Prose'''&lt;br /&gt;
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Compared with other literary forms, prose has no more skills to resort to. Therefore, as regards the form of artistic expression, English prose mainly has recourse to its own language features.&lt;br /&gt;
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First and foremost, succinctness and fluency characterize English prose language. The concise prose language not only fully delivers the content that the author intends to convey, but effectively shows the author's emotions and attitude towards persons and things. This is not the result of the author's deliberate elaboration, but the natural overflow of his or her plain and pure emotion. The fluency of prose language refers to both the informal use of words and phrases, and the author's sound expression of feelings. (Zhang Baohong 2011: 29)&lt;br /&gt;
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Meanwhile, colloquial style and literary grace are characteristic of prose language. As prose mainly focuses on description of the author's personal stories and sentiments, thus, he speaks or writes with his own posture, style and tone, as if he is confiding to the readers, so as to highlight the agreeable conversation style and unique colloquial style. Colloquial prose language is natural due to its simplicity, friendly owing to its ease of communication, and true thanks to its individuality. (Zhang Baohong 2011: 30)&lt;br /&gt;
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Furthermore, another linguistic feature of English prose is the smooth rhythm and reading. The rhythmic beauty of prose language is reflected in phonetic respect and in sentence patterns. The prose reading is catchy, with no obstacles and awkwardness, and its rhythm is in line with the natural law of oral breathing pauses as well as with the ups and downs of feelings. (Zhang Baohong 2011: 30)&lt;br /&gt;
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'''Principles of English Prose Translation'''&lt;br /&gt;
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The beauty of prose lies in its language and artistic conception, the two permeating each other and jointly creating the artistic charm of prose. In prose translation practice, the following principles can be observed to reproduce the artistic appeal.&lt;br /&gt;
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Keep an eye on sound and rhythm. Despite that the sound and rhythm of prose are often internal, not as obvious, regular and musical as that of poetry, they are not disordered with no aesthetic purpose. On the contrary, they effectively represent the variation of emotion in the prose, and are consistent with its unique aesthetic interest. This illustrates that in prose translation, on the one hand, the translators should recognize the great value and significance of prose sound and rhythm; on the other hand, with the intention of reproducing the linguistic subtleties of the original text, the translators can fully touch its aesthetic interest from the cadence between the lines, and perceive its inner rhythm from sentence length and speech speed. (Zhang Baohong 2011: 30)&lt;br /&gt;
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Pay attention to personalized mode of discourse. Different writers with various discourse modes bring about manifold writing styles. Not only is the personalized mode of discourse reflected in the author's choice of words and sentences as well as layout of the prose, but also in his thoughts and aesthetic interest. As a result, the translators can start with analyzing the original writer's one classic work and then his anthology and even look closely at the literary features of his age, in order to grasping the writer's personalized discourse mode, which is of particular importance to reproduce his artistic personality and the characteristics of his emotional expression in translation practice. (Zhang Baohong 2011: 31)&lt;br /&gt;
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Place a premium on the unity of scene and emotion. The unity of scene and interest in prose is embodied in diverse ways of language expression and structure, as well as the images or settings created by the author. In translation practice, based on the unity of scene and interest in the prose, it is beneficial to preserve and reproduce the overall aesthetic orientation of the original text through aesthetic reconstruction in word selection and layout, so that the translated text can obtain the aesthetic taste similar to the original prose.(Zhang Baohong 2011: 31)&lt;br /&gt;
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All in all, a general understanding of English prose can facilitate the study of its Chinese translation.&lt;br /&gt;
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===Case Study of Chinese Translation of &amp;quot;Pleasures of Ignorance&amp;quot;===&lt;br /&gt;
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The selected source text is &amp;quot;The Pleasures of Ignorance&amp;quot;, written by Robert Lynd. &lt;br /&gt;
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Robert Lynd (1879-1949), born in Belfast, Northern Ireland, was a modern critic and prose writer. He, together with E. V. Lucas, was a pioneer in reviving the tradition of Charles Lamb's prose. And The Pleasures of Ignorance is one of his notable prose works.&lt;br /&gt;
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This prose points out that it is because ignorance that people are interested in the nature and the world and their pursue knowledge, and the process of seeking knowledge is full of pleasure, by which the author emphasizes the importance of learning more and gaining insight. The article reveals somewhat erudition and aesthetic sensibility, as well as love for nature and and passion for life. From his leisurely writing, the author's maturity of thought and capability in usage of words is unveiled. Though the tone of the original text makes the readers feel that the author is chatting with them, giving people familiarity and closeness, it is not particularly colloquial. On the contrary, there is a kind of exactness and elegance of the learned between the lines, thus it can be seen that the case text is a typical scholar prose. (Zhu Mingju 2007: 326)&lt;br /&gt;
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The translator Professor Liu Bingshan firmly grasps these features of the original text and conveys the original style by carefully choosing words and sentences, with the principles of faithfulness, smoothness and expressiveness. His Chinese translation of &amp;quot;The Pleasures of Ignorance&amp;quot; will be analyzed in terms of translation strategies and methods. (Zhu Mingju 2007: 326)&lt;br /&gt;
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There is the natural connection between translation strategies and translation methods, but the two concepts are often confused. It is generally believed that translation strategies (such as foreignization and domestication) are at the cultural level, while the translation methods (such as literal translation and free translation) are at the textual level. Translation methods are the approaches, steps and techniques used to achieve a specific translation purpose based on a certain translation strategy in translation activities, whereas translation strategies are a collection of principles and methods. Consequently, this paper will enunciate the translation text on the basis of translation methods under foreignization strategy and domestication strategy respectively. (Xiong Bing 2014: 84)&lt;br /&gt;
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====Translation Methods under Foreignizing Strategy====&lt;br /&gt;
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Foreignization is a strategy in which a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. This strategy is &amp;quot;an ethnodeviant pressure on target-language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad&amp;quot; to have alien reading experience. The translation methods under foreignization employed in Professor Liu's target text include literal translation, zero-translation and transliteration. (Venuti, 2004: 20) (Lian Shuneng 2006: 13)&lt;br /&gt;
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=====Literal Translation=====&lt;br /&gt;
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Literal translation is in fact looser renditions that replace individual source language words with individual target language wors wherever possible, and cling as closely as possible to the source language word order in the target language. (Lian Shuneng 2006: 12)&lt;br /&gt;
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Specifically, in the case translation text, the translator faithfully retains some personal pronouns and demonstrative pronouns in the original text. For example, &lt;br /&gt;
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(1)It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance.&lt;br /&gt;
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同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
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(2)This ignorance, however, is not altogether miserable.&lt;br /&gt;
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不过，这种无知也并非全然不幸。&lt;br /&gt;
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(3)But your and my ignorance is not confined to cuckoos.&lt;br /&gt;
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但是，你我的无知并不仅限于杜鹃这一方面。&lt;br /&gt;
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(4)A contemporary English novelist was once asked by a foreigner what was the most important crop in England.&lt;br /&gt;
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一个外国人问一位当代英国小说家，英国最重要的农作物是什么。&lt;br /&gt;
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The translation of these sentences, though properly altering the word order and voice with the adherence to the target-language syntactic norms, does not adopt the usage of transferred meaning in dealing with lexical sense.&lt;br /&gt;
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The use of literal translation, especially the retaining of the personal pronouns, like &amp;quot;we&amp;quot; and &amp;quot;you and I&amp;quot;, conveys the style of the original text, showing friendliness and intimacy.&lt;br /&gt;
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=====Zero-Translation=====&lt;br /&gt;
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Zero translation refers to the translation in which the translators do not use the ready-made words in the target language to translate the source language words. This translation phenomenon occurs when adjustments must be made due to the differences in the syntactic structures of the two languages. For example, some articles and personal pronouns are not translated in E-C translation. (Fang Mengzhi 2011: 108)&lt;br /&gt;
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In Professor Liu's Translation, zero-translation is particularly displayed by omission, a translation technique. For instance,&lt;br /&gt;
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Omission of the expletives ''It'' and ''There'':&lt;br /&gt;
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(5)''It'' is impossible to take a walk in the country oneself without being amazed at the vast continent of one's own ignorance.&lt;br /&gt;
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任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
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(6)''There'' are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy.&lt;br /&gt;
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这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。&lt;br /&gt;
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Omission of English articles:&lt;br /&gt;
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(7)Thousands of men and women live and die without knowing the difference between ''a'' beech and ''an'' elm, between ''the'' song of ''a'' thrush and ''the'' song of ''a'' blackbird.&lt;br /&gt;
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成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
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Omission of pronouns:&lt;br /&gt;
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(8)... as she (the cuckoo) lays ''her'' egg on the ground and takes it in ''her'' bill to the nest in which it is destined to breed infanticide.&lt;br /&gt;
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把蛋下到地面上，然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。&lt;br /&gt;
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The application of zero-translation can render the translation text concise, neat and fluent, and make the rhythm of the prose more natural and flexible, conforming to the principle of prose translation.&lt;br /&gt;
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=====Transliteration=====&lt;br /&gt;
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Proper names such as the names of persons and places of foreign countries, are, as a rule, to be transliterated, i.e., to be translated by using Chinese characters to represent the sound in articulating these names. (Lian Shuneng 2006: 344)&lt;br /&gt;
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In transliteration, the translators should follow the original pronunciation of proper names, in Liu's translation, for example,&lt;br /&gt;
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(9)Hamlet 哈姆雷特 Pickwick 匹克威克 (both transliterated from English)&lt;br /&gt;
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Besides, in transliteration, the translators sometimes should also use the standard pronunciation of the Chinese characters. One of the difficulties in transliterating a foreign name in Chinese characters lies in the lack of many foreign sounds in Chinese, and the variation in the pronunciation of the Chinese characters causes confusion. The remedy is to fix certain Chinese characters for a certain syllable of foreign names. And many long-standing translated names, though not named after the original sounds, have been recognized by the world and are generally invariable. (Lian Shuneng 2006: 346)&lt;br /&gt;
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For example, in the translation in case study. For example, in the translation in case study,&lt;br /&gt;
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(10)Montaigne 蒙田 (not 蒙泰涅)&lt;br /&gt;
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Transliteration plays a crucial role in translation of proper nouns and technical terms, which ensures the correct conveyance of information.&lt;br /&gt;
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The translation methods under foreignization are able to make the translation process more visible, by means of showing how translators are deeply involved in the construction of culture and ideology. The use of these methods can retain the foreignness of the source text and produce on the target-language readers an effect as close as possible to that obtained on the readers of the original, through which the readers can further understand the foreign expressions and cultures, realizing the differences between the two countries.&lt;br /&gt;
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====Translation Methods under Domesticating Strategy====&lt;br /&gt;
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Domestication is a strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for target language readers. This strategy is &amp;quot;an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home&amp;quot;. In other words, as regards the use of domesticating strategy, the translators are required to make target-language readers feel familiar and close through conveying the content of the original text with the expressions to which TL readers are accustomed. And in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, free translation method and imitation method under domestication are used and displayed in several translation techniques. (Venuti 2004: 20) (Lian Shuneng 2006: 14)&lt;br /&gt;
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=====Free Translation=====&lt;br /&gt;
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Free translation, also known as sense-for-sense translation, emphasizes transfer of the meaning or &amp;quot;spirit&amp;quot; of a source text over accurate reproduction of the original wording. The purpose of this method is to accommodate the needs of the target-language readers by producing a text which conforms to the linguistic and textual norms of the target language and culture which does not therefore sound &amp;quot;foreign&amp;quot;. (Shuttleworth &amp;amp; Cowie, 2014: 59)(Lian Shuneng 2006: 12)&lt;br /&gt;
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Such a method, in this case study, is specifically embodied in the choice of words packed with Chinese characteristics, that is, diction, also a translation technique. For example,&lt;br /&gt;
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(11)Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is ''the exception''.&lt;br /&gt;
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在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是''凤毛麟角''。&lt;br /&gt;
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(12)It is not that we have not seen the birds. It is simply that we ''have not noticed'' them.&lt;br /&gt;
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所以如此，并不是因为这些鸟我们没有见过，而只是因为我们''习焉不察''。&lt;br /&gt;
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(13)When in the oak’s green arms the cuckoo ''sings'', &lt;br /&gt;
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And first delights men in the ''lovely springs''.&lt;br /&gt;
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杜鹃在橡树的绿色怀抱里''啭啼''，&lt;br /&gt;
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第一个为人们带来''欢欣、美好的春意''。&lt;br /&gt;
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In translating these sentences, the translator transfers some words into vocabulary or phrases with conspicuously Chinese features. For instance, the transfer of &amp;quot;the exception&amp;quot; and &amp;quot;have not noticed&amp;quot; to Chinese idioms &amp;quot;凤毛麟角&amp;quot; (that describes rare and precious items) and &amp;quot;习焉不察&amp;quot; (which means that one is too accustomed to something to call it in questions), respectively, exemplifies the typical Chinese four-character structure. Moreover, the verb &amp;quot;sings&amp;quot; is transferred to &amp;quot;啭啼&amp;quot; (that describes birds' melodious chirp), a Chinese term composed of two words with the same left side, which is one of common and special linguistic phenomena in Chinese language. Meanwhile, &amp;quot;the lovely springs&amp;quot; is transferred to &amp;quot;欢欣、美好的春意&amp;quot; (a joyful and wonderful feeling brought by the spring) through abstraction.&lt;br /&gt;
Thus, it can be seen that the application of free translation can reproduce the sense of the original text more smoothly and idiomatically. And the wide adoption of the four-character structures enhance the academic atmosphere of the translation version.&lt;br /&gt;
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=====Imitation=====&lt;br /&gt;
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With regard to the use of imitation, the translators do not stick to the meaning details of the original text, let alone its vocabulary and syntactic structure, but take the original text as a reference model, either by deleting and condensing to only translate its gist and key information, or by adding and expanding to deliver more information than that in the original text. For instance, (Xiong Bing 2014: 85)&lt;br /&gt;
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(14)Thousands of ''men and women'' ''live and die'' ''without knowing'' the difference between a beech and an elm, between the song of a thrush and the song of a blackbird.&lt;br /&gt;
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成千上万的''男男女女''，''从生到死''，''一辈子''也''说不出''山毛榉和榆树有什么区别，''听不出''画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
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In the translation of this sentence, a variety of translation techniques are employed. &lt;br /&gt;
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①　Conversion:&lt;br /&gt;
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The translator uses conversion to alter the syntactic structure of the original sentence. &lt;br /&gt;
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The predicate &amp;quot;live and die&amp;quot; is converted into the preposition phrase &amp;quot;从生到死&amp;quot; as the adverbial in Chinese.&lt;br /&gt;
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And the adverbial preposition phrase in the source text &amp;quot;without knowing&amp;quot; is converted into the predicate in Chinese translation.&lt;br /&gt;
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②　Division:&lt;br /&gt;
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In accordance with the need of Chinese expression, &amp;quot;without knowing&amp;quot; is divided into two verb phrases &amp;quot;说不出&amp;quot; and &amp;quot;听不出&amp;quot; in Chinese as the predicate.&lt;br /&gt;
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③　Addition:&lt;br /&gt;
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With the addition of the expression &amp;quot;一辈子&amp;quot;, the translator highlights the long time between life and death.&lt;br /&gt;
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④　Repetition:&lt;br /&gt;
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The plural form &amp;quot;men and women&amp;quot; is translated into the reiterative locution &amp;quot;男男女女&amp;quot; by repetition. &lt;br /&gt;
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The change of sentence structure via techniques such as conversion and division as well as of vocabulary via repetition and addition render the translation natural and smooth, showing the translator’s superb handling of the original text.&lt;br /&gt;
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(15)...we are all the ''more'' delighted ''at the spectacle of'' its ''runaway flight'' as it (the cuckoo) ''hurries'' from wood to wood conscious of its crimes ...&lt;br /&gt;
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一日''看见''它（杜鹃）因为自己犯了罪而''煌惶不安地''从这个林子飞''逃''向那个林子 ... 我们才会觉得''大大''开心。&lt;br /&gt;
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In this example, there are also various translation techniques used.&lt;br /&gt;
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①　Conversion:&lt;br /&gt;
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Firstly, the preposition phrase &amp;quot;at the spectacle of&amp;quot; is converted into the verb &amp;quot;看见&amp;quot; in Chinese. &lt;br /&gt;
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Secondly, the noun phrase &amp;quot;runaway flight&amp;quot; is converted into Chinese verbs &amp;quot;飞&amp;quot; (fly) and &amp;quot;逃&amp;quot; (escape). &lt;br /&gt;
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Besides, the verb &amp;quot;hurries&amp;quot; (that means to move quickly in a particular direction) is converted into &amp;quot;惶惶不安地&amp;quot; (which means to feel panic, afraid and utterly uneasy), a Chinese adverb to modify the verbs &amp;quot;飞&amp;quot; and &amp;quot;逃&amp;quot;, which endows the subject cuckoo with somewhat human characteristic.&lt;br /&gt;
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②　Repetition:&lt;br /&gt;
&lt;br /&gt;
The adjective &amp;quot;more&amp;quot; is translated into the reiterative locution &amp;quot;大大&amp;quot;, a Chinese adverb equivalent to &amp;quot;very&amp;quot; or &amp;quot;extremely&amp;quot; in English to modify the adjective &amp;quot;delighted&amp;quot;. &lt;br /&gt;
&lt;br /&gt;
In this example, the adjustment of the sentence order and conversion of parts of speech make the translation more consistent with the word sequence in Chinese. Meanwhile, the choice of words such as the Chinese four-character structure &amp;quot;惶惶不安&amp;quot; conveys the romantic charm beyond the original text. And there are also indicators of use of repetition embodied in the typical Chinese reiterative locutions like &amp;quot;惶惶&amp;quot; and &amp;quot;大大&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
(16)I have myself a ''capricious'' and ''leaking'' memory.&lt;br /&gt;
&lt;br /&gt;
我自己的记忆力也是''漏洞百出''、''不听使唤''。&lt;br /&gt;
&lt;br /&gt;
Although this is a short sentence, it still contains the flexible use of translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
At first, the original object &amp;quot;memory&amp;quot; is converted to the subject in the Chinese translation.&lt;br /&gt;
And then, the subject &amp;quot;I&amp;quot; with its appositive &amp;quot;myself&amp;quot; is converted into the attribute &amp;quot;我自己的&amp;quot; to modify the subject in the translation &amp;quot;记忆&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
On account of the conversion of the subject and the verb, the original predicate &amp;quot;have&amp;quot; is inappropriate. The addition of &amp;quot;也是&amp;quot; that is equivalent to the verb &amp;quot;be&amp;quot; in English enforces the completeness of sentence structure. And this is a structural addition mainly due to the structural difference between Chinese and English.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The two vivid adjective &amp;quot;capricious&amp;quot; and &amp;quot;leaking&amp;quot; are translated as &amp;quot;不听使唤&amp;quot; and &amp;quot;漏洞百出&amp;quot; respectively which are typical Chinese four-character structures. The Chinese adjective &amp;quot;漏洞百出(的)&amp;quot; means that the loopholes appear one after another, which is often used to describe that one's writing or speech is untenable because of lack of sufficient reasons and grounds. And here, this word shows the author's weak memory with which he forgets things time and again. And the other adjective &amp;quot;不听使唤(的)&amp;quot; generally depicts that someone loses control and is not obedient to the rules or instructions. Here, the word properly demonstrates that the author cannot manipulate his memory well and also cannot preclude it from being weaker. The use of these two words conforms to the choice of affective and stylistic meanings.&lt;br /&gt;
&lt;br /&gt;
In this example, the conversion of the subject and object as well as the change of the predicate enable the translation to be more closely accord with the Chinese sentential structure. Moreover, the two figurative adjectives packed with personified traits not only fully  convey the author's intention, but also enhance literariness of the translation and even display a lively mood beyond the original text.&lt;br /&gt;
&lt;br /&gt;
(17)We know, again, that, the blossom precedes and ''not succeeds'' the fruit of the apple-tree, but ''this does not lessen our amazement at'' the beautiful holiday of a May orchard.&lt;br /&gt;
&lt;br /&gt;
另外，我们知道苹果树''先''开花，''后''结果，可是五月''一旦''到来，果园里一片欢闹的花海。''我们不是仍然惊为奇观吗？''&lt;br /&gt;
&lt;br /&gt;
This is a typical example of the imitation method embodied in the use of diverse translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
Regarding the conversion of word classes, the noun &amp;quot;blossom&amp;quot; is converted into the Chinese verb &amp;quot;开花&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Concerning the conversion of sentence members, the object in the clause &amp;quot;apple-tree&amp;quot; is converted into the subject &amp;quot;苹果树&amp;quot; in the Chinese translation. And the attribute &amp;quot;May&amp;quot; is converted into the adverbial in Chinese as &amp;quot;五月一旦到来&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Considering the conversion of sentence patterns, the negative sentence &amp;quot;this does not lessen our amazement at...&amp;quot; is converted into a interrogative sentence &amp;quot;我们不是仍然惊为奇观吗？&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Negation:&lt;br /&gt;
&lt;br /&gt;
The negative form &amp;quot;not succeeds&amp;quot; in English is translated into the affirmative form &amp;quot;后结果&amp;quot; in Chinese, intensifying a positive tone on which Chinese language often places emphasis.&lt;br /&gt;
&lt;br /&gt;
③　Division:&lt;br /&gt;
&lt;br /&gt;
The original complicated sentence in English is divided into several simplex clauses and phrases in Chinese, which underlines the &amp;quot;chronicle style&amp;quot; of Chinese language with frequent use of shorter or composite structures.&lt;br /&gt;
&lt;br /&gt;
④　Addition:&lt;br /&gt;
&lt;br /&gt;
Now that the original sentence is divided into smaller components, it is necessary to supply connectors for better cohesion. The addition of the logical connectors in Chinese such as &amp;quot;先&amp;quot;, &amp;quot;后&amp;quot;, &amp;quot;一旦&amp;quot; and &amp;quot;仍然&amp;quot; render the translation more smooth and expressive.&lt;br /&gt;
&lt;br /&gt;
In this instance, the translator flexibly takes advantage of the techniques such as conversion, negation and division, not only contributing to the diversity of sentence patterns but also adding sense of warmth and vividness of the translation. Additionally, the semantic addition of logical connectors render the translation more cohesive and coherent.&lt;br /&gt;
&lt;br /&gt;
(18)Once more I shall ''see'' the world as a garden through ''the eyes'' of a stranger, ''my breath taken away with surprise by the painted fields''.&lt;br /&gt;
&lt;br /&gt;
那时，我像一个陌生者进人大花园，''放眼四望''，''五色缤纷''的原野再一次使我''目不暇接''，''心迷神醉''。&lt;br /&gt;
&lt;br /&gt;
As regards this example, the translator enriches the meaning of the original text and creates a more balmy atmosphere by employing various translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Division:&lt;br /&gt;
&lt;br /&gt;
The long complex sentence, composed of two clauses, is divided into several separated clauses in arranged in a certain order, which renders the translation rhythmic and highlights the focus of expression.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
The addition of the Chinese set phrase &amp;quot;目不暇接&amp;quot; (which means that so many wonderful things and so swift change of scenery come into sight that the eyes are kept fully occupied) makes the context more coherent, as it echoes &amp;quot;see&amp;quot; and &amp;quot;the eyes&amp;quot; in the preceding and connects the &amp;quot;painted fields&amp;quot; in the following that greet the author's eyes and take his breath away.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The verb &amp;quot;see&amp;quot; is translated into &amp;quot;放眼四望&amp;quot; (to look around), the noun phrase &amp;quot;breath taken away with surprise&amp;quot; into &amp;quot;心醉神迷&amp;quot; (to be thrown into ecstasies), and the adjective &amp;quot;painted&amp;quot; into &amp;quot;五彩缤纷&amp;quot; (colorful). These recurring four-character structures in translation are loaded with positive meanings, and proper to depict the attractive scenery and to be used in scholar prose.&lt;br /&gt;
&lt;br /&gt;
④　Conversion:&lt;br /&gt;
&lt;br /&gt;
The original clause &amp;quot;my breath taken away with surprise by the painted fields&amp;quot; is in passive voice, and is converted into the active voice in Chinese translation &amp;quot;五色缤纷的原野再一次使我目不暇接，心迷神醉&amp;quot;. This kind of conversion is due to the fact that the Chinese passive form marked by &amp;quot;被&amp;quot; is traditionally felt to be an &amp;quot;inflictive voice&amp;quot;, mainly expressing things unpleasant or undesirable, contrasted with the cheerful aura overflowing the original text. &lt;br /&gt;
&lt;br /&gt;
The translator employs short clauses separated from the original complex sentence to bestow smoothness and naturalness on the translation and strengthen its artistic appeal. Furthermore, the translator selects the words that tally with the affective, contextual and stylistic meanings of the original. And the opportune addition of words and change of voice also polish the translation.    &lt;br /&gt;
&lt;br /&gt;
The reasonable use of the imitation translation method can make the translation more idiomatic and vivid, and even enable the translation overshadow the original text in terms of showcasing the artistic and aesthetic charm.&lt;br /&gt;
&lt;br /&gt;
In a word, translation methods under domesticating strategy will involve he careful selection of texts which lend themselves to being translated in this manner, the conscious adoption of a fluent, natural-sounding target language style, the adaptation of target text to conform to target discourse types, the interpolation of explanatory material, the removal of source language REALIA and the general harmonization of target text with target language preconceptions and preferences. These methods can render the translation highly literary, aesthetic and readable, and also can to some extent optimize the source text. The appropriate application of domesticating translation is able to even become a sublimation of the original.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
This paper makes an analysis of translation strategies and translation methods in English prose, with translator Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot; created by Robert Lynd as an example. With translation strategies and methods as the starting point, this paper considers Chinese translation of English prose as the research subject. The paper first introduces English prose along with its distinctive properties, linguistics features and principles of its translation. And then this paper carries out the interpretation of translation strategies and methods in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot; in which the application of translation methods as well as techniques under foreignizing and domesticating strategies are elaborated, and the concrete effects they exert are also elucidated.&lt;br /&gt;
&lt;br /&gt;
====Major Findings====&lt;br /&gt;
&lt;br /&gt;
Based on the above study of translation strategies and methods employed in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, the features or common ground of Chinese translation of English prose in terms of translation strategies and methods can be generally summarized.&lt;br /&gt;
&lt;br /&gt;
In Chinese translation of English prose, foreignization strategy and domestication strategy are both used in the light of the style, linguistic features, and syntactic structures of the source text.&lt;br /&gt;
&lt;br /&gt;
But, on the whole, the domesticating translation strategy which includes translation methods such as free translation and imitation is applied more frequently compared with foreignization. This is because that prose translation actually falls into literary translation that is special on the grounds of the unique characteristics of the original literary works. In literary works, or specifically, in English prose, some words are not used with their literal meanings but their connotative or extension meanings, so literal translation under foreignization may not correctly convey the real significance of the original text. Meanwhile, in English prose, there are complex syntactic structures whose translation cannot be carried out with no proper conversion and alteration. Additionally, multiple rhetoric devices such as metaphor, metonymy and allusion are used in English literary works, and the literal translation of these figures of speech may elude the target-language readers because of the cultural differences and the obscurity of the translation. However, the appropriate adoption of translation methods under domestication strategy, to some extent, can give the target-language readers a sense of closeness and deliver the aesthetic charm with the premise that the real meaning of the original text can be ensured.&lt;br /&gt;
&lt;br /&gt;
In terms of translation methods under foreignizing strategy, literal translation is used when the lexical meaning of the source text is lucid and the syntactic structures in it are relatively simple and clear, so the translators need not find a new path in the mode of expression in order to be faithful to the source text. And the use of literal translation can convey the information more objectively and avoid the interference of translators' subjective factors. Meanwhile, in Chinese translation of English prose, the use of zero-translation is frequent but imperceptible, with the omission of some words peculiar to English, such as expletives it and there, English articles and pronouns, but sometimes the English pronouns can also be retained to show a sense of closeness and friendliness. Besides, transliteration is used for the translation of proper nouns and technical terms not only in English prose but also in almost all text types, with conforming to the principles of being named after the original sound and of the translated names accepted through common practice. In a word, translation methods under foreignization can ensure the objective conveyance of information of the original text and preserve its foreignness and unique cultural values that can enrich the target-language readers' knowledge and their languages.&lt;br /&gt;
&lt;br /&gt;
With regard to translation methods under domesticating strategy, in Chinese translation English prose, free translation and imitation method are oftentimes employed. English prose, as one of the English literary genres, boasts distinctive features of literature, such as aesthetic value, language with hidden meanings and the usual use of figures of speech as well as culturally loaded images, which may not be shown vividly and be easily understood by target-language readers via literal or word-for-word translation. Thus, translation methods under domestication, with careful choice of words, proper adjustment of syntactic structures and sentence sequence, and appropriate sublimation of the original text, can express the original author's feelings more lively, render the translation more fluent, idiomatic and expressive, and display the aesthetic charm of the source text.&lt;br /&gt;
&lt;br /&gt;
At the lexical level, in Chinese translation of English prose, the translation techniques --- diction, addition, conversion and repetition --- are usually used. The typical Chinese four-character structures appear time from time in Chinese translation, and the translators choose the words in line with the affectionate, contextual and stylistic meanings of the original prose, which intensify literariness and satisfy the characteristics of scholar prose. Moreover, the addition of Chinese conjunctive words and logical connectors by which sentences in translation are connected into a text can create better cohesion. Furthermore, the conversion of word classes in translation is based on the contrastive studies of English and Chinese, viz., English with its nominal style is static whereas Chinese with its verbal style is dynamic. Besides, it is one of the peculiarities of Chinese to reduplicate characters or words in word-formation and to repeat the similar or same word or expression in a discourse for expressiveness and parallelism, which can render translation more appealing to Chinese readers and produce rhetorical and grammatical effect.&lt;br /&gt;
&lt;br /&gt;
At the syntactic level, the translation techniques --- conversion and division--- are often employed in Chinese translation of English prose. To start with, conversion in the syntactic respect involves conversions of sentence members, sentence patterns and the voice. The conversion of word classes often results in the conversion of sentence members, and the alteration of sentences patterns like the inter-conversion between assertive or negative sentences and question sentences can variegate sentence types in translation. The conversion of passive voice in English prose into active voice in Chinese translation is due to the preference for active forms that can produce positive effect in Chinese language. What's more, part of sentences in English prose are longer and complicated because of subordination, a fundamental feature of English, and it may be hard to reproduce the original thought with following the original sentence structure in translation, hence the division of complex English sentences into word-groups, clauses or simplex sentences in Chinese can endow Chinese translation of English prose with more naturalness, fluency and sense of rhythm.&lt;br /&gt;
&lt;br /&gt;
The research on the features of translation strategies and methods in Chinese translation of English prose, theoretically can offer a deeper insight into English prose and its translation, and practically can help to some extent improve the quality of Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
====Limitations and Suggestions====&lt;br /&gt;
&lt;br /&gt;
There are drawbacks in this paper: firstly, the paper takes only one piece of English prose as an example in case study, so it lacks strong persuasiveness; secondly, since there are few researchers on prose translation at home and abroad, especially those specializing in Chinese translation of English prose, this paper resorts to insufficient literature guidance and reference; thirdly, owing to the confined conditions and narrow academic capacity, this paper is devoid of enough depth and breadth as well as favorable insight and acuity, thus the theoretical support and practical assistance it provides are bound to be limited. As a consequence, it is expected that researchers in this field can cooperate well to build up a system to minimize the possible errors and create more thorough and holistic works to enunciate and improve Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
[1] Lawrence Venuti. Rethinking Translation: Discourse, Subjectivity, Ideology [C]. London and New York: Routledge, 1992: 5-20.&lt;br /&gt;
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&lt;br /&gt;
===Appendix===&lt;br /&gt;
&lt;br /&gt;
(The original text:)&lt;br /&gt;
&lt;br /&gt;
The Pleasures of Ignorance&lt;br /&gt;
&lt;br /&gt;
By Robert Lynd&lt;br /&gt;
&lt;br /&gt;
It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance. It is impossible to take a walk in the country oneself without being amazed at the vast continent of one’s own ignorance. Thousands of men and women live and die without knowing the difference between a beech and an elm, between the song of a thrush and the song of a blackbird. Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is the exception. It is not that we have not seen the birds. It is simply that we have not noticed them. We have been surrounded by birds all our lives, yet so feeble is our observation that many of us could not tell whether or not the chaffinch sings, or the colour of the cuckoo. We argue like small boys as to whether the cuckoo always sings as he flies or sometimes in the branches of a tree-whether Chapman drew on his fancy or his knowledge of nature in the lines:&lt;br /&gt;
&lt;br /&gt;
When in the oak's green arms the cuckoo sings, &lt;br /&gt;
&lt;br /&gt;
And first delights men in the lovely springs.&lt;br /&gt;
&lt;br /&gt;
This ignorance, however, is not altogether miserable. Out of it we get the constant pleasure of discovery. Every fact of nature comes to us each spring, if only we are sufficiently ignorant, with the dew still on it. If we have lived half a lifetime without having ever seen a cuckoo, and know it only as a wandering voice, we are all the more delighted at the spectacle of its runaway flight as it hurries from wood to wood conscious of its crimes and at the way in which it halts hawk-like in the wind, its long tail quivering, before it dares descend on a hillside of fir-trees where avenging presences may lurk. It would be absurd to pretend that the naturalist does not also find pleasure in observing the life of the birds, but his is a steady pleasure, almost a sober and plodding occupation, compared to the morning enthusiasm of the man who sees a cuckoo for the first time, and, behold, the world is made new.&lt;br /&gt;
&lt;br /&gt;
And, as to that, the happiness even of the naturalist depends in some measure upon his ignorance,which still leaves him new worlds of this kind to conquer. He may have reached the very Z of knowledge in the books, but he still feels half ignorant until he has confirmed each bright particular with his eyes. He wishes with his own eyes to see the female cuckoo—rare spectacle!—as she lays her egg on the ground and takes it in her bill to the nest in which it is destined to breed infanticide. He would sit day after day with a field-glass against his eyes in order personally to endorse or refute the evidence suggesting that the cuckoo does lay on the ground and not in a nest.And, if he is so far fortunate as to discover this most secretive of birds in the very act of laying, there still remain for him other fields to conquer in a multitude of such disputed questions as whether the cuckoo’s egg is always of the same colour as the other eggs in the nest in which she abandons it. Assuredly the men of science have no reason as yet to weep over their lost ignorance. If they seem to know everything, it is only because you and I know almost nothing. There will always be a fortune of ignorance waiting for them under every fact they turn up. They will never know what song the Sirens sang to Ulysses any more than Sir Thomas Browne did.&lt;br /&gt;
&lt;br /&gt;
If I have called in the cuckoo to illustrate the ordinary man's ignorance, it is not because I can speak with authority on that bird. It is simply because, passing the spring in a parish that seemed to have been invaded by all the cuckoos of Africa, I realized how exceedingly little I, or anybody else I met, knew about them. But your and my ignorance is not confined to cuckoos. It dabbles in all created things, from the sun and moon down to the names of the flowers. I once heard a clever lady asking whether the new moon always appears on the same day of the week. She added that perhaps it is better not to know, because, if one does not know when or in what part of the sky to expect it,its appearance is always a pleasant surprise. I fancy, however, the new moon always comes as a surprise even to those who are familiar with her time-tables. And it is the same with the coming-in of spring and the waves of the flowers. We are not the less delighted to find an early primrose because we are sufficiently learned in the services of the year to look for it in March or April rather than in October. We know, again, that, the blossom precedes and not succeeds the fruit of the apple-tree, but this does not lessen our amazement at the beautiful holiday of a May orchard.&lt;br /&gt;
&lt;br /&gt;
At the same time there is, perhaps, a special pleasure in relearning the names of many of the flowers every spring. It is like rereading a book that one has almost forgotten. Montaigne tells us that he had so bad a memory that he could always read an old book as though he had never read it before. I have myself a capricious and leaking memory. I can read Hamlet itself and The Pickwick Papers as though they were the work of new authors and had come wet from the press, so much of them fades between one reading and another. There are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy. But this is only when life has an object beyond entertainment. In respect of mere luxury, it may be doubted whether there is not as much to be said for a bad memory as for a good one. With a bad memory one can go on reading Plutarch and The Arabian Nights all one's life. Little shreds and tags, it is probable, will stick even in the worst memory, just as a succession of sheep cannot leap through a gap in a hedge without leaving a few wisps of wool on the thorns. But the sheep themselves escape,and the great authors leap in the same way out of an idle memory and leave little enough behind.&lt;br /&gt;
&lt;br /&gt;
And, if we can forget books, it is as easy to forget the months and what they showed us, when once they are gone. Just for a moment I tell myself that I know May like the multiplication table and could pass an examination on its flowers, their appearance and their order. Today I can affirm confidently that the buttercup has five petals. (Or is it Six? I knew for certain last week.) But next year I shall probably have forgotten my arithmetic, and may have to learn once more not to confuse the buttercup with the celandine. Once more I shall see the world as a garden through the eyes of a stranger, my breath taken away with surprise by the painted fields. I shall find myself wondering whether it is science or ignorance which affirms that the swift (that black exaggeration of the swallow and yet a kinsman of the humming-bird) never settles even on a nest, but disappears at night into the heights of the air. I shall learn with fresh astonishment that it is the male, and not the female,cuckoo that sings. I may have to learn again not to call the champion a wild geranium, and to rediscover whether the ash comes early or late in the etiquette of the trees. A contemporary English novelist was once asked by a foreigner what was the most important crop in England. He answered without a moment's hesitation: &amp;quot;Rye&amp;quot;. Ignorance so complete as this seems to me to be touched with magnificence; but the ignorance even of illiterate persons is enormous. The average man who uses a telephone could not explain how a telephone works. He takes for granted the telephone, the railway train, the linotype, the aeroplane, as our grandfathers took for granted the miracles of the gospels. He neither questions nor understands them. It is as though each of us investigated and made his own only a tiny circle of facts. Knowledge outside the day's work is regarded by most men as a gewgaw. Still we are constantly in reaction against our ignorance. We rouse ourselves at intervals and speculate. We revel in speculations about anything at all—about life after death or about such questions as that which is said to have puzzled Aristotle, &amp;quot;why sneezing from noon to midnight was good, but from night to noon unlucky.&amp;quot; One of the greatest joys known to man is to take such a flight into ignorance in search of knowledge. The great pleasure of ignorance is, after all, the pleasure of asking questions. The man who has lost this pleasure or exchanged it for the pleasure of dogma, which is the pleasure of answering, is already beginning to stiffen. One envies so inquisitive a man as Jowett, who sat down to the study of physiology in his sixties. Most of us have lost the sense of our ignorance long before that age. We even become vain of our squirrel’s hoard of knowledge and regard increasing age itself as a school of omniscience. We forget that Socrates was famed for wisdom not because he was omniscient but because he realized at the age of seventy that he still knew nothing. (Zhu Mingju 2007: 319-322)&lt;br /&gt;
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(Liu Bingshan's Chinese translation:)&lt;br /&gt;
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无知常乐&lt;br /&gt;
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刘炳善 译&lt;br /&gt;
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同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是凤毛麟角。所以如此，并不是因为这些鸟我们没有见过，而只是因为我们习焉不察。在我们一生中，鸟类始终就在我们周围，然而我们对于它们的观察总是那样马马虎虎，所以我们当中许多人都说不清花鸡到底会不会知，也不知道杜鹃究竟是什么颜色。对于有些问题、我们像小孩子一样争论不休、譬如说，杜鹃在飞着或栖身于树枝间的时候，是否一直不停地鸣，而查普曼下面两行诗的灵感究竟是来自他的想像还是来自他的自然知识∶&lt;br /&gt;
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杜鹃在橡树的绿色怀抱里啭啼，&lt;br /&gt;
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第一个为人们带来欢欣、美好的春意。&lt;br /&gt;
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不过，这种无知也并非全然不幸，因为正是由于它，我们才能不断尝到发现的乐趣。只要我们是的的确确地无知，那么每年大地春回，自然界的每一种事物都会带着它那清新的露珠重新出现在我们面前。如果我们活了半辈子，对于杜鹃除了听过它那飘忽不定的叫声，从来没有见过它是什么模样，那么，一日看见它因为自己犯了罪而煌惶不安地从这个林子飞逃向那个林子。或是看见它顶着风、像老鹰似的停留在半空中，它那长长的尾巴颤动着，不敢落下来，生怕有什么鸟儿藏在那山坡上的枞树林里等着要找它报仇。我们才会觉得大大开心。有人想着，博物学家整天观察鸟类，大概就不会觉得有什么趣儿了吧？其实大谬不然--他那持续不断的乐趣几平已经变成一种安详的职业习惯了，不像有人某天早晨突然第一次看见一只杜鹃，不胜雀跃之至，于是，看哪，天地也为之焕然一新了。&lt;br /&gt;
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说到这儿，甚至连博物学家的快乐在一定程度上也有赖于自己的无知；只有如此。才能给他留出一些新的领域有待他去征服。即使他已经攀登了书本知识的顶峰，他仍会感到自己不过是半通不通，每一个引人注目的细节还必须用自己的亲眼观察来加以一一证实。他盼着能亲眼看到雌杜鹃（这可是个稀罕物儿！）把蛋下到地面上。然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。因此，博物学家就要戴上望远镜，日复一日地坐在那里等待着亲眼证实或者否定那种认为杜鹃确实是在地面上而非在窠里下蛋的说法。而日，即使他很幸运，能够发现杜鹃下蛋实况，这个在鸟类来说算是极大的秘密，其他一大批有争议的问题还依然存在。就像新的领土有待他去开拓，例如，杜鹃的蛋跟它占用的窠里其他鸟的蛋是否总是一样颜色？自然，科学家没有理由为了自己失去无知而哭泣。如果他们看起来似乎是精通一切的话，那也不过因为你我差不多是一无所知罢了。实际上，当他们要把一件事实的盖子揭开的时候，某种命定的无知就在等待着他们。海妖们向尤利塞斯唱的究竟是什么歌儿？——他们永远不可能知道，正像托马斯·勃朗爵士也不知道一样。&lt;br /&gt;
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我请杜鹃来做例子以说明普通人的无知，并不是因为我有什么权威可以对这种鸟儿发发议论。不过，我曾在某个教区暂住，而那年春天从非洲飞来的杜鹃似乎全集合在那个地方，因此我也就有机会了解到我自己以及我所碰见的每一个人对于这种鸟儿的知识是如何地微不足道。但是，你我的无知并不仅限于杜鹃这一方面。它涉及到宇宙万物，从太阳、月亮一直到花卉的名字。有一天，我听见一位聪明伶俐的太太提出了这样一个问题∶新月是不是总在星期几露面？她接着又说：不知道倒好，正因为人不知道在什么时候、在天空的哪一带能看见它，新月一出现才给人带来一场惊喜。然而我想、哪怕入把月亮盈亏时间表记得再熟。看见新月出现还是不免又惊又喜，春回大地，花开花落，也莫不如此。尽管我们对一年四季草本节令了如指掌，知道樱草开花在三月四月而不在十月，不过看见一株早开花的樱草，我们还是照样地高兴。另外，我们知道苹果树先开花，后结果，可是五月一旦到来，果园里一片欢闹的花海。我们不是仍然惊为奇观吗？&lt;br /&gt;
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倘在每年春天，把许多花卉之名重温一遍，还另有一番风味。那就像把一本差不多忘得干干净净的书再重新念一遍。蒙田说过，他的记忆力很坏，所以他随时都能拿起一本旧书，像从未读过的新书一样地念。我自己的记忆力也是漏洞百出、不听使唤。我甚至能拿起《哈姆雷特》和《匹克威克外传》，当作是初登文坛的新作家刚刚印成白纸黑字的作品来念，因为自从上回念过以后，这两部书在我脑子里的印象已经模模糊糊了。这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。不过，在这种时候，人不仅想得到娱乐，还追求着什么目的。如果只讲享受的话，记忆力坏比记忆力好究竟差到哪里去，还真是大可怀疑哩。记忆力坏的人可以一辈子不断地念普卢塔克的《英雄传》和《天方夜谭》，而永远感到新鲜。很可能，最坏的记忆力也难免粘粘连连地留下一星半点的印象，恰如一只只绵羊从篱笆洞里接连通过，总不免在那刺条上留下一丝半缕的羊毛。然而，绵羊终归逃出去了，正像伟大的作家从我们不争气的记忆中消失。所留下的东西简直微不足道。&lt;br /&gt;
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既然读过的书我们可以忘得一干二净，那么一年十二个月以及每个月的风物，一旦时过境迁。我们同样可以轻而易举地把它们忘在脑后。在某个短暂时刻，我可以说自己对于五月就像对于乘法表那样熟悉，关于五月里的花木、开花时间乃至前后次序，我能通过考试。今天，我就敢肯定金凤花有五瓣。（难道是六瓣吗？上个礼拜我还记得清清楚楚来着。）可是，到了明年，我也许连算术也忘个干干净净;我得从头学起，以免把金凤花误认成白屈菜。那时，我像一个陌生者进人大花园，放眼四望，五色缤纷的原野再一次使我目不暇接，心迷神醉。那时，我也许要对这么一个问题拿不定注意，就是; 认为雨燕（那种简直像大号小燕子、又和蜂鸟沾点儿亲戚的黑鸟儿）从来不在窠里歇着，一到夜里就飞向高高的天空，到底是一种科学论断，还是一种无知妄说？当我知道了会唱歌的并不是雌杜鹃，而是雄杜鹃。我还要再次感到惊讶。我得重新学习，以免把剪秋罗当作野大竺葵；还要去重新发现白杨在树木生长的习惯法中究章算是早成材还是晚成材。某天。一个外国人问一位当代英国小说家，英国最重要的农作物是什么。他毫不犹豫地回答：“稞麦。”在我看来，这是一种堂而皇之派头的彻头彻尾的无知；不过，大大无知的也包括那些没有文化的人。普通人只会使用电话，却无法解释电话的工作原理。他把电话、火车、铸造排字机、飞机都看作当然之事，就像我们的祖父一代把福音书里的奇迹故事视为理所当然一样。对于这些事，他既不去怀疑，也不去了解。我们每个人似乎只对很小范围内的某几件事才真正下工夫去了解、弄清楚。大部分人把日常工作以外的一切知识统统当作花哨无用的玩意儿。然面，对于我们的无知，我们还是时时抗拒着，我们}有时振作起来，进行思索。我们随便找一个什么题目，对之思考，甚至入迷——关于死后的生命，或者关于某些据说亚里士多德也感到大惑不解的问题，例如“打喷嚏，从中午到子夜则吉，从夜晚至中午则凶，其故安在？”为求知识而陷入无知，这是人类所欣赏的最大乐事之一。归根结底，无知的极大乐趣即在于提出问题。一个人，如果失去了这种提问的乐趣，或者把它换成了教条的答案，并且以此为乐，那么，他的头脑已经开始僵化了。我们羡慕像裘伊特这样勤学好问之人，他到了六十多岁居然还能坐下来研究生理学。我们多数人不到他这么大的岁数就早已丧失了自己无知的感觉了。我们甚全像松鼠似的对自己小小的知识储存感到沾沾自喜，把与日俱增的年龄看作是培养无所不知的天然学堂。我们忘记了∶苏格拉底之所以以智慧名垂后世，并非因为他无所不知，而是因为他到了七十高龄还能明白自己仍然一无所知。 (Zhu Mingju 2007: 322-325)&lt;br /&gt;
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=毛优Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
[[Trans_Type_EN_5]]&lt;br /&gt;
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毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
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=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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[[Trans_Type_EN_6]]&lt;br /&gt;
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彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
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从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。	&lt;br /&gt;
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Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
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Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
翻译风格，巴黎的忧郁，郭宏安，亚丁&lt;br /&gt;
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==Introduction==&lt;br /&gt;
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The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
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Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations. Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
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==Liu Miqing’s theory of translation style==&lt;br /&gt;
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Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
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Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.&lt;br /&gt;
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In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
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==Form Markers==&lt;br /&gt;
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According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
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===Register Markers===&lt;br /&gt;
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“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
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The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
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Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
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Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
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Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
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This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
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===Lexical Markers===&lt;br /&gt;
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Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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'''Eg. (b)'''&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence, translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
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==Non-formal Markers==&lt;br /&gt;
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The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
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Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
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According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
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Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
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The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
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The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
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Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
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Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.&lt;br /&gt;
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==References==&lt;br /&gt;
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[1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[3] 刘宓庆 Liu Mingqing. 新编当代翻译理论[M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp;amp; Publishing Corporation, 2005.&lt;br /&gt;
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[4] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.&lt;br /&gt;
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[5] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.&lt;br /&gt;
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=秦建安 A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
[[Trans_Type_EN_7]]&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Lu Xun, chief commander of China's modern cultural revolution, is not only a great thinker and political commentator but the founder of modern Chinese literature. Kong I-Chi is one of the masterpieces of Lu Xun's novels. Although the total number of characters is less than 3,000 words, Lu Xun exposes the nature of feudal ethics and its negative influence through his character portrayal, which is loved by many readers home and aboard. The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but so as close as possible to the original text in terms of syntactic structure and wording. Therefore, his translations once became the authoritative version of Lu Xun's novels. From the perspective of Nida’s functional equivalence theory, this thesis conducts translation research on the English translation of the famous writer Yang Xianyi, analyzing whether the translation is functionally equivalent to the original text and construe the English translation of prose from the lexical, syntactic, and semantic level to try to explore the translation strategies, styles and methods of Kong I-Chi which aims to explain the functional equivalents in Lu Xun's short novel translation.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Functional Equivalence Theory; Lu Xun; Kong I-Chi;translation method&lt;br /&gt;
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===Introduction===&lt;br /&gt;
This chapter will be expanded with respect to the research background, its significance and the methodology. The literature review will also be included which describes the previous studies on the Functional Equivalence Theory and previous translation versions of ''Kong I-Chi''.&lt;br /&gt;
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'''Research Background and Significance'''&lt;br /&gt;
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As the most famous writer in modern China, Lu Xun has a decisive bearing on the modern history of Chinese literature. Lu Xun settled in a period of transformation in Chinese literature. His short stories are different from modern short stories in terms of text and expression. ''Kong I-Chi'' was written in 1918 when there was a turmoil in China. At that time, although the imperial examination system had been abolished, the education system had not changed, and many scholars had not shaken off the shackles of feudal tenets. &lt;br /&gt;
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''Kong I-Chi'' enjoys high reputation at home and abroad and has been translated into English, Japanese, French, Russian and other languages. Compared with other language versions, the English versions enjoy a wider spread and have deeper influence. In 1954, the couple Yang and Dai translated it into English and published Selected Stories of Lu Xun in which ''Kong I-Chi'' was included. Yang Xianyi and his wife Gladys Yang are great translator beyond all doubt. They are knowledgeable and familiar with Chinese and Western cultures also have devoted their life to translating excellent Chinese and Western literary works. Through their translation, we can better master the author's own novel intentions.&lt;br /&gt;
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'''Methodology'''&lt;br /&gt;
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In recent years, the translation of traditional Chinese literary works was attached great significance by both Chinese and foreign scholars. As an important part of ancient Chinese culture, though, it is a common genre in Chinese and foreign literature, the short novels cannot be neglected. For translators, how to deal with the modern and balance Chinese and Western cultural differences has become a salient problem. It is not only necessary to understand the characteristics of modern Chinese literature, but also to be very familiar with Chinese and Western cultures for the translator. Functional Equivalence Theory is put forward by American linguists Eugene Nida. According to him, two different languages represent two different cultures which will never be the same, but translation is a kind of communication between the two cultures and translators should try their best to achieve functional equivalence between the two languages rather than seek for rigid correspondence when making translation, which can accurately reproduce the source culture in the target language and eliminate cultural differences. It puts forward a new attitude to treat different languages and cultures, promoting language communication and mutual understandings among people. Thus, taking Nida’s theory as guidance, this research is meaningful not only for translation studies, but also for cultural exchanges.&lt;br /&gt;
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'''Literature Review'''&lt;br /&gt;
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As one of Nida’s major contribution to contemporary translation studies, Functional Equivalence Theory has brought about heated discussion among scholars at home and abroad since its birth. Many momentous works of Nida also have been translated and introduced into China, such as Nida on Translation edited and translated by Tan Zaixi (1999) and Language and Translation translated by Cai Yi (1985) which of them aroused great repercussions in Chinese translation field. As the prototypical member of Functional Equivalence Theory, receptor’s response theory draws scholars’ attention. Zhang Xiujuan (2015) points out that “receptor’s response theory breaks the tradition of Chinese translation that translators pay much attention to the text but may ignore the response of readers, and provides a new perspective for Chinese scholars to make studies on translation theories”.&lt;br /&gt;
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Kong I-Chi, as the most typical character in Lu Xun's novels in the teaching textbooks of Chinese junior high school students, has left an indelible impression in the hearts of Chinese people. The most recognized translators of ''Kong I-Chi'' include Yang and Dai, Lyle William and Edgar Snow. The translation of Lu Xun's novels during the period of Yang and Dai reach its heyday. For a long time, domestic and foreign publishing houses have published works translated by the couple. Since Edgar Snow lived in the same age as Lu Xun, his translation is closer to Lu Xun's life background. It wasn't until 1990 that the American scholar William Lyell's new American translation was published, and the new stage of the English translation of Lu Xun's novels began. The British English version translated by Yang and Dai is elegant and idiomatic, giving readers the good impression of pure British English.&lt;br /&gt;
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=== Theoretical Framework: Nida’s Functional Equivalence Theory ===&lt;br /&gt;
==== Introduction of Functional Equivalence Theory ==== &lt;br /&gt;
===== The Original of Functional Equivalence Theory  =====&lt;br /&gt;
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Nida's main academic activities unfold around the translation of the Bible. In the process of &amp;quot;Bible&amp;quot; translation, Nida started from reality and developed a set of his own translation theory, which eventually became one of the classics in translation studies. In 1964, Nida (1964) put forward “dynamic equivalence” in ''Toward a Science of Translating'', and gave it specific definition in ''The Theory and Practice of Translation'' (1969). In the mid-1980s, “dynamic equivalence” was replaced by “functional equivalence” to avoid misunderstandings on the term “dynamic”, which was the origin of Functional Equivalence Theory.&lt;br /&gt;
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=====The Development of Functional Equivalence Theory  =====&lt;br /&gt;
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The most important and the most intractable part in Functional Equivalence Theory is the disposal of message. The theory requires that the message in receptor’s language must be consistent with the source language. In such a translation, translators should strive to “reproduce as literally and meaningfully as possible the form and content of the original” (Nida 1964:159). Later he successfully applied the research results of modern linguistics to translation theory which also reciprocally pushed his theory forward. There are three stages in the development of Functional Equivalence Theory.&lt;br /&gt;
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The first stage is that starting from the essence of language; he used semantic theory to make an objective and accurate analysis of the referent and associative meaning of words. In Nida's point of view, various language structures have great similarities, and the deep structure is far more common than the surface structure. Therefore, the translation of the deep structure between languages can ensure the fidelity of the translation to the greatest extent. At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensue smoothness of the translation as much as possible. The faithful and fluent translation presupposes conditions for the equivalence of receptor’s response, which makes it possible to realize functional equivalence.&lt;br /&gt;
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The second stage is that the theory was prone to lay its foundation on information theory. Nida held the view that translation is the activity of converting information expressed in one language into information in another language, which is, converting information of one code into information of another code. The translation plays a communicative role in transmitting information. Only when the target reader obtains the same amount of information as the original reader can the relationship between the target language recipient and the target language information be basically the same as the relationship between the original language recipient and the original source information. Nida noticed that there is a receptive gap between the original reader and target reader especially when the original language and the target language belong to different language families and different cultures. Thus, in order to improve the amount of the receptor’s information as much as the original reader’s, Nida emphasizes the translator can moderately change the form of the original text to provide a better understanding for receptors.&lt;br /&gt;
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On third stage, Nida tended to embellish his theory from the perspective of social semiotics. Nida insisted that the translation means translation meaning, and semiotics is the most comprehensive system for analyzing meaning. In the book &amp;quot;''Language, Culture, and Translation''&amp;quot;, Nida pointed out that social semiotics studies all codes and codes of human society, and its focus is on the most comprehensive and complex symbol system used by mankind-Language. Therefore, in terms of decoding and encoding, no translation method is as comprehensive as the social semiotic translation method.&lt;br /&gt;
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Nida also recognized that there would never be complete equivalence and it was just a quaesitum. With further development of Functional Equivalence Theory, he thought that it has different degrees of adequacy and on that basis he put forward two levels of functional equivalence — the maximal level and the minimal level of equivalence. The former refers to “the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did” (Nida 1993:118), but this is just an ideal state which cannot be achieved especially when there are huge cultural and aesthetic differences between the two languages. While the latter means “the readers of a translated text should be able to comprehend it to point that they can conceive of how the original readers of the text must have understood and appreciated it” (Nida 1993: 118), and translation below this level can never be accepted. According to Nida, if a translation is between these two levels, it can be regarded as a good one.&lt;br /&gt;
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==== Basics of Functional Equivalence Theory  ==== &lt;br /&gt;
=====Receptor’s Response  =====&lt;br /&gt;
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In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s responce. When translators are working on translation, they are increasingly unable to ignore the reader's feedback on the translation. From the perspective of reception aesthetics, translation theorist Nida said that only when the reader accepts the translation can the translation be truly completed. Therefore, when translating, the translator cannot ignore the acceptability of the translation. The translator builds a bridge between the original author and the reader of the target language through translation, and it is the translation that can clearly reflect this bridge role.&lt;br /&gt;
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Receptor’s Response Theory draws attention to the reader and the reading process, rather than the author or the text. Pat Mora and James Welch define it as: &amp;quot;The theory emphasizes the importance of the reader's role in text understanding.&amp;quot; The same description also appears in many of Nida’s works in which the importance of “receptor’s response” is emphasized repeatedly. &lt;br /&gt;
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There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which was pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information need to be filled in by the reader himself. Such uncertainty occupies another very important position in this theory. This concept includes those vague factors, such as gaps and blanks. This kind of uncertainty encourages readers to add their own ideas when reading, so there is usually more than one understanding of a literal work. The third point is implicit reader also proposed by Isel, as opposed to the actual reader, which refers to the intended reader set by the writer himself who can concretize the text. Isel points out that the implicit reader is not the actual reader, but a reader that the author expects to design in the creative process, that is, the implicit recipient. It is a certain character that the artist conceives and pre-sets based on his experience or hobbies. The forth part is the identity theme. In other words, the work itself has no fixed objective meaning; only when the reader reshapes the work out of his own identity theme and the reader replicates his own fantasies during the reading process, the work can be given meaning. The last point is the interpretative group which was put forward by Stanley Fish. It refers to people who share the same interpretation strategy as we have. In a known context or reader group, the interpretation of the work meaning is the product from the group.&lt;br /&gt;
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===== Principles for Producing Functional Equivalence  =====&lt;br /&gt;
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To achieve the closest natural equivalence between the source language and target language, Nida put forward six principles as the guidance of different kinds and degrees of adjustments:&lt;br /&gt;
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1.	When the translation that strictly keeps the form of the source text makes receptors misunderstand the designative meaning, changes need to be made in the translated text, or a footnote should be added for further explanation if literal translation is still be selected.&lt;br /&gt;
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2.	When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aim to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.&lt;br /&gt;
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3.	When the translation that strictly keeps the form of the source text is so semantically and syntactically difficult that average readers may give up the attempt to understand it, changes should be made in the translated text and the nature of the changes needs to be indicated in the introduction or footnote.&lt;br /&gt;
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4.	When the translation that strictly keeps the form of the source text causes significant misconceptions on the associative meanings of the source text or huge loss in the appreciation for the stylistic values of the source text, changes should be made to reflect the associative meanings of the source text.&lt;br /&gt;
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5.	The way that a translation is to be used (such as a drama to be read or acted on the stage) is of great significance to the extent to which changes are to be made.&lt;br /&gt;
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6.	A source text that must be translated together with accompanying codes (such as songs and operas) generally requires numerous adjustments in all aspects, including phonology, lexicon, syntax, and discourse. (Nida 1993: 125-128).&lt;br /&gt;
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=== Introduction to Lu Xun and ''Kong I-Ch''i  === &lt;br /&gt;
==== Lu Xun and the values of ''Kong I-Chi'' ====&lt;br /&gt;
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To read and translate Kong I-Chi, you must first understand its author-Lu Xun.&lt;br /&gt;
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Lu Xun is a great writer. Mentioning classical literary works, no matter what innovative methods are adopted, whether realistic, romantic, or magical, the content should be close to life, reflect the reality of times and speak for the people. In terms of form, literary works should conform to the inherent rules of literary creation-forming a unique artistic style and achieving the perfect unity of truth, goodness, and beauty. Lu Xun's works fully meet the above requirements. &lt;br /&gt;
Lu Xun is also a famous thinker. Indeed, Lu Xun did not specifically study thinking or modes of thinking, nor did he have advanced theoretical monographs, but he, like thinkers in ancient and modern times, both at home and abroad, used suspicion and criticism as spiritual swords to explore truth and reveal. He held the view that it was his duty to awaken the sleeping souls of the Chinese people with literary works of various genres. The depth and breadth of his thinking is even higher than that of some contemporary thinkers. This is well reflected in his work Kong I-Chi.&lt;br /&gt;
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Lu Xun, who is a revolutionary, has a precious characteristic, that is, the purity of his revolutionary original intention. Lu Xun leaned towards socialism under the white horror of the low ebb of the Chinese revolution. What's more commendable is that as a sober realist, Lu Xun never conceives any romantic illusions about the revolution. No matter what difficulties the revolution encounters, Lu Xun always has an optimistic belief in the prospects of the revolution.&lt;br /&gt;
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From a general perspective, Lunatic's Diary is more macro and image specific than Kong I-Chi, while Kong I-Chi starts from the micro level, depicting the poor people at the bottom of society who was bullied and oppressed and lost their dignity as human beings. In addition, there are many opinions in the critics. For example, Mr. Lu Xun's Kong I-Chi was written to criticize the feudal imperial examination system, and some people think that it was sent out to criticize the “dark” old society. The famous critic Lin Zhihao believes that this novel is not only to assail at the corruption of the feudal imperial examination system, but also to reveal the persecution of people’s spiritual and ideology by the feudal education system in the dark old society. The social reality was that most scholars had been ruthlessly “eaten” up by the environment. When the shackles of thinking have been broken, we can dig into the deep meaning under the surface of Kong I-Chi, that is, the process of literati's loss of personality and the process of redemption under the background of the dark society of feudalism. Although the tragedy is redemptive, the process is also accompanied by a fall.&lt;br /&gt;
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==== Study on the Translation of ''Kong I-Chi''  ====&lt;br /&gt;
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''Kong I-Chi'' is a masterpiece of Lu Xun. The novel was created in the winter of 1918, published in the sixth volume of &amp;quot;''Italic text''New Youth&amp;quot; in April 1919. (刘家鸣1992: 15). ''Kong I-Chi'' is Lu Xun's most satisfying work (孙伏园等2000: 58), and it is also one of Lu Xun's novels that English translators are vying to translate resulting in an amount of English translation. &lt;br /&gt;
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So far, there are eight translations of ''Kong I-Chi'': 1)A British man E.H.F.Mills translated ''Con Y Ki'' from Jing Yinyu's French translation (Mills 1930: 42-50), included in ''The Tragedy of Ah Q and Other Contemporary Chinese Short Stories'' published by George Rutridge Bookstore in London in 1930; 2) The English translation of ''K’ung I-chi'' by the American Jin Shouzhuo (G.A.Kennedy 1932: 14-15), which was later included in ''Isaacs'' (Isaacs 1974: 25-32) edited by Yi Luosheng; 3) ''K’ung I-chi'' translated by Lin Jijin (Lin 1935:3-4); 4) Unsigned version of The Tragedy of ''K'ung I-Chi'' (Anonymous 1936: 2-3); 5) ''K’ung I-chi'' was co-translated by American journalists Edgar Snow and Yao Xinnong; 6) later comes to Yang Xianyi and Gladys's translation ''K'ung I-chi'' (hereinafter referred to as &amp;quot;Yang Translation&amp;quot;) (Yang &amp;amp; Gladys 1960: 40-46); 7)Then, famous American sinologist William Lyell translated ''Kong Yiji'' (Lyell 1990: 42-48); 8) other translation of ''Kong Yiji'' was produced by British sinologist Lan Shiling ( Lovell 2009: 32-36).&lt;br /&gt;
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This article focuses on Yang's translation, trying to explore Yang and Dai's translation strategies, styles and methods of ''Kong I-Chi'' from the lexical, syntactic and semantic levels, and aims to explain the functional equivalence in the English translation of Lu Xun's short stories.&lt;br /&gt;
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=== Analysis of the Translation of ''Kong I-Chi'' from the Perspective of Functional Equivalence  === &lt;br /&gt;
==== Lexical Analysis ====&lt;br /&gt;
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There are many cultural-loaded words in the original Kong I-Chi text, such as this. Culture-loaded words are deeply imprinted by the region and era of a certain language society which express things and concepts peculiar to a certain culture. Such words as “进学” and “秀才” not only carry rich cultural connotations, but also exist only in a certain culture which may be blank in another culture. It is this characteristic which is “I have and you do not have” that often becomes an obstacle to cross-cultural communication and translation. From the perspective of Functional Equivalence, this thesis will analyze how these words are handled in Yang's translation.&lt;br /&gt;
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In the sentence “幸亏荐头的情面大，辞退不得”, the word “荐头” was translated into “someone influential” by Yang and Dai. “荐头” is the person who introduces works to other people in ancient China. Such person is absolutely influential. But for reader, such influential people may be a nobleman or someone who is very authoritative in the area which may result in discrimination. The job introducers also can be regarded as common people instead of the influential. From the perspective of Functional Equivalence, Yang’s translation explicitly showed the deep meaning with loss of cultural characteristic.&lt;br /&gt;
The phrase “之乎者也” was translated into “archaisms” which stands for the use of an archaic expression. In Chinese, the original meaning of “之乎者也” is four auxiliary words commonly used in classical Chinese. Therefore, the word &amp;quot;之乎&amp;quot; also refers to the basic abilities that a scholar should possess. Later, it is used to ridicule the scholar who only knows how to analyze words while cannot solve practical problems. Functional equivalence theory requires efforts to create translations that not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. The word “archaisms” corresponds exactly to the description of Kong I-Chi in Lu Xun’s story who is a nerd.&lt;br /&gt;
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Other prototypical cultural-loaded word is “进学”. Yang translated it into “pass the official examination”. As a link in the imperial examination system in ancient China, “进学” means that the children of the Qing dynasties who can pass the examination will be admitted to the prefectural and county schools. Such system is unique to China. To achieve functional equivalence, that is, to allow non-native readers to understand this special cultural mark, the translator must explain this cultural phenomenon as much as possible or find a corresponding expression in the foreign language culture. The same in the word “秀才” on this sentence “你怎的连半个秀才也捞不到呢?” “秀才” also belong to the imperial system. “秀才” is a subject for selecting officials in ancient China, and it was once used as a special name for school students. Yang translated it into “passed the lowest official examination”. As the minimum requirement of the ancient imperial examination system, those who passed the selection examination were called  “秀才”. According to Nida’s theory, it perfectly expresses the ancient Chinese imperial examination system, and at the same time allows foreign language readers to understand Kong I-Chi’s knowledge background.&lt;br /&gt;
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==== Syntax Analysis ====&lt;br /&gt;
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In terms of syntax, the differences in sentence patterns between English and Chinese are the most salient. English emphasizes hypothesis while Chinese emphasizes parataxis, which leads to the conversion of sentence patterns in the process of translation. According to Nida's Functional Equivalence Theory, if the change in form is still insufficient to express the meaning and culture of the original text, the translation technique of &amp;quot;reconstruction&amp;quot; can be used to resolve cultural differences and make the source language and the target language equal in meaning. &amp;quot;Reconstruction&amp;quot; refers to the conversion of the deep structure of the source language into the surface structure of the target language (郭建中,2000 , P67), that is, the cultural connotation of the source language article is explained by the vocabulary of the target language.&lt;br /&gt;
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In ''Kong I-Chi'', when Kong I-Chi took our his money and ordered some food, other people started to sneer at his revenue sources and said “你一定又偷了人家东西了!” The exclamatory sentence in the original text showed others' affirmation of Kong I-Chi's theft. Yang translated it into “You must have been stealing again!” Here we can notice the tense of the two sentences. Lu Xun used the past tense in original text, which expresses that Kong I-Chi's stealing is an established fact. However, Yang used the present perfect continuous tense when translating. In English, the present perfect continuous tense manifests that something the subject has done in the past is still being done, and may continue in the future, expressing the continuation of an action. There is no need to add any other additional descriptions, just from this tense, readers can realize everyone's thoughts on Kong I-Chi's theft. Such reconstruction of tense verifies the application of Functional Equivalence Theory in turn.&lt;br /&gt;
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Afterwards, these people who deprecated him refuted Kong I-Chi's maintenance of himself, saying: “什么清白?” In Yang's translation, it is translated as “Pooh, good name indeed!” In the original text, it is originally an interrogative sentence, but Yang transformed it into an exclamation sentence, added English slang “pooh” in it and translated “清白” into good name. If the interrogative sentence in the original text is literally translated into &amp;quot;what’s the innocence&amp;quot;, the comic effect, that is, everyone's disdain for Kong I-Chi in the exclamatory sentence will not be achieved. The sentiment contained in the original text is successfully conveyed through the conversion of sentence patterns.&lt;br /&gt;
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When describing Kong I-Chi’s knowledge background, the original text mentioned: “幸而写得一笔好字，便替人家钞钞书”. In Yang’s translation, he didn’t directly translate it into a verb phrase instead of into a noun phrase which was “Happily, he was a good calligrapher.” Knowing the characteristics of English and Chinese languages, he metonymically recreated dynamic Chinese verb clauses into static noun clauses.&lt;br /&gt;
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==== Semantic Analysis ====&lt;br /&gt;
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How to eliminate cultural differences as much as possible so that the semantics of the original language can be perfectly embodied? From the perspective of Functional Equivalence Theory, the translator needs to transform the deep structure of the source language into the surface structure of the target language which requires translator to use the corresponding vocabulary in the target language to directly explain the connotation of the original text, so that the target readers can accept the translation more easily. For example, in the original text, the sentence “因为他姓孔，别人便从描红纸上的 ‘上大人孔乙己’这半懂不懂的话里，替他取下一个绰号，叫作孔乙己” includes an allusion: 上大人孔乙己 which refers to a character in the card game popular in ancient China. In such card game, the characters always are drawn in a red paper. For children in ancient China, the card game was easy to play and was a childhood memory.&lt;br /&gt;
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In Yang’s translation, he translated it into “As his surname was Kung, he was nicknamed ‘Kung I-chi’, the first three characters in a children's copybook.” Such translation omits a lot of information from the original text, such as “描红纸上” and “半懂不懂”. But Yang gave a substitute for the omission: he explained the game allusion about children which can be regarded as a strategy that helps foreign readers better understand how Kong I-Chi comes. &lt;br /&gt;
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Another illustration is the translation of this sentence: “孔乙己，你当真认识字么？” It seems fairly easy for common people to translate it with “Kong I-Chi, do you really know words?” , while Yang gave a different version: “Kung I-chi, do you really know how to read?” In our cognitive concepts, if a man knows how to read a word, then he must know this word. But if he knows the word, he may not only know how to read it, but even know how to write it. Such special mechanism is called conceptual metonymy. Yang metonymically narrowed the scope of the meaning of the word “认识”and accurately positioned the meaning of this understanding according to the context. The translator abandons the equivalence of form and achieves the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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This article selects Yang’s translation of &amp;quot;''Kong I-Chi''&amp;quot; as the study case, and analyzes the translation effect from three aspects: lexicon, syntax and semantics, combined with Nida’s Functional Equivalence Theory. It is believed that the translator flexibly uses a variety of translation methods to deal with the differences between English and Chinese languages, and the translation has realized functional equivalence as a whole.&lt;br /&gt;
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At the lexical level, the translator adopts the naturalization method when translating the proper nouns of &amp;quot; ''Kong I-Chi'' &amp;quot;, adding notes to individual words. The translation perfectly conveys the meaning of the original vocabulary. &lt;br /&gt;
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At the syntactic level, when there are differences in the expression of English and Chinese sentences, the translator will split the sentence, adjust the subject and object of the sentence, change the sentence structure and the sentence order to make the translation conform to the expression of the target language where the translation is smooth and natural. When translating the allusions of &amp;quot; ''Kong I-Chi'' &amp;quot;, the translator adopts literal translation and annotations. &lt;br /&gt;
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In terms of semantics, the translator uses the mechanism of conceptual metaphors to accurately show the original flavor.&lt;br /&gt;
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This article believes that the success of Yang’s English translation of &amp;quot;''Kong I-Chi''&amp;quot; lies in its fluent, natural language and exotic flavor. The author and translator of &amp;quot; ''Kong I-Chi'' &amp;quot; are both famous artists. The translation case from the English translation of &amp;quot;''Kong I-Chi''&amp;quot; reflects the practical application of the Functional Equivalence Theory in Lu Xun's novels. The writer also hopes that this thesis can provide ideas and inspirations for the English translation of other Lu Xun's novels.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Nida E.A. ''Language and Culture: Contexts in translating''. Shanghai: Shanghai Foreign Language Education Press.2001. &lt;br /&gt;
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[2]Nida, Eugene A.1964. Towardsa ''Science of Translating'', Leiden: E.J.Brill. &lt;br /&gt;
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[3]Nida, Eugene A.&amp;amp;Charles R.Taber, 1969, ''The Theory and Practice of Translation'', Leiden: E.J.Brill&lt;br /&gt;
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[4]鲁迅Lu Xun.鲁迅全集(第一卷)Selected Work of Lu Xun(volume Ⅰ）[M].北京Beijing:人民文学出版社People's Literature Publishing House ,1982.&lt;br /&gt;
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[5]谭载喜Tan Zaixi．新编奈达论翻译New Nida's Translation[M]．北京Beijing：中国对外翻译出版公司China Translation &amp;amp; Publishing Corporation，1999.&lt;br /&gt;
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[6]杨坚定Yang Jianding，孙鸿仁Sun Hongren．鲁迅小说英译版本综述A Summary of the English Versions of Lu Xun's Novels[J]．鲁迅研究月刊Lu Xun Research Monthly，2021(4)．&lt;br /&gt;
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[7]伊塞尔Iser.本文中的读者 Readers in this article[A]．二十世纪西方美学名著选（下）Selected Works of Western Aesthetics in the Twentieth Century (Part 2)[C]．上海Shanghai：复旦大学出版社Fudan University press,1998.&lt;br /&gt;
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[8]杨宪益.Yang Xianyi,戴乃迭 Dai Naidie译.鲁迅选集英文版(一) Selected Works of Lu Xun (1)[M].北京:外文出版社 Beijing: Foreign Languages Press,1980.&lt;br /&gt;
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[9]https://baike.baidu.com/item/%E5%8A%9F%E8%83%BD%E5%AF%B9%E7%AD%89%E7%90%86%E8%AE%BA/3373397?fr=aladdin&lt;br /&gt;
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[10]https://www.zhihu.com/question/29965932&lt;br /&gt;
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=颜子涵 Translation methods and strategies applicable to the style of biographical literature -- Taking Incidents in Life of Slave Girl (excerpt) as an example=&lt;br /&gt;
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[[Trans_Type_EN_8]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
The translated text of this article is a part of the English biography Incidents in Life of Slave Gir. The author of this work is Harriet Jacobs. This translation mainly takes the translation functional equivalence theory of American linguist Eugene A.Nida as the theoretical framework, adopts some translation skills in translation practice, and discusses the translation skills and Strategies of Chinese translation of such texts by analyzing the stylistic characteristics of biographical literature, especially African American autobiography. Through the Chinese translation of this autobiography, we can have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Autobiographical Literature; Black female slaves; Translation methods and Strategies&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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This paper is divided into four parts. The first part is an overview of the translation project, which mainly introduces the relevant situation of the translation project, the author and works of the translated text; The second part is the preliminary preparation of translation, including project text analysis and translation plan formulation; The third part, translation theory and case analysis, including functional equivalence theory, translation strategies and case analysis; The fourth part is the summary of the project, mainly on the problems encountered in translation, the experience and inspiration gained in the process of translation.&lt;br /&gt;
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This work belongs to the category of biographical literature. Biographical literature is a literary genre in which the author reproduces the characters' life stories and experiences, shows the characters' spiritual outlook and values, and depicts the characters' distinct love and hate and vivid personality through documentary writing and a variety of literary and artistic techniques. There are more than 50 characters involved in the biography. In the author's works, these characters are very vivid, such as the forbearance of a strong grandmother to the slave owner, the loyalty of a hard-working aunt to the slave owner, the oppression of female slaves by a crafty and sinister doctor, and the wit of Linda Brent, the heroine who pursues freedom and courage. In particular, the author's description of the heroine's seven years spent in a &amp;quot;cage&amp;quot; like cabin before she fled to the North more ruthlessly castigates the evil of slavery. The heroine's experience deeply moved her relatives and friends, including white slave owners. With the help of her relatives and friends, the heroine was able to escape to the north.&lt;br /&gt;
Taking the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework, this paper adopts the following translation skills in the process of translation: 1. The translation methods of foreignization and domestication are used to achieve partial functional equivalence between the source language and the target language, so as to reduce the lack of culture after translation. 2. According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to make the translation conform to the expression habits of the target language. 3. The methods of addition and subtraction are adopted to make the translation consistent with the original in grammar and language form, as well as in cultural background and word association. 4. The Conversion Transformation is adopted to make the translation more acceptable to the target language readers. By analyzing the stylistic characteristics of biographical literature, especially African American autobiography, the author discusses the translation skills and Strategies of Chinese translation of such texts.&lt;br /&gt;
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=== Text background===&lt;br /&gt;
From the beginning of the British northern colony to the early 20th century, blacks were brutally exploited and oppressed by the slavery system. In particular, female slaves not only had to bear heavy labor, but also suffered the destruction and abuse of supervisors. Since the publication of the first Autobiography of black slaves in 1760, some advanced elements in black slaves denounced and denounced the evils of slavery with their own experience, and made outstanding contributions to the abolition movement. The author of this work is Harriet Jacobs, whose pseudonym is Linda Brent. Born in a slave family, she fought tirelessly because she could not bear the persecution of slave owners on her and her children. After fleeing to the north, the author wrote a biography of his personal experience of being enslaved, exploited, persecuted, fleeing to the north and realizing freedom, which was published in 1861. Through the Chinese translation of this autobiography, more people have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves.&lt;br /&gt;
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===Research Purpose and Significance===&lt;br /&gt;
This autobiography of black women starts from the experience of childhood from the perspectives of black slaves and women. In the process of growing up, the author experienced different masters of good and evil. When she was a child, her hostess let the author learn to read and write. Later, she died of illness. Then the new owner, Dr. flint and his wife tortured and framed her. Later, for the freedom of her children, the author resolutely decided to flee to the north and enjoy the right to freedom with her children. In the process of pursuing freedom, he went through escape, pursuit, hiding until he went north by boat. The author selects simple but typical examples in daily life, through the description of characters' psychology and language, the contradictory struggle between the interests of opposite classes, the criminal complaint of slave trafficking, and the process of slaves fleeing to the north, reveals the slave owner's naked exploitation and fraud of slaves, and reveals the slave's sincerity, courage and longing for freedom. The simple language and narrative techniques of the work fully shape the tenacity, courage, intelligence and clear love and hate of the female slave Linda Brent, and show the readers the misfortune and suffering of many slaves.&lt;br /&gt;
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=== Translation theory and case analysis===&lt;br /&gt;
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3.1 functional equivalence theory&lt;br /&gt;
This translation practice report takes the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework. Eugene Nida is an American linguist and a famous translation theorist. From the perspective of etymology, according to the essence of translation, he put forward the famous dynamic equivalence translation theory, namely &amp;quot;functional equivalence&amp;quot;. In this theory, he pointed out that &amp;quot;translation is to reproduce the information of the source language from semantics to style in the most appropriate, natural and equivalent language&amp;quot;. He believes that translation is not only the equivalence of lexical meaning, but also the equivalence of semantic style and style. The information conveyed by translation includes both surface lexical information and deep cultural information. Equivalence in dynamic equivalence includes lexical equivalence, syntactic equivalence, textual equivalence and stylistic equivalence. Nida pointed out that the translation should be functionally equivalent to the original text. Judging whether the translation is equivalent to the original text should be based on the psychological response of the readers, that is, the translator should not only stay in the equivalence of structure and semantics, but strive to make the target readers produce the functions and effects that the original author wants to achieve through his works, so as to make the target readers after reading the translation, Get the same feelings as the original readers, and make translation really become a converter of thoughts, feelings and cultural information. Therefore, in literary translation, according to Nida's theory, the translator should take the four aspects of dynamic equivalence as the translation principle to accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
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The core of Nida's functional equivalence theory is &amp;quot;content is greater than form&amp;quot;, which emphasizes that when there is a conflict between content and form, content must precede form (Nida, 2004:203). Due to the differences between Chinese and Western ways of thinking and logical habits, in order to make the translation conform to the habits of readers in the target country and make it easier for readers in the target country to accept, the author has adopted different translation methods and strategies. According to the specific content of Nida theory, this paper intends to analyze its application in English-Chinese translation practice from four aspects. 1、 According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to achieve lexical semantic equivalence between the source language and the target language; second, addition and subtraction and part of speech conversion are used to make the translation conform to the expression habits of target slogans in grammar and language form and consistent with the original text in terms of cultural background and word association; third, forward and reverse translation is used to reproduce the original text Fourth, for the long and difficult sentences of the original text, the translation methods such as reorganization, sentence splitting and merging are adopted to make the language expression forms of the translation more rich and diverse, and more easily accepted by the target language readers.&lt;br /&gt;
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3.2 translation skills and case analysis&lt;br /&gt;
When translating vocabulary, the author mostly adopts the literal translation method to convey the information of the original text more accurately. If the meaning of the translation is not accurate enough or does not conform to the Chinese expression habits after the literal translation, the author adopts the free translation method, while for the long and difficult sentences with complex structure, the translational translation method and split method are adopted to make them conform to the Chinese expression habits and more acceptable to the readers.&lt;br /&gt;
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=== Translation skills, methods and case studies===&lt;br /&gt;
Case 1: literal translation and free translation to achieve semantic equivalence in vocabularyIn the process of translation, it is the basic quality of every translator to correctly express the source language in the target language. In order to achieve this goal, the translator must start with the smallest unit of the source language—vocabulary. In project translation, the author follows the functional translation theory and pursues semantic equivalence. First, we must ensure the equivalence of lexical meaning. The author mainly discusses the semantic equivalence of words from two aspects: literal translation and free translation.&lt;br /&gt;
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1. Literal translation  &lt;br /&gt;
Literal translation emphasizes the consistency between the original text and the translation in form and content, which helps to maintain the style of the original text. Literal translation is not a dead translation, a hard translation, or a literal translation. Literal translation emphasizes retaining its form and reaching its meaning.&lt;br /&gt;
The example 1:&lt;br /&gt;
“Nothing could please her better than to see me humbled and trampled upon” is literally translated as ”没有什么比看到我恭顺谦卑、任人践踏更让她快活啦。”&lt;br /&gt;
Analysis: in this sentence, humbled and trampled upon is used to express the due psychology and living state of slaves in the eyes of slave owners. Here, it can be translated into obedience, humility and trampling, which can reflect the coldness of slave owners and the misery of slaves.&lt;br /&gt;
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2. Free translation&lt;br /&gt;
Paraphrase emphasizes divine similarity. When the original text is quite different from the translation in terms of lexical meaning, syntactic structure and style, it can not be confined to the original text. Free translation should be adopted to explain the form of the original language in another language form, so as to correctly express the ideological thrust of the original text. Free translation should conform to the grammatical norms and expression habits of the target language, so as to make the translation more fluent and natural. Free translation is not arbitrary addition and deletion, nor random translation. Free translation emphasizes &amp;quot;preaching its spirit&amp;quot; rather than &amp;quot;retaining its shape&amp;quot;. The work belongs to biographical literature. There are great differences between the source language culture and the target language culture. The translator can not adhere to literal translation from beginning to end, but should carry out free translation according to needs, so as to achieve better translation effect.&lt;br /&gt;
The example 2:&lt;br /&gt;
I resolved to give him no cause to accuse me of being too much of a lady, so far as work was concerned.&lt;br /&gt;
literal translation: 就工作而言，我决心让他找不到口实指责我过分淑女。&lt;br /&gt;
free translation: 就工作而言，我决心让他找不到口实指责我养尊处优。&lt;br /&gt;
Analysis: a lady originally means 女士或优雅的女子. Too much of a lady is often understood as 十分优雅. Because the author could read and write and looked dignified, he had not done heavy work like other slaves before, &amp;quot;I&amp;quot; guessed that the young master was disgusted with it. Here, too much of a lady is translated by free translation, which reflects the inner contempt of the young master for &amp;quot;me&amp;quot;.&lt;br /&gt;
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Case 2: addition, subtraction and part of speech conversion make the translation achieve sentence meaning equivalence, which is in line with the expression habit of the target language.&lt;br /&gt;
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3. Additional translation&lt;br /&gt;
The example 4:&lt;br /&gt;
One day, she sat under the window where I was at work, crying that weary cry which makes a mother's heart bleed. &lt;br /&gt;
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一天，她就坐在我干活的那个房间的窗户外哭，哭得声嘶力竭让任何一个做母亲的心里流血。&lt;br /&gt;
Analysis: A mother literally means &amp;quot;一个母亲&amp;quot;, but the following clause is translated into &amp;quot;哭得声嘶力竭让一个母亲的心里流血&amp;quot;. The emotion of the translation is weak. In this article, &amp;quot;I&amp;quot; as a slave must work and can't take into account children and family affection, because in the slave owner's view, slaves are low animals and don't deserve feelings. Although I heard my daughter crying, I couldn't get over it. Any mother would be distressed to hear her daughter's cry. In order to make up for the lack of emotion in literal translation, the method of additional translation should be adopted here, which is translated as &amp;quot;任何一个母亲&amp;quot;&lt;br /&gt;
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4. Omission &lt;br /&gt;
The example 5:&lt;br /&gt;
The doctor stamped his foot at him in a rage, and exclaimed, &amp;quot;Get out of the way, you little damned rascal! If you don't, I'll cut off your head.&amp;quot;&lt;br /&gt;
translated text：医生愤怒地跺了他一脚，厉声说道：“滚开!他妈的小坏蛋，如果不听话，我把你的头砍下来!”&lt;br /&gt;
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Analysis: Dr. flint twice went to the north to pursue the fugitive slave &amp;quot;I&amp;quot; without success. He spent a lot of money and was full of anger. At this time, my son asked him if he had brought his mother back. Dr. flint stamped his feet angrily, scolded and threatened the child. Through the vivid description of Dr. Flint's body movements and language, his angry image jumped onto the paper,In order to achieve the same effect and achieve the equivalence of language style, the author uses even verbs according to the original &amp;quot;stamped his foot at him in a rage, and exclaimed&amp;quot; and translates it into &amp;quot;stamp his foot angrily and say&amp;quot; you little damned rascal!!! &amp;quot;It is also a typical strong adult's words towards weak children. In order to be concise and powerful, the author omits &amp;quot;you&amp;quot; and translates it into &amp;quot;他妈的小坏蛋&amp;quot;.&lt;br /&gt;
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The example 6:&lt;br /&gt;
But when winter came, the cold penetrated through the thin shingle roof, and I was dreadfully chilled.&lt;br /&gt;
translated text：上次遭遇蛇咬，现在我对蛇更惧怕了，踏上这个藏身的地方，我不由心惊胆颤。&lt;br /&gt;
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Analysis: My fear of snakes is literally translated as &amp;quot;我对蛇的恐惧&amp;quot;, and the subject of the following clause is &amp;quot;我&amp;quot;. In order to give the target readers a unified reading perspective, my fear of snakes had been increased is translated as: 我对蛇更惧怕了. By transforming the noun of fear into a verb, the translation is more concise and more in line with Chinese expression habits than literal translation.&lt;br /&gt;
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Case 3: The stylistic style of the original text is reproduced by positive and negative translation.&lt;br /&gt;
5.The Positive and Negative Translation&lt;br /&gt;
The example 7:Nobody respects a mother who forsakes her children; and if you leave them, you will never have a happy moment.&lt;br /&gt;
translated text 1：没有人尊重抛弃孩子的母亲，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
translated text 2：抛弃孩子的母亲会遭人唾弃，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
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Analysis: This sentence contains a negative indefinite pronoun—nobody. In translation text 1, the first half of the original text (Nobody respects a mother who forsakes her children) is translated into &amp;quot;没有人尊重抛弃孩子的母亲&amp;quot;. Although the meaning is translated, the expression is not authentic. Translation text 2 uses the positive and negative translation method to change negative into positive, and “Nobody respects” into &amp;quot;being despised&amp;quot; can better express the speaker's (my grandmother's) eagerness to oppose &amp;quot;I&amp;quot; to escape.&lt;br /&gt;
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Case 4:The translation methods of reorganization, sentence splitting and merging are adopted to make the translation conform to the expression habits of the target language&lt;br /&gt;
There are great differences between English and Chinese syntactic structures. English is a linear language. Its syntax takes the subject predicate structure as the central axis, while other components form branch lines in the form of branches and connect with the main axis through connectives. The logical relationship between sentences tends to be explicit,; Chinese is more parataxis, and the combination between the components in a sentence or between sentences mostly depends on the connection of semantics and uses fewer connectives. Chinese sentences are arranged under the command of theme, that is, the structure of &amp;quot;topic description&amp;quot; has various forms and free combination. The logical relationship between sentences is more implicit (Yang Lin, 2007: Preface). There are few logical relational words between clauses and between sentences. Therefore, the author adopts the reorganization method, combining syntax and disassembling syntax to realize the semantic equivalence of sentences, and studies the influence of sentence structure on the translation. The significance is to better guide the translation practice.&lt;br /&gt;
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5.Recasting&lt;br /&gt;
The example 7: This was the good old lady who paid fifty dollars for my grandmother, for the purpose of making her free, when she stood on the auction block.&lt;br /&gt;
translated text：这个老太太是个好人，当年外祖母站在拍卖台上，为了让外祖母获得自由她花五十美元买下了我的外祖母。&lt;br /&gt;
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Analysis: The original text contains two compound structures, one is an attributive clause, the other is a time adverbial clause. Because Chinese sentences are constructed according to the law of logical order, the word order is arranged according to the actual sequence and event order, which is divided into sequence in time, and pay attention to the causality in logic. The author adjusts the time adverbial clause to the front, first explain the time, then explain the reason, and finally the result. This reorganized translation plays an important role in shaping the relationship between sentences, which is in line with the characteristics of Chinese sentence structure.&lt;br /&gt;
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6.Sentence-combining&lt;br /&gt;
The example 8: There was joy and there was sadness in the sound. It made my tears flow.&lt;br /&gt;
translated text：无论是哭声还是笑声都会让我泪流满面。&lt;br /&gt;
&lt;br /&gt;
Analysis: The original text is two sentences. Considering the close causal relationship between the two sentences, the author adopts the translation method of combined sentence to translate it into one sentence, so that the target language readers can read it more naturally.&lt;br /&gt;
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&lt;br /&gt;
7.Dismantle the syntactic&lt;br /&gt;
The example 9: My hope was that the doctor would get discouraged, and, for fear of losing my value, and also of subsequently finding my children among the missing, he would consent to sell us; and I knew somebody would buy us.&lt;br /&gt;
translated text：损失一个女奴，再赔上我的两个孩子，这正是弗林特医生所担心的。他会泄气并同意卖掉我们，我知道有人会买下我们，而这正是我所希望的！  &lt;br /&gt;
&lt;br /&gt;
Analysis: When dealing with long English sentences, the method of splitting is generally used to divide the original sentence into several parts and combine them according to their internal logical relationship. The adverbial clause after the subject of “My hope” consists of three parallel sentences, the second of which has a more complex cause adverbial. The author first takes apart the subject clause, first translates the clause, and then presents the subject at the end, which is in line with the characteristics of Chinese presentation before topic.&lt;br /&gt;
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Case 5: Stylistic equivalence&lt;br /&gt;
The basic task of translation is to faithfully present the original text, so it is necessary for the translator to pursue the style of the original text. To achieve stylistic equivalence, the translator needs to analyze and identify the stylistic markers in the original. The original text contains national language characteristics, historical allusions and religious beliefs, so it has cultural differences. In translation, it should reflect the style of the original text and optimize it accordingly, so as to realize the re creation of style and adapt to the communication of the target language.&lt;br /&gt;
The original text has strong religious and cultural content, simple and pious faith, and shows their enthusiasm and passion for them. In translation, we should not only show the feeling of religious belief and culture, but also optimize the sentence style and deal with alienation appropriately, so that readers can feel the piety and understand the author's writing intention.&lt;br /&gt;
The key to shaping the problem role lies in its adaptability to the style of the original language. Only by adopting appropriate translation methods, deeply understanding the cultural background of the original text and skillfully changing the style of the original text, can the style meaning of the original text be reproduced in the target language and better reflect its charm and artistic conception.&lt;br /&gt;
In a word, a biographical text should be well expressed first to make it conform to the expression habits of the target language. First, we should deeply understand the creative intention of the original author and think of what we think from the perspective of the original author, so as to realize the central idea of the original text. The premise of translation is that the translator should have profound language and cultural skills and deeply understand the particularity of different background cultures, Have a good command of the target language, and then use it flexibly.&lt;br /&gt;
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The example 10: She hasn't so much feeling for her children as a cow has for its calf. If she had, she would have come back long ago, to get them out of jail, and save all this expense and trouble. &lt;br /&gt;
translated text：她对孩子的感情还不如母牛呢，母牛还知道护犊子。如果她有感情，她很久以前就会回来把他们救出去了，也就没有这些代价和麻烦了。&lt;br /&gt;
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Analysis: This sentence is a complaint made by Dr. Flint's wife—my mistress, about my escape. Considering that cows in Chinese culture also have the image of caring for their cubs, The author translates call “feeling for her children as a cow has for its calf” as：“母牛还知道护犊子”, This not only achieves cultural equivalence, but also sounds colloquial. On the other hand, it is in line with the speaker's identity as a mean slave owner.[He was &amp;quot;a chip of the old block.&amp;quot; If he found any slave out after nine o'clock, he could whip him as much as he liked; and that was a privilege to be coveted.如果他发现任何人九点后（宵禁时刻）跑出去，他就会抓住并鞭打此人，直到他满意为止。这是别人垂涎三尺的特权。]&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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Through the development of this project, the author believes that the translation of biographical works needs to have a full understanding of the differences between Chinese and English languages and cultures, thinking habits and expression methods. Only after having an accurate understanding and grasp of the language characteristics and contents of the original text, can words and sentences be carefully selected and constantly modified and polished in the process of translation, Make it an excellent translation. The author summarizes the following points in the whole translation process:&lt;br /&gt;
The translation method of biographical text. Biographical text has both information function and expression function (Zhang Meifang, 2006). Therefore, in translation, the translator should not only correctly express the information of the original text, but also reflect the literariness of biographical literature. In view of the differences in thinking and logic between Chinese and English, different translation methods should be adopted in the translation process. For example, literal translation can be used in terms of vocabulary, so as to simply, clearly and accurately convey the meaning of the original text. If literal translation is not possible, free translation, addition or subtraction, positive and negative translation, such transformation and other methods should be adopted to strive to achieve literal semantic equivalence. In terms of sentences, according to the respective characteristics of Chinese and English sentence structures, translation skills such as reorganization, disassembly and combination of syntax are adopted in order to meet the reading habits of target language readers. Experience the language style of biographical literature. In this project, the author's narrative language is simple and simple, and do a good job in the analysis of the characteristics of biographical literature materials. For a translator, the types of material translation can be diverse, literary or scientific, so the translator must do a good job in the analysis of text materials when he gets a relatively unfamiliar translated text, Only after analyzing the materials thoroughly and finding out the characteristics can the preparatory work be done adequately. This project adopts biographical text, which is characterized by many names and place names and strong local cultural characteristics. Therefore, in order to improve the accuracy of translation, the author has made a lot of preparations before translation, including finding the author's relevant background information, relevant historical facts, as well as the folk customs at that time. With reference to the new English Chinese dictionary, the names of people and places in the text are translated uniformly. Due to sufficient preparation, these problems encountered in translation have been solved.&lt;br /&gt;
The author has two experiences in maintaining problem awareness in the translation process. &lt;br /&gt;
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First, if you encounter an uncertain word and sentence in the translation process, you should consult the relevant reference books in time or use the Internet. &lt;br /&gt;
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Second, when dealing with cultural problems, I often ask my classmates or experts in this field for advice, so as to solve the problems in time.&lt;br /&gt;
At the same time, there are some problems in the process: My translation experience is still shallow and the cultural knowledge reserve is insufficient. There are some disadvantages in this project.Because my Chinese level needs to be further improved, the translated language is still immature and not concise enough. Second, the lack of relevant knowledge leads to the fact that the unique things of foreign culture can only be translated directly and hard in translation, resulting in the stiff and rigid translation. Such as a box, covered with sheepskin, is called the gumbo box. A dozen beat on this, while other strike triangles and jawbones, to which bands of dancers keep time.&lt;br /&gt;
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Third, in translation, we should not only maintain the meaning of the original text, but also reflect the style of the original text. We can't have both fish and bear's paw—鱼和熊掌不可兼得。Therefore, I believe that only through a lot of translation practice and summing up experience can we improve our translation level.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Beardslee, Karen E. Through Slave Culture's Lens Comes the Abundant Source: Harriet A. Jacobs's Incidents in the Life of a Slave Girl.&amp;quot; MELUS 24 (1999): 37-58.&lt;br /&gt;
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[2]Jacobs Incidents in the life of a Slave Girl: Written by herself.&amp;quot; Languages &amp;amp;Literature 15(2001):314-336.&lt;br /&gt;
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[3]Incidents in Life of a Slave Girl chapters 16 to 30&lt;br /&gt;
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[4]李小春. (2016). 浅析英语翻译技巧及方法的应用. 读天下(20), 1.&lt;br /&gt;
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[5]李亚云.《一名女奴的人生际遇》之黑人女性身份建构[J].文学教育(上),2015(07):30-31.p&lt;br /&gt;
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[6]李亚云. 《一名女奴的人生际遇》之黑人母性分析[D].中央民族大学,2016.&lt;br /&gt;
&lt;br /&gt;
[7]付娟. 英汉翻译中拆句法和合并法的有机结合探析[J]. 好家长, 2016(38):1.&lt;br /&gt;
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=邝艳丽 On the Translation Strategies of English Version of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hong-Ming and Xu Yuanchong=&lt;br /&gt;
[[Trans_Type_EN_9]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
''Lun Yu'', one of Chinese classics, records behavior and thoughts of Confucius and his disciples. ''Lun Yu'', intensively reflecting Chinese Confucianism, plays a significant role in Chinese culture. Dating from 1809, there are about sixty translations of ''Lun Yu'' during the two hundred years. This paper will study the two English versions of ''Lun Yu'' by Ku Hung-ming and Xu Yuanchong from the the theory of Horizon Fusion proposed by Hans-Georg Gadamer, mainly the core conceptual words in ''Lun Yu''. Besides, the paper will explore the translation strategies adopted by the two translators from different visions such as the horizons of the original text, the translator and the target culture. The better translation of core conceptual words will come to a conclusion through the contrastive analysis.&lt;br /&gt;
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===Keywords===&lt;br /&gt;
Fusion of horizons; Ku Hong-Ming; ''Lun Yu''; Xu Yuanchong&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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''Lun Yu'', as a carrier of Confucianism, has profound influence on the culture all over the world. Confucianism has largely influenced the development of European philosophy, which provide new theoretical basis for European Enlightenment in the eighteenth century (Li Zongzheng 2016: 112-116). In Voltaire’s opinion, the discovery of Chinese culture is important to the process of European society, just as what what has been discovered by Vasco da Dagama and Magellan to the nature (Bao Xiankuo 2001: 62-67). With the continuing development of China in the recent years, China exerts more and more significant influence on the world. In the meanwhile, more and more people would like to learn Chinese language and cultures. When it comes to Chinese culture, all the people, Chinese and foreigners, nearly think of Confucianism, which is generally regarded as the important components of Chinese traditional culture, as well as the mainstream of the spirit of national modern culture. Moreover, Confucianism is intensively embodied in the ancient work called ''Lun Yu'', which records the behaviors and thoughts of Confucius and his disciples mainly in the form of dialogues. ''Lun Yu'' involves so many aspects such as politics, education and so on. The wide and profound influence of Confucianism on the world attributes the success to the development of translations of ''Lun Yu'' by Chinese or foreign translators.&lt;br /&gt;
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''Lun Yu'' is a classic work. The reason why classics remains classics is that it can be translated and re-translated. The language itself of ''Lun Yu'' is difficult to be understood, and what are reflected by ''Lun Yu'' such as history, thoughts, culture and culture is also hard to be understood. Therefore, translators in different times produce different translations of ''Lun Yu'' due to different constrictions of subjective or objective factors. Derrida, holding the point of hermeneutics, considers that the understanding of works is open and that the understanding of text by the readers is always unfinished and uncertain for reading is the process of creation. ''Lun Yu'', acclaimed as one of the leading classics in the course of Chinese literature’s development, is always given new life by the scholars. Therefore, every translation version of classics deserves to be studiedin the different times. Moreover, the employment of fusion of horizons may not only be a reference for English translation of ancient Chinese classics, but also be beneficial foe the spread of traditional culture. &lt;br /&gt;
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This paper chooses two English translation versions of ''Lun Yu'', one by Ku Hung-ming, the other one by Xu Yuanchong. The paper mainly makes a contrastive study of different translation strategies adopted by the two translators from the perspective of fusion of horizons. In order to make an in-depth study, the thesis will focus on the analysis of the translation of core conceptual words of ''Lun Yu'', and aim to present a more appropriate translation to both fully express the content of Chinese culture and make western readers easier to understand.&lt;br /&gt;
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===Overview on the Theory of Fusion of Horizons===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====Fusion of Hrizons====&lt;br /&gt;
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Hans-Georg Gadamer is the greatest thinker in 20th century when his academic work ''Truth and Method'' was published. The publishment brought about widespread attention in the world and helped him reach the immortal status in the field of philosophy. Actually, the theory used in this paper is originated from ''Truth and Method''. “Horizon” was first proposed by Edmund Husserl, a great German philosopher. For the concept of “Horizon”, Husserl believed that “everything worldly giving is given under the horizon. Finally, everything given by the world itself has the horizon of the world, and it is only for this reason that it is realized as the world.” (Wei Fangyuan 2013: 134-136)&lt;br /&gt;
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It can be seen that “Horizon” in Husserl’s eye is related to consciousness. Husserl’s “Horizon” includes two ones, internal horizon and external horizon. Internal horizon refers to what previous knowledge people have grasped or not. External horizon refers to grasp or experience of another open horizon when people have internal horizon. Martin Heidegger, from the respective of Ontology, believed that “Horizon” is something real which has been known by human and exists previously. This becomes precondition of our understanding. Inspired by Martin Heidegger and Edmund Husserl, Hans-Georg Gadamer affirmed the importance of “Horizon”. In his Hermeneutic, “Horizon” refers to the process of understanding from a specific standpoint. And “Fusion of Horizons” means that the process of understanding in nature is open without fixed pattern and answer. “Fusion of Horizon is not onlly diachronic, but also synchronic. History and present, object and subject, self and other, all form an infinite unified entirety. (Wei Fangyuan 2013: 134-136 ) &lt;br /&gt;
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Gadamer thinks that, both the translator and the object which is explained by the translator have their own horizons. The object-- history, classics, personal life, philosophy or work of art—has its own historical horizons. When we understand historical classical works, philosophy or certain culture with the horizons given by the history, the conflict of two different horizons and historical background will inevitably happen. Translation neither demands the translator to totally give up his own horizon in order to get into the text’s horizons, nor allows the interpreter simply includes the text into his own horizons. Translator, starting from his original horizons, ceaselessly test his own “prejudice” and open his own horizons, in the contact with the object which is interpreted by the interpreter, then two different horizons forming a new horizon. This process is called “fusion of horizons”. The reason why it is possible to interpret historical text is the fusion of horizons of the readers and writers of the original text.&lt;br /&gt;
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====Fusion of Horizons in translation study====&lt;br /&gt;
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In the view of Hans-Georg Gadamer, any understandings is carried out in the stream of history for any interpreter and reader lives in the history in his or her own way. Historicity is the basic fact of human existence. People’s historical particularity and limitations cannot be eliminated and avoided. Both subject and object exist in historicity. History determines that people cannot get rid of historicity. Such question faced by Hermeneutics is not what we carry out but what caused on us by something beyond our willing and behavior. In the research of translation Gadamer’s “Fusion of Horizons” can be borrowed and reformed into views or perspective available to the translation study. (Li Ge 2020:50-63)&lt;br /&gt;
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To achieve such a horizon, means that we learn to see something beyond its restricted horizon. However, the reason why we do this is for watching the things in a more correct angle and in a bigger unity, rather than for avoid seeing it.(Gadamer, H. G. 2004: 304) We need to study translation from a higher point and in a more overall angle. Only in this way can we “full see” the parts of the integrity, which is the enlightenment brought by “fusion of horizons”. The precondition of translation is that the translator and the original text have the common horizons. If the translator does not know medicine, he cannot interpret some books about medicine, and vice versa. The translator need to understand the original text’s meanings at first, which means that he will get into the horizon of the original text, and overcome the difference to form a new horizon. This is the first fusion of horizons. The second one is that the translator gets into the horizons of the target readers. Then the third fusion of horizons, the final interpretation of the translator, is the fusion of the two texts after the first two fusions. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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During the process of translation, the horizons are produced in the history rather than in isolation. In the fusion of horizons, the past and the present, the subject and the object, form a unity. Everything exists in the point of history, and all the interpretation cannot be finished for good. The original text itself is historical. The language, content, thoughts and etc. in it are marked by characteristics of the times. The translator is also historical. He will be influenced by his identity, status and tradition. There does not exist “perfectness” and “standard” in the translation. It will vary with different historical period. So the study of translation also goes on. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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===Overview on the Translations of ''Lun Yu''===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====The history of translations of ''Lun Yu====&lt;br /&gt;
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''Lun Yu'' is as important to Chinese is the Bible is to Westerners. So ''Lun Yu''’s translation is hot in western countries. ''Lun Yu'', whose translation can be traced back as early as the end of 16th century, has been translated by lots of missionary, sinologist, philosopher, litterateur and other scholars. There have been more than 40 translation versions of ''Lun Yu'' so far. Its English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. In 1861 James Legge’s The Confucian Analects became the mark of the English translation of ''Lun Yu''. A Companion for Chinese Translators makes comments on the translation version that James Legge can roughly understand the meaning of the original text and that his enormous notes can show his serious and careful attitude to the translation of our Chinese classics. (Wang Hui 2003: 39-43) &lt;br /&gt;
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In 1898, Ku Hong-ming’s translation of Lun Yu was published in Shanghai. The reason why he retranslated Lun Yu is that he was not content with James Legge’s. Ku Hong-ming use the strategy of foreignization, trying to translate Lun Yu in the same way an educated British express his thoughts. And Ku thought the Chinese proper nouns should be omitted and some European writers’ saying in order to remove the feeling of strangeness of British readers. In 1938, Arthur Waley’s version of Lun Yu was published. Waley wrote long-winded introduction for the translation, which was accompanied by detailed notes for readers and was followed by the footnotes for in-depth discussion on the text. Cui Yonglu thought that Waley’s translation, retaining the original text’s meaning and culture and paying attention to the detail, is beneficial to scholars. In 1998, Roger Ames’ translation of Lun Yu was published. His retranslation, which is based on a philosophical perspective, exerted great influence in the world of translation at home and abroad. In 2005, Xu Yuanchong’s Thus Spoke the Master was published. The book’s title borrowed the name of well-known philosophical translation called Thus Spoke Zarathustra, which shows Chinese translators’ creative spirits. In addition, there are still so many translators, such as Ezra Pound, James Ware, Din Cheuk Lau, Lin Yu tang and so on. (Wang Hui 2003: 39-43) &lt;br /&gt;
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====Different angles of the study on the translations of ''Lun Yu''====&lt;br /&gt;
In the nearly 30 years, the study of ''Lun Yu''’s translation has become hot in the translation studies. Scholars have made lot of studies of ''Lun Yu''’s translation from different angles and theories. From the linguistic point of view, scholars focus on the equivalence of lexicon, syntax, text and style. Professor Liu Chongde wrote “A research into Waley’s English version of The Analects—And some comments on its English versions by Legge and D. C. Lau”. Professor Liu summarized the language features and style of the two translations by Waley and Legge. Besides, he compared James Legge’s version and D. C. Lau’s, and made a conclusion that the former one preferred the written English, complicated sentences and archaic words which were quite similar to the style of the original, while the latter one preferred using spoken English and simple sentences.(Liu Chongde 2001:15-17) &lt;br /&gt;
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From the cultural point of view, Yao Shun in Southwest Jiaotong University did “On English translation of Confucius notions from the perspective of Skopos theory—A case study on Legge’s and Waley’s Translation of ''Lun Yu''”. Yao concluded that translation cannot be measured only by the equivalence with the source text, other elements such as translators’ purposes and expectation of target readers should be taken allowance for and that amongst these factors, the intention of the target text ranks the first.(Yao Shun 2014: 42-43)&lt;br /&gt;
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From the sociological point of view, Zhang Xin in Jiangnan University did “A study on Xu Yuanchong’s English Translation of ''Lun Yu'' from the Sociological Perspective of Bourdieu”.   Zhang draw some tentative conclusions. Firstly, the original text must be valuable and unique with an international reputation to facilitate its dissemination in the world. Secondly, translators should pay full attention to the readability and acceptability of target readers to meet their anticipation. Thirdly, the success of a work is the combination of various social factors.(Zhang Xi 2020:80-89)&lt;br /&gt;
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=== The Translation of ''Lun Yu'' from Fusion of Horizons===&lt;br /&gt;
''Lun Yu'' has always been translated or retranslated into many languages. Before interpretation, interpreters are supposed to try to totally understand ''Lun Yu'' in the first step. However, in the matter of fact, the language of a text is really hard for translators to totally understand. Different cultural background and different translators may produce different translation version.&lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》） [8]”. In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. &lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
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Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》）”.In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. (Yao Sshun 2014:42-43) &lt;br /&gt;
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====Horizon of the translator====&lt;br /&gt;
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Ku Hung-ming (1857-1928) is not only a famous literary figure in modern China, but also a great translator. He became an influential scholar at the turn of the 20th century because of his works that advocated Confucianism. Ku’s traslated works, including Lun Yu and Zhong Yong, played a significant role in spreading traditional Chinese culture to the western world. Ku, well-versed in both Chinese and Western cultures, has a good command of nine languages such as English, French, Germany and so on. He is the first one was proficient in Western science and language in the late Qing Dynasty. Special background of growth and education makes his thoughts combine advantages between Chinese and Western cultures. He tried to translate Lun Yu as a work written by a educated English man in order to promote Chinese traditional culture to spread in Western countries. At the meanwhile, he added his thinking and understanding of Confucianism in order to express the truth and spirit of Confucian classics and Chinese belief system. In order to make Western readers accept to the most extent the Confucian culture, Ku adopted some special methods, such as using extreme translation strategy of Domestication to translate Chinese special expression; borrowing the expression in Western literature to translate some words; applying the strategy of combination of omission and addition.(Niu Xiyu 2021: 89-90)&lt;br /&gt;
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When translating Lun Yu, Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. Western readers are not familiar with Confucian core words whose total equivalence can not be found in the Wesern culture. Ku did not translate the core words according to the literal meaning, but according to his deep understanding of Confucian classics he adopted flexible methods to translate the words in different situation. Besides, in order to make the translation of Lun Yu more readable to Western readers, Ku adopted the stratedy of domestication to interprete Confucian thoughts in Western way of mind. On the one hand, Ku used Western terms to translate those Confucian concept words which is difficult to Western readers. For example, he translates “天” as “God”. On the other hand, he quoted those well-known writers and thinkers who are familiar to Western readers, such as Johann Wolfgang von Goethe, Ralph Waldo Emersonand so on. Ku tries to make the content and form of the translation to accord with the way of thinking and cognitive structure of Western people. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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Xu Yuanchong, professor in Peking University, has been devoting himself in Literature translation study. He accomplished numerous classical translations and proposed many translation theories. He makes contribution to the development of Chinese traditional career.In 1921, Xu Yuanchong was born in Jiangxi Province in China. Since he was a child, Xu Yuanchong had been deeply influenced by his families. His mother was well educated and his uncle worked as a translator. All of these inspired his passion of enjoying literature and going after beauty, as we can see the three-beauty-concept-concept proposed in his later books. His uncle succeeded in translating the play called Wang Baochuan into English, which caused a sensation when it was performed in England. Later on the British dramatist George Bernard Shaw interviewed his uncle, which inspired the great interests of Xu Yuanchong in learning English well. In 1938, he was admitted to the Foreign Languages Department of National Southwest United University with the seventh place. In 1939, he translated the book “别丢掉” written by Lin Huiyin at the first time in order to express his love for a girl. Then he fell in love with translation ever after. Although suffering a lot, he still insisted to be himself. Xu made a great contribution to the development of Chinese translation. Xu introduces the three-beauty-concept to translation theory. The theory of three beauty advocates that a translation should be as beautiful as the original in sense, in sound and in font. These three aspects call also be respectively called Beauty of Sense, Beauty of Sound, and Beauty of Form. Beauty of Sense, emphasizing the deeper meaning, is of the first-rate importance. Beauty of Sound, emphasizing rhyme and rhythm, is of the second-importance. Beauty of Form, emphasizing length, is of the third-rate importance. All of these have great influence on his translation. (Li Mi 2004: 83-84)&lt;br /&gt;
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====Horizon of the target language culture====&lt;br /&gt;
The purpose of translation is to be read by the target readers. However, the target individual is different. They differ from historical background, education, knowledge, and so on. Some foreign readers read Lun Yu just for broaden his vision and know Chinese culture, some study the translation just for doing academic researches. The ages of target readers also influence the translation. Some young readers with less knowledge need translation which can be easily understood. For those aged readers the sophisticated translations are needed. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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===Contrastive Analysis===&lt;br /&gt;
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As Confucian classics recording the words and deeds between Confucius and his disciples, Lun Yu deeply influences generations of Chinese people. Lun Yu combines Chinese rich culture from thousands of years and gathers immortal spirit of Eastern philosophy. Therefore, a number of scholars at home or abroad want to translate Lun Yu. Especially, the various academic conference that has taken place in the recent years attract many scholars to absorb Confucian wisdom and explore Chinese wisdom from the old classics.&lt;br /&gt;
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====Description of key conceptual words====&lt;br /&gt;
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''Lun Yu''’s English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. Since that many other scholars have thrown themselves in the wave of translation of ''Lun Yu''. The scholars at home and abroad attempt to know more about the Chinese society, language, and Chinese culture through ''Lun Yu''. However, in order to really understand and interpret ''Lun Yu'', we must be clear about the meaning of the core conceptual words in ''Lun Yu''. Whether the translation of the core conceptual words is right or not has something to do with whether the readers abroad can understand the real meaning of the classics ''Lun Yu''. The translation of core conceptual words is so critical that has drawn many scholars’ attention. However, in the present situation of translation, one core conceptual word has so many Chinese translation, and some translation is not very accurate, which will cause trouble for foreigner readers to understand the original meaning and its cultural meaning. For those core words concerning Chinese culture, if wrongly translated, will not cause foreigners’ misunderstanding Chinese traditional culture, but also influence the improvement of national cultural soft power. Thus, the discussion of the translation of ''Lun Yu'', especially that of the core words, is very important to the circles of translation and culture. There are lots of core conceptual words in Lun Yu, but This thesis will mainly discuss the five core words: “''ren''”, “''li''”, and “''junzi''”. &lt;br /&gt;
“''Ren''” is the supreme state of moral ideal advocated by Confucius, and the spirit and centre of Confucian theory. Xu Shen in the Eastern Han Dynasty made an explanation of the word “''ren''” in “Shuo-wen chieh-tzu”. He thought “''ren''” is combined by “''ren''”(man) and “er”(number 2), and that “''ren''” does not express the quantitative relation but the interpersonal relationship, more accurately the interpersonal relationship close to friendship. (Xu Shen 2013: 1458) According to The Notes of ''Lun Yu'' by Yang Bojun, “''ren''” appears 109 times in ''Lun Yu'' . (Yang Bojun, 2009)&lt;br /&gt;
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“''Li''” is another important concept in ''Lun Yu'' after “''ren''”. According to The Notes of ''Lun Yu'' by Yang Bojun, “''li''” appears 74 times. Obviously, “''li''” is one of main ideas repeated by Confucius. Its connotation has become one of the objects the scholars of every dynasty attempt to study and understand since the ''Lun Yu'' came out. Both “''ren''” and “''li''” work as the centre of Confucianism. They complement and perfect each other. Just as the saying in Lun Yu, “To Subdue Oneself and Return to the Proprieties is Perfect Virtue”. “Li” refers to external behavior, while “ren” refers to internal morality. “''Li''” is a general term the rules and regulation according to the moral demanding. “''Li''” can restrict personal behavior, improve interpersonal relationship and help building a harmony and orderly society. However, Confucius does not give an accurate explanation of “''li''”, but its meanings can be analyzed from the concrete sentences concerning “''li''”. (Yang Bojun 2009: 23)&lt;br /&gt;
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“''Junzi''”, first found in The Book of Songs, was roughly referred to noble man. Thereafter, “''junzi''” was widely used in many ancient classics such as The Book of Changes, Shangshu and so on. Based on the original meaning “the noble man”, “''junzi''”’s meaning was extended and expanded. In Lun Yu, the word “''junzi''” got extended meaning of morality. The core conceptual word “''junzi''” mainly placed emphasis on moral deeds, then developed into the important cultural icon in Confucianism. According to The Notes of ''Lun Yu'' by Yang Bojun, “''junzi''” appears 107 times in ''Lun Yu'' .(Yang Bojun 2009: 11)&lt;br /&gt;
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====Different translations of key conceptual words====&lt;br /&gt;
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Different translators will have different translation. &lt;br /&gt;
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“Ren” has rich meanings. Its translation will to the certain degree influence the understanding of Lun Yu and Chinese traditional culture. For example:&lt;br /&gt;
子曰：“巧言令色，鲜矣仁！”《学而》&lt;br /&gt;
Ku: Confucius remarked, “With plausible speech and fine manners will seldom be found moral character.” &lt;br /&gt;
Xu: A good man, said the Master, would rarely say what he does not believe, or pretend to appear better than he is.&lt;br /&gt;
From the translation above, it is seen that Ku adopts free translation, and the English sentence is in formal grammer and syntax which accords with Western readers’ language habits. While Xu’s translation is not in the form of direct speech and he changes the order of the target text and use the parenthesis so as to conform to the habits of target language readers. It can be easily seen that Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. And Xu employs free translation to make target readers better understand the meanings. For the translation of “ren”, Ku translated it into “moral character”. He thought “ren” is refers to all the morality, and that “ren” is the highest realm of life. The translation “moral character” is more in line with Western language habits. While Xu interpreted it into “a good person”, of which “good” has broad meanings just like “ren” which is a kind of moral category of extremely broad meanings in ancient China. By comparison, “mental character” is better translation for “ren”. (Yang Bojun 2009: 23) (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
&lt;br /&gt;
“Li” is generally thought to have three main meanings. The first one is worshiping the God. The second one refers to a ceremony held to show respect or solemnity. The third one refers to the social and moral norms of the aristocratic hierarchy in slave society of feudal society. For example, &lt;br /&gt;
道之以道，齐之以礼，有耻且格 。（《为政》）&lt;br /&gt;
Ku: If, on the other hand, in government you depend upon the moral sentiment, and maintain order by encouragung education and good manners, the people will have a sense of shame for wrong – doing and, moreover, wil emulate what is good. &lt;br /&gt;
Xu: If they are led by virtue and order is kept by the rites, they would be conscientious and act in agreement with what is right. &lt;br /&gt;
Generally, “li” is rendered as “rites,” “customs,” “propriety,” “ritual,” “moral,” “rules of proper behavior,” and “worship.” However, Ku did not literally translated “li” but to fully understand its original meaning in such concrete situation to translated it into “education and good manners”. While Xu translated it into “rites”. In the Oxford dictionary, “rite” means a ceremony performed by a particular group, often for religious purpose. In Spring and Autumn and Warring States periods of China, the social order was in chaos. Actually, “rite” is a proper word full of Chinese speciality, which is really hard for Western readers to understand. Therefore, Ku’s translation “education and good manners” is better one. It not only convey Confucian thoughts but also make it readable to Western readers. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
&lt;br /&gt;
“Junzi” is Confucian ideal character standard. Then what is “junzi”? In Confucian point of view, “junzi” should be erudite, which is an important standard of being “junzi”. First and the most, “junzi” should be a benevolent man. In addition, “junzi” and “xiaoren” form contrast. For example,&lt;br /&gt;
人不知，而不愠，不亦君子乎？（《学而》）&lt;br /&gt;
Ku: But he is truly a wise and good man who fees no discomposure even when he is not noticed of men.&lt;br /&gt;
Xu: Is he not an intelligentleman, who is careless alike of being known or unknown?&lt;br /&gt;
According to Oxford dictionary, the term “exemplary” refers to providing a good example for people to copy. Ku adopted free translation to interprete one word “junzi” into several words “wide and good man”, which is easy for Western peple to understand what “junzi” is. It can be seen that Ku had a thoroungh understanding of Confucian thoughts as well as well-versed in English. While, Xu translated it into “intelligentleman”, which cannot be found in dictionaries. It is a new word created by Xu. “Interlligentleman” is combined by “intelligent” and “gentleman”. In the Oxford dictionary, the term “intelligent” means good at learning, understanding and thinking in a logical way about things. “gentleman” refers to a man who is polite and well educated and who has excellent manners and always behaves well. “Intelligentlemen” seemly attempt to achieve formal equivalence with “junzi”. However, it is unfamiliar to Wetern readers. So Ku’s translation “a wise and goood man”. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
In this paper, we have talked over two translation versions of ''Lun Yu'' written by Ku Hung-ming and Xu Yuanchong, especially the core conceptual words in ''Lun Y''u. In the matter of fact, both of them had good command of Chinese and western cultures. But their interpretation of Lun Yu were quite different from each other. Here we use Gadamer’s “fusion of horizons” to explain why they had different understandings of Lun Yu. Understanding is regarded as the fusion of horizons between translator and the text in the hermeneutics, however, besides, the target readers should also be taken into consideration. Thus, in the paper, the horizons of the original text, two translators and target readers are expounded in detail. Under the contrast between the two translation versions, we could find out that Ku Hung-ming’s translation is better one which can more convey the meaning of original text and can be easier for the readers of the target culture from the perspective of the fusion of horizons. &lt;br /&gt;
&lt;br /&gt;
However, this paper could not give an in-depth research on the transaltion of ''Lun Yu'' because of the author’s limited knowledge and not thorough understanding of the theory of “fusion of horizons”. In addition, Confucianism has got more and more important influence on the world in the recent years. However, the study of translation of ''Lun Yu'' has not gone far enough. Though lots of scholars have achieved a lot in the field, there is still much work to do in the future. Written by --[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 03:41, 9 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
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Li Zongzheng, Ma Haidong 李宗政,马海东. (2016)《论语》英译的当代价值研究[J] [A study on the contemporary value of the ''Analects of Confucius''] 112-116.&lt;br /&gt;
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Wei Yuanfang 韦芳元. (2020) 浅析伽达默尔的视域融合理论[J].[On the Gadamer’s Theory Fusion of Horizons] 2013(12):134-136.&lt;br /&gt;
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Gadamer, H. G. Truth and Method[M]. New York: Continuum, 2004: 304.&lt;br /&gt;
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Wang Hui 王辉. (2003) 理雅各与《中国经典》[J]. [James Legge and Chinese Classics] 2003: 39-43.&lt;br /&gt;
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Lieu Chongde 刘重德. (2003)《论语》韦利英译本之研究—兼议里雅各、刘殿爵英译本[J]. [A Study of Lun Yu by Whaley—Discussion on contrastive analysis between James Legge and D.C.Lau)  2001: 15-17.&lt;br /&gt;
&lt;br /&gt;
Yao Shun 姚舜. (2014) 目的论视角下的儒家思想核心概念英译研究—以理雅各和韦利《论语》英译对比分析为例[D]. [A Study of Lun Yu Translated by Xu Yuanchong in the perspective of Skopostheory] 2014: 42-43.&lt;br /&gt;
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Niu Xiyu 牛汐语. (2021) 辜鸿铭《论语》译本中译者主体性的体现[J]. [The Presentation of Translator’s Subjectivity in Ku Hung-ming’s Lun Yu’s Translation] 2021:89-90.&lt;br /&gt;
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Li Mi 李谧. (2004) 许渊冲的诗译“三美”之说[J]. [Three Beauty in Poetic Translation of Xu Yuanchong] 2004: 83-84.&lt;br /&gt;
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Xu Shen 许慎. (2013)《说文解字》[Z]. [Shut-wen chieh-tzu] 2013: 1458&lt;br /&gt;
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Yang Bojun 杨伯峻. (2009)《论语释注》[Z]. [Annotation Analects] 2009: 213, 214, 215,2, 11, 23,&lt;br /&gt;
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Ku Hungming 辜鸿铭.(2011)《辜鸿铭英译&amp;lt;论语&amp;gt;》[M]. [The Discourses And Sayings of Confucius] 2011&lt;br /&gt;
&lt;br /&gt;
Yuanchong, Xu. (2013) Thus Spoke the Master[M]. Beijing: Dolphin Books, 2013: 12, 18.&lt;br /&gt;
&lt;br /&gt;
=杨柳青 Bian Zhilin's Literary Translation Theories and Practice  ——Take His Translation of Romantic Poems as examples=&lt;br /&gt;
[[Trans_Type_EN_10]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. He absorbed traditional translation theories dialectically and created translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; from the perspective of literary translation. Specifically, &amp;quot;Replacing foot with dun&amp;quot; is his poetry translation strategy. This paper will analyze Bian Zhilin translations of some romantic poems and shows some critical thinking about his literary translation theories.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Faithfulness, Similarity and Translation&amp;quot;; &amp;quot;Replacing Foot with Dun&amp;quot;; Romantic Poetry&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
&lt;br /&gt;
卞之琳文学翻译理论和实践 ——以其浪漫主义诗歌译作为例&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
卞之林是著名的中国翻译家、诗人。他辩证地吸收传统翻译理论，从文学翻译的角度创立了“信、似、译”的翻译理论。 具体而言，“以顿代步”是他的诗歌翻译策略。本文将对卞之琳的浪漫主义诗歌译作进行分析，并对其文学翻译理论提出一些批判性性思考。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
&lt;br /&gt;
“信、似、译”；“以顿代步”；浪漫主义诗歌&lt;br /&gt;
&lt;br /&gt;
===Chapter 1 Introduction of Bian Zhilin and Romanticism===&lt;br /&gt;
====Introduction of Bian Zhilin====&lt;br /&gt;
Bian Zhilin is a representative of Chinese modernist poetry, a famous literary critic and literary translator. He translated foreign literature especially poetry and Shakespeare's plays. He has devoted his whole life to the literature and cultural exchanges between China and foreign countries. He is known as &amp;quot;the master of Poetry and the leading scholar in translation in China&amp;quot;. He dialectically absorbed previous translation theories and formed his unique translation thoughts. His famous works include ''Leaves of Three Autumns'' which is his first volume of Poetry and contains verses filled with the melancholy and despair, ''Fish Eyes Collection'', ''The Han Garden Collection'' and ''Poems of a Decade'' and so on.&lt;br /&gt;
&lt;br /&gt;
====Introduction of Romanticism====&lt;br /&gt;
Romanticism is a reaction against the Enlightenment and rationalism in 18th century, and a rejection of the precepts of order, calm, harmony, balance, idealization, and rationality that typified in classicism and neoclassicism. English Romanticism is generally defined to begin in 1798 with the publication of William Wordsworth and Samuel Taylor Coleridge's Lyrical Ballads and end in 1832 with Walter Scott's death. Romanticists place the individual at the center of art and make literature most valuable as an expression of his or her unique feelings and particular attitudes and make its accuracy a portraying the individual's experience. &lt;br /&gt;
&lt;br /&gt;
Romanticism is a period of poetry. During this period, many poets created plenty of wonderful poems which vividly show the beauty of nature and humanistic thoughts. English romantic poets contain the elder generation and the younger generation. The elder generation, also called &amp;quot;lake poets&amp;quot; includes William Wordsworth, Samuel Taylor Coleridge and Robert Southey and so on. The younger generation includes George Gordon Byron, Percy Bysshe Shelley and John Keats and so on. Besides, William Blake also deserves attention. He is a pre-romanticist and a forerunner of the romantic poetry of the 19th century. In this paper, I will analyze poems of William Blake, William Wordsworth and Percy Bysshe Shelly to show Bian Zhilin's translation theories.&lt;br /&gt;
&lt;br /&gt;
===Chapter 2 Bian Zhilin's Literary Translation Theories===&lt;br /&gt;
====&amp;quot;Faithfulness, Similarity and Translation&amp;quot;====&lt;br /&gt;
Bian Zhilin is a famous poet, translator and literary researcher in China. For decades, he not only made remarkable achievements in the field of poetry and Chinese and foreign literature studies, but also left a valuable fortune in literary translation, especially in poetry translation. Bian Zhilin has formed clear and instructive translation thoughts and theoretical views through her long-term translation practice. These translation thoughts and theoretical views influenced his translation behavior and effect, formed his exquisite translation art, and also had a great influence in the field of translation. He broke through the traditional translation theories and put forward the translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot; which is based on dialectically absorbing and reasonably sublating the traditional translation theories.&lt;br /&gt;
&lt;br /&gt;
=====Faithfulness=====&lt;br /&gt;
It is well-known that &amp;quot;faithfulness, expressiveness and elegance&amp;quot; created by a modern Chinese translator Yan Fu has become the most widely spread and popular translation standards in history of modern Chinese translation. And it has always been in the mainstream in the field of translation in China. There has been a long debate in Chinese translation field around &amp;quot;faithfulness, expressive and elegance&amp;quot;. However, &amp;quot;faithfulness&amp;quot; put forward by Bian Zhilin has achieved the transcendence and unification of this debate. &lt;br /&gt;
&lt;br /&gt;
======Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
According to Yan Fu, &amp;quot;faithfulness&amp;quot; means a translation should be faithful to the content of the original which is the first requirement of translation. &amp;quot;Expressiveness&amp;quot; means a translation should be fluent and articulate. &amp;quot;Elegance&amp;quot; means a translation should use elegant words so as to make the translation literary (Luo Xinzhang 136). Yan Fu believed that only elegant words can express the essence of original text. And he advocated translator used classical Chinese before Han Dynasty, namely, pre-Qin period. In fact, Yan Fu translated a lot of works in accordance with this criterion. &lt;br /&gt;
&lt;br /&gt;
======Debates around Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
Many speakers thought highly of Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, and this criterion once became the only standard for evaluating the quality of translation. Many literary translators like Liang Qichao, Lu Xun praised this criterion.&lt;br /&gt;
&lt;br /&gt;
Though &amp;quot;Faithfulness, expressiveness and elegance&amp;quot; has been widely accepted, there were still many doubts about this criterion. Most translators acknowledged Yan Fu's &amp;quot;faithfulness,expressiveness and elegance&amp;quot;, but they doubted &amp;quot;elegance&amp;quot;. For example, Chen Xiying, a famous Chinese female translator, opposed &amp;quot;elegance&amp;quot; because she thought &amp;quot;faithfulness and expressiveness&amp;quot; is quite enough for non-literary works and &amp;quot;elegance&amp;quot; is not necessary. Even for literary works, &amp;quot;elegance&amp;quot; is not necessary since some characters in literary works are from countryside and their speeches apparently couldn't be elegant (Luo Xinzhang 401-402). &lt;br /&gt;
&lt;br /&gt;
However, though these opinions are different they have one thing in common: all these opinions divide &amp;quot;faithfulness, expressiveness and elegance&amp;quot; up and judge them separately. &lt;br /&gt;
&lt;br /&gt;
======Bian Zhilin's &amp;quot;faithfulness&amp;quot;======&lt;br /&gt;
Unlike most translators, Bian Zhilin has his own unique view. Bian Zhilin believes there is only one advisable standard in &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, that is &amp;quot;faithfulness&amp;quot;. According to Bian Zhilin, &amp;quot;faithfulness&amp;quot; means being loyal to the original text comprehensively, not only to the content of the original text, but also to the form (Bian Zhilin 503). It seems that there is no apparent difference between Yan Fu's faithfulness and Bian Zhilin's faithfulness. But that's not the case. &lt;br /&gt;
     &lt;br /&gt;
Firstly, Bian Zhilin doesn't totally deny the value of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. His faithfulness is mainly for literary translation which aims to highlight the artistic features of literary translation. Bian Zhilin believes that literary translation is an artistic and creative activity which not only includes language conversion but also involves the knowledge of literature, aesthetics, literature and art. He thinks &amp;quot;faithfulness, expressiveness and elegance&amp;quot; lays too much emphasis on the content and form of language which is not suitable for literary translation. &lt;br /&gt;
&lt;br /&gt;
Secondly, Bian Zhilin opposed the artificial separation of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. He thinks this separation is a kind of false perception which may cause the emphasis of one aspect and the neglect of the others. He thinks that artistic translation standard, strictly speaking, is only &amp;quot;faithfulness&amp;quot; which means the full fidelity to content and form. Actually, Bian Zhilin doesn't deny the existence value of expressiveness and elegance; instead, he seems &amp;quot;faithfulness, expressiveness and elegance&amp;quot; as a whole and &amp;quot;faithfulness&amp;quot; includes &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot;. Therefore, his faithfulness is comprehensive: both &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot; are internalized in &amp;quot;faithfulness&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Thirdly, Bian Zhilin believes &amp;quot;faithfulness&amp;quot; in literary translation means translation should be loyal to original text both in content and form. In others words, it's not desirable that translation be better or worse than the original. Besides, he holds that &amp;quot;faithfulness&amp;quot; in translation is not absolute but relative and it needs artistic creation of translators(Li Changshuan 57). What's more, literary translators should have the confidence in translating the &amp;quot;spirit&amp;quot; of the original so as to make translation vivid and expressive.&lt;br /&gt;
&lt;br /&gt;
All in all, Bian Zhilin believes the content and form of literary works are unified and indivisible, so is &amp;quot;faithfulness, expressiveness and elegance&amp;quot;.  At the same time, he admits &amp;quot;faithfulness&amp;quot; is relative rather than absolute considering difference between language and culture. Therefore, Bian Zhilin's faithfulness is inheritance and innovation of traditional translation theory and has important theoretical value.&lt;br /&gt;
&lt;br /&gt;
=====Similarity=====&lt;br /&gt;
======Formal Similarity and Spiritual Similarity======&lt;br /&gt;
Formal similarity means translation preserves the linguistic form of the original which includes words, grammar, sentence structure, figures of speech and types or forms of literature and so on. Any two languages have something both common and different. Those common features are the bases of formal similarity of translation. &lt;br /&gt;
&lt;br /&gt;
Spiritual similarity, on the contrary to formal similarity, means getting rid of the bondage of language form such as words, grammar when it is necessary. And translators should use authentic translation to convey the artistic features of the original. Spiritual similarity was first put forward by Mao Dun and was further advocated and practiced by Fu Lei. It has become one of the dominant theories in Chinese translation theories.&lt;br /&gt;
&lt;br /&gt;
======Debates around Formal Similarity and Spiritual Similarity======&lt;br /&gt;
In the field of Chinese translation, translators debated a lot around formal translation and spiritual translation. Many translators believe formal translation is more advisable than spirit translation. But others think differently. For instance, Chen Xiying believed there were three kinds of &amp;quot;faithfulness&amp;quot;, namely spiritual similarity, meaning similarity and formal similarity, among which spiritual similarity is superior, meaning similarity is the second and formal similarity is inferior. Chen Xiying held that formal similarity ignores the writing style of the original though it conveys the meaning of the original completely. Meaning translation is better than formal translation because it focuses on not only what the original writer says but also how he says it. But meaning translation is much more like imitation which cannot grasp the &amp;quot;spirit&amp;quot; of the original. Spirit translation, however, is the exact way to convey the &amp;quot;spirit&amp;quot; of the original. Besides, Yan Fu is another representative who pays more attention to spirit similarity than to formal similarity (Luo Xinzhang 694).&lt;br /&gt;
======Bian Zhilin's &amp;quot;Similarity&amp;quot;======&lt;br /&gt;
Bian Zhilin took a stand against the long-standing debate around formal similarity and spiritual similarity. In his opinion, there is only one word between formal similarity and spiritual similarity that is advisable——&amp;quot;Similarity&amp;quot;. Bian Zhilin holds that literary work is a unity of content and form; &amp;quot;form&amp;quot; and &amp;quot;spirit&amp;quot; in literary translation is complementary. On the one hand, &amp;quot;form&amp;quot; is the basis of &amp;quot;spirit&amp;quot; which means without concrete form, the spirit and artistic value of literary works can only be empty talk. On the other hand, &amp;quot;spirit&amp;quot; is the life of &amp;quot;form&amp;quot; which means literary works without &amp;quot;spirit&amp;quot; likes people without soul, which can only be empty body and meaningless form (Bian Zhilin 551).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Similarity&amp;quot; which was put forward by Bian Zhilin, actually contains the similarity both in formal similarity and spiritual similarity. In other words, ideal literary translation should achieve the unity of form and spirit. Bian Zhilin thinks literary translation can only achieve similarity with the original but not sameness (Bian Zhilin 8-9), which not only recognizes the difference between the original and the translation, but also acknowledges translators' creative efforts.&lt;br /&gt;
&lt;br /&gt;
=====Translation=====&lt;br /&gt;
======Literal Translation and Free Translation======&lt;br /&gt;
Literal Translation means expression forms and syntactic structure of the translated text should be as consistent as possible with the original when translators convey the meaning of the original text. Free translation, however, means translators should break the linguistic form of the original text and express the meaning of the original by using the customary expressions of the target language.&lt;br /&gt;
&lt;br /&gt;
======Debates around Literal Translation and Free Translation======&lt;br /&gt;
The debates between literal translation and free translation in the history of western translation can be date back to Cicero (106BC-43BC). Cicero opposed &amp;quot;word for word translation&amp;quot; (literal translation) which was deemed as &amp;quot;interpreter's translation&amp;quot; and advocated &amp;quot;sense for sense translation&amp;quot; (free translation) which was deemed as &amp;quot;orator's translation&amp;quot;(Tan Zaixi 24). Cicero's distinction about translation paved the way for following translators. For example, John Dryden published his views on literal translation and free translation. Dryden made distinction between metaphrase, phrase and imitation which was an extension of literal translation and free translation. What's more, Newmark thinks literal translation is preferred when the effect is the same (Newmark 39). And Nabokov holds that literal translation is true translation because it can convey the exact contextual meaning of the text as accurately as possible (Nabokov viii).&lt;br /&gt;
&lt;br /&gt;
======Bian Zhilin's Translation======&lt;br /&gt;
Bian Zhilin thinks only &amp;quot;translation&amp;quot; is advisable over the long-standing dispute over literal translation and free translation. Translation contains following meanings (Bian Zhilin 8).&lt;br /&gt;
&lt;br /&gt;
Firstly, literal translation and free translation are not contradictory but complementary. Too much emphasis on either side will only have a bad effect on literary translation. Bian Zhilin also criticizes translations that put too much emphasis on the source language or the target language.&lt;br /&gt;
&lt;br /&gt;
Secondly, translation cannot be creation. Translation should be based on the original text, not personal creation. But Bian Zhilin doesn't deny the creativity in translation and thinks the creativity is the life of translation as long as it is based on the original.&lt;br /&gt;
&lt;br /&gt;
====Bian Zhilin's Poetry Translation Strategies====&lt;br /&gt;
Absorbed thoughts from former and contemporary poets, Bian Zhilin created his poetry translation strategies. That is to translate English poetry in a poetical and metrical way and replace foot with dun. These strategies not only consider the western poetry patterns, but also considers the characteristics of Chinese, which has strong feasibility. Bian Zhilin's poetry translation strategies are closely related with his literary translation theory of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
=====Translating Poetry in A Poetical and Metrical Way=====&lt;br /&gt;
Bian Zhilin thinks that poetry is more a unity of content and form than other literary forms. Therefore, poetry translation includes both translation of poetry content and form. Bian Zhilin thinks poetry translation should be loyal to the original poem not only in content but also in form. Poems should be translated into the form of poem rather than prose. If the original poem is free verse, then translated version also should be free verse. If the original poem is metrical poem, then translation also should be a metrical one. (Bian Zhilin, 319) The coincidence between form and content in poetry translation is an embodiment of translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Meter is an important feature of poetry, including rhythm, rhythm and arrangement of words and stanzas. There are many differences in meter among poetry of different languages. And different poets and works use different meters. These become major factors of difficulties in poetry translation. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin thinks translators should preserve the metrical features of the original poems. In other words, translators should translate poetry in a metrical way. Therefore, poems should be translated by using equivalent meter. To be more specific, translators should translate foreign poems by using commonalities between Chinese traditional metrical basis and foreign metrical basis. It's not just simple application of foreign poetry patterns nor of Chinese traditional poetry patterns. Instead, it's the crossover of the two poetry patterns.&lt;br /&gt;
&lt;br /&gt;
=====Replacing Foot with Dun=====&lt;br /&gt;
The key to the metrical problem of poetry translation is what is the metrical unit of the line, &amp;quot;word&amp;quot; (a syllable) as a unit or &amp;quot;dun&amp;quot; (syllables) as a unit. Bian Zhilin believes metrical poems should be translated in equivalent &amp;quot;duns&amp;quot; which can replace meters and this kind of translation is without the limit of word numbers. This theory is well thought out and based on rhythmic characteristics of Chinese. As Bian Zhilin analyzed that when we speak Chinese, we usually say two or three Chinese characters as a &amp;quot;dun&amp;quot; in most cases, one character at least as a &amp;quot;dun&amp;quot; and four characters at most as a &amp;quot;dun&amp;quot;. This is the internal rules of Chinese. Chinese poems constitute stanzas, stanzas constitute lines and lines constitutes &amp;quot;duns&amp;quot;. Therefore, &amp;quot;dun&amp;quot; is the natural rhythmic units of Chinese poetry and reveals poems' &amp;quot;inherent music-like rhythm and beat&amp;quot;.&lt;br /&gt;
 &lt;br /&gt;
However, that &amp;quot;dun&amp;quot; is the basic metrical unit of the Chinese poetry doesn't mean the number of duns in each line is exactly the same. Bian Zhilin advocates dun of two characters and dun of three characters should be arranged alternately and adjusted mutually to meet the needs of poetic expression and produce an effect similar to feet in western poetry.&lt;br /&gt;
&lt;br /&gt;
===Chapter 3 Analyses of Bian Zhilin's Translation Practice===&lt;br /&gt;
Bian Zhilin put his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and poetry translation strategies of &amp;quot;replacing foot with dun&amp;quot; into practice. Here are three poem excerpts of romantic poets and Bian Zhilin's translation of them.&lt;br /&gt;
&lt;br /&gt;
====William Blake's ''The Tiger'' in ''Songs of Experience''====&lt;br /&gt;
William Blake is a representative of English romantic literature. He was hailed by 20th century critics as &amp;quot;the great prophet&amp;quot; who was a pioneer of romanticism. He broke neoclassical traditions in the 18th century and emphasized instinct, passion and imagination. Besides, Blake is a revolutionary poet and expressed strong revolutionary passion and rebellious spirit in his poem. The Tiger is one of his earliest lyrical poems. It eulogizes the shape and strength of the tiger. Here is an excerpt of it:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Tiger! Tiger! Burning bright&lt;br /&gt;
&lt;br /&gt;
In the forests of the night,&lt;br /&gt;
&lt;br /&gt;
What immortal hand or eye&lt;br /&gt;
&lt;br /&gt;
Could frame thy fearful symmetry?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
老虎！|老虎！|火一样的辉煌，&lt;br /&gt;
&lt;br /&gt;
烧穿了|黑夜的|森林和|草莽，&lt;br /&gt;
&lt;br /&gt;
什么样|非凡的|手和|眼睛&lt;br /&gt;
&lt;br /&gt;
能塑造|你一身|惊人的|匀称？&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of dun.)&lt;br /&gt;
&lt;br /&gt;
The excerpt shows the praise for the tiger. In the poem, Blake uses symbolization and compares the tiger to a fire that destroys everything. Bian Zhilin represents the perfect creation of the creator with the symmetry of the tiger. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem on the guidance of his theory of &amp;quot;faithfulness, similarity and translation&amp;quot;. In the first line of the excerpt, the use of &amp;quot;Tiger&amp;quot; with exclamation marks is a kind of call of the tiger——the king of the forest. Bian Zhilin translates them faithfully into &amp;quot;老虎！老虎！&amp;quot;. The third line is a rhetorical sentence that asks without answering, which reminds readers of the Creator——God, thus making the poetry profound. Bian Zhilin follows the rhythmic characteristics of the original poem and translates it artistically.  &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin also makes his translation according to his theory of &amp;quot;replacing foot with dun”. The above stanza consists of four lines of trochaic tetrameter. Therefore, there are four feet in each line. And in translated version, there are four lines of four duns. Each duns contains two or three characters, thus make the structure of the translated poem neat and have a strong rhythm.&lt;br /&gt;
&lt;br /&gt;
====William Wordsworth's ''The“Lucy”Series''====&lt;br /&gt;
William Wordsworth is also an important poet in English romanticism. He was made poet laureate and he strongly promoted the innovation of English poetry and the development of the Romantic movement. He believes &amp;quot;Poetry is the spontaneous overflow of powerful feelings&amp;quot;. The following excerpt is taken from his &amp;quot;Lucy&amp;quot; series:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
A slumber did my spirit seal&lt;br /&gt;
&lt;br /&gt;
I had no human fears&lt;br /&gt;
&lt;br /&gt;
She seemed a thing that could not feel&lt;br /&gt;
&lt;br /&gt;
The touch of earthly years &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
No motion has she now, no force&lt;br /&gt;
&lt;br /&gt;
She neither hears nor sees&lt;br /&gt;
&lt;br /&gt;
Rolled round in earth's diurnal course&lt;br /&gt;
&lt;br /&gt;
With rocks, and stones, and trees.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
迷糊|封住了|我的|精神；&lt;br /&gt;
&lt;br /&gt;
我没有|人世的|忧惶：&lt;br /&gt;
&lt;br /&gt;
她似乎|超然|物外，|不可能&lt;br /&gt;
&lt;br /&gt;
感觉到|岁月的|影响。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
现在|她无力了，|也不能|动弹；&lt;br /&gt;
&lt;br /&gt;
她不再|耳闻|目睹；&lt;br /&gt;
&lt;br /&gt;
卷在|地球的|日程里|滚转，&lt;br /&gt;
&lt;br /&gt;
混同了|岩石、|树木。&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
The above poem was written when Wordsworth went and stayed in Germany with his sister Dorothy in 1798 and 1799. It uses simple words and the meaning of the poems is quite clear. And Bian Zhilin's translation of the poem is quite faithful and vivid. &amp;quot;Slumber&amp;quot; in the first line of the original is translated into &amp;quot;迷糊&amp;quot; rather than &amp;quot;沉睡&amp;quot;, which gives readers a sense of &amp;quot;lazy charm&amp;quot;. And &amp;quot;fears&amp;quot; in the second line was translated into &amp;quot;忧惶&amp;quot;；it’s quite vivid and pertinent. Besides, the original poem consists of two stanzas with four lines of iambus. In each stanza, the first and the third line have four feet and the second and the fourth line have three feet. The whole poem follows the rhyme scheme of &amp;quot;a-b-a-b, c-d-c-d&amp;quot;. Bian Zhilin replaces feet in the poem with duns. There are fours duns in the first and the third lines and three duns in the second and fourth lines in translation. And the translated version follows the same rhyme scheme with the original. The whole poem is translated and expressed in quite appropriate way.&lt;br /&gt;
&lt;br /&gt;
====Percy Bysshe Shelley's ''Song to the Men of England''====&lt;br /&gt;
Percy Bysshe Shelley, as one of the famous romantic poets, pursued freedom and resisted violence in his short life. He encouraged people to stand and fight for a better life and was branded a &amp;quot;complete revolutionary&amp;quot; by Marx. And Song to the Men of England was written by Shelley after &amp;quot;Peterloo incident&amp;quot; in Manchester in 1819 to reveal the cruel nature of reactionary rulers and call on people to revolt bravely. Here is an excerpt of Song to the Men of England:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Men of England, wherefore plough&lt;br /&gt;
&lt;br /&gt;
For the lords who lay ye low?&lt;br /&gt;
&lt;br /&gt;
Wherefore weave with toil and care&lt;br /&gt;
&lt;br /&gt;
The rich robes your tyrants wear?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Wherefore feed and clothe and save&lt;br /&gt;
&lt;br /&gt;
From the cradle to the grave&lt;br /&gt;
&lt;br /&gt;
Those ungrateful drones who would&lt;br /&gt;
&lt;br /&gt;
Drain your sweat——nay, drink your blood?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
英国的|人民，|为什么|犁地&lt;br /&gt;
&lt;br /&gt;
报答|老爷们|踩你们|成泥？&lt;br /&gt;
&lt;br /&gt;
为什么|辛勤|劳苦|去织布，&lt;br /&gt;
&lt;br /&gt;
让那些|恶霸|穿华丽|衣服？&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
为什么|你们|从摇篮|到坟冢&lt;br /&gt;
&lt;br /&gt;
尽供给|和保养|那许多|雄峰？&lt;br /&gt;
&lt;br /&gt;
他们|不感激，|还非常|坚决，&lt;br /&gt;
&lt;br /&gt;
要喝干|你们的汗|——再加|血；&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
This excerpt is about the clash between two classes of society, the poor working class and the rich nobles. The major theme of this poem is exploitation. People plow for the sake of the lords, who are like drone bees that do no work but live off of the works of others. The narrator is urging the workers to make a stand as they are being treated unfairly. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin practices his poetry translation strategies of &amp;quot;translating poetry in metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; in this poem. In the original poem, each of two stanzas consists of four lines of iambic tetrameter, rhyming &amp;quot;a-a-b-b, a-a-b-b&amp;quot;. In the translated version, there are also two stanzas composed of four lines. And in each line, there are four duns which replaces the four feet in the original poem. The rhyme scheme in translated version is the same as that in the original.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translate the poem faithfully and vividly. For example, he translates &amp;quot;lay ye low&amp;quot; into &amp;quot;踩你们成泥&amp;quot; which well preserves the images of the original work. And &amp;quot;tyrants&amp;quot; in the fourth line of the first stanza is translated into &amp;quot;恶霸&amp;quot; which is concise and accurate. In the second stanza, &amp;quot;From the cradle to the grave&amp;quot; modifies &amp;quot;the men of England&amp;quot; rather than those &amp;quot;ungrateful drones&amp;quot;, Bian Zhilin understands the linguistic structure of the poem and translates it into &amp;quot;你们从摇篮到坟冢&amp;quot;. &amp;quot;坟冢&amp;quot; is more formal than &amp;quot;坟墓&amp;quot; and it's suitable for poetry, from which we can see the precision of Bian Zhilin's choose of words. In the last line, Bian Zhilin uses a dash and the words &amp;quot;再加&amp;quot; to highlight the brutal nature of the rulers. Actually, this translation is a good practice of his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===Chapter 4 Critical Thinking of Bian Zhilin's Translation Theories===&lt;br /&gt;
There is no doubt that Bian Zhilin's translation theories greatly promoted the development of English poetry translation in China. His &amp;quot;faithfulness, similarity and translation&amp;quot; is the inheritance and innovation of Chinese traditional translation theories. And it indeed provides a new way for poetry translation. Besides, Bian Zhilin thinks poetry should be translated into poetry rather than prose. In other words, translators should translate poetry in a poetical and metrical way. He stresses the importance of the unity between form and content and thinks high quality translation should be a unity of content and artistic style of the original text.&lt;br /&gt;
&lt;br /&gt;
Despite Bian Zhilin's great contribution to literary translation theories, I think there are still some problems existing in Bian Zhilin's translation strategies. In Bian Zhilin's opinion, translators can replace foot with dun thus achieving similar rhythmical effect in Chinese version with the English original. It seems that it is a quite advisable and feasible method. Bur actually, it cannot be practiced widely. In English poetry, each foot consists of two syllables, which is fixed and regular. But things are changed in Chinese. The character numbers in each dun in Chinese are not fixed. There may be one or two or three or four characters in each dun, so different people may have different divisions of duns based on their different understanding of context. Therefore, the division of duns may be disordered and random, which makes &amp;quot;replacing foot with dun&amp;quot; not advisable in many cases.&lt;br /&gt;
&lt;br /&gt;
Another problem in Bian Zhilin's translation theories is the ignorance of metrical patterns of foot. In English poetry, there are different metrical patterns like iambus, trochee, spondee and pyrrhic and so on. But there are no such meters in Chinese. &amp;quot;Replacing foot with dun&amp;quot; only considers the correspondence of foot but ignores the correspondence of metrical patterns of foot, so Bian Zhilin's &amp;quot;translating poetry in metrical way&amp;quot; actually is not adequate. We know Chinese is a kind of tone language which has four tones. We can use four tones to correspond the metrical patterns of foot in English. But it's quite difficult in so far and still needs more exploration.&lt;br /&gt;
&lt;br /&gt;
===Chapter 5 Conclusion===&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. His literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and &amp;quot;translating poems in a poetical and metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; give us a lot of enlightenment in the translation of poems. This paper analyzes Bian Zhilin's translation of romantic poems to show his translation strategies. However, there are still some problems in his theories, for example, the division of duns are disordered and random which are based on the understanding of translators and there is no correspondence in metrical patterns of foot. These are the problems that are needed to be considered and solved.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Blake, William. Songs of Experience[M]. New York: Dover Publications, Inc., 1971.&lt;br /&gt;
&lt;br /&gt;
Durrant, Geoffrey. William Wordsworth [M]. Cambridge: Cambridge University Press, 1979.&lt;br /&gt;
&lt;br /&gt;
Nabokov, Vladimir. &amp;quot;Forward&amp;quot;, A.S.Pushkin, Eugene Onegin, Nabokov, V.trans. London: Routledge &amp;amp; Kegan Paul, 1964/1975, p.viii.&lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. Approaches to Translation. Oxford: Pergamon, 1981, p39.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2002).《卞之琳文集》（中卷）. 安徽教育出版社, p503.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2000).《卞之琳文集》（上卷）. 安徽教育出版社, p8.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(1994).《从&amp;lt;西窗集&amp;gt;到&amp;lt;西窗小书&amp;gt;》.[英] 克里斯托弗·衣修伍德《紫罗兰姑娘》, 卞之琳译. 中国工人出版社, p8-9.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2007).《人与诗：忆旧说新》（增订本）. 安徽教育出版社, p319.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2005). 《英国诗选》. 商务印书馆, p156.&lt;br /&gt;
&lt;br /&gt;
Chen Xiying陈西滢(1984).《论翻译》. 罗新璋编《翻译论集》. 商务印书馆, p401-402.&lt;br /&gt;
&lt;br /&gt;
Fu Lei傅雷(1984).《论文学翻译书》. 罗新璋编《翻译论集》. 商务印书馆, p694.&lt;br /&gt;
&lt;br /&gt;
Li Changshuan李长栓(2004). 《非文学翻译理论与实践》. 中国对外翻译出版公司, p57.&lt;br /&gt;
&lt;br /&gt;
Shen Suru沈苏儒(1998).《论信达雅：严复翻译理论研究》. 商务印书馆, p8.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜(1991).《西方翻译简史》.商务印书馆, p24.&lt;br /&gt;
&lt;br /&gt;
Yan Fu严复(1984).《&amp;lt;天演论&amp;gt;译例言》.罗新璋编《翻译论集》. 商务印书馆, p136.&lt;br /&gt;
&lt;br /&gt;
=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday, 2012) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær, 2015; von Flotow, 2010). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh (2015) argues that translation is one of the traditional communicating methods between communities all around the world. Jothiraj (2004) states that “translation plays an important role in the inter-lingual process of communication” (p. 1). Translation is essential for cultures and languages to exchange information. Newmark (1988) defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects. Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
&lt;br /&gt;
Nida (1964) indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style. Larson (1998) has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context. &lt;br /&gt;
&lt;br /&gt;
Culture plays a considerable role, Snell-Hornby (1988, p. 33) assumed that “Culture refers to all socially conditioned aspects of human life”. Another definition of culture is formulated by Goodenough (1957, p. 167). For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term. By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
&lt;br /&gt;
The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline (2003, p.16) thought that “religion is an important institutional network that binds people to one another.” But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
&lt;br /&gt;
This study is aimed to probe Newmark's (1988) translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion (1988, p. 81), seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL. &lt;br /&gt;
&lt;br /&gt;
===Translation and Culture===&lt;br /&gt;
&lt;br /&gt;
2. Translation and Culture &lt;br /&gt;
&lt;br /&gt;
Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.  &lt;br /&gt;
The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988, 7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988, 5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988, 7).  &lt;br /&gt;
&lt;br /&gt;
In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford (1965) defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language” (Catford 1965, 20). According to Venuti’s translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader” (Venuti 1995, 18). Schjoldager stated that “a translation is a text that expresses what another text has expressed in another language” (Schjoldager 2008, 19). Culture is a complex whole which includes knowledge, belief, art, law, morals, customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan (2014), claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014, 2). Hermanns (1999) contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures. Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014, 2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark (2001), illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001, 328). &lt;br /&gt;
&lt;br /&gt;
Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
&lt;br /&gt;
2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
&lt;br /&gt;
Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora, fauna, food, clothes, housing, work, leisure, politics, law, and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988, 327) Christine Nord names them “culturemes” (Nord 1997, 9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012, 1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Aixela, 1997; Davies, 2003), others choose cultural words (Newmark, 2003) or culture-bound phenomena/concepts (Baker, 1992, Newmark, 2003, Robinson, 2003). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker, 1992, 21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988, 94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988, 95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988, 95).&lt;br /&gt;
&lt;br /&gt;
2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
&lt;br /&gt;
The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85, P. 22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003, 16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.&lt;br /&gt;
&lt;br /&gt;
===Types of Translation ===&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
Newmark (1988) determines 8 types of translation which are: &lt;br /&gt;
 &lt;br /&gt;
3.1 Word-for-Word Translation &lt;br /&gt;
&lt;br /&gt;
This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
&lt;br /&gt;
3.2 Literal translation &lt;br /&gt;
&lt;br /&gt;
In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
&lt;br /&gt;
3.4 Semantic Translation &lt;br /&gt;
&lt;br /&gt;
Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
&lt;br /&gt;
3.5 Adaptation &lt;br /&gt;
&lt;br /&gt;
This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015, 15). &lt;br /&gt;
&lt;br /&gt;
3.6 Free Translation &lt;br /&gt;
&lt;br /&gt;
The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
&lt;br /&gt;
3.7 Idiomatic Translation &lt;br /&gt;
&lt;br /&gt;
This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
&lt;br /&gt;
3.8 Communicative Translation &lt;br /&gt;
&lt;br /&gt;
This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
===Translation Strategies  ===&lt;br /&gt;
&lt;br /&gt;
4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
&lt;br /&gt;
4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela (1996), translators need to choose several strategies based on the source language culture and target culture.  He distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, he tries to command by the level of their intercultural intervention. He divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies). &lt;br /&gt;
&lt;br /&gt;
4.1.1. Conservation: &lt;br /&gt;
In conservation, the less compelling process includes repetition, orthographic adaptation, linguistic translation, extratextual gloss and intratextual gloss. &lt;br /&gt;
&lt;br /&gt;
4.1.1.1 Repetition: In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus, the translator keeps as much as possible the original reference (Aixela, 1996, p. 61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
&lt;br /&gt;
4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
&lt;br /&gt;
4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
&lt;br /&gt;
4.1.1.4 Extra-textual Gloss: Here, the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes, endings, words, ideas, translators in dictionaries, italics and so on. &lt;br /&gt;
&lt;br /&gt;
4.1.1.5 Intra-textual Gloss: It's like the past but the translator feels that he/she can include the globe as an indirect part of the text, not to distract the reader. &lt;br /&gt;
&lt;br /&gt;
4.2.1 Substitution &lt;br /&gt;
In substitution, According (Aixela, 1996) “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here”. &lt;br /&gt;
&lt;br /&gt;
4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
&lt;br /&gt;
4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
&lt;br /&gt;
4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela, 1997, p.63). &lt;br /&gt;
&lt;br /&gt;
4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Shokri, Ketabi, 2015, p.8). &lt;br /&gt;
&lt;br /&gt;
4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela, 1996, p. 64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
&lt;br /&gt;
4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela, 1997). &lt;br /&gt;
&lt;br /&gt;
4.3 Mona Baker’s Translation Strategies &lt;br /&gt;
Baker’s strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation. (Baker, 1992). He suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies, which are the following: &lt;br /&gt;
&lt;br /&gt;
4.3.1 Translation by a more general word: According to Baker, this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
&lt;br /&gt;
4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
&lt;br /&gt;
4.3.3 Translation by cultural substitution: This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
&lt;br /&gt;
4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
&lt;br /&gt;
4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
&lt;br /&gt;
4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
&lt;br /&gt;
4.3.7 Translation by omission: Losing phrases or words that are not vital to text development. &lt;br /&gt;
&lt;br /&gt;
4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view, however, Baker's (1992) translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
&lt;br /&gt;
===Cultural Categories  ===&lt;br /&gt;
5. Cultural categories &lt;br /&gt;
 &lt;br /&gt;
5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
5.1.2 Material culture &lt;br /&gt;
Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.” &lt;br /&gt;
5.1.3 Social culture &lt;br /&gt;
The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
5.1.4 Organisation &lt;br /&gt;
Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
 &lt;br /&gt;
5.2 Newmark Classification CSIs &lt;br /&gt;
Newmark (1988) established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items.&lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
 &lt;br /&gt;
Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
&lt;br /&gt;
2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
&lt;br /&gt;
3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
&lt;br /&gt;
4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
&lt;br /&gt;
5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
&lt;br /&gt;
6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
&lt;br /&gt;
7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
&lt;br /&gt;
8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
&lt;br /&gt;
9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
&lt;br /&gt;
10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
&lt;br /&gt;
11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
&lt;br /&gt;
12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
&lt;br /&gt;
13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
&lt;br /&gt;
14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
&lt;br /&gt;
16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
&lt;br /&gt;
17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
&lt;br /&gt;
18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
&lt;br /&gt;
19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
&lt;br /&gt;
20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
&lt;br /&gt;
21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
&lt;br /&gt;
22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
&lt;br /&gt;
23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
&lt;br /&gt;
24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996, 31), “translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by (Newmark 1988, 81), “translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.” &lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation, then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions. &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity, as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts, the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term, and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part, but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark (1988) has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9. &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark’s strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                           	 قرُۡءٰنًا	Quran &lt;br /&gt;
 	                         ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference               	 يعَۡقوُۡب	Yaqub &lt;br /&gt;
 	                            اِسۡحٰق	Ishaq &lt;br /&gt;
 	                         يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
===8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
===      This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
===8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
===8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
===The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark (1988) were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
===This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However, the translator must be competent in using the translation procedures to provide an accurate translation. &lt;br /&gt;
&lt;br /&gt;
===8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
===The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abdi, H. (2019). Translating culture-specific items (CSIs) as a conundrum for Iranian MA translation students: Considering the level of study. Journal of new advances in English Language Teaching and Applied Linguistics, 1(1), 88-109. &lt;br /&gt;
&lt;br /&gt;
Aguado-Gimenez, P., &amp;amp; Pérez-Paredes, P. F. (2005). Translation-strategies use: A classroombased examination of Baker’s taxonomy. Meta: journal des traducteurs/Meta: &lt;br /&gt;
Translators' Journal, 50(1), 294-311. &lt;br /&gt;
&lt;br /&gt;
Ahmadi, M. R.S and Nosrati, Fatemah. (2012). Domestication and Foreignization Strategies in Translation of Culture-Specific Items. Translations of English-Persian Children’s Literature. San Francisco: Grin Publishing. Google Books. &lt;br /&gt;
&lt;br /&gt;
Al Saleh, R. A. (2019). An Application of Newmark's Procedures to Muhammad Abul Quasem's Alleman, J. C. Bee. W. Ulitkin, I. Files, F., Zetzsche, J., Chatonnet-Marton, P. &amp;amp; y del Árbol, E. V. Translation Strategies. &lt;br /&gt;
&lt;br /&gt;
Al-Sofi, B. B. M. A., &amp;amp; Abouabdulqader, H. (2020). Bridging the gap between translation and culture: towards a cultural dimension of translation. International journal of linguistics, literature and culture, 6(1), 1-13. &lt;br /&gt;
&lt;br /&gt;
Baker, M., 1992. In Other Words: A Coursebook on Translation. London: Routledge, p.20–42. &lt;br /&gt;
&lt;br /&gt;
Blažytė, D., &amp;amp; Liubinienė, V. (2016). Culture-specific items (CSI) and their translation strategies in Martin Lindstrom’s&amp;quot; Brand sense&amp;quot;. Kalbų studijos, (29), 42-57. &lt;br /&gt;
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Bush, P. (1998) &amp;quot;Literary Translation.&amp;quot; In: M. Baker, ed. Routledge Encyclopedia of Translation Studies, London: Routledge, pp.127-130. &lt;br /&gt;
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Catford. J. C. (1965). A linguistic theory of translation. Oxford: Oxford University Press. &lt;br /&gt;
English Translation of Mohammad Al-Ghazali's Islamic Guidance.Literature and Culture, 6(1), 1-13. &lt;br /&gt;
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Gečaitė, L. (2020). Culture-Specific Items and Their Translation Strategies in Victoria Hislop's Novel The Sunrise.” (2020). &lt;br /&gt;
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Hassan, B. E. A. (2014). Between English and Arabic: A practical course in translation. &lt;br /&gt;
Cambridge Scholars Publishing. &lt;br /&gt;
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Hermans, T. (1999). Translation in systems. Manchester: St. Jerome Publication  House, J. (Ed.). (2014). Translation: a multidisciplinary approach. Springer. &lt;br /&gt;
Issa, A. L. S. M., &amp;amp; Hammood, L. H. R.- Quranic-Specific Phrases under the Study of Translation; Significance and Applications. &lt;br /&gt;
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Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. (33), p. 83-87). &lt;br /&gt;
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Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. 33, p. 83-87). &lt;br /&gt;
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Lambert, J. (1998) Literary Translation. In: M. Baker, ed. Routledge Encyclopedia of Translation Studies. London: Routledge, 130-134. &lt;br /&gt;
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Landers, Clifford E. (2001) Literary Translation: A practical guide. New Jersey University Press: Multilingual Maters. &lt;br /&gt;
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Lustig, Myron, W. and Koeser, Joline  (2003), Intercultural Competence: Interpersonal Communication Across Cultures, Boston: Allyn and Bacon. &lt;br /&gt;
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Malmkjær, K. (1993). Who Can Make Nice A Better Word Than Pretty? Collocation, Translation, and Psycholoinguistics. In: Baker, M., Francis, G. and Tognini-Bonelli, E. &lt;br /&gt;
eds. Text and Technology. Philadelphia/Amsterdam: John Benjamins Publishing Company. pp.213-32. &lt;br /&gt;
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Mosavat, S., &amp;amp; Rahimpour, S. (2016). The Most and Least Used Translation Strategies for &lt;br /&gt;
Conveying Culture-Specific-Items in Young Adult Literature from English into Persian. International Journal of Humanities and Cultural Studies (IJHCS) ISSN 23565926, 1853-1873. &lt;br /&gt;
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Munday, J. (1997). Systems in Translation: A computer-assisted systemic approach to the analysis of translation of García Márquez. Ph.D thesis, University of Bradford. &lt;br /&gt;
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Newmark, P. (2001). A Textbook of Translation. Shanghai: Shanghai Foreign Language &lt;br /&gt;
Education Press &lt;br /&gt;
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Newmark, Peter. (1988). A Textbook of Translation. New Jersey: Prentice-Halls &lt;br /&gt;
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Nord, Christiane. (1997). Translating as a Purposeful Activity: Functionalist Approaches &lt;br /&gt;
Explained. Manchester: St. Jerome. Accessed 10 November. 2018. Google Books Schjoldager, A. (2008). Understanding translation. Academica: Århus. &lt;br /&gt;
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Silalahi, M., &amp;amp; Lubis, S. (2013). Translation Procedures of Cultural Terms Found In Sejarah Bilingual For Students of Senior High School. &lt;br /&gt;
Valipoor, K., &amp;amp; andAzizeh Chalak, H. H. T. (2019). Cultural-specific items in translation of the Holy Quran by Irving: 43-51. &lt;br /&gt;
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Venuti, L. (1995). The translator’s invisibility: A history of translation. London and New York: &lt;br /&gt;
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Widiarto, O. V. V. (2016). The translation procedures of cultural expressions applied in a game of thrones translated into Perebutan Tahta novel by Barokah Ruziati (Doctoral dissertation, Dian Nuswantoro University).&lt;br /&gt;
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=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
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[[Trans_Type_EN_12]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
===An Overview on Translation Studies  ===&lt;br /&gt;
&lt;br /&gt;
===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
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=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
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===Conclusion ===&lt;br /&gt;
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=== References ===&lt;br /&gt;
&lt;br /&gt;
= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the researcher wants to highlight the different concepts about the fundamental question &amp;quot;what is idiomatic expression&amp;quot; of different critics, theorists and linguistic experts, and prominent scholars of translation studies. Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
&lt;br /&gt;
Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda Corelli 2006, 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984, 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992, 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to (Newmark 1981, 11), “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”&lt;br /&gt;
.	The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to (Corelli 2006, 53), English has a sizeable idiomatic base.&lt;br /&gt;
About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.&lt;br /&gt;
The main issue that idiomatic and fixed expressions pose for translators, according to (Baker 1992, 65), is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.&lt;br /&gt;
&lt;br /&gt;
Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.&lt;br /&gt;
&lt;br /&gt;
===Literature Review ===&lt;br /&gt;
In this chapter, the author/researcher defines the strategy and its different definitions from the perspective of different subjects and fields. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented. Krings defines it as the content of the project, while Seguinet divided the term into three steps. However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. &lt;br /&gt;
&lt;br /&gt;
The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward.&lt;br /&gt;
Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint.&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to (Seguinot 1989, 27) (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.&lt;br /&gt;
&lt;br /&gt;
Furthermore, (Loescher 1991, 8) defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot; As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998, 4) claim moreover, (Bell 1998, 188) distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.&lt;br /&gt;
&lt;br /&gt;
According to (Venuti 1998, 240), &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot; He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to (Jaaskelainen 2005, 15), product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.&lt;br /&gt;
&lt;br /&gt;
Furthermore, (Jaaskelainen 2005, 16) distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making. (Newmark 1988, 221) distinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016, 13).&lt;br /&gt;
&lt;br /&gt;
The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010, 15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017, 54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
&lt;br /&gt;
Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985, 9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female.&lt;br /&gt;
Several research articles are found on translated work (license and khol do) of Urdu famous short stories writer Sadat Hassan Manto's from a different perspective like psychoanalysis, postcolonial, feminist approaches but to explore the problem of translations strategies face by translator Aatish Taseer during the process of translation has not been mention till date. To summarize this, the research includes a critical, in-depth, comprehensive analysis of issues that previously did not address.&lt;br /&gt;
&lt;br /&gt;
=== Theoritical Framework ===&lt;br /&gt;
&lt;br /&gt;
Different strategies have been used, like using an idiom of similar meaning and similar form, the idiom of similar meaning and different form, translation by Paraphrasing, translation by omission. The approach of employing idioms of similar meaning and form, according to Mona Baker, entails using an idiom in the target language that can express about the same meaning as the source language idiom, as well as having lexical similarity. On the other hand, this type of matching happens periodically as well as regularly.&lt;br /&gt;
&lt;br /&gt;
Similarly, employing idioms with similar meanings but different forms means that it is possible to locate an idiom or fixed expression in the target text language that has a similar meaning to the source idiom or expression but is made up of distinct lexical elements. Consider the case of English and French, both of which use the idiom mentioned above. In English, one good deed is rewarded with another, whereas in French, handsome deeds are rewarded with handsome deeds.&lt;br /&gt;
&lt;br /&gt;
Furthermore, we did not come across any idioms in the category mentioned above during translating idioms. To deal with this issue, the translators used the most popular approach, known as a translation by paraphrase, which is short, straightforward, and time-saving. When a match cannot be identified in the target language or when it appears improper to employ idiomatic language in target material due to aesthetic differences between the source and target languages, this is the most typical approach for translating an idiom from source to target language. However, one thing to keep in mind is that a perfect translation is not required is necessary or possible.&lt;br /&gt;
&lt;br /&gt;
Last but not least, to overcome the problem of idiom translation, the translator employs the strategy of translation by omission. This can be defined as an idiom being omitted entirely in the target text with a single word. This is done because the idiom has no close match in the target language; its meaning cannot be easily paraphrased or due to stylistic reasons. &lt;br /&gt;
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&lt;br /&gt;
3.4 Data analysis Techniques:&lt;br /&gt;
Textual analysis is the method of data analysis in qualitative research that brings forth the hidden and potent message, structure, and function of research in giving text, Alan Mckee (defines textual analysis as whenever we perform textual analysis on the text, we make an educated guess at some time of the most likely interpretations that might be made of that text (Alan Mckee 2001, 3)&lt;br /&gt;
Analysis of the translation of short stories in light of Mona baker's theory &amp;quot;khol do and license&amp;quot; are short stories written by Sadat Hassan Manto and translated by many translators from Urdu into English. During translation, the translator adopted many strategies for translating idiomatic expression, sometimes by Paraphrasing, sometimes by omission, sometimes using similar idioms of form and meaning while sometimes using different words and the same form, the whole.&lt;br /&gt;
&lt;br /&gt;
===Discussion and Analysis===&lt;br /&gt;
The chapter analyzes and discusses all the data collected by the author/researcher from different sources. All the examples of idioms are first identified, then translated into the target text, and back-translated for the sole purpose of exploring the strategies being used by the translator. A separate section is given to every strategy with its related example. Moreover, the idiomatic expression, the target work for finding, is highlighted through the bold letter.&lt;br /&gt;
&lt;br /&gt;
4.1	Translation by Paraphrasing:&lt;br /&gt;
Based on our findings, the most often used strategy was &amp;quot;translation by paraphrasing.&amp;quot; An inspection also reveals that Aatish Taseer preferred this strategy. Here are some examples applied by the translators, and in the following section, the logic behind their preference towards this strategy is elaborate. The following are examples from two short stories of Sadat Husain Manto's &amp;quot;khol do&amp;quot; and &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 1: &lt;br /&gt;
ST: Sirajuddin ne subah das baji anki kholi to logo ka ail mutalatam samandar deka.&lt;br /&gt;
TT: Ten a.m., Siraj Uddin opens his eyes on the cold floor of the camp, seeing the swelling sea of men.&lt;br /&gt;
BT: sub ke das baji jab Sirajuddin ne apni anki koli to logo ka aik ublaha howa samandar ka nizara dekni laga.&lt;br /&gt;
So, the above idioms are literal idioms being translated with the help of Paraphrasing because there is no perfect equivalent of mutalatam words in English languages. A similar look at another idiom from short stories &amp;quot;khol do.&amp;quot;&lt;br /&gt;
Example 2:&lt;br /&gt;
ST: Khuda tomahra bala kari.&lt;br /&gt;
TT: Your God will reward&lt;br /&gt;
BT: Is ka badla khoda tomahi di.&lt;br /&gt;
Here, the word reward is being used for Bala Kari, an example of transitional by Paraphrasing.&lt;br /&gt;
Let  take another example from &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
ST: unkho nai Jan khateli pa rak kar sakena ko donda.&lt;br /&gt;
TT: even putting their lives online, they search sakina &lt;br /&gt;
BT: apni zindagio ko khatri me dal kar unkho nai sakina ko dond nekala.&lt;br /&gt;
The above idioms are examples of pure idiom translated from Urdu into English with the help of paraphrases strategies. However, under the same strategies, the idioms of another short story of Manto,s &amp;quot;license,&amp;quot; are translated by Aatish Taseer. Some of the examples are given below.&lt;br /&gt;
Example 4:&lt;br /&gt;
ST: Abu kochwan bara cheel jabela ta. It is the binomial type of idioms taken from the first sentence of the short story &amp;quot;license&amp;quot; by Sadat Hasan Manto &lt;br /&gt;
TT: Abu kochwan is stylish man.&lt;br /&gt;
BT: Abu kochwan aik wazahdar admi ta.&lt;br /&gt;
From the above idiom, it is clear that there is no perfect equivalence of cheela chabela idiom in English; that is, the translator goes through paraphrasing strategies. Look at another example from &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 5:&lt;br /&gt;
ST: Lein har waqat bank bani rekhi ka usi be had showk ta&lt;br /&gt;
TT: He had a weakness for style and fashion.&lt;br /&gt;
BT: Dan saj ke rekhna uski kamzori me sai ik ta.&lt;br /&gt;
So all of the above examples, which are analyzed one by one, are examples of idioms being translated through paraphrasing strategies. (De Beaugrande and Dressler 1981, 50) define paraphrases as &amp;quot;approximate conceptual equivalence among outwardly different material.&amp;quot; Similarly, in this regard, Hirst defines paraphrases as &amp;quot;talk(ing) about the same situation in a different way.&amp;quot; Munday declared that &amp;quot;equivalence is particularly useful in translating idioms and proverbs” For instance, if the English idiom like a bear with a sore head is rendered into Persian as (mesle borje zahremar), meaning like a tower of snake venom, the strategy of equivalence has been applied. &lt;br /&gt;
According to Leonardi, &amp;quot;Equivalence can be said to be the central issue in translation.&amp;quot; In this regard, house believes that &amp;quot;a translation text should match not only its source text in function but also employ equivalent situational-dimensional means to achieve that function&amp;quot; (Baker 2002, 49).  who shares this approach, states that equivalence is used &amp;quot;for the sake of convenience—because most translators are used to it rather than because it has any theoretical status&amp;quot; (Kenny 1998, 77). &lt;br /&gt;
Despite different attitudes to the concept of equivalence, most specialists pay much attention to its meaning in the theory of translation. The translation is a form of communication, and that is why it is vital to establish equivalence between the source text and the target text. Although Vinay and Darbelnet believe that equivalence is used differently than in modern translation theory, it is evident that equivalence is one of the basic concepts of translation that cannot be neglected. Consequently, based on the Above mentioned studies using Paraphrasing in translation stands as the core concept in the process of translation, and still, most of the translators cling to it for producing a more comprehensible and explicable text. These language ideas and translation models are ideal constructs, presented abstractly in order to be differentiated precisely. They may exist in an uneasy combination in actual theories and practices, resulting in logical tensions or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation. Theories and actions must be contextualized in historical settings. They've been utilized as analytical tools to describe various topics in section introductions. Theoretical writings and current events these language notions and translation models are ideal constructs expressed in an abstract manner in order to be distinguished precisely in real-life hypotheses they may exist in an uncomfortable mix, resulting in logical conflicts or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
4.2	Using an idiom of Similar Meaning and Form &lt;br /&gt;
As mentioned earlier, this strategy type is being used by Aatish Taseer during their translated work of Manto's short stories &amp;quot;khol do&amp;quot; and&amp;quot; license&amp;quot; on an occasional basis. Some examples are mention below.&lt;br /&gt;
From khol do.&lt;br /&gt;
Example 6:&lt;br /&gt;
ST: Larki ka rang zard hogaya.&lt;br /&gt;
TT: The girl's face became fail&lt;br /&gt;
BT: larki ka rang zar hogya.&lt;br /&gt;
Similarly, another example from the license is&lt;br /&gt;
Example 7:&lt;br /&gt;
ST: Abu our us ke mat beer hogaie&lt;br /&gt;
TT: They fall in love with each other.&lt;br /&gt;
BT: WO ik dosri ke mokhbat me geriftar hogaie&lt;br /&gt;
The above idioms are pure ones and are being translated with the help of similar meanings and similar forms.&lt;br /&gt;
	 The procedures: transposition, modulation, equivalence, and adaptation, and when it comes to defining the term Equivalence, (Vinay and Darbelnet 2000, 90) propose that it consists in rendering &amp;quot;the same situation … by two texts using completely different stylistic and structural methods&amp;quot;, and when it comes to translating idiomatic expressions like &amp;quot;Il pleut à seaux&amp;quot; it can be translated as &amp;quot;It is raining cats and dogs&amp;quot; using the idiom of similar form and meaning in the target language.&lt;br /&gt;
As (Baker 1992, 12) states, this strategy involves using an idiom in the TL which conveys roughly the same meaning as that of the source language idiom and, in addition, consists of identical lexical items. The salient point is that this kind of match can only occasionally be achieved, which cannot be picked up more often by translators. Accordingly, both translators mentioned in the current study had quite a slim chance of using this strategy type. &lt;br /&gt;
&lt;br /&gt;
4.3 Using an idiom of similar meaning but different form:&lt;br /&gt;
During translating Manto short stories, &amp;quot;khol do&amp;quot; and &amp;quot;license,&amp;quot; some of the idioms are translated with the help of this strategy. Some of the examples are given below from two different short stories.&lt;br /&gt;
Example number one is from the short story &amp;quot;khol do&amp;quot;&lt;br /&gt;
Example 8:&lt;br /&gt;
ST: Aur bolwai gos ayai thee?&lt;br /&gt;
TT: The roitors come abroad.&lt;br /&gt;
BT: pasadi bahar agai hai.&lt;br /&gt;
The above idiom is a pure type of idiom being translated with the help of above mention strategy. The word rioter is being used for bolwai, which is not a perfect word for bolwai. In Urdu bolwai, people believe in violence when minorities or the low population of any country want some rights. These people stop them by using violence, burn down their properties, rapes women, and do things like that. Another example from the license is below.&lt;br /&gt;
Example 9:&lt;br /&gt;
ST: Dosri kotwal abu ko dek kar jal ban ho jati.&lt;br /&gt;
TT: The other coachman burn with envy.&lt;br /&gt;
BT: Abu ke kamyabi dek kar aur kotwal abu sai khasad karni lagi’&lt;br /&gt;
The above idioms are a pure idiom that reflects the effect of jealousy between competitors to achieve equivalency. Aatish Taseer uses envy word for jal ban instead of other which have similar meaning but different form. Look at the other example from &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 10:&lt;br /&gt;
ST: Dino lat vo lagal se kam karni laga.&lt;br /&gt;
TT: Dino came with an excuse.&lt;br /&gt;
BT: Dino abb bahi tarashni laga.&lt;br /&gt;
	&lt;br /&gt;
The above idioms are types of binomial idioms translated with the help of idioms with similar meanings and different forms. (Newmark 1988, 81) mentions the difference between translation methods and translation procedures. He writes that &amp;quot;[w]hile translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language&amp;quot; (Newmark 1988, 81). Idiomatic translation in his definition reproduces the 'message' of the original. However, it distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original, leading to using an idiom of similar meaning but a different form. Besides, it is often possible to find an idiom or fixed expression in the target language with a meaning similar to that of the source idiom or expression but which consists of different lexical items (Baker 1992, 12). Therefore, translators discover idiomatic expressions in the target language with different forms than in the source language. In the current study, the translators approached this strategy merely for 9% of the total times, which means the frequency of Iranian and English idioms with the same meaning and different forms is not considered high. &lt;br /&gt;
&lt;br /&gt;
4.4 Translation by omission:&lt;br /&gt;
A translator is less using these strategies, and we did not find any clue on this type of strategy in an area under consideration.&lt;br /&gt;
&lt;br /&gt;
=== Findings===&lt;br /&gt;
&lt;br /&gt;
(Mandelbit 1995) believed that idioms with different cognitive mapping in the target language would be more challenging to translate. After conducting study and data analysis of collected data, the result revealed that the translator frequently used three out of four strategies of the Mona Baker model during the translation process, which is a translation by Paraphrasing, translation by similar meaning and similar form, translation by similar meaning and different form. In contrast, translation by omission does not found in his work.&lt;br /&gt;
After detail and careful analysis of data, more than half of idioms like &amp;quot;swelling sea of man,” my lord break his arrogance, “weakness for style and fashion.&amp;quot; As I mentioned earlier, many more are translated under the umbrella of Paraphrasing, which is considered the most common method used for translating idioms.&lt;br /&gt;
&lt;br /&gt;
Similarly, we also reflect strategies like similar meaning and different form and similar meaning and similar form. The idiom &amp;quot;rioter came abroad,” burn with envy,” The girl's face became pale, &amp;quot; They fall in love with each other&amp;quot; are translated with the help of two mention strategies, respectively.&lt;br /&gt;
&lt;br /&gt;
Although translation by omission is a strategy used on rare occasions because of its meaning, its meaning cannot be easily paraphrased or stylistic reason. Here, the researcher also did not find any idiom translated with the help of the omission strategy.&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
Go through detailed discussion and analysis of data collected from my source. We finally concluded that the idioms present in two short stories, &amp;quot;khol do&amp;quot; and &amp;quot;License,&amp;quot; are translated under the frame of Mona Baker's idiomatic model. Translation by Paraphrasing is mainly used while idioms of similar meaning and form and idioms of similar meaning and different forms are used occasionally. The researcher discusses all the strategies with related examples in the order of maximum used to minimum used. The strategy by omission did not find it works. All the data are collected from different sources and analyzed with the help of different researcher tools, and the result is written in light of the finding. Different from previous studies, the writer presents the strategies to translate idioms by each type of idiomatic expression found in the story. From the result, it is considered the translation of idiomatic expressions in the story is quite accurate. As the number of accurate data is more the data which is not related to the translation. We take conclusion from the translation through idiomatic expression and paraphrasing is the best way to translate a novel or a story however it is very difficult job to do because it needs more accurate and precise knowledge about the source language and an inspiring method to express ideas in the target language. However, translation is thing through which we can connect the world with each other and also we can study and observe diverse cultures.            &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abu-Saydeh, A. F. (2004). Translation of English idioms into Arabic. Babel, 114-131.&lt;br /&gt;
&lt;br /&gt;
Ahsan, S. (2020). A comparative study of two translations of manto's short story &amp;quot;Toba Tek&amp;quot;. International Journal of English Language Studies, 12-27.&lt;br /&gt;
&lt;br /&gt;
Alexander, R. J. (1987). Mimeograph. In R. J. Alexander (Ed.) Collocation and Culture. Trier: University of Trier, West Germany.&lt;br /&gt;
&lt;br /&gt;
Al-Qinai, J. (2000). Translation quality assessment. strategies, parameters and procedures. Translator's Journal, 497-519.&lt;br /&gt;
&lt;br /&gt;
Bayashi, J. (2020). Japanese-English translation: An advanced guide. Oxfordshire: Routledge.&lt;br /&gt;
&lt;br /&gt;
Das, V. &amp;amp;. (1995). Critical events: An anthropological perspective on contemporary India. New Delhi: Oxford Printing Press.&lt;br /&gt;
&lt;br /&gt;
Mufti, A. (2007). The Language of English India. In I. &amp;amp;. End (Ed.) Enlightenment in the Colony. Princeton University Press.&lt;br /&gt;
&lt;br /&gt;
Waka Xia, L. (2019). A discourse analysis of news translation in China. Syydney: Routledge.&lt;br /&gt;
&lt;br /&gt;
= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
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===Ambiguity===&lt;br /&gt;
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===Lexical and Structural Mismatches===&lt;br /&gt;
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===Multiword units: Idioms and Collocations===&lt;br /&gt;
&lt;br /&gt;
===Summary===&lt;br /&gt;
&lt;br /&gt;
===Further Reading===&lt;/div&gt;</summary>
		<author><name>Atta Ur Rahman</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=130891</id>
		<title>Translation types, strategies, styles, methods</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=130891"/>
		<updated>2021-12-10T15:27:43Z</updated>

		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* References */&lt;/p&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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==Abstract==&lt;br /&gt;
''Legend of Zhen Huan'', as an excellent Chinese TV series, has successfully entered the American market. However, the American version of Legend of Zhen Huan still has some shortcomings in translation. By comparing and analyzing the subtitle texts of the ''Legend of Zhen Huan'' in China and the United States, this paper aims to discuss the problems existing in the overseas translation of the ''legend of Zhen Huan'' and the translation strategies and methods adopted in the subtitle translation of the American version, so as to provide some enlightenment for Chinese costume dramas to reach the world in the future.&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
Translation strategy and translation methods; ''Legend of Zhen Huan''; Subtitle translation&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
The TV series ''Legend of Zhen Huan'' is Imperial-harem competing play produced by the Beijing Television Arts Center in 2011. This play is adapted from a novel of the same name written by Liu Lianzi, which mainly tells the story of the young girl Zhen Huan growing up from an unsophisticated young girl to an empress dowager who is good at politics. Since its debut in China in 2012, ''the Legend of Zhen Huan'' has been a hit among Chinese audiences, with its ratings rising and even forming “Zhen Huan craze” for a time. The reason why the play has received so much praise, on the one hand, is that the film and television script is well-produced; on the other hand, it is because the plots and dialogues of the characters in the play cover a wealth of historical and cultural knowledge, embodying the profundity of Chinese culture.&lt;br /&gt;
Due to its great success in the domestic market, the series finally attracted the attention of foreign producers: the American team adapted the original ''Legend of Zhen Huan'', cutting the 76-episode original drama into six episodes,which was officially launched on Netflix’s paid website in the United States on March 15, 2015. It is the first Chinese TV series to be broadcast on mainstream TV stations in the United States. &lt;br /&gt;
However, the American version of the ''Legend of Zhen Huan'' failed to be sought after by audiences in the US, with most viewers abandoning the show after only one or two episodes.The English lines of the ''Legend of Zhen Huan''’s have ever been criticized by some Chinese audiences. After a deep study of the reason, in addition to the lack of content caused by a large amount of deletion and cutting, another important reason is the insufficiency of subtitle translation. This paper attempts to explore the translation strategies of the subtitle of ''Legend of Zhen Huan'', hoping to provide some inspiration for the subtitle translation of domestic film and television works of the same type.&lt;br /&gt;
&lt;br /&gt;
==Literature Review==&lt;br /&gt;
&lt;br /&gt;
===Previous studies in Subtitle Tranlation abroad===&lt;br /&gt;
In the early 1970s, Doller Up (1974) published a paper entitled “On Subtitle in TV Programs” on Babel, an authoritative journal of the International Association of Translators, which was the first time that scholars paid special attention to subtitle translation. In addition, he creatively pointed out the great value of TV subtitles to foreign language teaching, and then made contributions to the cause of education.&lt;br /&gt;
&lt;br /&gt;
In 1976, Istvan Fodor published a book called Film Dubbing: Aspects of Phonology, Semiotic Aesthetics, and Psychology, which centered on film dubbing from an acoustic perspective. Fodor argues that because each country’s language and culture are unique and irreplaceable, it is almost impossible to achieve perfect “synchronization” in all aspects of the translation of film(Fodor 1976:82).&lt;br /&gt;
&lt;br /&gt;
In 1982, Christopher Titford first proposed the concept of “restricted translation” in his article “Subtitling: Restricted Translation”. He believes that the limitations of film and television as a medium themselves are the main cause of problems encountered by translators in practice (Titford 1982:113).&lt;br /&gt;
&lt;br /&gt;
In 1992, Ivarsson, a Swedish subtitling translation scholar, published his book Subtitling for Media: A Handout of Art, which can be said to be the first comprehensive study of subtitling translation works in Europe. In this book, Ivarsson introduces the development of subtitle translation technology in detail. The most representative subtitle translation scholars are Gambill and Gottlieb, who are two translation theorists. Yves Gambill, a Finnish translator, is a very important expert in the field of film and television translation. Gambill has a wide range of research fields, he has compiled a large number of academic monographs, such as language transfer and Audiovisual Communication: bibliography, which discusses the classification of translation patterns, translation strategies, translation audience and so on (Gambill 1997).&lt;br /&gt;
&lt;br /&gt;
===Previous studies on Subtitle translation at home===&lt;br /&gt;
The research on subtitle translation in China mainly focuses on the English translation of Chinese films, and a large number of such papers and articles have been published, which are also the most representative research results of subtitle translation in China. In addition, with more and more domestic films moving toward the international stage, some attention has been paid to the study of Chinese subtitles.&lt;br /&gt;
&lt;br /&gt;
The study on Chinese and English subtitle translation can be divided into several fields, including film and television language characteristics, subtitle translation methods, subtitle translation history and so on.&lt;br /&gt;
&lt;br /&gt;
Subtitle translation methods can be broadly divided into two categories. One category refers to some practical translation methods and skills summed up by translators based on their years of translation experience, such as the seven kinds of experiences of film and television translation proposed by Qian Shaochang (2000), which stresses the importance of “translation” in the output of films and TV plays. The other is related to domestic MA papers. They usually start with some translation theories, such as German functional translation theory, Eugene Nida’s functional equivalence theory, relevance theory, and Susan Basnett’s cultural translation theory, and finally conclude translation methods such as domestication, foreignization, literal translation, free translation, omission and so on.&lt;br /&gt;
&lt;br /&gt;
In recent years, with the increasing popularity of American TV series in China, the phenomenon of online subtitle translation has begun to attract attention from all sides. As time went by, subtitle translation goes beyond the simple purpose of satisfying the entertainment needs of movie fans, and begin to be applied to teaching practice and students’ self-learning process. This phenomenon is bound to attract academic attention. For example, Wang Hui (2005) discussed this issue in his article “The Impact of Subtitling on Vocabulary Acquisition”. This paper draws some conclusions which are beneficial to foreign language teaching.&lt;br /&gt;
&lt;br /&gt;
However, there are still many deficiencies in the study on subtitle translation. The only literature we can refer to is few books on the translation of film and television subtitle. In other words, subtitle translation is not discussed in detail.&lt;br /&gt;
&lt;br /&gt;
==Subtitle translation features==&lt;br /&gt;
&lt;br /&gt;
===Subtitle translation needs to be brief and comprehensive===&lt;br /&gt;
Subtitle translation should not be lengthy for two reasons: First, because the screen keeps switching, each screen stay can not be very long, the scene with the character’s dialogue switches over more quickly, in a matter of seconds, which is fleeting. Second, whether it is the large screen in the cinema or the small screen in the home, due to space constraints, if the subtitle translation is not simple enough, it will lead to an increase in the number of words in the target language, not to mention the English words that take up more space than Chinese phrases. English words take up more space than Chinese phrases.&lt;br /&gt;
&lt;br /&gt;
Take the Chinese phrase “Computer”for example, the English equivalent word is computer. The Chinese verb “来”corresponds to the English word “Come”. In general, English words have more characters than their Chinese counterparts, except in rare cases. Since the length of the word can not be artificially controlled, subtitle translation will put a higher demand on the number of words. In a typical presentation, Chinese and English subtitles are displayed simultaneously at the bottom of the screen, up to two lines of Chinese and two lines of English.&lt;br /&gt;
&lt;br /&gt;
If there are too many words, the limited space can not accommodate in a few seconds, the audience will have a dazzling feeling as well. Therefore, one of the distinctive features of subtitle translation is its concise use of words.&lt;br /&gt;
&lt;br /&gt;
===Subtitling translation requires natural equivalence===&lt;br /&gt;
The subtitling of the target language should be as natural as the subtitling of the source language. The subtitle translation discussed in this paper is mainly about the dialogue of the characters in the play. On the one hand, the style of dialogue is colloquial, in this sense,It is important   for the translator to pay attention to whether the subtitle translation that the target language audience can hear and see is in line with their daily speaking style.If the original spoken language is translated formally and rigidly, the audience of the target language will feel less natural and fluent, and their movie-watching experience can not be comparable with that of the source language audience. On the other hand, the spoken language features of the characters can clearly shape the characters in the play. If the translator does not grasp the spoken features of the characters, the target audience can not understand the character’s connotation as well as the source audience.&lt;br /&gt;
&lt;br /&gt;
Therefore,if a character needs to say something filthy, or even taboo, to make the character stand out, the subtitle translator must also translate the same filthy and taboo.These taboos should inevitably appear in the subtitle translation, and we should not mince words about them. The same is true of English to Chinese subtitle translation and Chinese to English translation. Because these taboo words are the extension of the role connotation, improper handling will affect the target audience's understanding of the connotation of the role.&lt;br /&gt;
&lt;br /&gt;
===Subtitle translation needs to be easy to understand===&lt;br /&gt;
The film and Television Play is the Popular Entertainment Program, so subtitle translation should be clear at a glance. There are thousands of people watching TV dramas, and their knowledge and cultural level vary widely, and their appreciation level is naturally mixed.Film and TV series have such a wide audience, which requires subtitle translation to take care of the needs of the majority of the audience whether from the perspective of box office and Audience Rating, or from the perspective of cultural communication.&lt;br /&gt;
&lt;br /&gt;
==Theory of Domestication and Foreignization==&lt;br /&gt;
In the process of translation, the translator should determine the general direction of translation, cultivate a good sense of culture, and fully understand that translation is an important feature of information exchange across different languages and cultures. But how to achieve that? There are two opposite strategies in translation: foreignization and domestication. The terms of domestication and foreignization were put forward by Laurence Venutti in his book Translators’ invisibility in 1995:&lt;br /&gt;
&lt;br /&gt;
===Domestication===&lt;br /&gt;
The domestication strategy is to localize the source language, take the target language or target readers as the destination, and convey the content of the original text in the way that the target language readers are accustomed to.Domestication requires the translator to be closer to the target language reader, and the translator must speak like the native author.This translation strategy will often make the translation transparent, smooth, relaxed and natural, close to the reader to the greatest extent, so as to dilute the strangeness brought by the original text.In film and television subtitle translation, domestication is often used in order to make the audience understand the film smoothly.&lt;br /&gt;
&lt;br /&gt;
===Foreignization===&lt;br /&gt;
The foreignization strategy is completely opposite to the domestication strategy, which is oriented by the source language culture and that &amp;quot;the translator should not disturb the author as much as possible to make the reader close to the author&amp;quot;.Foreignization advocates believe that the main purpose of translation is cultural communication, so the translation should try its best to preserve the language and cultural information contained in the source language.Only in this way can the exchange and fusion of source and target cultures be achieved through translation. In addition, they believe that the translator should believe the reader’s imagination and intelligence to the utmost, and believe that when reading the translated version, the reader should not only understand the simple words, but also understand the foreign culture through the words, and they have the capacity to understand the culture. &lt;br /&gt;
&lt;br /&gt;
Of course, as two translation strategies, domestication and foreignization are the unity of opposites and they complement each other. Absolute domestication and absolute foreignization do not exist.&lt;br /&gt;
&lt;br /&gt;
==Case Study==&lt;br /&gt;
&lt;br /&gt;
===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
The essence of “foreignization”is “the tendency toward the original author”, that is, the translator tries to be close to the original author in his translation (Xiong Bing, 2014). In the words of the Friedrich Schleiermacher, this means that the translator“Tries not to disturb the original author, but to take the reader to the original author”(Robinson, 2006:229) . Specifically in Translation, the translator tries to retain the original language, literariness, cultural characteristics and exotic customs (Xiong Bing, 2014) . Therefore, the nature of foreignization strategy is mainly in favor of the original author, and its defects are mainly reflected in the readability of the translation. In other words, the translation may be blunt and not well received and understood by the audience. Therefore, the translation effect is not ideal for the target audience.&lt;br /&gt;
&lt;br /&gt;
====Literal Translation====&lt;br /&gt;
Literal translation means keeping both the content and the form of the original text in the translation when the language conditions permit, especially the metaphor, image, national and local color of the original text.The vast majority of subtitle translation of the Us version of ''Legend of Zhen Huan'' adopts literal translation. Look at the following example:&lt;br /&gt;
&lt;br /&gt;
Example 1&lt;br /&gt;
&lt;br /&gt;
Chinese version：嬛嬛一袅楚宫腰。&lt;br /&gt;
&lt;br /&gt;
American version：the slim waist of the concubines of the Chu palace.&lt;br /&gt;
&lt;br /&gt;
For the word “Huan”in the name of Zhen Huan, the American version uses the Foreignization method, which is translated literally as the slim waist of the concubines of the Chu palace.Western audiences may be confused by the subtitles,Western audiences may be confused by the subtitles, because Zhen Huan is clearly a woman from the Qing Dynasty, how come another Chu Palace? In terms of accuracy and the conveying of cultural context, this translation is well-done, but it creates a barrier for the audience to understand. Therefore, the translation can throw out on its real meaning, such as translated into As my name, Huan, means graceful women with slim waist, &amp;quot;Chu palace&amp;quot; here means can be omitted.&lt;br /&gt;
&lt;br /&gt;
Example 2&lt;br /&gt;
&lt;br /&gt;
Chinese version：一片冰心在玉壶&lt;br /&gt;
&lt;br /&gt;
American version：A jade vessel is the symbol of a pure heart.&lt;br /&gt;
&lt;br /&gt;
“Jade Vessel”in Chinese has a unique associative meaning, while the meaning of these words in English is vacant. Western audiences just think that Dr. Wen is evaluating his character, but they can’t hear his pure love for Zhen Huan, so on the basis of foreignization, it’s better to add some domestication translation to make it easier for the audience to understand.&lt;br /&gt;
&lt;br /&gt;
The American versions of examples 1 and 2 are very literal and concise translations, because the original subtitles have no hidden meaning.However, due to the wrong choice of translation methods, a small number of translated subtitles are just like translation cavities.If the cultural significance of the original text is lost, the translation may be regarded as a failure.In a sense, actors’ performances and lines are the &amp;quot;booster&amp;quot; of the plot development of the TV series.However, if the audience can not understand the original meaning, the story will be much less attractive in the eyes of the audience.For example:&lt;br /&gt;
&lt;br /&gt;
Example 3&lt;br /&gt;
&lt;br /&gt;
Chinese version：“赏你一丈红”&lt;br /&gt;
&lt;br /&gt;
American version：Then I will award Attendant Xia the Scarlet Red.&lt;br /&gt;
&lt;br /&gt;
In the original subtitle of example 3, “一丈红” (yi zhang hong,  literally “two-meter-long red”) is used to punish a palace maid or a  concubine who had done something wrong in China’s ancient imperial palace. The specific content of the penalty goes as follows: a two-meter-long and two-inch-thick board was used by the performer to give the guilty palace maid or concubine a good beating on their waist or the place below it until their bones were broken and the blood gushed out.   Looking from the distance, you will see that the blood covered a long distance. Thus, it is called “一丈红”. &lt;br /&gt;
&lt;br /&gt;
In the American version of Legend of Zhen Huan, it is translated into “the Scarlet Red”. the word Scarlet itself means “Lewd and sinful,”as in the Scarlet letter. It is very appropriate to translate &amp;quot;red&amp;quot; with scarlet. However, this partial literal translation runs counter to the American audience’s way of thinking, which they think it as nothing more than a horror show. In this way, the specific penalty content will be lost, and the target audience can't feel that the harem struggle is everywhere in the court, and can't get the equal effect for them.&lt;br /&gt;
&lt;br /&gt;
In this way, the specific content of the penalty will be lost, the target audience can not feel the Harem struggle existed everywhere in the imperial court and the equivalent effects cannot be obtained for them.&lt;br /&gt;
&lt;br /&gt;
====Zero Translation====&lt;br /&gt;
The so-called &amp;quot;zero translation&amp;quot; means that some elements of the source language are directly introduced into the target language without the ready-made words in the target language (Xiong Bing, 2014). This translation method is mainly used to translate the names of people and officials in the English version of the ''Legend of Zhen Huan''. That’s because in ancient China, there was a very strict patriarchal system with the ideas of three cardinal guides and the five constant virtues.&lt;br /&gt;
&lt;br /&gt;
In the eyes of the Chinese people, the distinction between the titles of concubines and concubines is clear at a glance, but it is difficult for foreigners to see these things, because medieval European monarchs were nominally allowed only one wife, there is no such complicated hierarchy of appellation among women. Therefore, such titles as &amp;quot;贵妃&amp;quot;, &amp;quot;妃&amp;quot;, &amp;quot;嫔&amp;quot;, &amp;quot;贵人&amp;quot;, &amp;quot;常在&amp;quot; and &amp;quot;答应&amp;quot; are presented in a dynamic equivalent way (words with similar functions in the source language), for example:&lt;br /&gt;
&lt;br /&gt;
Example 4&lt;br /&gt;
&lt;br /&gt;
熹贵妃——Noble Consort Xi    华妃——Consort Hua&lt;br /&gt;
&lt;br /&gt;
莞嫔 ——Concubine Huan       沈贵人——Lady Shen&lt;br /&gt;
&lt;br /&gt;
夏常在——Attendant Xia       小主——Young Mistress&lt;br /&gt;
&lt;br /&gt;
敦亲王：Prince Dun            舒太妃：Consort Dowager Shu&lt;br /&gt;
&lt;br /&gt;
Example 4 only shows a few official titles of the characters in the ''Legend of Zhen Huan''. However, the translation subtitles in this example reveal a subtitle rule that the American version of the ''Legend of Zhen Huan'' Uses Zero Translation for personal names and free translation for official titles. And we can clearly see the efforts of translators to represent this hierarchical culture in ancient China. However, this method of translation can not meet the needs of the current audience, because the ancient Chinese culture is broad and profound, and the official titles of emperors and concubines in the play conform to the traditional Chinese culture&lt;br /&gt;
&lt;br /&gt;
However, the cultural ideologies of the American people and the Chinese people are very different. Traditional translation can not convey the characteristics of the characters and the intensification of their contradictions. The American people have not experienced the five thousand years of slavery and feudalism in China, nor do English dictionaries or translation related books have Chinese cultural vocabulary. In addition, the current subtitle translation does not advocate the use of a large number of notes, which will have a negative impact on the effect of watching the drama.&lt;br /&gt;
&lt;br /&gt;
Therefore, notes are usually used only for the first appearance of a character, in order to provide the necessary introduction in enough subtitling space.When they appear a second time, the introduction will be omitted.As for the conflicts between the characters and the progress of the plot, it is difficult for the target audience unfamiliar with Chinese History to adapt to the culture and conflict in the play. Therefore, it is hard to arouse their interest in watching this drama.&lt;br /&gt;
&lt;br /&gt;
===Translation Methods under Domesticating Strategy===&lt;br /&gt;
Opposite to the foreignizing strategy, domestication is characterized by the “tendency toward the target recipients” (Xiong Bing, 2014). In other words, the translator tries to be as close to the target recipients in the translation as possible. In Schleiermacher’s words, it means that translators “try not to disturb the reader, but to bring the original author to the reader” (Robinson, 2006: 229). Specifically speaking, in the translation, the translator uses the language, literary devices, cultural elements that the target language readers love to replace the language, literary devices and cultural elements of the original language as much as possible, and abides by the language, literary devices and cultural norms of the original language (Xiong Bing, 2014). &lt;br /&gt;
&lt;br /&gt;
The domesticating strategy is a translation strategy just opposite to the foreignizing strategy. Its advantage is that the translation can be fluent, easy to understand, and easily accepted by the target recipients; or it tries to meet the specific needs of the target audience. However, the domesticating strategy also has some shortcomings. The first weakness of it is the loss of the language, literariness, culture and other important elements of the source text, so that the target audience cannot appreciate the exotic authentic language and cultural practices. This cannot help the cultural exchange and dissemination between different ethnic groups. The second weakness is that the domesticating strategy of the translated text may lead to semantic loss and semantic ambiguity in translated texts.&lt;br /&gt;
&lt;br /&gt;
====Omission====&lt;br /&gt;
Omission is a very important method in domestication strategy.The Syntactic structure of English emphasizes &amp;quot;hypotaxis&amp;quot;, and there are appropriate connecting elements between each component of a sentence to express their mutual relations, which emphasizes the consistency and coordination of grammatical relations.The structure of Chinese sentences is &amp;quot;parataxis&amp;quot;, and the relationship between each component of the sentence depends more on the intention, and less on the linking component. The structure form is relatively relaxed, and the words and sentences are relatively simple.Therefore, Omission is one of the most common methods in Chinese text translation.Word reduction means that in translation, the translator must grasp the differences between Chinese and English, omit the unnecessary linking elements in Chinese, make the translation smooth, avoid stiff and cumbersome, and eliminate unnecessary words and words as far as possible.There are many examples of reducing words in the translation of Legend of Zhen Huan.&lt;br /&gt;
&lt;br /&gt;
Example 1&lt;br /&gt;
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Chinese version:“先敬罗衣后敬人。” &lt;br /&gt;
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American version: “The clothing completes the person.”&lt;br /&gt;
&lt;br /&gt;
This Chinese idiom means that people will first look at the clothes they are wearing and judge their social status according to the clothes. There is a derogatory element in it.However, in the translation of this sentence, the translator adopted the word reduction method and did not translate every word.The word &amp;quot;complete&amp;quot; expresses the idea that &amp;quot;clothes make the man&amp;quot;, but fails to express the meaning intended in the original text.Therefore, the author thinks that can continue to use the Omission here, will change its translated into “According to clothing to estimate people’s status.”&lt;br /&gt;
&lt;br /&gt;
Example 2&lt;br /&gt;
&lt;br /&gt;
Chinese version: “花开堪折直须折，莫待无花空折枝。” &lt;br /&gt;
&lt;br /&gt;
American version: One must pick a flower at the prime of its bloom, Do not wait until the blossom fade and falls.&lt;br /&gt;
&lt;br /&gt;
There are three Chinese characters for &amp;quot;折&amp;quot; in this sentence, but the translator did not show any of them in the Process of English translation.Shall we say that he did not translate the Chinese meaning?Of course not. The translator must have noticed these three &amp;quot;fold&amp;quot; characters in the process of translation. If one of them is translated out, the sentence will appear too long-winded and not in line with the characteristics of subtitle translation.Therefore, the translator starts from the meaning of the original text to persuade people to cherish, and cleverly leaves out the word &amp;quot;折&amp;quot;, which not only avoids repetition, but also conveys the meaning of the original text.This reflects the three principles of Skopos theory: &amp;quot;Based on the source language, pay attention to the culture in the target language, the intention of translation activities and the acceptance state of the American audience&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
====Addition====&lt;br /&gt;
Addition is also an important translation method in domestication strategy.Augmentation refers to the use of structural and semantic augmentation to compensate for linguistic and cultural deficiencies in the target text.Structural supplement refers to the addition of omitted words or replaced words to make the content of translation more complete.Semantic supplement refers to the translator's addition of nouns, verbs, summative words, explanatory words and conjunctions to compensate for the lack of language and culture in the target text so that readers can understand the original text.&lt;br /&gt;
&lt;br /&gt;
Example 1&lt;br /&gt;
&lt;br /&gt;
Chinese version:“他不忍叫你明珠暗投。”  &lt;br /&gt;
&lt;br /&gt;
American version:&amp;quot;You will not be granted an ordinary life when you can live an extraordinary one.&lt;br /&gt;
&lt;br /&gt;
In this example, the translator adopted Addition method to make a explanatory translation for &amp;quot;明珠暗投&amp;quot; , the translation of &amp;quot;be granted an ordinary life when you can live an extraordinary one.&amp;quot;As we know, Chinese idioms are one of the wonders of The Han culture, and they often show rich implicit meanings in condensed four-character sentences.In the translation of this sentence, it is easy for us to understand the meaning of &amp;quot; 明珠暗投&amp;quot;&amp;quot;, but how to make the American audience understand, the translator needs to make an explanation, so that the American audience can understand the implicit meaning of the original text, so as to reduce the cultural burden.&lt;br /&gt;
&lt;br /&gt;
Example 2&lt;br /&gt;
&lt;br /&gt;
Chinese version：“臣妾一与社稷无功，二与龙脉无助。” &lt;br /&gt;
&lt;br /&gt;
American version:“Firstly, I have made no contribution to the nation. Secondly, I have begotten no heirs.&lt;br /&gt;
&lt;br /&gt;
In example 2, the translator interprets &amp;quot;社稷&amp;quot; as &amp;quot;nation&amp;quot; for readers to understand.&amp;quot;社稷&amp;quot; has always been a synonym for &amp;quot;nation&amp;quot; in Chinese, just as &amp;quot;White House&amp;quot; is a synonym for &amp;quot;America&amp;quot;. In addition, there is no English equivalent for &amp;quot;nation&amp;quot;, so it is appropriate for the translator to use &amp;quot;nation&amp;quot;.Heirs to dragon vein, a Feng shui concept meaning undulating mountains, succeed.Later, the royal family regarded it as the lifeblood of the country, so they would call the royal blood &amp;quot;dragon vein&amp;quot;.Heirs to dragon Vein, which in this case means heirs to the emperor's children, succeed in translating it into Heirs to the emperor.It's less common and more advanced than the word &amp;quot;children&amp;quot;, which is often thrown around.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
The subtitle translation strategy of Legend of Zhen Huan generally focuses on domestication, and tends to transform implicit meaning into explicit meaning.When the meaning of the source language is complex and difficult to be understood by the target language audience, the translation strategy of domestication is usually adopted, and the expressions used in the target language are adopted.If there is an equivalent or similar expression between the target language and the source language, alienation should be considered, and a concise explanation should be added if conditions permit, so that the cultural essence of the source language can be preserved and the audience can experience the charm and national characteristics of traditional Chinese culture.&lt;br /&gt;
&lt;br /&gt;
As a translation strategy, absolute domestication and absolute foreignization do not exist in translation practice.The task of the translator is to make the best use of the two strategies in practice according to the specific language characteristics, the purpose, the language characteristics of the source language and the target language, and the national culture, so as to bridge the cultural differences between the two countries.&lt;br /&gt;
&lt;br /&gt;
==Reference==&lt;br /&gt;
[１]Dollerup, Cay. On Subtitles in Television Programs[J]. Babel, 1974, (20): 197-202. &lt;br /&gt;
&lt;br /&gt;
[２]Ivstor, Fordor. Film Dubbing: Phonetic Semiotic, Esthetic and Psychological Aspects[C]. John Benjamins, 1976. &lt;br /&gt;
&lt;br /&gt;
[３]Schleiermacher, F. On the Different Methods of Translation[A]. In Robinson, D.(ed.). Western Translation Theory: From Herodotus to Nietzsche[C]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
&lt;br /&gt;
[４]Titford, Christopher.Subtitling: Constrained Translation[J]. Lebende Sprachen, 1982, 27(3):113-116.  &lt;br /&gt;
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[５]钱绍昌. 影视翻译──翻译园地中愈来愈重要的领域[J]. 中国翻译, 2000(1):61-65.&lt;br /&gt;
&lt;br /&gt;
[６]汪徽.字幕对伴随性词汇习得的影响[J].外语电化教学,2005(2):47-52. &lt;br /&gt;
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[７]熊兵. 翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J]. 中国翻译, 2014(3):82-88.&lt;br /&gt;
&lt;br /&gt;
=2 刘晓 The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
[[Trans_Type_EN_2]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
With the rapid growth of economy, people's pursuit of life quality is gradually increasing. Travelling abroad has become a hot topic nowadays. The rapid development of overseas travel has increased the market demand for tourism translation, and more stringent requirements for tourism translators. How to deal with the translation problems caused by the cultural differences between Chinese and English during the translation process is of great importance to improve the quality of tourism translation. The communicative translation strategy in Newmark's translation theory focuses on the effect that the translation brings to the target language readers, which is of certain guiding significance to the E-C translation of tourism texts. Therefore, this paper takes ''Everglades National Park, Florida (Excerpt)'' as an example to analyze the specific translation strategies and methods in the application of Newmark's translation theory in tourism texts, so as to provide reference for other translators.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Translation strategy and translation methods; Peter Newmark; Tourism texts&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
This paper is based on the English-Chinese translation of ''Everglades National Park, Florida (Excerpt)''. By analyzing the application of Peter Newmark's communicative transaltion in the translation, the author proposes some translation methods, which can be provided for future references.  This chapter mainly introduces the background information and significance of the report, and the domestic research status.&lt;br /&gt;
&lt;br /&gt;
====Research background====&lt;br /&gt;
&lt;br /&gt;
With the development of the world, various kinds of tourism appear in people’s life, and has unprecedentedly, extremely widely spread a variety of culture and lifestyle. Tourism has become a rising sunrise industry in modern society (Jin Huikang, 2007). To a foreign country to enjoy the beautiful scenery can make people know the colorful world and further know what they want. And this activity also has made tourism translation a reality and a thriving discipline.&lt;br /&gt;
&lt;br /&gt;
However, due to the different geographical environments, cultural differences and historical backgrounds in different countries, many translators often ignore the disadvantages brought by differences in language and cultural habits in the process of translation, so that the original meaning of the original text will be lost in the process of transmission, which may cause confusion for tourists and cannot achieve the purpose of offering them accurate information and stimulating their interest.&lt;br /&gt;
&lt;br /&gt;
Therefore, in order to make it more convenient for domestic citizens to travel abroad, translators should choose appropriate translation strategies and methods according to the cultural differences between China and foreign countries in the process of tourism English translation, so that tourists can form an objective and correct understanding of scenic spots. The semantic translation and communicative translation strategies in Peter Newmark’s Theories respectively focus on whether the meaning of the original text is exactly reproduced and the effect and influence that the translation brings to the target language readers, which are of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
&lt;br /&gt;
====Research significance====&lt;br /&gt;
&lt;br /&gt;
In theory, based on Peter Newmark’s translation theories, this paper chooses the semantic translation strategy and puts forward appropriate translation methods for the English-Chinese translation of tourist text -- the ''Everglades National Park, Florida (Excerpt)'', which is of certain guiding significance for English - Chinese translation of tourist texts.&lt;br /&gt;
Based on the practice of the ''Everglades National Park, Florida (Excerpt)'' English - Chinese translation and the analysis of Newmark’s communicative translation strategy’s application, this paper sums up some translation methods, such as voice change, objective and personal subject changing, adding conjunctions, etc. And these methods can be provided for future references in the translation study and practice of others, which has a certain practical significance.&lt;br /&gt;
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====Literature review====&lt;br /&gt;
&lt;br /&gt;
Through the analysis of Newmark’s communicative translation in recent years, it can be found that there are many references for the guidance of communicative translation on tourism translation texts. He Xueyun (2005) proposes that the public notices and signs should belong to the vocative functional text and focus on the reader-centered communicative translation, which can give foreigners a better environment for travel, study and work in China. For such a style, the communicative translation theory should be chosen, the target readers put in the first place and always in mind, and their culture and receptivity taken into account. Jin Huikang (2006) believes that tour guide words must have a specific expected function, which are a kind of texts that integrate informative, expressive and vocative functions. Therefore, tourism translation should aim at effective attraction for overseas tourists, and the translator should grasp the group characteristics of overseas tourists and audiences when carrying out tourism propaganda or translating tourism materials. Ma Chen (2010) points out that the tourism text is a kind of article mainly based on vocative function, and the core of which is to accurately convey information for readers. Liu Anhong (2013) proposes tourism text as a kind of publicity material, aiming to stimulate tourists’ interest in visiting. According to the division of Newmark, the tourism text should belong to the text with the vocative function as its main function and the informative function as its secondary function. Therefore, the translation of tourism text should effectively achieve the effects similar to the original text.&lt;br /&gt;
&lt;br /&gt;
From the combing of previous literatures, it can be found that there are many studies on the translation of tourism texts guided by Newmark’s communicative translation strategy. However, at present, there are few studies on the translation of tourism texts from English to Chinese, and more studies focus on the Chinese- English translation. For this reason, this paper is based on the translation practice of ''Everglades National Park, Florida (Excerpt)'' to provide some reference for future English – Chinese translation of tourism.&lt;br /&gt;
&lt;br /&gt;
===Tourism Texts===&lt;br /&gt;
&lt;br /&gt;
====General Introduction====&lt;br /&gt;
&lt;br /&gt;
Tourism text is an important carrier for readers to obtain scenic spot information, and Tourism text is to stimulate readers' desire to travel by introducing tourist attractions and resources, and its ultimate purpose is to meet readers' expectations and arouse readers' enthusiasm by delivering tourism information. In other words, the dominant function of tourism text is vocative function. At the same time, tourism texts also provide readers with information they like, from which people can acquire relevant knowledge such as culture and customs, natural geography, etc. Therefore, informative function is also its important feature. It can be seen that the two most important functions of tourism texts are respectively informative and vocative one, whose premise is to provide information and purpose is to attract tourists. &lt;br /&gt;
&lt;br /&gt;
In addition, we should realize that translation of tourism texts is a professional translation of tourist attractions and resources for target readers, and its essence is a communicative behavior. If the translator fails to properly deal with the differences between cultures, it will often fail to achieve the expected results. Therefore, during the translation process, more attention should be paid to the accuracy and effectiveness of the information, so as to make the translation conform to the target readers’ reading habits and aesthetic expectation (Li Daosheng, 2000). This requires the translator to put the reader's acceptance first in the process of translation. That is, tourism text translation should not only realize the conversion from one language to another, but also take language barriers and cultural differences into account. Therefore, in order to achieve the goal of successful communication, translators should flexibly apply various translation strategies and adopt appropriate translation methods according to the text types of tourism texts.&lt;br /&gt;
&lt;br /&gt;
====Introduction to the ''Everglades National Park, Florida (Excerpt)''====&lt;br /&gt;
&lt;br /&gt;
Established in 1974, Everglades National Park covers 2,354 square miles, or 6,097 square kilometers (1.4 million acres). Located at the tip of southern Florida, it is the largest subtropical wildlife sanctuary in the continental United States. Everglades National Park protects an unparalleled landscape which provides important habitat for numerous rare and endangered species such as the manatee, American crocodile, and the elusive Florida panther.&lt;br /&gt;
&lt;br /&gt;
''Everglades National Park, Florida (Excerpt)'' is excerpted from a notice from U.S. National Park Service about the phased reopening of the park, including alerts of the reopening, activities, safety and accessibility. It can also be regarded as a travel guide, which describes the journey towards people and offers help to the tourists who want to go there, and which often includes the description of the best travel time, transportation, accommodation, scenic spots and matters needing attention. As a practical text, its main purpose is to introduce and promote tourist scenic spots, that is the Everglades National Park in Florida. Its vocative and informative function are very prominent, and it has the characteristics of reader-orientation, the effectiveness of information transmission and timeliness.&lt;br /&gt;
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===Newmark's Translation Theory===&lt;br /&gt;
&lt;br /&gt;
====General introduction of Peter Newmark's translation theories====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark, a well-known translation theorist, is one of the main figures in the founding of translation studies in the English-speaking world in 20th century. Newmark devoted himself to studying the past and present of Western translation, and put forward his own views on this basis. Newmark’s translation theories mainly include three parts, that is, the classification of text types, translation approaches, and the lately correlative theory of translation.&lt;br /&gt;
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According to Karl Buhler’s knowledge of language features and Jacobson’s classification of them, Newmark proposed six functions of language informative function, expressive function, vocative function, phatic function, aesthetic function, and lastly metalingual function. (Hou Yingying, 2020) Then Newmark divided text types into three: expressive-functional texts, informative-functional texts, vocative-functional texts.&lt;br /&gt;
&lt;br /&gt;
After putting forward these three text types, Peter Newmark suggested eight translation approaches or strategies. Firstly, from the perspective of focusing on the source language, he suggested word-for-word translation, literal translation, faithful translation and semantic translation; Secondly, from the perspective of focusing on the target language, he suggested adaptation, free translation, idiomatic translation and communicative translation (Newmark, 2001:45).&lt;br /&gt;
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In 2007, Newmark came up with a new theory, that is, correlative theory of translation, which means that “The more serious and important the language of the original or source text, the more closely it should be translated.” (Newmark, 2007)&lt;br /&gt;
&lt;br /&gt;
In conclusion, Peter Newmark has proposed many significant theories and made extensive discussion on those concepts, which will have a great influence on the translation practice.&lt;br /&gt;
&lt;br /&gt;
====Semantic translation and communicative translation====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark divided text genres into “expressive text”, “informative text” and “vocative text” in his classic work ''Approaches to Translation''. Imaginative literary works, such as poems, songs, novels and dramas, authoritative statements, autobiographies, essays and personal correspondence, etc. are expressive texts. All the formatted texts with science and technology, industry and commerce, and economy as themes belong to informative texts. And vocative text refers to all texts that can infect readers and make them “get information”.&lt;br /&gt;
&lt;br /&gt;
With reference to these three kinds of texts, Newmark further creatively proposed the concepts of semantic translation and communicative translation: “communicative translation” means that the effect of the target text on the reader of the target language is as much as the effect of the original text on the reader of the source language; “semantic translation” refers to the reproduction of the context of the source text as accurately as possible under the premise of the semantic and syntactic structure of the target language. He believed that only communicative translation and semantic translation can achieve the two major goals of translation: being accurate, and being economic (effective).&lt;br /&gt;
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In ''About Translation'', Newmark made a detailed comparison of the characteristics of semantic translation and communicative translation from different aspects, and pointed out that the fundamental difference between them lies in that when the information and the effect are in conflict, communicative translation lays more emphasis on effect than content, while semantic translation lays more emphasis on content than effect. Communicative translation can give the translator full freedom, the translator can reorganize the syntax, eliminate the original obscure places in the source language, and make the language conform to the standard of the target language. However, semantic translation emphasizes the content of the information itself, tries to make the form of the target text similar to the form of the original text, and retains the language characteristics and expressive style of the original author. Therefore, compared with semantic translation, communicative translation is more subjective and can better reflect the translator’s creativity and it attaches great importance to the communicative effect of translation, the key to which is to convey information, make readers of the target language think, act and feel, and play an inductive role in making the translation natural and smooth, and more readable. &lt;br /&gt;
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Newmark pointed out that the translation of expressive texts should employ semantic translation, while informative and vocative texts communicative translation which is reader-centered. The most direct purpose of tourism texts translation is to convey information to readers on the premise of attracting readers’ attention and leaving readers with deep memories, so that readers can take actions -- to visit tourist attractions and pay attention to matters that should be paid attention to. Thus, it can be seen that the tourism text belongs to the vocative text and the communicative translation should be applied. &lt;br /&gt;
&lt;br /&gt;
To sum up, Newmark’s communicative translation focus on the effect that the translation brings to the target language readers, which is of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
&lt;br /&gt;
===Case Study===&lt;br /&gt;
&lt;br /&gt;
The purpose of communicative translation is to try to make the translation have the same effect on the target reader as the original does on the source reader. That is to say, the key point of communicative translation is to be loyal to the target language and the target text reader, that is, the source language is required to obey the target language and culture, leaving no doubt or obscurity to the reader, and eliminating difficulties and obstacles in reading or communication for the reader as far as possible.&lt;br /&gt;
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Because the translator wants to achieve a certain communicative purpose, emphasizes the effect and has a specific target audience, the translation has inevitably broken the restrictions of the original text, pursuing smoothness, clarity, directness and conformity with conventions. In this part, the author analyzes the specific application of communicative translation in the translation practice of the ''Everglades National Park, Florida (Excerpt)'' from three aspects: lexical, syntactic and textual analysis.&lt;br /&gt;
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====At Lexical Level====&lt;br /&gt;
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Generally speaking, there is partial equivalence between English and Chinese, that is, similar expressions in Chinese can replace the meaning of English words or phrases (Liu Junping, 2009). In the following, two translation methods used in lexical translation will be introduced: conversion of part of speech and the translation of public signs.&lt;br /&gt;
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1)Conversion of part of speech&lt;br /&gt;
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Example 1:&lt;br /&gt;
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ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors.''&lt;br /&gt;
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TT: 个人、团体或家庭都能在这找到适合的户外活动。&lt;br /&gt;
&lt;br /&gt;
Analysis: As we all know, English belongs to the Indo-European language family, while Chinese the Sino-Tibetan language family. Many differences exist between English and Chinese in terms of vocabulary and grammatical structure. Therefore, in the process of translating English into Chinese, due to the different ways of expression between English and Chinese some sentences can be translated word by word, while most sentences cannot. In order to make the Chinese translation smooth and natural, some words in the original text need to be converted into different parts of speech in the target text without sticking to the surface structure of the original text. In other words, some words in the original text can be converted into other parts of speech in Chinese on the premise of being faithful to the original meaning and retaining the original effect. &lt;br /&gt;
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The original sentence uses a nominal phrase “no shortage of” to express the meaning that no matter how many people come together for outdoor activities, there are always options. The translator translates it into a verbal phrase, that is, everyone can find a suitable outdoor activity here, so that the meaning gets across and the whole sentence flows naturally.&lt;br /&gt;
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Example 2:&lt;br /&gt;
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ST: ''Accessibility: No immediate trails.''&lt;br /&gt;
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TT: 如何前往：没有路径可直接到达。&lt;br /&gt;
&lt;br /&gt;
Analysis: As English tends to use more nouns with static narratives, while Chinese tends to use more verbs with dynamic ones. The static tendency of English mainly comes from nominalization, a common phenomenon in English. Nominalization mainly refers to the use of nouns (phrases) to express the information originally expressed by verbs (phrases), such as the use of abstract nouns to express actions, behaviors, changes, states, etc (Lian Shuneng, 1993). For example, “accessibility” in Example 2 is an abstract noun, which is used to show the way to one place. Chinese, on the other hand, tends to use verbs. So, in order to better convey the effect and let the reader read without any doubt or discomfort, the translator converted the noun into a verb phrase, that is “如何前往”. Likewise, in the noun phrase “no immediate trails”, the author wants to say that there is no direct way (to arrive at the destination). When translating, if it is directly translated into a noun phrase “没有直达路”, the reader may feel difficult to read. So, if it is translated into “there is no direct path can reach that place”, the sentence will be more smoothly and convey the original information and the effect is also retained.&lt;br /&gt;
&lt;br /&gt;
2)Public signs&lt;br /&gt;
&lt;br /&gt;
Example 3 &amp;amp; 4:&lt;br /&gt;
&lt;br /&gt;
ST: ''Things To Do'' &lt;br /&gt;
&lt;br /&gt;
TT: 活动介绍&lt;br /&gt;
&lt;br /&gt;
ST: ''What you can do''&lt;br /&gt;
&lt;br /&gt;
TT: 解决措施&lt;br /&gt;
&lt;br /&gt;
Analysis: As mentioned in the theoretical framework above, tourism text belongs to vocative text. As a kind of tourism text, public signs are a special style for specific people to achieve a certain communicative purpose. Its application scope is very wide, almost involved in every aspect of our daily life, such as street signs, billboards, road signs, shop signs, warnings, propaganda, travel briefs and so on. As a communicative tool, it conveys necessary and useful information to the public by means of a few words, simple and easy to understand icons or the combination of both (He Xueyun, 2006). Therefore, it can be seen that public signs feature lots of nouns, verbs, phrases and abbreviations and more often, fixed expression, which means in translation, only concise and idiomatic expression can fully convey the effect of the original text.&lt;br /&gt;
&lt;br /&gt;
Just as the example 3, once the original text is translated literally, that is “要做的事情”, it sounds rather awkward, which not only does not convey the meaning of the source text that was intended as an introduction to the activities that can be done, but also may lead the reader to believe that this section is about what is required. However, if it is translated into “活动介绍”, readers can clearly know the main content of this part and can find out the activities they are interested in. This expression is very concise and also in line with the Chinese language habits. The same is true of example 4.&lt;br /&gt;
&lt;br /&gt;
Example 5 &amp;amp; 6:&lt;br /&gt;
&lt;br /&gt;
ST: ''Alligators and crocodiles - Crocodilians are one of the reasons people visit the park, however, these are wild animals that can be dangerous to humans.''&lt;br /&gt;
&lt;br /&gt;
TT: 小心短吻鳄和鳄鱼——鳄鱼是人们参观公园的原因之一，然而，这些野生动物对人类会很危险。&lt;br /&gt;
&lt;br /&gt;
ST: ''Poisonous plants - The park’s ecosystems support a variety of plant life including some that cause reactions to human skin.''&lt;br /&gt;
&lt;br /&gt;
TT: 警惕有毒植物——公园的生态系统支持多种植物的生长，包括一些会对是人类皮肤过敏的植物。&lt;br /&gt;
&lt;br /&gt;
Analysis: Tourist texts belong to the vocative text, emphasizing the transfer of the effect of the information and the empathy of the reader. This requires the translator to pay attention to the internal logic of the text, modify the translated text to make it clear in the process of tourism translation without sticking to the original form and give full consideration to the core position of readers. &lt;br /&gt;
Examples 5 and 6 are in the same sentence structure -- firstly species are given, and then that the species could be in some danger is pointed out. If it is translated in accordance with the original text word by word, then the front part is just posing out that species. However, if such warning words as “小心” or “警惕” are added, it can let the reader know before he continues reading that this species may be dangerous when visiting, and then with reading below, the reader will know why it is dangerous. This will prepare the reader mentally, and the reading will be smoother.&lt;br /&gt;
&lt;br /&gt;
====At Syntactical Level====&lt;br /&gt;
&lt;br /&gt;
Two aspects are included in syntactic analysis, which are change of subjects and passive voice, and the punctuation.&lt;br /&gt;
&lt;br /&gt;
1)Change of subjects and passive voice&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: ''Wading birds, cormorants, Purple Gallinules, and nesting Anhingas may be found along the path anytime of the day during the winter (dry) season.''&lt;br /&gt;
&lt;br /&gt;
TT: 在冬季（旱季），任何时候您都可以在沿路发现涉水鸟类、鸬鹚、紫雀和筑巢的美洲蛇鸟。&lt;br /&gt;
&lt;br /&gt;
Analysis: English tends to use more impersonal subjects, which means it rarely uses the personal subject to describe but expresses how objective things act on people’s perception to things appear in an objective tone. So, the structure is often like this: inanimate subject + animate subject (Lian Shuneng, 2010). Chinese pays more attention to subjective thinking, and often describes objective things from the point of view of oneself, or tends to describe people and their behavior or state, so the personal subject is often used. When the personal subject is clear, Chinese often implies or omits it.&lt;br /&gt;
Passive voice is a common grammatical phenomenon in English. In some styles, the use of passive sentences has almost become a habit of expression. Passive sentences give rise to the tendency of using impersonal subjects, and vice versa. Chinese uses fewer passive forms. The main reason for this difference is that the use of passive forms in Chinese is limited, and the mark of the passive voice, such as “让”, “给”, “受”, mostly expresses displeasure.&lt;br /&gt;
&lt;br /&gt;
Therefore, in example 7, the translator transformed the passive voice into the active voice and the impersonal subjects “Wading birds, cormorants, Purple Gallinules, and nesting Anhingas” into the personal subjects “您”. What’s more, as this tourism text is written for readers, the use of the second person subject can shorten the distance. &lt;br /&gt;
&lt;br /&gt;
Example 8 &amp;amp; 9: &lt;br /&gt;
&lt;br /&gt;
ST: ''Wading birds, American Coots, Osprey, White-crowned Pigeons, warblers, Red-shouldered Hawks, Anhingas, rails, Painted Buntings and other transients are best viewed here in the morning.''&lt;br /&gt;
&lt;br /&gt;
TT: 早晨在这里观赏涉禽、美洲骨顶鸡、鱼鹰、白头鸽、莺、赤肩鹫、美洲蛇鸟、秧鸡、彩绘鹀和其他过路的鸟类的效果最好。&lt;br /&gt;
&lt;br /&gt;
ST: ''In the summer, fewer programs are offered.''&lt;br /&gt;
&lt;br /&gt;
TT: 夏季提供的项目较少。&lt;br /&gt;
&lt;br /&gt;
Analysis: Just as what has been said above, English has a tendency to use impersonal subjects and passive voice, while Chinese is exactly the opposite. And when the subject is clear, Chinese often implies or omits it, which is just like example 8 the personal subject “you” is omitted. &lt;br /&gt;
In example 9, the omitted subject is the national park, and the temporal adverbial phrase “in the summer” becomes the subject in form, which is a common expression in Chinese. That is because subjects in Chinese are not only in various forms, but also dispensable: it can denote giving, receiving, time, place.&lt;br /&gt;
 &lt;br /&gt;
2)Punctuation&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: ''Connecting trails through the Pinelands run 7 miles (11 km) west from the Long Pine Key campground to Pine Glades Lake along the main park road.''&lt;br /&gt;
&lt;br /&gt;
TT: 这些小道从长松岛营地向西延伸7英里（11公里），穿过一片松林地，连通公园主路边松林湖。&lt;br /&gt;
&lt;br /&gt;
Analysis: English sentences are complicated, and subordination is one of the most important characteristics of modern English, which features right-branching, sentences long and complex, made in “architecture style”. Conversely, Chinese sentences are relatively short, and commonly use scattered sentences, loose sentences, tight sentences or composite sentences with parallel structure. Chinese features left-branching, and sentences are made in “chronicle style”, using clauses to streamline the thoughts. &lt;br /&gt;
&lt;br /&gt;
So, when there are many prepositional phrases in the original English sentence, the translator can divide the long sentence into several short sentences and recognize those by adding comma, which can help readers to sort out the logic of the original text and get the main information. By using communicative translation, the translator divided the original sentence into three sentences. The logical sequence is that “The trails run seven miles (11 kilometers) west from the Long Pine Key campground. Passing through the Pinelands, they lead to Pine Glades Lake along the main park road.”, which shows the location of both the Long Pine Key campground, the Pinelands and Pine Glades Lake correctly, leaving no doubt to readers of the target language.&lt;br /&gt;
&lt;br /&gt;
Example 11:&lt;br /&gt;
&lt;br /&gt;
ST: ''In keeping with Monroe County’s closure order for beaches, North Nest Key and all waters within 100 yards from the shore will be closed for protection of park resources during the holiday weekend. The closure will begin on Friday, July 3 at 6 a.m.''&lt;br /&gt;
&lt;br /&gt;
TT: 根据门罗县对海滩的关闭安排，为保护公园资源，北巢岛和离海岸100码以内的所有水域将自7月3日星期五早上6点起暂停对外开放。&lt;br /&gt;
&lt;br /&gt;
Analysis: In the original text there are two sentences, which can be combined to make the meaning complete and language pithy in the target language. And it can be taken into consideration to reconstruct them by replacing full stop with comma. By considering communicative translation, the translator put two prepositional phrases in advance as adverbials, which are “in keeping with Monroe County’s closure order for beaches” and “for protection of park resources during the holiday weekend”, and then turned the second sentence into a temporal adverbial phrase and put it in the main clause as an adverbial. So, the whole structure is “In keeping with Monroe County’s closure order for beaches and for protection of park resources during the holiday weekend, North Nest Key and all waters within 100 yards from the shore will be closed from Friday, July 3 at 6 a.m.” By doing so, the information is concisely conveyed, and Chinese readers can well understand it.&lt;br /&gt;
&lt;br /&gt;
====At Textual Level====&lt;br /&gt;
&lt;br /&gt;
Discourse refers to the actual language unit used and is the whole language constituted by a series of consecutive paragraphs or sentences in the communication process. In general, a text consists of words, phrases, sentences and sentence cluster (Lan Lingyan, 2020), among which the components were cohesion in form and coherence in semantics.&lt;br /&gt;
&lt;br /&gt;
Example 12:&lt;br /&gt;
&lt;br /&gt;
ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors. The diverse habitats allow for enjoyable activities ranging from hiking, canoeing, kayaking, biking, fresh and saltwater fishing, and camping in the ultimate wilderness.''&lt;br /&gt;
&lt;br /&gt;
TT: 个人、团体或家庭都能在这找到适合的户外活动。无论是步行、乘坐独木舟、划皮划艇、骑自行车，还是在淡水或海水钓鱼、在终极荒野地露营，您都可以饱览多样的自然环境、尽享快乐。&lt;br /&gt;
&lt;br /&gt;
Analysis: Coherence in a piece of writing refers to the principle that all paragraphs, sentences or ideas are combined so well that they form a united whole. Coherent translation has smooth structural, grammatical, and logical movement from one sentence or idea to the next and the reader does not have to pause and guess at the meaning caused by gaps in development between ideas, sentences and paragraphs. &lt;br /&gt;
&lt;br /&gt;
In example 12, the last topic of the fist sentence in the original sentence is outdoor activities, while the subject of the second sentence is the diverse habitats. This is a shift in the topic, which may make the readers pause and guess at the logical relation between them. Therefore, in translation, guided by communicative translation, the translator needs to mind the text coherence and to make proper adjustments. Out of this, the translator put the activities in the second sentences as the subject of the second sentence in the target text, so that the first sentence can pass through smoothly to the next one, so does the understanding of readers.&lt;br /&gt;
&lt;br /&gt;
Example 13:&lt;br /&gt;
&lt;br /&gt;
ST: ''Everglades National Park is a popular spot for saltwater and freshwater sport fishing. Boats can be chartered at Flamingo. Be sure to check a visitor center for park fishing regulations and closed areas.''&lt;br /&gt;
&lt;br /&gt;
TT: 大沼泽地国家公园是一个很受欢迎的钓海水鱼和淡水鱼的地方。在弗拉明戈可以租船。在钓鱼之前，一定要阅读游客中心的公园捕鱼规定和封闭区域。&lt;br /&gt;
&lt;br /&gt;
Analysis: Cohesion can be thought of as all the grammatical and lexical links that link one part of a text to another. This includes the use of synonyms, lexical sets, pronouns, verb tenses, time references, grammatical reference, etc. For example, ‘it’, ‘neither’ and ‘this’ all refer to an idea previously mentioned.&lt;br /&gt;
&lt;br /&gt;
In example 13, this paragraph mainly talks about fishing in the Everglades National Park, with a topic sentence and two explanatory sentences: one introducing the place for chartering and the other cautions. There are no grammatical or lexical links within these three sentences, and the logic is connected by semantics. Considering well understanding of readers in the target language, the translator added one lexical link “before fishing” between the last two sentences, to make the reader understand that he or she should read the rules and precautions of fishing before going fishing. Also, with repeating the key word “fishing”, the central idea of this whole paragraph is prominent, and the sentences are logically and smoothly linked to express the intended meaning, thus making this paragraph a cohesive group.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
====Major findings====&lt;br /&gt;
For the text, the tourism text belongs to the vocative text, which focuses on conveying the information and effect, so the communicative translation theory should be adopted to this kind of translation. As for this original text, the first part that introduces the outdoor activities belongs to the tourism advertisements, which are descriptive with vivid words. Tourism advertising is infective, with short and concise words, full of creativity, lively and concise sentence structure, and strong attraction. While the announcement that informs of the operating status of the park is a quite different style. The wording is formal, standard, accurate and stylized. Secondly, the source text involves a wide range of knowledge and large vocabulary. For example, “hardwood hammock” for “硬木吊床” and “Geocaching” for “寻宝”. &lt;br /&gt;
&lt;br /&gt;
Based on the analysis of examples from lexical, syntactic and textual levels, some translation methods can be proposed. On one hand, when translating, some words in the target text can be converted into different parts of speech in the original text to make the language natural and idiomatic. On the other hand, when doing English – Chinese translation, in most cases, passive voice should be changed into active voice, personal subject is favored in Chinese, and subjects can also be omitted sometimes. Lastly, as English and Chinese have lots of differences in sentences, the translator should change the order of the sentences sometimes to make them smooth and fluent, and some words can be added to make the meaning coherent.&lt;br /&gt;
&lt;br /&gt;
====Limitations====&lt;br /&gt;
&lt;br /&gt;
Besides some major findings, there are also many limitations in this translation practice. Firstly, communicative translation focuses on the effect conveyed by the translation rather than the information, which can easily make the translator ignore some original. So, in the translation, other available translation theories should also be taken into account to achieve best translation. &lt;br /&gt;
&lt;br /&gt;
Then, when translating a text, whether it is a tourism text or a literary works, they cannot be translated immediately. Relevant information and background should be collected in advance, and otherwise some mistakes which should be avoided will be made. For example, “Snail Kite (蜗鸢)” might be translated as “蜗牛风筝” if the translator does not look it up in advance.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
[1] Newmark, Peter. About Translation[M]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
&lt;br /&gt;
[2] Newmark. Approaches to translation[M]. Shanghai Foreign Language Education Press, 2001. &lt;br /&gt;
&lt;br /&gt;
[3] Newmark, Peter. A New Theory of Translation[J]. Sborník Prací Filozofické Fakulty Brněnské Univerzity, 2007(13)&lt;br /&gt;
&lt;br /&gt;
[4] Newmark, Peter. A Textbook of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2001:39-42. &lt;br /&gt;
&lt;br /&gt;
[5] 贺学耘.汉英公示语翻译的现状及其交际翻译策略[J].外语与外语教学, 2006(03):57-59.&lt;br /&gt;
&lt;br /&gt;
[6] 侯莹莹.凯瑟琳娜·莱斯与彼得·纽马克文本类型翻译理论之比较研究[J].海外英语, 2020(22):49-50+60. &lt;br /&gt;
&lt;br /&gt;
[7] 金惠康.跨文化旅游翻译探讨[J].上海翻译, 2007(01):31-34.&lt;br /&gt;
&lt;br /&gt;
[8] 兰灵艳.交际翻译理论指导下《家庭生活》（节选）汉译实践报告[D].南昌大学, 2020.&lt;br /&gt;
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[9] 李道胜. 汉英语义对比分析[J]. 语言教育, 2000(4):4-5.&lt;br /&gt;
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[10] 连淑能.《英汉对比研究》[M]. 北京：高等教育出版社, 1993.&lt;br /&gt;
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[11] 刘安洪.跨文化交际视角下的旅游文本翻译策略研究[J].中华文化论坛, 2013(10):160-163. &lt;br /&gt;
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[12] 刘军平，西方翻译理论通史[M]. 武汉：武汉大学出版社, 2009.&lt;br /&gt;
&lt;br /&gt;
[13] 马忱.交际翻译策略对汉英旅游翻译的启示[J].郑州航空工业管理学院学报(社会科学版), 2010,29(06):119-121.&lt;br /&gt;
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=3 刘越 Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
[[Trans_Type_EN_3]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
There are many translation practices under the guidance of communicative translation theory, but there are not many translation practices in Korean novels. Through this translation practice, we hope to summarize the translation methods and strategies adopted in the translation of novel subject matter under the guidance of communicative translation theory in terms of vocabulary, sentence and rhetoric. In this paper, under the guidance of communicative translation theory of Korean novels &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; to analyze translation strategies and translation methods, let us hope that through the work of human changes in temperature to realize that the most warm affection and the most simple human feelings, seems to be the fact that more and more far from us, let us together to explore the history of the &amp;quot;family&amp;quot; gradually forgotten by us and meaning, Wake up our sense of affection, cause our emotional resonance.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
Communicative translation theory; Korean novels; Translation methods and strategies&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
===The emergence and development of communicative translation===&lt;br /&gt;
According to the function of language, i.e. the purpose for which it is used, Newmark proposes the following three text types: expressive function, informative function, and evocative function.&lt;br /&gt;
At the heart of the expressive function is the use of words by the speaker or author to express his or her thoughts and feelings. The author's unique form of language is as important as the content.Expressive function texts emphasise the authority of the original author, and translations should follow the principle of &amp;quot;original author first&amp;quot;, faithful to both the content of the ideas expressed by the original author and the language style of the original author, without regard to the reaction of the target reader. The core of the information function is the external context, i.e. all the information about a topic, or the unspeakable reality. At the heart of the information text is the &amp;quot;authenticity&amp;quot; of the content; the author's language is secondary. Translation should be based on the principle of &amp;quot;authenticity first&amp;quot;. The call to action is reader-centred and aims to &amp;quot;call the reader to action, to think, to feel&amp;quot;. The translation should follow the principle of 'reader first', putting the reader of the target language first. The translator can make full use of the advantages of the incoming language, without adhering to the expressions of the original, so that the translated language can achieve the same effect as the original.&lt;br /&gt;
&lt;br /&gt;
On this basis, two translation concepts, communicative translation and semantic translation, are proposed. Newmark believes that the theory of communicative translation focuses on the understanding and reaction of the recipient, the reader of the translation, and more on the effect rather than the content of the translated expression. The translator can give full play to the advantages of the translated language and introduce foreign elements into the culture of the translated language, with the advantages of naturalisation, Italian translation and idiomatic translation. Semantic translation attaches importance to the original text, focuses on its semantic content and strives to preserve the culture of the original text, and has the advantages of word-for-word, word-for-word and faithful translation. Communicative translation is suitable for informative and attractive texts such as autobiographies, personal emotional declarations, important political statements (or other statements), most non-literary texts, news, intellectual articles and books, textbooks, reports, scientific and technical literature, official correspondence, promotional material, advertisements, announcements, popular fiction. ( Yang 1989:68-71)# His communicative and semantic translations have largely enriched the study of translation theory and influenced the field of translation.&lt;br /&gt;
&lt;br /&gt;
===The applicability of communicative translation theory to the translation of popular novels===&lt;br /&gt;
First of all, the core content of communicative translation theory is that on the basis of being faithful to the content of the original text, it focuses on the readers' understanding ability and feelings, and pays more attention to the expression effect of the target text than the content. For the translator, the translator can give full play to the advantages of the target language and get rid of the constraints of the language structure of the original text. If the original text is illogical, ambiguous, and there are redundant words and ambiguities in the sentence, as well as dialects, coarse slang and other phenomena in the article, the translator has the right to reorganize the syntax and improve it by using collocation and common sentence patterns in accordance with the habits of the target language, so as to make the language more standardized. Translators also have the right to correct errors and omissions in the original text.( Shuang 1999(05):840）&lt;br /&gt;
&lt;br /&gt;
Secondly, according to Newmark's text type, communicative translation theory is applicable to vocative texts, which focus on the inspiring effect and take the target readers as the center. The purpose of translation is to elicit the desired response, including popular books and best-selling novels. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. The novel is mainly composed of characters, plots and descriptions of the environment to reflect the social reality. Novel is a literary genre that conveys thoughts and feelings and arouses readers' resonance. It belongs to appeal text, so communicative translation theory is suitable for novel translation.&lt;br /&gt;
&lt;br /&gt;
The most important thing in novel translation is to convey the content of the original text and the author's thoughts and feelings to the readers, and to arouse the readers' deep thinking and empathy. When translating a novel, we should describe the plot of the original text to the readers and try to get close to the literary image described by the author and the literary artistic conception created in the novel.&lt;br /&gt;
If only follow the content style and text structure of the original text, it will violate the original intention of translation, making the translation obscure and unclear. Under the guidance of communicative translation theory, the translator can give full play to the advantages of the target language, modify and polish the original text, adjust the logic of expression, eliminate the differences between the original text and the target text, and get a smooth translation. At the same time, the translator can also pay more attention to the target readers, fully consider the reading habits and thinking mode of the target readers, and use easy to understand language vocabulary to convey the information of the source text and the thoughts and feelings of the source text author to the readers, so that the target text readers and the source text readers get the same effect.&lt;br /&gt;
&lt;br /&gt;
=== Case study under the guidance of communicative translation theory===&lt;br /&gt;
Guided by Peter Newmark's communicative translation theory, the author carries out translation practice on two short stories &amp;quot;The Innocent Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. Under the guidance of communicative translation theory, this section adopts the strategies of translation modification and meaning extension to solve the problems of ambiguous and implicit sentences in novels. At the sentence level, the strategy of paraphrase, syntactic and translation is adopted. In the aspect of rhetoric, this paper adopts the translation strategies of addition and repetition, and makes a case study to explore and summarize the translation methods and strategies applicable to novel subject matter under the guidance of communicative translation theory.&lt;br /&gt;
&lt;br /&gt;
=== The application of communicative translation theory at lexical level===&lt;br /&gt;
'''Transliteration'''&lt;br /&gt;
&lt;br /&gt;
The translation method refers to the conversion of parts of speech in the original text, such as changing nouns into verbs, adjectives into verbs, etc., so as to make the translation conform to the expression habits of the target language. Different languages have different linguistic phenomena and cultural backgrounds. In order to make the translation more in line with the language expression habits of The Chinese people and convey the correct meaning of the original text to The Chinese readers, every word in the Korean sentence cannot be translated dead, and some parts of speech in The Korean language have to be changed in translation.(Chen 1994)# The following is a case study of translating a part of speech in the original text into another part of speech in Chinese.&lt;br /&gt;
&lt;br /&gt;
Eg.1 그럴 때의 아이는 이제 노인이 아니라 소년가장 같았다.&lt;br /&gt;
First translation：那一刻我觉得孩子不像老人，而像少年家长。 &lt;br /&gt;
Retranslation：那一刻我觉得他不像一个历经沧桑的老人，而像一个饱经世故的孩子。&lt;br /&gt;
&lt;br /&gt;
&amp;quot;소 년 가 장&amp;quot; is a noun, the author looked up Chinese dictionary, found &amp;quot;소 년 가 장&amp;quot; in Korean means &amp;quot;가 정 의 생 계 를 실 질 적 으 로 책 임 지 고, 어 렵 게 생 계 를 유 지 하 는 소 년&amp;quot;, at the beginning of translation, in accordance with the original literal translation is &amp;quot;young parents&amp;quot;, but is not in conformity with the Chinese expression habit, it is not easy to let Chinese readers understand, The author in the guidance of communicative translation theory, through the network search and found the dictionary lookup &amp;quot;소 년 가 장&amp;quot; and Chinese proverb &amp;quot;the poor children early master&amp;quot; has the same effect, but here can make statements impassability, in order not to cause the reader to understand the problems, the author give full play to the advantages of the Chinese, the author by using the method of adaptation, Phrases collocation and considering the Chinese habit, the term &amp;quot;소 년 가 장&amp;quot; divided &amp;quot;소 년&amp;quot; and &amp;quot;가 장&amp;quot; two nouns, and the term &amp;quot;가 장&amp;quot; translated into adjectives &amp;quot;world&amp;quot;, the &amp;quot;소 년&amp;quot; translated into &amp;quot;children&amp;quot;, both to convey the meaning of the original, and can make readers easily understand the content.&lt;br /&gt;
&lt;br /&gt;
Eg.2：거기에 아이가 자신을 만나려 하지 않기 때문에 돈을 주지 않는 것이라는 비난의 말이 반복해서 쓰여 있었기 때문이다. &lt;br /&gt;
Translation ：文件上反复指责说孩子不想认他这个父亲，所以不给抚养费。&lt;br /&gt;
&lt;br /&gt;
In the original text 비 난&amp;quot; is a noun, the author according to the original text in translation translated into &amp;quot;document and is accused of child, father didn't want to see him the accused, so not to support&amp;quot;, at the same time with the two accused, groundwork or at the back of the verb &amp;quot;blame&amp;quot;, also make the repetitive, so the author under the guidance of communicative translation theory, When translated again, the noun &amp;quot;비 project-oriented&amp;quot; is translated into the verb &amp;quot;blame&amp;quot;, so that the translation is easy to understand.&lt;br /&gt;
&lt;br /&gt;
Extension of meaning Extension translation method is refers to according to the specific context of contact and words in the original context, starting from the basic meaning of Korean original words, through the letter of the word or phrase in the sentence, its excellent implied meaning appropriately, use some conforms to the Chinese expression habit of character words, the content of the original essence of accurate expression.&lt;br /&gt;
&lt;br /&gt;
Eg.3：①텔레비전을 쳐다보던 아이가 대뜸 내밷었다. ②동식이 집을 나서자마자 엄마는 휴이히히히, 하는 기괴한 한숨을 길게 내뱉었다.&lt;br /&gt;
Translation：①正在看电视的儿子突然吐槽道：“妈，你快看，电视里那个人真像我爸”。 ②母亲就“唉！”长长地叹了一口气。&lt;br /&gt;
&lt;br /&gt;
The author by looking up the dictionary, in the original &amp;quot;내 밷 다&amp;quot; has two meanings: (1) 입 안 에 있 던 것 을 입 밖 으 로 뱉 어 내 보 내 다. (2) 마 음 에 내 키 지 아 니 하 거 나 못 마 땅 한 어 조 로 불 쑥 말 하 다. &lt;br /&gt;
Chinese meaning is &amp;quot;vomit, and said,&amp;quot; the author under the guidance of communicative translation theory, reader's expressions and words in Chinese habit as the center, contact the original context and context, considering the words collocation, adopt the method of the extension, the &amp;quot;내 밷 다&amp;quot; translated into &amp;quot;fun&amp;quot; and &amp;quot;sigh&amp;quot;, not only conforms to the present context, and in accordance with the Chinese language habits.&lt;br /&gt;
&lt;br /&gt;
Eg.4: ①그러니까 엄마는 내가 돈 얘기 할 것을 미리 알고서 지금 차단막을 치는 것이리라. ②형이 옆구리를 툭 치며. ③까지는 살큼 익혀서 찬지름 치고 조선간장으로 조물조물 무쳐노면 고기반찬보다 낫드라. &lt;br /&gt;
Translation：①但母亲好像早已看透了我的心思，先堵住了我的口。 ②大哥用胳膊肘戳了我一下。 ③蒸个七八分熟的时候撒上香油好好拌一下就行了，这样比那些荤食都好吃。&lt;br /&gt;
&lt;br /&gt;
The verb &amp;quot;치&amp;quot; would give many different meanings with different words, such as ①&amp;quot;beating, beating, beating, playing&amp;quot;.② take, base, wrap, erect, ③ feed, feed, etc. On the basis of communicative translation theory, and fully understand the original meaning, context, and considering Chinese words collocation is used, depending on the context, the extension method was adopted, will &amp;quot;치 다&amp;quot; translated into &amp;quot;blocking&amp;quot;, &amp;quot;stamp&amp;quot;, &amp;quot;and&amp;quot; verb, such as to conform to the Chinese habits of expression.&lt;br /&gt;
&lt;br /&gt;
===The expression of communicative translation theory at the sentence level===&lt;br /&gt;
Communicative translation theory is pointed out that to the readers, the translator should give full play to the advantages of the target language, to make the translation conform to the target language expression of habit, not to leave any arcane to readers, while Korean and Chinese belong to different language families, there are differences in expression habit, this summary is mainly under the guidance of communicative translation theory, This paper analyzes the translation of sentences in The Pure Man and The Goat Family by means of paraphrase, syntactic and combined translation.&lt;br /&gt;
&lt;br /&gt;
'''Interpretation method'''&lt;br /&gt;
&lt;br /&gt;
Hermeneutic method is also an interpretative translation method. Because Chinese and Korean have different expression habits, in the process of translation, we can use the paraphrase method to explain some ambiguous sentences, which can not only make the translation clear, but also accurately convey the original purpose.&lt;br /&gt;
&lt;br /&gt;
Eg.5：어느날, 아이가 눈에 보이는 사물들을 가리켜 얼마짜리냐고 물었을 때, 어떤 행위를 가리켜 얼마 받느냐고 물었을 때, 나는 어린것이 별걸다 궁금해한다고 면박을 줬다. 면박을 주는 것으로 마음에 이는 민망함을 무마시켰다. 아이의 입에서 처음 돈 얘기가 나왔을 때, 그때 나는 이미 알아챘어야 했는지도 모른다.&lt;br /&gt;
First Translation: 当某一天，孩子们指着各种东西问花了多少钱，挣了多少钱时，我当面斥责说“小孩子家家的，真是什么都好奇”。我以这种当面驳斥的方式来掩饰心中的尴尬。当我第一次从孩子嘴里听到关于钱的话题时,我可能就已经觉察到了些什么。&lt;br /&gt;
Retranslation: 当某一天，孩子们指着各种东西问价格时，我当面斥责说‘小孩子家的，问这个做什么’，以此来掩饰我内心的尴尬。当我第一次从孩子嘴里听到关于钱的话题时，我可能已经觉察到时代变了，我那‘不知钱为何物’的时代过去了。&lt;br /&gt;
&lt;br /&gt;
The author at the beginning of the translation of &amp;quot;그 때 나 는 이 미 알 아 챘 어 야 했 는 지 도 모 른 다&amp;quot;, literal translation is &amp;quot;I may already have noticed what&amp;quot;, but the specific perceive what is not clear, causing distress to Chinese readers, by contacting the above learned that the &amp;quot;I&amp;quot; as a child is the hairpin, objects such as pottery fragments, But now the child is the &amp;quot;money&amp;quot;, the author under the guidance of communicative translation theory, to the readers, adopting the tactics of interpretation method, interpreted &amp;quot;I perceived that the&amp;quot; content &amp;quot;I might have been aware of The Times have changed, I that 'I don't know the money was the era of the past&amp;quot;, thus the author want to convey the original concept of the era of the change of the clear expression come out.&lt;br /&gt;
&lt;br /&gt;
Eg.6：영호야, 명절 때만이라도 꼭 아빠한데 가봐, 가기 싫으면 연락이라도 드리고.아빠가 아무리 네 맘에 안 들더라도 너는 네 할 도리를 해야 떳떳한 사람이 되는 거야,알았지?&lt;br /&gt;
First Translation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。只有做了自已应该做的才能做一个光明磊落的人，知道吗？&lt;br /&gt;
Retranslation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。为人处事和忠孝贤良是亘古不变的，要想做一个光明磊落的人，就要做好自己的分内之事，知道吗？阿姨的话要记住哦。&lt;br /&gt;
&lt;br /&gt;
Early in the translation of &amp;quot;너 는 네 할 도 리 를 해 야 떳 떳 한 사 람 이 되 는 거 야&amp;quot;, the corresponding Chinese literal translation is &amp;quot;only do oneself should do can do a aboveboard person&amp;quot;, but &amp;quot;할 도 리&amp;quot; what, did not explain clearly in the original, need the reader to consider, in order not to leave readers obscure place, The author puts the advantage of Chinese into full play and interprets &amp;quot;up 도 wish to be good&amp;quot; into English by means of context and translation theory. At the same time, I also think that this is the advice of adults. It is necessary to tell him this truth in a soft and powerful tone. After this sentence, &amp;quot;Remember what aunt said&amp;quot; is added to make the original meaning clearly conveyed to readers, so that readers can better understand the original content.&lt;br /&gt;
&lt;br /&gt;
'''demolition syntax'''&lt;br /&gt;
&lt;br /&gt;
Deconstruction is the breaking down of a long sentence into several shorter sentences. As Korean and Chinese belong to different language families, there are many differences in syntax. The word order of Korean sentences is the structure of SOV, and narration is the main body and focus of the sentence, and there are a large number of long sentences, which rely on word endings to express various grammatical meanings. No amount of sentence elements will cause meaning confusion.&lt;br /&gt;
&lt;br /&gt;
However, the word order of Chinese sentences is the SVO structure, which depends on vocabulary, function words and word order to distinguish sentence components, so the sentence structure is simple, mainly short sentences. The translation of Korean long sentences into Chinese sentence groups can make the translation logical, smooth and accurate.&lt;br /&gt;
&lt;br /&gt;
Eg.7：동식의 이혼에 책임이 없다고 할 수는 없는 형제들이 돈을 모아 동식에게 새집을 지어줬는데 집안 새것이면 뭐 하냐고 동식이 폭력을 휘두를 조짐을 보이자 그 팔아 종류의 폭력을 아버지에게 당해본 엄마는 지레 겁을 먹고 소를 팔아 동식에게 새장가 갈 자금을 쥐여줄 수밖에 없었다.&lt;br /&gt;
First Translation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子。挨过父亲打的母亲因为对东植这种动不动就挥拳头打人的行为心有余悸，并觉得只有新房子没用，就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
Retranslation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子，母亲因为挨过父亲的打，所以对东植这种动不动就挥拳头打人的行为心有余悸，觉得只有新房子无济于事，改不了他的暴力行为，索性就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
&lt;br /&gt;
The original text Is a long sentence, &amp;quot;는 데&amp;quot; is a long attributive clause, behind the author under the guidance of communicative translation theory, using the translation, in the resolution of a sentence, adjust the structure of the sentence, but his father mother &amp;quot;dragged&amp;quot; compared to read man translationese is too heavy, have the taste of Korean Chinese, is not in conformity with the Chinese expression habit, the author on the basis of this, The translation has been revised and polished to make it smooth and smooth.&lt;br /&gt;
&lt;br /&gt;
'''Cotranslation'''&lt;br /&gt;
&lt;br /&gt;
Cotranslation refers to the combined translation of two or more sentences in the original text. Using the combined translation method to translate, will reduce the long winded translation, obtain a smooth and smooth translation.&lt;br /&gt;
&lt;br /&gt;
Eg.8 ：나는 큰오빠와 작은오빠가 아버지가 남긴 논을 가져간 것을 알고 있었다. 큰언니, 작은언니가 결혼할 때 밭을 가져 갔다는 것도. 동식은 제 몫이 논도 밭도 아닌 집인 것에 불만을 품고 쓰러져가는 슬레이트집에 불을 질렀다.&lt;br /&gt;
First Translation：我知道大哥和二哥结婚时分走了家里的水田，大姐和二姐结婚时分走了家里的旱地，东植因为分到的不是田和地，而是即将坍塌的的石板屋，一气之下就在屋里放了火。&lt;br /&gt;
Retranslation：哥哥姐姐们结婚时把家里的水田和旱地都分走了。而东植分到的是即将坍塌的的石板屋，他对此很不满，一气之下就放火烧了房子。&lt;br /&gt;
&lt;br /&gt;
Are two sentences in the original, the author first translation, according to the original text translated into two other subject-predicate bin structure of the sentence, but &amp;quot;big sister&amp;quot; &amp;quot;big brother&amp;quot; &amp;quot;sister&amp;quot; &amp;quot;second brother&amp;quot; will be read repetitive, so the author under the guidance of communicative translation theory, adopt the method of r the appellation of original elements became the &amp;quot;brothers and sisters&amp;quot;, and the two sentence elements into a simple sentence, Reduce redundant redundant.&lt;br /&gt;
&lt;br /&gt;
===The embodiment of communicative translation at the rhetorical level===&lt;br /&gt;
Communicative translation theory points out that should take the readers as heavy, compared to convey to the readers the article content, pay more attention to the expression effect, good expression effect can cause the resonance of the readers, caused the reader's thinking, and good expression effect depends on the use of rhetoric, this summary is mainly under the guidance of communicative translation theory, adopt different translation strategies, The rhetorical translation in The Innocent Man and The Goat Family is analyzed.&lt;br /&gt;
&lt;br /&gt;
'''Addition'''&lt;br /&gt;
&lt;br /&gt;
Addition is a translation method that adds content to the target text in order to accurately express the meaning of the source text, meet the needs of the target text readers and make the target text conform to the expression habits of the target language. Since Chinese and Korean have different pragmatic ways and expressive habits, some words or sentences should be added in the translation to make the translation more consistent with the Chinese context, the reader's expressive habits and the exact meaning of the original text.&lt;br /&gt;
&lt;br /&gt;
Eg.9：나는 아이 아빠의 돈을 ‘그깟 돈’이라고 표현했다.&lt;br /&gt;
&lt;br /&gt;
First Translation：我把孩子爸爸的钱称为“那么点儿钱”。&lt;br /&gt;
&lt;br /&gt;
Retranslation：我把孩子爸爸给的钱称为“塞牙缝的钱”。&lt;br /&gt;
&lt;br /&gt;
&amp;quot;그깟&amp;quot; is a contraction of &amp;quot;그까짓&amp;quot;. It means so little, so little. The amount of money given by the father of the child is very small. The author under the guidance of communicative translation theory, give full play to the advantages of target language, adopt the method of thickening of translation, the use of metaphor, the &amp;quot;그 깟 돈&amp;quot; translated into accord with the readers expression habit &amp;quot;for all of the money&amp;quot;, making it easy to understand, more intuitive said the little amount, so as to impress the reader.&lt;br /&gt;
&lt;br /&gt;
'''Repetition'''&lt;br /&gt;
&lt;br /&gt;
Repetition refers to the translation technique of appropriately repeating a part of words or sentences in translation. The repetition method can make the meaning of the translation more clear, further strengthen the appeal of the article, highlight the thoughts and feelings of the article, and achieve a good rhetorical effect.&lt;br /&gt;
&lt;br /&gt;
Eg.10：아비를 한번도 찾지 않다가 돈 달라고, 그것도 법정에서 애 얼굴을 봐야 하는 아비 된 자의 참담한 심정을 당신들이 아느냐고.&lt;br /&gt;
&lt;br /&gt;
First Translation：孩子一次也没来看过我这个父亲，却开口要钱？而且只有上了法院，我才好不容易看孩子一眼，你们理解我这个做父亲的心情和处境吗！&lt;br /&gt;
&lt;br /&gt;
Retranslation：孩子一次也没来看过我就跟我开口要钱，只有上了法院，我才好不容易看孩子一眼，我这个做父亲的苦楚，悲凉的的心情，你们理解吗！理解吗！&lt;br /&gt;
&lt;br /&gt;
The author by contacting the specific context, as a father, no contact for many years but children themselves to court, the state of mind should be both angry and sad, based on the theory of communicative translation, using the skill of verb repetition, to &amp;quot;알 다&amp;quot; repeated translation, to emphasize my angry tone, in order to make the article more vivid and accurate meaning.&lt;br /&gt;
&lt;br /&gt;
=== conclusion===&lt;br /&gt;
This paper selected the south Korean writer Kong Shanyu stories &amp;quot;well bead film&amp;quot; in the two novel &amp;quot;pure people&amp;quot; and &amp;quot;the goat family&amp;quot; has carried on the translation practice, the two novels are using the simple nature of language and a small amount of dialect vocabulary, shape lifelike characters, are described by family members of the past, let the past and reality contrast, It reflects the social reality that with the development of society, people have become selfish and indifferent, and the most simple family and human feelings seem to be more and more far away from us, so as to explore the history and significance of the &amp;quot;family&amp;quot; and the simple social atmosphere, which are gradually forgotten by Koreans.&lt;br /&gt;
&lt;br /&gt;
The core of Peter Newmark's communicative translation theory is that on the basis of being faithful to the content of the original text, the translator can give full play to the advantages of the target language, get rid of the constraints of the language structure of the original text, and pay attention to the effect of the expression of the target text. According to Newmark's text type, communicative translation theory applies to appeal texts, which focus on the target reader and aim to elicit the desired response, including popular books, popular novels and so on. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. Under the guidance of Peter Newmark's communicative translation theory, the author analyzes and discusses the translation strategies in the Pure Man and The Goat Family, which are complicated sentences, ambiguous meanings and implicit expressions.&lt;br /&gt;
&lt;br /&gt;
From the lexical level analysis, the author mainly combined with the context, to Chinese readers as the center, to comply with the Chinese expression and language habits, consider the reader's understanding ability, on the basis of Chinese used to translation and translation methods of extension, so as to satisfy the to the original readers and the translation of the original dual need of the readers have the same effect, At the same time, it also ensures the accuracy and flexibility of the translation words, so as to conform to the translator's lexical habits.&lt;br /&gt;
From the statement level analysis, &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; appeared in the text of the long sentence and attributive clause, at the same time, some relatively obscure sentences substance, so the author adopted the method of interpretation, syntax and translation of translation strategies, to explain the sentence, split, reorganization, thus reducing the sentence's mad outages and ideographic unclear, The translation is in line with the habits of Chinese readers and effectively conveys the essence of the original text. From the rhetoric analysis, communicative translation theory points out that compared with the content, should attach great importance to the expression of the translation effect, good expression effect depends on the use of rhetoric, so the author USES the translation strategy of work and repetition, has carried on the modification to the original and polishing, to strengthen the artistic effect and influence of the translation, make readers for the characters vivid impression, Arouse readers' reflection and emotional resonance.&lt;br /&gt;
&lt;br /&gt;
Therefore, the results of this study indicate that the communicative translation theory is of guiding significance to the Chinese translation of Korean novels and can provide a reference for similar translation practices. Communicative translation theory is pointed out that to the reader as the center, the translator can get rid of the original text, giving full play to the advantages of target language to adjust the structure and logic, to make the translation easy to understand, but there may be lack of scattering situation, so the translator should properly our subjective initiative, to insure the effect of readers in at the same time, also used to avoid the above situation. In addition, there are also shortcomings in the translation, but the author still hopes that this translation practice can provide reference for the future Korean-Chinese translation practice. At the same time, through this translation practice, the author has realized his own shortcomings. In the future, the author will continue to learn, accumulate practical experience, and strive to improve his literary accomplishment and language foundation, and improve his translation level.&lt;br /&gt;
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===Reference===&lt;br /&gt;
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'''English Literature:'''&lt;br /&gt;
&lt;br /&gt;
[1]. GAO Chang. The Application of Peter Newmark's Communicative Translation Theory to the Translation of Chinese Historical Allusions [J]. Overseas English, 2013(11).&lt;br /&gt;
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[2]. JIAN Fang. Newmark's Translation Theory and Film Names [J]. Overseas English, 2010(08).&lt;br /&gt;
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[3]. LI Xin, ZHANG Zhe. On Peter Newmark’s Semanic Translation &amp;amp; Communicative Translation[J]. Overseas English, 2015（03）.&lt;br /&gt;
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'''Korean literature:'''&lt;br /&gt;
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[4]. Gong Seon-ok. In the 1980s, my literature Gwangju, and my life's hardship [J]. History of Criticism, 1995 (08).&lt;br /&gt;
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[5]. Kang Young-mi. Preliminary review of the singing movement in the 1970s and 1980s [J]. Mental Culture Research 41(3), 2018.(09).&lt;br /&gt;
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[6]. Kim Young Hee. Modern and Alternative Experience and Women--Park Wan-seo, Kim In-sook, and Gong Sun-ok's novel [J]. Creation and Criticism 23(3), 1995(09).&lt;br /&gt;
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[7]. Osunbang. A study of the translation of novels in modern China and the two-way translation of Sino-Korean novels[J]. Seoul: Sungsil University Press, 2008.&lt;br /&gt;
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'''Chinese Literature:'''&lt;br /&gt;
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[8]. Chen Lin. A comparison of Eugene A. Naida and Peter Newmark's translation theories [J]. Journal of Xiangtan University (Social Science Edition), 1994,(08): 87-91.&lt;br /&gt;
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[9]. Si Jitao and Yan Honglan. The translation of split sentences and combined sentences in English-Chinese translation[J]. Journal of Guangxi Right River Nationalities Teachers College,2005(02):21&lt;br /&gt;
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[10]. Chen Lin. A comparison of Eugene A. Naida and Peter Newmark's translation theory [J]. Journal of Xiangtan University (Social Science Edition), 1994, (08).&lt;br /&gt;
&lt;br /&gt;
[11]. Yang Shi-Zhuo. A brief analysis of Newmark's theory of semantic and communicative translation[J]. Fujian Foreign Language, 1989:68-71.&lt;br /&gt;
&lt;br /&gt;
=毛雅文On Translation Strategies and Methods in Chinese Translation of English Prose --- Chinese Translation of Robert Lynd’s &amp;quot;Pleasures of Ignorance&amp;quot; as an example=&lt;br /&gt;
&lt;br /&gt;
'''浅析英语散文汉译中的翻译策略——以罗伯特·林德《无知的乐趣》汉译本为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_4]]&lt;br /&gt;
&lt;br /&gt;
毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Prose, together with poetry, novel and drama, is a kind of literary form. It is not limited to rhythm, plot and characters, flexible in form, real and natural. English prose has a long history and various types, so it becomes an important object in translation practice and research. In China, the most famous English prose writers are Francis Bacon and Charles Lamb, hence, their works can be regarded as the focus of studies on Chinese translation of English prose. In fact, Chinese translation of English prose draws less attention in translation circle of China, compared with that of English poetry and drama. With English prose as the starting point, this paper will introduce the characteristics of English prose and the domestic studies on its Chinese translation, and take the Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, the representative work of English modern prose writer Robert Lynd, as an example to analyze its translation strategies and methods.&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
散文是与诗歌、小说、戏剧并称的一种文体，不拘泥于韵律、情节、人物，形式灵活，真实自然。英语散文历史悠久，类型多样，是翻译实践与研究中的重要研究对象。在我国，最著名的英语散文家是弗朗西斯·培根和查尔斯·兰姆，他们的作品也因此成为英语散文汉译的重点。而事实上，我国翻译界更加重视的是诗歌与小说的汉译，英语散文汉译的研究相较之下比较滞后。本文将以英语散文为切入点，介绍英语散文的特点及其在我国的汉译研究，并以英国现代散文家罗伯特·林德的代表作《无知的乐趣》汉译本为例，主要分析其中的策略及方法。&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Pleasures of Ignorance&amp;quot;; Chinese translation of English prose; translation strategies; translation methods; translation techniques&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
&lt;br /&gt;
《无知的乐趣》；英语散文汉译；翻译策略；翻译方法；翻译技巧&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
This chapter will point to the research background and its significance, and briefly set forth the structure of this paper and the methods used.&lt;br /&gt;
&lt;br /&gt;
'''Research Background and Significance'''&lt;br /&gt;
&lt;br /&gt;
In recent years, with the deepening of the reform and opening-up, the channels of international cultural exchange have become increasingly unblocked, and China's translation industry has also flourished. The studies on translation theory, drawing lesson from western translation studies, have yielded fruitful results, and more noteworthily, remarkable achievements have been made in studies on literary translation for all to see. (Hou Qiang 2014: 1)&lt;br /&gt;
&lt;br /&gt;
Prose is a basic literary form in written or spoken language that typically exhibits a natural flow of speech and grammatical structure. A large number of works in philosophy, history, economics, journalism, etc, are examples of works written in prose. It can be seen that prose, which is widely used for creation, occupies an important position in literature. However, there are few researchers majoring in prose translation, still fewer ones who specialize in Chinese translation of English prose. In view of the above, this paper, based on previous studies, will study the Chinese translation of English prose, and take the Chinese translation by Liu Bingshan of ''The Pleasures of Ignorance'' created by the English prose writer Robert Lynd, exploring its characteristics in translation strategies and methods, so as to provide better understanding and some reference for the appreciation and translation of English prose. (He Xiuqin 2018: 6) (Song Jie 2018: 1)&lt;br /&gt;
&lt;br /&gt;
'''Methodology and Structure'''&lt;br /&gt;
&lt;br /&gt;
This paper will employ the methods of literature research and case analysis. The paper consists of three parts. The first section is literature review, explicating the distinctive properties and linguistic features of English prose, and the prose translation with its principles, as well as introducing the previous studies on Chinese translation of English prose at home. The second part, the core of this paper, will take Liu Bingshan's Chinese translation version of Robert Lynd's prose work &amp;quot;Pleasures of Ignorance&amp;quot; as an example, carry out the interpretation of this translation in terms of its types, styles as well as strategies and methods employed. Lastly, the conclusion will point to the findings in this study and the weaknesses in the paper.&lt;br /&gt;
&lt;br /&gt;
===Literature Review===&lt;br /&gt;
&lt;br /&gt;
This part will draw into the domestic previous studies on Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
With regard to Chinese translation of English prose, at present, there are few domestic scholars dedicated to its systematic research. According to the different perspectives, the relevant researches at home can be roughly divided into three categories.&lt;br /&gt;
&lt;br /&gt;
First, concerning research on the theory of Chinese translation of English prose into Chinese, there are relatively small number of studies in this direction. One of the most fruitful works is ''The Study and Translation of British and American Prose'' co-authored by Zhao Xiuming and Zhao Zhangjin (2010), which makes a detailed investigation of the literary characteristics, historical evolution and style evolution of British and American prose. The work also discusses the basic principles of English prose translation in terms of pre-translation text analysis, historical and cultural context, artistic principles, and styles, etc., which can offer a reference for the further study of the theories and practices of English prose translation. (Hou Qiang 2014: 4)&lt;br /&gt;
&lt;br /&gt;
Second, regarding research on the famous translators of English and American prose with their translation styles and skills, Xia Ying explored the style of Professor Cao's translation of Francis Bacon with the essay titled &amp;quot;Research on Professor Cao Minglunss Chinese translation of bacon prose&amp;quot;. (Xia Ying, 2012:165-166) Some others probed into Liu Bingshanss and Li Shicong's thoughts on prose translation which have guiding significance for prose translation practice. (Hou Qiang 2014: 4)&lt;br /&gt;
&lt;br /&gt;
Third, as regards research on the practice of Chinese translation English prose based on translation theory, Huang Jianling (2021) analyzed the Chinese translation of Bacon's essays from the perspective of translation aesthetics. Hu Hongyun (2013) translates and elaborates on the British prose Farewell in vocabulary, semantics, style and cultural transmission, on the basis of Eugene Nida's Functional Equivalence theory. (Hou Qiang 2014: 5)&lt;br /&gt;
&lt;br /&gt;
These researches and investigations have laid a solid foundation for future studies and the analysis in this paper.&lt;br /&gt;
&lt;br /&gt;
===Overview of English Prose===&lt;br /&gt;
&lt;br /&gt;
Prose can be defined in broad sense and in narrow sense. In broad sense, prose refers to all the written and oral works in a loose form free from parallelism; and in narrow sense, it specifically means the writings with certain literary qualities, such as essays, and a literary genre juxtaposed with poetry, novel, drama and movie-television literature.&lt;br /&gt;
&lt;br /&gt;
This section will clarify the distinctive characteristics and linguistic features of English prose, as well as its translation principles.&lt;br /&gt;
&lt;br /&gt;
'''Distinctive Features of English Prose'''&lt;br /&gt;
&lt;br /&gt;
As an independent literary genre, English prose has its own distinctive characteristics.&lt;br /&gt;
&lt;br /&gt;
The first characteristic is its expression of sincere feeling. Prose mostly depicts the real people, things and scenery, and is generated based on record and recollection of life. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. So in this sense, prose can be considered as an earnest conversation between the author and the readers. (Zhang Baohong 2011: 28)&lt;br /&gt;
&lt;br /&gt;
Secondly, English prose is characterized by the wide material selection. In English prose, one detail, episode and facet of life can be used to display the author's specific emotions and circumstances, and all materials related to the theme can also be employed. It places no emphasis on rhythm and rhyme, like poetry, as well as to plot and characters, like drama. (Zhang Baohong 2011: 29)&lt;br /&gt;
&lt;br /&gt;
Besides, English prose features the free and loose structure. The structure of prose writings is free and flexible. Prose is elastic and natural and boasts descriptive, argumentative and lyrical qualities, thereof constituting its most distinctive advantage. There are no strict restrictions and fixed patterns in the prose structure, but its flexibility and randomness is not tantamount to disorder and scatter, and its choice of theme and expression of feelings should be closely centered on one main line. (Zhang Baohong 2011: 29)&lt;br /&gt;
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'''Linguistic Features of English Prose'''&lt;br /&gt;
&lt;br /&gt;
Compared with other literary forms, prose has no more skills to resort to. Therefore, as regards the form of artistic expression, English prose mainly has recourse to its own language features.&lt;br /&gt;
&lt;br /&gt;
First and foremost, succinctness and fluency characterize English prose language. The concise prose language not only fully delivers the content that the author intends to convey, but effectively shows the author's emotions and attitude towards persons and things. This is not the result of the author's deliberate elaboration, but the natural overflow of his or her plain and pure emotion. The fluency of prose language refers to both the informal use of words and phrases, and the author's sound expression of feelings. (Zhang Baohong 2011: 29)&lt;br /&gt;
&lt;br /&gt;
Meanwhile, colloquial style and literary grace are characteristic of prose language. As prose mainly focuses on description of the author's personal stories and sentiments, thus, he speaks or writes with his own posture, style and tone, as if he is confiding to the readers, so as to highlight the agreeable conversation style and unique colloquial style. Colloquial prose language is natural due to its simplicity, friendly owing to its ease of communication, and true thanks to its individuality. (Zhang Baohong 2011: 30)&lt;br /&gt;
&lt;br /&gt;
Furthermore, another linguistic feature of English prose is the smooth rhythm and reading. The rhythmic beauty of prose language is reflected in phonetic respect and in sentence patterns. The prose reading is catchy, with no obstacles and awkwardness, and its rhythm is in line with the natural law of oral breathing pauses as well as with the ups and downs of feelings. (Zhang Baohong 2011: 30)&lt;br /&gt;
&lt;br /&gt;
'''Principles of English Prose Translation'''&lt;br /&gt;
&lt;br /&gt;
The beauty of prose lies in its language and artistic conception, the two permeating each other and jointly creating the artistic charm of prose. In prose translation practice, the following principles can be observed to reproduce the artistic appeal.&lt;br /&gt;
&lt;br /&gt;
Keep an eye on sound and rhythm. Despite that the sound and rhythm of prose are often internal, not as obvious, regular and musical as that of poetry, they are not disordered with no aesthetic purpose. On the contrary, they effectively represent the variation of emotion in the prose, and are consistent with its unique aesthetic interest. This illustrates that in prose translation, on the one hand, the translators should recognize the great value and significance of prose sound and rhythm; on the other hand, with the intention of reproducing the linguistic subtleties of the original text, the translators can fully touch its aesthetic interest from the cadence between the lines, and perceive its inner rhythm from sentence length and speech speed. (Zhang Baohong 2011: 30)&lt;br /&gt;
&lt;br /&gt;
Pay attention to personalized mode of discourse. Different writers with various discourse modes bring about manifold writing styles. Not only is the personalized mode of discourse reflected in the author's choice of words and sentences as well as layout of the prose, but also in his thoughts and aesthetic interest. As a result, the translators can start with analyzing the original writer's one classic work and then his anthology and even look closely at the literary features of his age, in order to grasping the writer's personalized discourse mode, which is of particular importance to reproduce his artistic personality and the characteristics of his emotional expression in translation practice. (Zhang Baohong 2011: 31)&lt;br /&gt;
&lt;br /&gt;
Place a premium on the unity of scene and emotion. The unity of scene and interest in prose is embodied in diverse ways of language expression and structure, as well as the images or settings created by the author. In translation practice, based on the unity of scene and interest in the prose, it is beneficial to preserve and reproduce the overall aesthetic orientation of the original text through aesthetic reconstruction in word selection and layout, so that the translated text can obtain the aesthetic taste similar to the original prose.(Zhang Baohong 2011: 31)&lt;br /&gt;
&lt;br /&gt;
All in all, a general understanding of English prose can facilitate the study of its Chinese translation.&lt;br /&gt;
&lt;br /&gt;
===Case Study of Chinese Translation of &amp;quot;Pleasures of Ignorance&amp;quot;===&lt;br /&gt;
&lt;br /&gt;
The selected source text is &amp;quot;The Pleasures of Ignorance&amp;quot;, written by Robert Lynd. &lt;br /&gt;
&lt;br /&gt;
Robert Lynd (1879-1949), born in Belfast, Northern Ireland, was a modern critic and prose writer. He, together with E. V. Lucas, was a pioneer in reviving the tradition of Charles Lamb's prose. And The Pleasures of Ignorance is one of his notable prose works.&lt;br /&gt;
&lt;br /&gt;
This prose points out that it is because ignorance that people are interested in the nature and the world and their pursue knowledge, and the process of seeking knowledge is full of pleasure, by which the author emphasizes the importance of learning more and gaining insight. The article reveals somewhat erudition and aesthetic sensibility, as well as love for nature and and passion for life. From his leisurely writing, the author's maturity of thought and capability in usage of words is unveiled. Though the tone of the original text makes the readers feel that the author is chatting with them, giving people familiarity and closeness, it is not particularly colloquial. On the contrary, there is a kind of exactness and elegance of the learned between the lines, thus it can be seen that the case text is a typical scholar prose. (Zhu Mingju 2007: 326)&lt;br /&gt;
&lt;br /&gt;
The translator Professor Liu Bingshan firmly grasps these features of the original text and conveys the original style by carefully choosing words and sentences, with the principles of faithfulness, smoothness and expressiveness. His Chinese translation of &amp;quot;The Pleasures of Ignorance&amp;quot; will be analyzed in terms of translation strategies and methods. (Zhu Mingju 2007: 326)&lt;br /&gt;
&lt;br /&gt;
There is the natural connection between translation strategies and translation methods, but the two concepts are often confused. It is generally believed that translation strategies (such as foreignization and domestication) are at the cultural level, while the translation methods (such as literal translation and free translation) are at the textual level. Translation methods are the approaches, steps and techniques used to achieve a specific translation purpose based on a certain translation strategy in translation activities, whereas translation strategies are a collection of principles and methods. Consequently, this paper will enunciate the translation text on the basis of translation methods under foreignization strategy and domestication strategy respectively. (Xiong Bing 2014: 84)&lt;br /&gt;
&lt;br /&gt;
====Translation Methods under Foreignizing Strategy====&lt;br /&gt;
&lt;br /&gt;
Foreignization is a strategy in which a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. This strategy is &amp;quot;an ethnodeviant pressure on target-language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad&amp;quot; to have alien reading experience. The translation methods under foreignization employed in Professor Liu's target text include literal translation, zero-translation and transliteration. (Venuti, 2004: 20) (Lian Shuneng 2006: 13)&lt;br /&gt;
&lt;br /&gt;
=====Literal Translation=====&lt;br /&gt;
&lt;br /&gt;
Literal translation is in fact looser renditions that replace individual source language words with individual target language wors wherever possible, and cling as closely as possible to the source language word order in the target language. (Lian Shuneng 2006: 12)&lt;br /&gt;
&lt;br /&gt;
Specifically, in the case translation text, the translator faithfully retains some personal pronouns and demonstrative pronouns in the original text. For example, &lt;br /&gt;
&lt;br /&gt;
(1)It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance.&lt;br /&gt;
&lt;br /&gt;
同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
&lt;br /&gt;
(2)This ignorance, however, is not altogether miserable.&lt;br /&gt;
&lt;br /&gt;
不过，这种无知也并非全然不幸。&lt;br /&gt;
&lt;br /&gt;
(3)But your and my ignorance is not confined to cuckoos.&lt;br /&gt;
&lt;br /&gt;
但是，你我的无知并不仅限于杜鹃这一方面。&lt;br /&gt;
&lt;br /&gt;
(4)A contemporary English novelist was once asked by a foreigner what was the most important crop in England.&lt;br /&gt;
&lt;br /&gt;
一个外国人问一位当代英国小说家，英国最重要的农作物是什么。&lt;br /&gt;
&lt;br /&gt;
The translation of these sentences, though properly altering the word order and voice with the adherence to the target-language syntactic norms, does not adopt the usage of transferred meaning in dealing with lexical sense.&lt;br /&gt;
&lt;br /&gt;
The use of literal translation, especially the retaining of the personal pronouns, like &amp;quot;we&amp;quot; and &amp;quot;you and I&amp;quot;, conveys the style of the original text, showing friendliness and intimacy.&lt;br /&gt;
&lt;br /&gt;
=====Zero-Translation=====&lt;br /&gt;
&lt;br /&gt;
Zero translation refers to the translation in which the translators do not use the ready-made words in the target language to translate the source language words. This translation phenomenon occurs when adjustments must be made due to the differences in the syntactic structures of the two languages. For example, some articles and personal pronouns are not translated in E-C translation. (Fang Mengzhi 2011: 108)&lt;br /&gt;
&lt;br /&gt;
In Professor Liu's Translation, zero-translation is particularly displayed by omission, a translation technique. For instance,&lt;br /&gt;
&lt;br /&gt;
Omission of the expletives ''It'' and ''There'':&lt;br /&gt;
&lt;br /&gt;
(5)''It'' is impossible to take a walk in the country oneself without being amazed at the vast continent of one's own ignorance.&lt;br /&gt;
&lt;br /&gt;
任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
&lt;br /&gt;
(6)''There'' are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy.&lt;br /&gt;
&lt;br /&gt;
这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。&lt;br /&gt;
&lt;br /&gt;
Omission of English articles:&lt;br /&gt;
&lt;br /&gt;
(7)Thousands of men and women live and die without knowing the difference between ''a'' beech and ''an'' elm, between ''the'' song of ''a'' thrush and ''the'' song of ''a'' blackbird.&lt;br /&gt;
&lt;br /&gt;
成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
&lt;br /&gt;
Omission of pronouns:&lt;br /&gt;
&lt;br /&gt;
(8)... as she (the cuckoo) lays ''her'' egg on the ground and takes it in ''her'' bill to the nest in which it is destined to breed infanticide.&lt;br /&gt;
&lt;br /&gt;
把蛋下到地面上，然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。&lt;br /&gt;
&lt;br /&gt;
The application of zero-translation can render the translation text concise, neat and fluent, and make the rhythm of the prose more natural and flexible, conforming to the principle of prose translation.&lt;br /&gt;
&lt;br /&gt;
=====Transliteration=====&lt;br /&gt;
&lt;br /&gt;
Proper names such as the names of persons and places of foreign countries, are, as a rule, to be transliterated, i.e., to be translated by using Chinese characters to represent the sound in articulating these names. (Lian Shuneng 2006: 344)&lt;br /&gt;
&lt;br /&gt;
In transliteration, the translators should follow the original pronunciation of proper names, in Liu's translation, for example,&lt;br /&gt;
&lt;br /&gt;
(9)Hamlet 哈姆雷特 Pickwick 匹克威克 (both transliterated from English)&lt;br /&gt;
&lt;br /&gt;
Besides, in transliteration, the translators sometimes should also use the standard pronunciation of the Chinese characters. One of the difficulties in transliterating a foreign name in Chinese characters lies in the lack of many foreign sounds in Chinese, and the variation in the pronunciation of the Chinese characters causes confusion. The remedy is to fix certain Chinese characters for a certain syllable of foreign names. And many long-standing translated names, though not named after the original sounds, have been recognized by the world and are generally invariable. (Lian Shuneng 2006: 346)&lt;br /&gt;
&lt;br /&gt;
For example, in the translation in case study. For example, in the translation in case study,&lt;br /&gt;
&lt;br /&gt;
(10)Montaigne 蒙田 (not 蒙泰涅)&lt;br /&gt;
&lt;br /&gt;
Transliteration plays a crucial role in translation of proper nouns and technical terms, which ensures the correct conveyance of information.&lt;br /&gt;
&lt;br /&gt;
The translation methods under foreignization are able to make the translation process more visible, by means of showing how translators are deeply involved in the construction of culture and ideology. The use of these methods can retain the foreignness of the source text and produce on the target-language readers an effect as close as possible to that obtained on the readers of the original, through which the readers can further understand the foreign expressions and cultures, realizing the differences between the two countries.&lt;br /&gt;
&lt;br /&gt;
====Translation Methods under Domesticating Strategy====&lt;br /&gt;
&lt;br /&gt;
Domestication is a strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for target language readers. This strategy is &amp;quot;an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home&amp;quot;. In other words, as regards the use of domesticating strategy, the translators are required to make target-language readers feel familiar and close through conveying the content of the original text with the expressions to which TL readers are accustomed. And in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, free translation method and imitation method under domestication are used and displayed in several translation techniques. (Venuti 2004: 20) (Lian Shuneng 2006: 14)&lt;br /&gt;
&lt;br /&gt;
=====Free Translation=====&lt;br /&gt;
&lt;br /&gt;
Free translation, also known as sense-for-sense translation, emphasizes transfer of the meaning or &amp;quot;spirit&amp;quot; of a source text over accurate reproduction of the original wording. The purpose of this method is to accommodate the needs of the target-language readers by producing a text which conforms to the linguistic and textual norms of the target language and culture which does not therefore sound &amp;quot;foreign&amp;quot;. (Shuttleworth &amp;amp; Cowie, 2014: 59)(Lian Shuneng 2006: 12)&lt;br /&gt;
&lt;br /&gt;
Such a method, in this case study, is specifically embodied in the choice of words packed with Chinese characteristics, that is, diction, also a translation technique. For example,&lt;br /&gt;
&lt;br /&gt;
(11)Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is ''the exception''.&lt;br /&gt;
&lt;br /&gt;
在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是''凤毛麟角''。&lt;br /&gt;
&lt;br /&gt;
(12)It is not that we have not seen the birds. It is simply that we ''have not noticed'' them.&lt;br /&gt;
&lt;br /&gt;
所以如此，并不是因为这些鸟我们没有见过，而只是因为我们''习焉不察''。&lt;br /&gt;
&lt;br /&gt;
(13)When in the oak’s green arms the cuckoo ''sings'', &lt;br /&gt;
&lt;br /&gt;
And first delights men in the ''lovely springs''.&lt;br /&gt;
&lt;br /&gt;
杜鹃在橡树的绿色怀抱里''啭啼''，&lt;br /&gt;
&lt;br /&gt;
第一个为人们带来''欢欣、美好的春意''。&lt;br /&gt;
&lt;br /&gt;
In translating these sentences, the translator transfers some words into vocabulary or phrases with conspicuously Chinese features. For instance, the transfer of &amp;quot;the exception&amp;quot; and &amp;quot;have not noticed&amp;quot; to Chinese idioms &amp;quot;凤毛麟角&amp;quot; (that describes rare and precious items) and &amp;quot;习焉不察&amp;quot; (which means that one is too accustomed to something to call it in questions), respectively, exemplifies the typical Chinese four-character structure. Moreover, the verb &amp;quot;sings&amp;quot; is transferred to &amp;quot;啭啼&amp;quot; (that describes birds' melodious chirp), a Chinese term composed of two words with the same left side, which is one of common and special linguistic phenomena in Chinese language. Meanwhile, &amp;quot;the lovely springs&amp;quot; is transferred to &amp;quot;欢欣、美好的春意&amp;quot; (a joyful and wonderful feeling brought by the spring) through abstraction.&lt;br /&gt;
Thus, it can be seen that the application of free translation can reproduce the sense of the original text more smoothly and idiomatically. And the wide adoption of the four-character structures enhance the academic atmosphere of the translation version.&lt;br /&gt;
&lt;br /&gt;
=====Imitation=====&lt;br /&gt;
&lt;br /&gt;
With regard to the use of imitation, the translators do not stick to the meaning details of the original text, let alone its vocabulary and syntactic structure, but take the original text as a reference model, either by deleting and condensing to only translate its gist and key information, or by adding and expanding to deliver more information than that in the original text. For instance, (Xiong Bing 2014: 85)&lt;br /&gt;
&lt;br /&gt;
(14)Thousands of ''men and women'' ''live and die'' ''without knowing'' the difference between a beech and an elm, between the song of a thrush and the song of a blackbird.&lt;br /&gt;
 &lt;br /&gt;
成千上万的''男男女女''，''从生到死''，''一辈子''也''说不出''山毛榉和榆树有什么区别，''听不出''画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
&lt;br /&gt;
In the translation of this sentence, a variety of translation techniques are employed. &lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
The translator uses conversion to alter the syntactic structure of the original sentence. &lt;br /&gt;
&lt;br /&gt;
The predicate &amp;quot;live and die&amp;quot; is converted into the preposition phrase &amp;quot;从生到死&amp;quot; as the adverbial in Chinese.&lt;br /&gt;
&lt;br /&gt;
And the adverbial preposition phrase in the source text &amp;quot;without knowing&amp;quot; is converted into the predicate in Chinese translation.&lt;br /&gt;
&lt;br /&gt;
②　Division:&lt;br /&gt;
&lt;br /&gt;
In accordance with the need of Chinese expression, &amp;quot;without knowing&amp;quot; is divided into two verb phrases &amp;quot;说不出&amp;quot; and &amp;quot;听不出&amp;quot; in Chinese as the predicate.&lt;br /&gt;
&lt;br /&gt;
③　Addition:&lt;br /&gt;
&lt;br /&gt;
With the addition of the expression &amp;quot;一辈子&amp;quot;, the translator highlights the long time between life and death.&lt;br /&gt;
&lt;br /&gt;
④　Repetition:&lt;br /&gt;
&lt;br /&gt;
The plural form &amp;quot;men and women&amp;quot; is translated into the reiterative locution &amp;quot;男男女女&amp;quot; by repetition. &lt;br /&gt;
&lt;br /&gt;
The change of sentence structure via techniques such as conversion and division as well as of vocabulary via repetition and addition render the translation natural and smooth, showing the translator’s superb handling of the original text.&lt;br /&gt;
&lt;br /&gt;
(15)...we are all the ''more'' delighted ''at the spectacle of'' its ''runaway flight'' as it (the cuckoo) ''hurries'' from wood to wood conscious of its crimes ...&lt;br /&gt;
&lt;br /&gt;
一日''看见''它（杜鹃）因为自己犯了罪而''煌惶不安地''从这个林子飞''逃''向那个林子 ... 我们才会觉得''大大''开心。&lt;br /&gt;
&lt;br /&gt;
In this example, there are also various translation techniques used.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
Firstly, the preposition phrase &amp;quot;at the spectacle of&amp;quot; is converted into the verb &amp;quot;看见&amp;quot; in Chinese. &lt;br /&gt;
&lt;br /&gt;
Secondly, the noun phrase &amp;quot;runaway flight&amp;quot; is converted into Chinese verbs &amp;quot;飞&amp;quot; (fly) and &amp;quot;逃&amp;quot; (escape). &lt;br /&gt;
&lt;br /&gt;
Besides, the verb &amp;quot;hurries&amp;quot; (that means to move quickly in a particular direction) is converted into &amp;quot;惶惶不安地&amp;quot; (which means to feel panic, afraid and utterly uneasy), a Chinese adverb to modify the verbs &amp;quot;飞&amp;quot; and &amp;quot;逃&amp;quot;, which endows the subject cuckoo with somewhat human characteristic.&lt;br /&gt;
&lt;br /&gt;
②　Repetition:&lt;br /&gt;
&lt;br /&gt;
The adjective &amp;quot;more&amp;quot; is translated into the reiterative locution &amp;quot;大大&amp;quot;, a Chinese adverb equivalent to &amp;quot;very&amp;quot; or &amp;quot;extremely&amp;quot; in English to modify the adjective &amp;quot;delighted&amp;quot;. &lt;br /&gt;
&lt;br /&gt;
In this example, the adjustment of the sentence order and conversion of parts of speech make the translation more consistent with the word sequence in Chinese. Meanwhile, the choice of words such as the Chinese four-character structure &amp;quot;惶惶不安&amp;quot; conveys the romantic charm beyond the original text. And there are also indicators of use of repetition embodied in the typical Chinese reiterative locutions like &amp;quot;惶惶&amp;quot; and &amp;quot;大大&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
(16)I have myself a ''capricious'' and ''leaking'' memory.&lt;br /&gt;
&lt;br /&gt;
我自己的记忆力也是''漏洞百出''、''不听使唤''。&lt;br /&gt;
&lt;br /&gt;
Although this is a short sentence, it still contains the flexible use of translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
At first, the original object &amp;quot;memory&amp;quot; is converted to the subject in the Chinese translation.&lt;br /&gt;
And then, the subject &amp;quot;I&amp;quot; with its appositive &amp;quot;myself&amp;quot; is converted into the attribute &amp;quot;我自己的&amp;quot; to modify the subject in the translation &amp;quot;记忆&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
On account of the conversion of the subject and the verb, the original predicate &amp;quot;have&amp;quot; is inappropriate. The addition of &amp;quot;也是&amp;quot; that is equivalent to the verb &amp;quot;be&amp;quot; in English enforces the completeness of sentence structure. And this is a structural addition mainly due to the structural difference between Chinese and English.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The two vivid adjective &amp;quot;capricious&amp;quot; and &amp;quot;leaking&amp;quot; are translated as &amp;quot;不听使唤&amp;quot; and &amp;quot;漏洞百出&amp;quot; respectively which are typical Chinese four-character structures. The Chinese adjective &amp;quot;漏洞百出(的)&amp;quot; means that the loopholes appear one after another, which is often used to describe that one's writing or speech is untenable because of lack of sufficient reasons and grounds. And here, this word shows the author's weak memory with which he forgets things time and again. And the other adjective &amp;quot;不听使唤(的)&amp;quot; generally depicts that someone loses control and is not obedient to the rules or instructions. Here, the word properly demonstrates that the author cannot manipulate his memory well and also cannot preclude it from being weaker. The use of these two words conforms to the choice of affective and stylistic meanings.&lt;br /&gt;
&lt;br /&gt;
In this example, the conversion of the subject and object as well as the change of the predicate enable the translation to be more closely accord with the Chinese sentential structure. Moreover, the two figurative adjectives packed with personified traits not only fully  convey the author's intention, but also enhance literariness of the translation and even display a lively mood beyond the original text.&lt;br /&gt;
&lt;br /&gt;
(17)We know, again, that, the blossom precedes and ''not succeeds'' the fruit of the apple-tree, but ''this does not lessen our amazement at'' the beautiful holiday of a May orchard.&lt;br /&gt;
&lt;br /&gt;
另外，我们知道苹果树''先''开花，''后''结果，可是五月''一旦''到来，果园里一片欢闹的花海。''我们不是仍然惊为奇观吗？''&lt;br /&gt;
&lt;br /&gt;
This is a typical example of the imitation method embodied in the use of diverse translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
Regarding the conversion of word classes, the noun &amp;quot;blossom&amp;quot; is converted into the Chinese verb &amp;quot;开花&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Concerning the conversion of sentence members, the object in the clause &amp;quot;apple-tree&amp;quot; is converted into the subject &amp;quot;苹果树&amp;quot; in the Chinese translation. And the attribute &amp;quot;May&amp;quot; is converted into the adverbial in Chinese as &amp;quot;五月一旦到来&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Considering the conversion of sentence patterns, the negative sentence &amp;quot;this does not lessen our amazement at...&amp;quot; is converted into a interrogative sentence &amp;quot;我们不是仍然惊为奇观吗？&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Negation:&lt;br /&gt;
&lt;br /&gt;
The negative form &amp;quot;not succeeds&amp;quot; in English is translated into the affirmative form &amp;quot;后结果&amp;quot; in Chinese, intensifying a positive tone on which Chinese language often places emphasis.&lt;br /&gt;
&lt;br /&gt;
③　Division:&lt;br /&gt;
&lt;br /&gt;
The original complicated sentence in English is divided into several simplex clauses and phrases in Chinese, which underlines the &amp;quot;chronicle style&amp;quot; of Chinese language with frequent use of shorter or composite structures.&lt;br /&gt;
&lt;br /&gt;
④　Addition:&lt;br /&gt;
&lt;br /&gt;
Now that the original sentence is divided into smaller components, it is necessary to supply connectors for better cohesion. The addition of the logical connectors in Chinese such as &amp;quot;先&amp;quot;, &amp;quot;后&amp;quot;, &amp;quot;一旦&amp;quot; and &amp;quot;仍然&amp;quot; render the translation more smooth and expressive.&lt;br /&gt;
&lt;br /&gt;
In this instance, the translator flexibly takes advantage of the techniques such as conversion, negation and division, not only contributing to the diversity of sentence patterns but also adding sense of warmth and vividness of the translation. Additionally, the semantic addition of logical connectors render the translation more cohesive and coherent.&lt;br /&gt;
&lt;br /&gt;
(18)Once more I shall ''see'' the world as a garden through ''the eyes'' of a stranger, ''my breath taken away with surprise by the painted fields''.&lt;br /&gt;
&lt;br /&gt;
那时，我像一个陌生者进人大花园，''放眼四望''，''五色缤纷''的原野再一次使我''目不暇接''，''心迷神醉''。&lt;br /&gt;
&lt;br /&gt;
As regards this example, the translator enriches the meaning of the original text and creates a more balmy atmosphere by employing various translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Division:&lt;br /&gt;
&lt;br /&gt;
The long complex sentence, composed of two clauses, is divided into several separated clauses in arranged in a certain order, which renders the translation rhythmic and highlights the focus of expression.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
The addition of the Chinese set phrase &amp;quot;目不暇接&amp;quot; (which means that so many wonderful things and so swift change of scenery come into sight that the eyes are kept fully occupied) makes the context more coherent, as it echoes &amp;quot;see&amp;quot; and &amp;quot;the eyes&amp;quot; in the preceding and connects the &amp;quot;painted fields&amp;quot; in the following that greet the author's eyes and take his breath away.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The verb &amp;quot;see&amp;quot; is translated into &amp;quot;放眼四望&amp;quot; (to look around), the noun phrase &amp;quot;breath taken away with surprise&amp;quot; into &amp;quot;心醉神迷&amp;quot; (to be thrown into ecstasies), and the adjective &amp;quot;painted&amp;quot; into &amp;quot;五彩缤纷&amp;quot; (colorful). These recurring four-character structures in translation are loaded with positive meanings, and proper to depict the attractive scenery and to be used in scholar prose.&lt;br /&gt;
&lt;br /&gt;
④　Conversion:&lt;br /&gt;
&lt;br /&gt;
The original clause &amp;quot;my breath taken away with surprise by the painted fields&amp;quot; is in passive voice, and is converted into the active voice in Chinese translation &amp;quot;五色缤纷的原野再一次使我目不暇接，心迷神醉&amp;quot;. This kind of conversion is due to the fact that the Chinese passive form marked by &amp;quot;被&amp;quot; is traditionally felt to be an &amp;quot;inflictive voice&amp;quot;, mainly expressing things unpleasant or undesirable, contrasted with the cheerful aura overflowing the original text. &lt;br /&gt;
&lt;br /&gt;
The translator employs short clauses separated from the original complex sentence to bestow smoothness and naturalness on the translation and strengthen its artistic appeal. Furthermore, the translator selects the words that tally with the affective, contextual and stylistic meanings of the original. And the opportune addition of words and change of voice also polish the translation.    &lt;br /&gt;
&lt;br /&gt;
The reasonable use of the imitation translation method can make the translation more idiomatic and vivid, and even enable the translation overshadow the original text in terms of showcasing the artistic and aesthetic charm.&lt;br /&gt;
&lt;br /&gt;
In a word, translation methods under domesticating strategy will involve he careful selection of texts which lend themselves to being translated in this manner, the conscious adoption of a fluent, natural-sounding target language style, the adaptation of target text to conform to target discourse types, the interpolation of explanatory material, the removal of source language REALIA and the general harmonization of target text with target language preconceptions and preferences. These methods can render the translation highly literary, aesthetic and readable, and also can to some extent optimize the source text. The appropriate application of domesticating translation is able to even become a sublimation of the original.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
This paper makes an analysis of translation strategies and translation methods in English prose, with translator Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot; created by Robert Lynd as an example. With translation strategies and methods as the starting point, this paper considers Chinese translation of English prose as the research subject. The paper first introduces English prose along with its distinctive properties, linguistics features and principles of its translation. And then this paper carries out the interpretation of translation strategies and methods in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot; in which the application of translation methods as well as techniques under foreignizing and domesticating strategies are elaborated, and the concrete effects they exert are also elucidated.&lt;br /&gt;
&lt;br /&gt;
====Major Findings====&lt;br /&gt;
&lt;br /&gt;
Based on the above study of translation strategies and methods employed in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, the features or common ground of Chinese translation of English prose in terms of translation strategies and methods can be generally summarized.&lt;br /&gt;
&lt;br /&gt;
In Chinese translation of English prose, foreignization strategy and domestication strategy are both used in the light of the style, linguistic features, and syntactic structures of the source text.&lt;br /&gt;
&lt;br /&gt;
But, on the whole, the domesticating translation strategy which includes translation methods such as free translation and imitation is applied more frequently compared with foreignization. This is because that prose translation actually falls into literary translation that is special on the grounds of the unique characteristics of the original literary works. In literary works, or specifically, in English prose, some words are not used with their literal meanings but their connotative or extension meanings, so literal translation under foreignization may not correctly convey the real significance of the original text. Meanwhile, in English prose, there are complex syntactic structures whose translation cannot be carried out with no proper conversion and alteration. Additionally, multiple rhetoric devices such as metaphor, metonymy and allusion are used in English literary works, and the literal translation of these figures of speech may elude the target-language readers because of the cultural differences and the obscurity of the translation. However, the appropriate adoption of translation methods under domestication strategy, to some extent, can give the target-language readers a sense of closeness and deliver the aesthetic charm with the premise that the real meaning of the original text can be ensured.&lt;br /&gt;
&lt;br /&gt;
In terms of translation methods under foreignizing strategy, literal translation is used when the lexical meaning of the source text is lucid and the syntactic structures in it are relatively simple and clear, so the translators need not find a new path in the mode of expression in order to be faithful to the source text. And the use of literal translation can convey the information more objectively and avoid the interference of translators' subjective factors. Meanwhile, in Chinese translation of English prose, the use of zero-translation is frequent but imperceptible, with the omission of some words peculiar to English, such as expletives it and there, English articles and pronouns, but sometimes the English pronouns can also be retained to show a sense of closeness and friendliness. Besides, transliteration is used for the translation of proper nouns and technical terms not only in English prose but also in almost all text types, with conforming to the principles of being named after the original sound and of the translated names accepted through common practice. In a word, translation methods under foreignization can ensure the objective conveyance of information of the original text and preserve its foreignness and unique cultural values that can enrich the target-language readers' knowledge and their languages.&lt;br /&gt;
&lt;br /&gt;
With regard to translation methods under domesticating strategy, in Chinese translation English prose, free translation and imitation method are oftentimes employed. English prose, as one of the English literary genres, boasts distinctive features of literature, such as aesthetic value, language with hidden meanings and the usual use of figures of speech as well as culturally loaded images, which may not be shown vividly and be easily understood by target-language readers via literal or word-for-word translation. Thus, translation methods under domestication, with careful choice of words, proper adjustment of syntactic structures and sentence sequence, and appropriate sublimation of the original text, can express the original author's feelings more lively, render the translation more fluent, idiomatic and expressive, and display the aesthetic charm of the source text.&lt;br /&gt;
&lt;br /&gt;
At the lexical level, in Chinese translation of English prose, the translation techniques --- diction, addition, conversion and repetition --- are usually used. The typical Chinese four-character structures appear time from time in Chinese translation, and the translators choose the words in line with the affectionate, contextual and stylistic meanings of the original prose, which intensify literariness and satisfy the characteristics of scholar prose. Moreover, the addition of Chinese conjunctive words and logical connectors by which sentences in translation are connected into a text can create better cohesion. Furthermore, the conversion of word classes in translation is based on the contrastive studies of English and Chinese, viz., English with its nominal style is static whereas Chinese with its verbal style is dynamic. Besides, it is one of the peculiarities of Chinese to reduplicate characters or words in word-formation and to repeat the similar or same word or expression in a discourse for expressiveness and parallelism, which can render translation more appealing to Chinese readers and produce rhetorical and grammatical effect.&lt;br /&gt;
&lt;br /&gt;
At the syntactic level, the translation techniques --- conversion and division--- are often employed in Chinese translation of English prose. To start with, conversion in the syntactic respect involves conversions of sentence members, sentence patterns and the voice. The conversion of word classes often results in the conversion of sentence members, and the alteration of sentences patterns like the inter-conversion between assertive or negative sentences and question sentences can variegate sentence types in translation. The conversion of passive voice in English prose into active voice in Chinese translation is due to the preference for active forms that can produce positive effect in Chinese language. What's more, part of sentences in English prose are longer and complicated because of subordination, a fundamental feature of English, and it may be hard to reproduce the original thought with following the original sentence structure in translation, hence the division of complex English sentences into word-groups, clauses or simplex sentences in Chinese can endow Chinese translation of English prose with more naturalness, fluency and sense of rhythm.&lt;br /&gt;
&lt;br /&gt;
The research on the features of translation strategies and methods in Chinese translation of English prose, theoretically can offer a deeper insight into English prose and its translation, and practically can help to some extent improve the quality of Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
====Limitations and Suggestions====&lt;br /&gt;
&lt;br /&gt;
There are drawbacks in this paper: firstly, the paper takes only one piece of English prose as an example in case study, so it lacks strong persuasiveness; secondly, since there are few researchers on prose translation at home and abroad, especially those specializing in Chinese translation of English prose, this paper resorts to insufficient literature guidance and reference; thirdly, owing to the confined conditions and narrow academic capacity, this paper is devoid of enough depth and breadth as well as favorable insight and acuity, thus the theoretical support and practical assistance it provides are bound to be limited. As a consequence, it is expected that researchers in this field can cooperate well to build up a system to minimize the possible errors and create more thorough and holistic works to enunciate and improve Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
===Appendix===&lt;br /&gt;
&lt;br /&gt;
(The original text:)&lt;br /&gt;
&lt;br /&gt;
The Pleasures of Ignorance&lt;br /&gt;
&lt;br /&gt;
By Robert Lynd&lt;br /&gt;
&lt;br /&gt;
It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance. It is impossible to take a walk in the country oneself without being amazed at the vast continent of one’s own ignorance. Thousands of men and women live and die without knowing the difference between a beech and an elm, between the song of a thrush and the song of a blackbird. Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is the exception. It is not that we have not seen the birds. It is simply that we have not noticed them. We have been surrounded by birds all our lives, yet so feeble is our observation that many of us could not tell whether or not the chaffinch sings, or the colour of the cuckoo. We argue like small boys as to whether the cuckoo always sings as he flies or sometimes in the branches of a tree-whether Chapman drew on his fancy or his knowledge of nature in the lines:&lt;br /&gt;
&lt;br /&gt;
When in the oak's green arms the cuckoo sings, &lt;br /&gt;
&lt;br /&gt;
And first delights men in the lovely springs.&lt;br /&gt;
&lt;br /&gt;
This ignorance, however, is not altogether miserable. Out of it we get the constant pleasure of discovery. Every fact of nature comes to us each spring, if only we are sufficiently ignorant, with the dew still on it. If we have lived half a lifetime without having ever seen a cuckoo, and know it only as a wandering voice, we are all the more delighted at the spectacle of its runaway flight as it hurries from wood to wood conscious of its crimes and at the way in which it halts hawk-like in the wind, its long tail quivering, before it dares descend on a hillside of fir-trees where avenging presences may lurk. It would be absurd to pretend that the naturalist does not also find pleasure in observing the life of the birds, but his is a steady pleasure, almost a sober and plodding occupation, compared to the morning enthusiasm of the man who sees a cuckoo for the first time, and, behold, the world is made new.&lt;br /&gt;
&lt;br /&gt;
And, as to that, the happiness even of the naturalist depends in some measure upon his ignorance,which still leaves him new worlds of this kind to conquer. He may have reached the very Z of knowledge in the books, but he still feels half ignorant until he has confirmed each bright particular with his eyes. He wishes with his own eyes to see the female cuckoo—rare spectacle!—as she lays her egg on the ground and takes it in her bill to the nest in which it is destined to breed infanticide. He would sit day after day with a field-glass against his eyes in order personally to endorse or refute the evidence suggesting that the cuckoo does lay on the ground and not in a nest.And, if he is so far fortunate as to discover this most secretive of birds in the very act of laying, there still remain for him other fields to conquer in a multitude of such disputed questions as whether the cuckoo’s egg is always of the same colour as the other eggs in the nest in which she abandons it. Assuredly the men of science have no reason as yet to weep over their lost ignorance. If they seem to know everything, it is only because you and I know almost nothing. There will always be a fortune of ignorance waiting for them under every fact they turn up. They will never know what song the Sirens sang to Ulysses any more than Sir Thomas Browne did.&lt;br /&gt;
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If I have called in the cuckoo to illustrate the ordinary man's ignorance, it is not because I can speak with authority on that bird. It is simply because, passing the spring in a parish that seemed to have been invaded by all the cuckoos of Africa, I realized how exceedingly little I, or anybody else I met, knew about them. But your and my ignorance is not confined to cuckoos. It dabbles in all created things, from the sun and moon down to the names of the flowers. I once heard a clever lady asking whether the new moon always appears on the same day of the week. She added that perhaps it is better not to know, because, if one does not know when or in what part of the sky to expect it,its appearance is always a pleasant surprise. I fancy, however, the new moon always comes as a surprise even to those who are familiar with her time-tables. And it is the same with the coming-in of spring and the waves of the flowers. We are not the less delighted to find an early primrose because we are sufficiently learned in the services of the year to look for it in March or April rather than in October. We know, again, that, the blossom precedes and not succeeds the fruit of the apple-tree, but this does not lessen our amazement at the beautiful holiday of a May orchard.&lt;br /&gt;
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At the same time there is, perhaps, a special pleasure in relearning the names of many of the flowers every spring. It is like rereading a book that one has almost forgotten. Montaigne tells us that he had so bad a memory that he could always read an old book as though he had never read it before. I have myself a capricious and leaking memory. I can read Hamlet itself and The Pickwick Papers as though they were the work of new authors and had come wet from the press, so much of them fades between one reading and another. There are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy. But this is only when life has an object beyond entertainment. In respect of mere luxury, it may be doubted whether there is not as much to be said for a bad memory as for a good one. With a bad memory one can go on reading Plutarch and The Arabian Nights all one's life. Little shreds and tags, it is probable, will stick even in the worst memory, just as a succession of sheep cannot leap through a gap in a hedge without leaving a few wisps of wool on the thorns. But the sheep themselves escape,and the great authors leap in the same way out of an idle memory and leave little enough behind.&lt;br /&gt;
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And, if we can forget books, it is as easy to forget the months and what they showed us, when once they are gone. Just for a moment I tell myself that I know May like the multiplication table and could pass an examination on its flowers, their appearance and their order. Today I can affirm confidently that the buttercup has five petals. (Or is it Six? I knew for certain last week.) But next year I shall probably have forgotten my arithmetic, and may have to learn once more not to confuse the buttercup with the celandine. Once more I shall see the world as a garden through the eyes of a stranger, my breath taken away with surprise by the painted fields. I shall find myself wondering whether it is science or ignorance which affirms that the swift (that black exaggeration of the swallow and yet a kinsman of the humming-bird) never settles even on a nest, but disappears at night into the heights of the air. I shall learn with fresh astonishment that it is the male, and not the female,cuckoo that sings. I may have to learn again not to call the champion a wild geranium, and to rediscover whether the ash comes early or late in the etiquette of the trees. A contemporary English novelist was once asked by a foreigner what was the most important crop in England. He answered without a moment's hesitation: &amp;quot;Rye&amp;quot;. Ignorance so complete as this seems to me to be touched with magnificence; but the ignorance even of illiterate persons is enormous. The average man who uses a telephone could not explain how a telephone works. He takes for granted the telephone, the railway train, the linotype, the aeroplane, as our grandfathers took for granted the miracles of the gospels. He neither questions nor understands them. It is as though each of us investigated and made his own only a tiny circle of facts. Knowledge outside the day's work is regarded by most men as a gewgaw. Still we are constantly in reaction against our ignorance. We rouse ourselves at intervals and speculate. We revel in speculations about anything at all—about life after death or about such questions as that which is said to have puzzled Aristotle, &amp;quot;why sneezing from noon to midnight was good, but from night to noon unlucky.&amp;quot; One of the greatest joys known to man is to take such a flight into ignorance in search of knowledge. The great pleasure of ignorance is, after all, the pleasure of asking questions. The man who has lost this pleasure or exchanged it for the pleasure of dogma, which is the pleasure of answering, is already beginning to stiffen. One envies so inquisitive a man as Jowett, who sat down to the study of physiology in his sixties. Most of us have lost the sense of our ignorance long before that age. We even become vain of our squirrel’s hoard of knowledge and regard increasing age itself as a school of omniscience. We forget that Socrates was famed for wisdom not because he was omniscient but because he realized at the age of seventy that he still knew nothing. (Zhu Mingju 2007: 319-322)&lt;br /&gt;
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(Liu Bingshan's Chinese translation:)&lt;br /&gt;
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无知常乐&lt;br /&gt;
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刘炳善 译&lt;br /&gt;
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同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是凤毛麟角。所以如此，并不是因为这些鸟我们没有见过，而只是因为我们习焉不察。在我们一生中，鸟类始终就在我们周围，然而我们对于它们的观察总是那样马马虎虎，所以我们当中许多人都说不清花鸡到底会不会知，也不知道杜鹃究竟是什么颜色。对于有些问题、我们像小孩子一样争论不休、譬如说，杜鹃在飞着或栖身于树枝间的时候，是否一直不停地鸣，而查普曼下面两行诗的灵感究竟是来自他的想像还是来自他的自然知识∶&lt;br /&gt;
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杜鹃在橡树的绿色怀抱里啭啼，&lt;br /&gt;
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第一个为人们带来欢欣、美好的春意。&lt;br /&gt;
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不过，这种无知也并非全然不幸，因为正是由于它，我们才能不断尝到发现的乐趣。只要我们是的的确确地无知，那么每年大地春回，自然界的每一种事物都会带着它那清新的露珠重新出现在我们面前。如果我们活了半辈子，对于杜鹃除了听过它那飘忽不定的叫声，从来没有见过它是什么模样，那么，一日看见它因为自己犯了罪而煌惶不安地从这个林子飞逃向那个林子。或是看见它顶着风、像老鹰似的停留在半空中，它那长长的尾巴颤动着，不敢落下来，生怕有什么鸟儿藏在那山坡上的枞树林里等着要找它报仇。我们才会觉得大大开心。有人想着，博物学家整天观察鸟类，大概就不会觉得有什么趣儿了吧？其实大谬不然--他那持续不断的乐趣几平已经变成一种安详的职业习惯了，不像有人某天早晨突然第一次看见一只杜鹃，不胜雀跃之至，于是，看哪，天地也为之焕然一新了。&lt;br /&gt;
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说到这儿，甚至连博物学家的快乐在一定程度上也有赖于自己的无知；只有如此。才能给他留出一些新的领域有待他去征服。即使他已经攀登了书本知识的顶峰，他仍会感到自己不过是半通不通，每一个引人注目的细节还必须用自己的亲眼观察来加以一一证实。他盼着能亲眼看到雌杜鹃（这可是个稀罕物儿！）把蛋下到地面上。然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。因此，博物学家就要戴上望远镜，日复一日地坐在那里等待着亲眼证实或者否定那种认为杜鹃确实是在地面上而非在窠里下蛋的说法。而日，即使他很幸运，能够发现杜鹃下蛋实况，这个在鸟类来说算是极大的秘密，其他一大批有争议的问题还依然存在。就像新的领土有待他去开拓，例如，杜鹃的蛋跟它占用的窠里其他鸟的蛋是否总是一样颜色？自然，科学家没有理由为了自己失去无知而哭泣。如果他们看起来似乎是精通一切的话，那也不过因为你我差不多是一无所知罢了。实际上，当他们要把一件事实的盖子揭开的时候，某种命定的无知就在等待着他们。海妖们向尤利塞斯唱的究竟是什么歌儿？——他们永远不可能知道，正像托马斯·勃朗爵士也不知道一样。&lt;br /&gt;
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我请杜鹃来做例子以说明普通人的无知，并不是因为我有什么权威可以对这种鸟儿发发议论。不过，我曾在某个教区暂住，而那年春天从非洲飞来的杜鹃似乎全集合在那个地方，因此我也就有机会了解到我自己以及我所碰见的每一个人对于这种鸟儿的知识是如何地微不足道。但是，你我的无知并不仅限于杜鹃这一方面。它涉及到宇宙万物，从太阳、月亮一直到花卉的名字。有一天，我听见一位聪明伶俐的太太提出了这样一个问题∶新月是不是总在星期几露面？她接着又说：不知道倒好，正因为人不知道在什么时候、在天空的哪一带能看见它，新月一出现才给人带来一场惊喜。然而我想、哪怕入把月亮盈亏时间表记得再熟。看见新月出现还是不免又惊又喜，春回大地，花开花落，也莫不如此。尽管我们对一年四季草本节令了如指掌，知道樱草开花在三月四月而不在十月，不过看见一株早开花的樱草，我们还是照样地高兴。另外，我们知道苹果树先开花，后结果，可是五月一旦到来，果园里一片欢闹的花海。我们不是仍然惊为奇观吗？&lt;br /&gt;
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倘在每年春天，把许多花卉之名重温一遍，还另有一番风味。那就像把一本差不多忘得干干净净的书再重新念一遍。蒙田说过，他的记忆力很坏，所以他随时都能拿起一本旧书，像从未读过的新书一样地念。我自己的记忆力也是漏洞百出、不听使唤。我甚至能拿起《哈姆雷特》和《匹克威克外传》，当作是初登文坛的新作家刚刚印成白纸黑字的作品来念，因为自从上回念过以后，这两部书在我脑子里的印象已经模模糊糊了。这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。不过，在这种时候，人不仅想得到娱乐，还追求着什么目的。如果只讲享受的话，记忆力坏比记忆力好究竟差到哪里去，还真是大可怀疑哩。记忆力坏的人可以一辈子不断地念普卢塔克的《英雄传》和《天方夜谭》，而永远感到新鲜。很可能，最坏的记忆力也难免粘粘连连地留下一星半点的印象，恰如一只只绵羊从篱笆洞里接连通过，总不免在那刺条上留下一丝半缕的羊毛。然而，绵羊终归逃出去了，正像伟大的作家从我们不争气的记忆中消失。所留下的东西简直微不足道。&lt;br /&gt;
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既然读过的书我们可以忘得一干二净，那么一年十二个月以及每个月的风物，一旦时过境迁。我们同样可以轻而易举地把它们忘在脑后。在某个短暂时刻，我可以说自己对于五月就像对于乘法表那样熟悉，关于五月里的花木、开花时间乃至前后次序，我能通过考试。今天，我就敢肯定金凤花有五瓣。（难道是六瓣吗？上个礼拜我还记得清清楚楚来着。）可是，到了明年，我也许连算术也忘个干干净净;我得从头学起，以免把金凤花误认成白屈菜。那时，我像一个陌生者进人大花园，放眼四望，五色缤纷的原野再一次使我目不暇接，心迷神醉。那时，我也许要对这么一个问题拿不定注意，就是; 认为雨燕（那种简直像大号小燕子、又和蜂鸟沾点儿亲戚的黑鸟儿）从来不在窠里歇着，一到夜里就飞向高高的天空，到底是一种科学论断，还是一种无知妄说？当我知道了会唱歌的并不是雌杜鹃，而是雄杜鹃。我还要再次感到惊讶。我得重新学习，以免把剪秋罗当作野大竺葵；还要去重新发现白杨在树木生长的习惯法中究章算是早成材还是晚成材。某天。一个外国人问一位当代英国小说家，英国最重要的农作物是什么。他毫不犹豫地回答：“稞麦。”在我看来，这是一种堂而皇之派头的彻头彻尾的无知；不过，大大无知的也包括那些没有文化的人。普通人只会使用电话，却无法解释电话的工作原理。他把电话、火车、铸造排字机、飞机都看作当然之事，就像我们的祖父一代把福音书里的奇迹故事视为理所当然一样。对于这些事，他既不去怀疑，也不去了解。我们每个人似乎只对很小范围内的某几件事才真正下工夫去了解、弄清楚。大部分人把日常工作以外的一切知识统统当作花哨无用的玩意儿。然面，对于我们的无知，我们还是时时抗拒着，我们}有时振作起来，进行思索。我们随便找一个什么题目，对之思考，甚至入迷——关于死后的生命，或者关于某些据说亚里士多德也感到大惑不解的问题，例如“打喷嚏，从中午到子夜则吉，从夜晚至中午则凶，其故安在？”为求知识而陷入无知，这是人类所欣赏的最大乐事之一。归根结底，无知的极大乐趣即在于提出问题。一个人，如果失去了这种提问的乐趣，或者把它换成了教条的答案，并且以此为乐，那么，他的头脑已经开始僵化了。我们羡慕像裘伊特这样勤学好问之人，他到了六十多岁居然还能坐下来研究生理学。我们多数人不到他这么大的岁数就早已丧失了自己无知的感觉了。我们甚全像松鼠似的对自己小小的知识储存感到沾沾自喜，把与日俱增的年龄看作是培养无所不知的天然学堂。我们忘记了∶苏格拉底之所以以智慧名垂后世，并非因为他无所不知，而是因为他到了七十高龄还能明白自己仍然一无所知。 (Zhu Mingju 2007: 322-325)&lt;br /&gt;
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=毛优Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
[[Trans_Type_EN_5]]&lt;br /&gt;
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毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
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=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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[[Trans_Type_EN_6]]&lt;br /&gt;
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彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
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从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。	&lt;br /&gt;
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Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
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Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
翻译风格，巴黎的忧郁，郭宏安，亚丁&lt;br /&gt;
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==Introduction==&lt;br /&gt;
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The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
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Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations. Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
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==Liu Miqing’s theory of translation style==&lt;br /&gt;
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Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
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Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.&lt;br /&gt;
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In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
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==Form Markers==&lt;br /&gt;
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According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
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===Register Markers===&lt;br /&gt;
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“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
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The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
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Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
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Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
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Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
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This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
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===Lexical Markers===&lt;br /&gt;
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Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence, translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
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==Non-formal Markers==&lt;br /&gt;
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The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
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Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
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According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
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Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
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The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
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The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
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Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
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Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.&lt;br /&gt;
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==References==&lt;br /&gt;
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[1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[3] 刘宓庆 Liu Mingqing. 新编当代翻译理论[M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp;amp; Publishing Corporation, 2005.&lt;br /&gt;
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[4] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.&lt;br /&gt;
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[5] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.&lt;br /&gt;
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=秦建安 A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
[[Trans_Type_EN_7]]&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Lu Xun, chief commander of China's modern cultural revolution, is not only a great thinker and political commentator but the founder of modern Chinese literature. Kong I-Chi is one of the masterpieces of Lu Xun's novels. Although the total number of characters is less than 3,000 words, Lu Xun exposes the nature of feudal ethics and its negative influence through his character portrayal, which is loved by many readers home and aboard. The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but so as close as possible to the original text in terms of syntactic structure and wording. Therefore, his translations once became the authoritative version of Lu Xun's novels. From the perspective of Nida’s functional equivalence theory, this thesis conducts translation research on the English translation of the famous writer Yang Xianyi, analyzing whether the translation is functionally equivalent to the original text and construe the English translation of prose from the lexical, syntactic, and semantic level to try to explore the translation strategies, styles and methods of Kong I-Chi which aims to explain the functional equivalents in Lu Xun's short novel translation.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Functional Equivalence Theory; Lu Xun; Kong I-Chi;translation method&lt;br /&gt;
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===Introduction===&lt;br /&gt;
This chapter will be expanded with respect to the research background, its significance and the methodology. The literature review will also be included which describes the previous studies on the Functional Equivalence Theory and previous translation versions of ''Kong I-Chi''.&lt;br /&gt;
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'''Research Background and Significance'''&lt;br /&gt;
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As the most famous writer in modern China, Lu Xun has a decisive bearing on the modern history of Chinese literature. Lu Xun settled in a period of transformation in Chinese literature. His short stories are different from modern short stories in terms of text and expression. ''Kong I-Chi'' was written in 1918 when there was a turmoil in China. At that time, although the imperial examination system had been abolished, the education system had not changed, and many scholars had not shaken off the shackles of feudal tenets. &lt;br /&gt;
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''Kong I-Chi'' enjoys high reputation at home and abroad and has been translated into English, Japanese, French, Russian and other languages. Compared with other language versions, the English versions enjoy a wider spread and have deeper influence. In 1954, the couple Yang and Dai translated it into English and published Selected Stories of Lu Xun in which ''Kong I-Chi'' was included. Yang Xianyi and his wife Gladys Yang are great translator beyond all doubt. They are knowledgeable and familiar with Chinese and Western cultures also have devoted their life to translating excellent Chinese and Western literary works. Through their translation, we can better master the author's own novel intentions.&lt;br /&gt;
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'''Methodology'''&lt;br /&gt;
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In recent years, the translation of traditional Chinese literary works was attached great significance by both Chinese and foreign scholars. As an important part of ancient Chinese culture, though, it is a common genre in Chinese and foreign literature, the short novels cannot be neglected. For translators, how to deal with the modern and balance Chinese and Western cultural differences has become a salient problem. It is not only necessary to understand the characteristics of modern Chinese literature, but also to be very familiar with Chinese and Western cultures for the translator. Functional Equivalence Theory is put forward by American linguists Eugene Nida. According to him, two different languages represent two different cultures which will never be the same, but translation is a kind of communication between the two cultures and translators should try their best to achieve functional equivalence between the two languages rather than seek for rigid correspondence when making translation, which can accurately reproduce the source culture in the target language and eliminate cultural differences. It puts forward a new attitude to treat different languages and cultures, promoting language communication and mutual understandings among people. Thus, taking Nida’s theory as guidance, this research is meaningful not only for translation studies, but also for cultural exchanges.&lt;br /&gt;
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'''Literature Review'''&lt;br /&gt;
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As one of Nida’s major contribution to contemporary translation studies, Functional Equivalence Theory has brought about heated discussion among scholars at home and abroad since its birth. Many momentous works of Nida also have been translated and introduced into China, such as Nida on Translation edited and translated by Tan Zaixi (1999) and Language and Translation translated by Cai Yi (1985) which of them aroused great repercussions in Chinese translation field. As the prototypical member of Functional Equivalence Theory, receptor’s response theory draws scholars’ attention. Zhang Xiujuan (2015) points out that “receptor’s response theory breaks the tradition of Chinese translation that translators pay much attention to the text but may ignore the response of readers, and provides a new perspective for Chinese scholars to make studies on translation theories”.&lt;br /&gt;
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Kong I-Chi, as the most typical character in Lu Xun's novels in the teaching textbooks of Chinese junior high school students, has left an indelible impression in the hearts of Chinese people. The most recognized translators of ''Kong I-Chi'' include Yang and Dai, Lyle William and Edgar Snow. The translation of Lu Xun's novels during the period of Yang and Dai reach its heyday. For a long time, domestic and foreign publishing houses have published works translated by the couple. Since Edgar Snow lived in the same age as Lu Xun, his translation is closer to Lu Xun's life background. It wasn't until 1990 that the American scholar William Lyell's new American translation was published, and the new stage of the English translation of Lu Xun's novels began. The British English version translated by Yang and Dai is elegant and idiomatic, giving readers the good impression of pure British English.&lt;br /&gt;
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=== Theoretical Framework: Nida’s Functional Equivalence Theory ===&lt;br /&gt;
==== Introduction of Functional Equivalence Theory ==== &lt;br /&gt;
===== The Original of Functional Equivalence Theory  =====&lt;br /&gt;
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Nida's main academic activities unfold around the translation of the Bible. In the process of &amp;quot;Bible&amp;quot; translation, Nida started from reality and developed a set of his own translation theory, which eventually became one of the classics in translation studies. In 1964, Nida (1964) put forward “dynamic equivalence” in ''Toward a Science of Translating'', and gave it specific definition in ''The Theory and Practice of Translation'' (1969). In the mid-1980s, “dynamic equivalence” was replaced by “functional equivalence” to avoid misunderstandings on the term “dynamic”, which was the origin of Functional Equivalence Theory.&lt;br /&gt;
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=====The Development of Functional Equivalence Theory  =====&lt;br /&gt;
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The most important and the most intractable part in Functional Equivalence Theory is the disposal of message. The theory requires that the message in receptor’s language must be consistent with the source language. In such a translation, translators should strive to “reproduce as literally and meaningfully as possible the form and content of the original” (Nida 1964:159). Later he successfully applied the research results of modern linguistics to translation theory which also reciprocally pushed his theory forward. There are three stages in the development of Functional Equivalence Theory.&lt;br /&gt;
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The first stage is that starting from the essence of language; he used semantic theory to make an objective and accurate analysis of the referent and associative meaning of words. In Nida's point of view, various language structures have great similarities, and the deep structure is far more common than the surface structure. Therefore, the translation of the deep structure between languages can ensure the fidelity of the translation to the greatest extent. At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensue smoothness of the translation as much as possible. The faithful and fluent translation presupposes conditions for the equivalence of receptor’s response, which makes it possible to realize functional equivalence.&lt;br /&gt;
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The second stage is that the theory was prone to lay its foundation on information theory. Nida held the view that translation is the activity of converting information expressed in one language into information in another language, which is, converting information of one code into information of another code. The translation plays a communicative role in transmitting information. Only when the target reader obtains the same amount of information as the original reader can the relationship between the target language recipient and the target language information be basically the same as the relationship between the original language recipient and the original source information. Nida noticed that there is a receptive gap between the original reader and target reader especially when the original language and the target language belong to different language families and different cultures. Thus, in order to improve the amount of the receptor’s information as much as the original reader’s, Nida emphasizes the translator can moderately change the form of the original text to provide a better understanding for receptors.&lt;br /&gt;
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On third stage, Nida tended to embellish his theory from the perspective of social semiotics. Nida insisted that the translation means translation meaning, and semiotics is the most comprehensive system for analyzing meaning. In the book &amp;quot;''Language, Culture, and Translation''&amp;quot;, Nida pointed out that social semiotics studies all codes and codes of human society, and its focus is on the most comprehensive and complex symbol system used by mankind-Language. Therefore, in terms of decoding and encoding, no translation method is as comprehensive as the social semiotic translation method.&lt;br /&gt;
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Nida also recognized that there would never be complete equivalence and it was just a quaesitum. With further development of Functional Equivalence Theory, he thought that it has different degrees of adequacy and on that basis he put forward two levels of functional equivalence — the maximal level and the minimal level of equivalence. The former refers to “the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did” (Nida 1993:118), but this is just an ideal state which cannot be achieved especially when there are huge cultural and aesthetic differences between the two languages. While the latter means “the readers of a translated text should be able to comprehend it to point that they can conceive of how the original readers of the text must have understood and appreciated it” (Nida 1993: 118), and translation below this level can never be accepted. According to Nida, if a translation is between these two levels, it can be regarded as a good one.&lt;br /&gt;
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==== Basics of Functional Equivalence Theory  ==== &lt;br /&gt;
=====Receptor’s Response  =====&lt;br /&gt;
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In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s responce. When translators are working on translation, they are increasingly unable to ignore the reader's feedback on the translation. From the perspective of reception aesthetics, translation theorist Nida said that only when the reader accepts the translation can the translation be truly completed. Therefore, when translating, the translator cannot ignore the acceptability of the translation. The translator builds a bridge between the original author and the reader of the target language through translation, and it is the translation that can clearly reflect this bridge role.&lt;br /&gt;
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Receptor’s Response Theory draws attention to the reader and the reading process, rather than the author or the text. Pat Mora and James Welch define it as: &amp;quot;The theory emphasizes the importance of the reader's role in text understanding.&amp;quot; The same description also appears in many of Nida’s works in which the importance of “receptor’s response” is emphasized repeatedly. &lt;br /&gt;
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There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which was pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information need to be filled in by the reader himself. Such uncertainty occupies another very important position in this theory. This concept includes those vague factors, such as gaps and blanks. This kind of uncertainty encourages readers to add their own ideas when reading, so there is usually more than one understanding of a literal work. The third point is implicit reader also proposed by Isel, as opposed to the actual reader, which refers to the intended reader set by the writer himself who can concretize the text. Isel points out that the implicit reader is not the actual reader, but a reader that the author expects to design in the creative process, that is, the implicit recipient. It is a certain character that the artist conceives and pre-sets based on his experience or hobbies. The forth part is the identity theme. In other words, the work itself has no fixed objective meaning; only when the reader reshapes the work out of his own identity theme and the reader replicates his own fantasies during the reading process, the work can be given meaning. The last point is the interpretative group which was put forward by Stanley Fish. It refers to people who share the same interpretation strategy as we have. In a known context or reader group, the interpretation of the work meaning is the product from the group.&lt;br /&gt;
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===== Principles for Producing Functional Equivalence  =====&lt;br /&gt;
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To achieve the closest natural equivalence between the source language and target language, Nida put forward six principles as the guidance of different kinds and degrees of adjustments:&lt;br /&gt;
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1.	When the translation that strictly keeps the form of the source text makes receptors misunderstand the designative meaning, changes need to be made in the translated text, or a footnote should be added for further explanation if literal translation is still be selected.&lt;br /&gt;
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2.	When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aim to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.&lt;br /&gt;
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3.	When the translation that strictly keeps the form of the source text is so semantically and syntactically difficult that average readers may give up the attempt to understand it, changes should be made in the translated text and the nature of the changes needs to be indicated in the introduction or footnote.&lt;br /&gt;
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4.	When the translation that strictly keeps the form of the source text causes significant misconceptions on the associative meanings of the source text or huge loss in the appreciation for the stylistic values of the source text, changes should be made to reflect the associative meanings of the source text.&lt;br /&gt;
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5.	The way that a translation is to be used (such as a drama to be read or acted on the stage) is of great significance to the extent to which changes are to be made.&lt;br /&gt;
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6.	A source text that must be translated together with accompanying codes (such as songs and operas) generally requires numerous adjustments in all aspects, including phonology, lexicon, syntax, and discourse. (Nida 1993: 125-128).&lt;br /&gt;
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=== Introduction to Lu Xun and ''Kong I-Ch''i  === &lt;br /&gt;
==== Lu Xun and the values of ''Kong I-Chi'' ====&lt;br /&gt;
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To read and translate Kong I-Chi, you must first understand its author-Lu Xun.&lt;br /&gt;
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Lu Xun is a great writer. Mentioning classical literary works, no matter what innovative methods are adopted, whether realistic, romantic, or magical, the content should be close to life, reflect the reality of times and speak for the people. In terms of form, literary works should conform to the inherent rules of literary creation-forming a unique artistic style and achieving the perfect unity of truth, goodness, and beauty. Lu Xun's works fully meet the above requirements. &lt;br /&gt;
Lu Xun is also a famous thinker. Indeed, Lu Xun did not specifically study thinking or modes of thinking, nor did he have advanced theoretical monographs, but he, like thinkers in ancient and modern times, both at home and abroad, used suspicion and criticism as spiritual swords to explore truth and reveal. He held the view that it was his duty to awaken the sleeping souls of the Chinese people with literary works of various genres. The depth and breadth of his thinking is even higher than that of some contemporary thinkers. This is well reflected in his work Kong I-Chi.&lt;br /&gt;
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Lu Xun, who is a revolutionary, has a precious characteristic, that is, the purity of his revolutionary original intention. Lu Xun leaned towards socialism under the white horror of the low ebb of the Chinese revolution. What's more commendable is that as a sober realist, Lu Xun never conceives any romantic illusions about the revolution. No matter what difficulties the revolution encounters, Lu Xun always has an optimistic belief in the prospects of the revolution.&lt;br /&gt;
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From a general perspective, Lunatic's Diary is more macro and image specific than Kong I-Chi, while Kong I-Chi starts from the micro level, depicting the poor people at the bottom of society who was bullied and oppressed and lost their dignity as human beings. In addition, there are many opinions in the critics. For example, Mr. Lu Xun's Kong I-Chi was written to criticize the feudal imperial examination system, and some people think that it was sent out to criticize the “dark” old society. The famous critic Lin Zhihao believes that this novel is not only to assail at the corruption of the feudal imperial examination system, but also to reveal the persecution of people’s spiritual and ideology by the feudal education system in the dark old society. The social reality was that most scholars had been ruthlessly “eaten” up by the environment. When the shackles of thinking have been broken, we can dig into the deep meaning under the surface of Kong I-Chi, that is, the process of literati's loss of personality and the process of redemption under the background of the dark society of feudalism. Although the tragedy is redemptive, the process is also accompanied by a fall.&lt;br /&gt;
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==== Study on the Translation of ''Kong I-Chi''  ====&lt;br /&gt;
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''Kong I-Chi'' is a masterpiece of Lu Xun. The novel was created in the winter of 1918, published in the sixth volume of &amp;quot;''Italic text''New Youth&amp;quot; in April 1919. (刘家鸣1992: 15). ''Kong I-Chi'' is Lu Xun's most satisfying work (孙伏园等2000: 58), and it is also one of Lu Xun's novels that English translators are vying to translate resulting in an amount of English translation. &lt;br /&gt;
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So far, there are eight translations of ''Kong I-Chi'': 1)A British man E.H.F.Mills translated ''Con Y Ki'' from Jing Yinyu's French translation (Mills 1930: 42-50), included in ''The Tragedy of Ah Q and Other Contemporary Chinese Short Stories'' published by George Rutridge Bookstore in London in 1930; 2) The English translation of ''K’ung I-chi'' by the American Jin Shouzhuo (G.A.Kennedy 1932: 14-15), which was later included in ''Isaacs'' (Isaacs 1974: 25-32) edited by Yi Luosheng; 3) ''K’ung I-chi'' translated by Lin Jijin (Lin 1935:3-4); 4) Unsigned version of The Tragedy of ''K'ung I-Chi'' (Anonymous 1936: 2-3); 5) ''K’ung I-chi'' was co-translated by American journalists Edgar Snow and Yao Xinnong; 6) later comes to Yang Xianyi and Gladys's translation ''K'ung I-chi'' (hereinafter referred to as &amp;quot;Yang Translation&amp;quot;) (Yang &amp;amp; Gladys 1960: 40-46); 7)Then, famous American sinologist William Lyell translated ''Kong Yiji'' (Lyell 1990: 42-48); 8) other translation of ''Kong Yiji'' was produced by British sinologist Lan Shiling ( Lovell 2009: 32-36).&lt;br /&gt;
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This article focuses on Yang's translation, trying to explore Yang and Dai's translation strategies, styles and methods of ''Kong I-Chi'' from the lexical, syntactic and semantic levels, and aims to explain the functional equivalence in the English translation of Lu Xun's short stories.&lt;br /&gt;
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=== Analysis of the Translation of ''Kong I-Chi'' from the Perspective of Functional Equivalence  === &lt;br /&gt;
==== Lexical Analysis ====&lt;br /&gt;
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There are many cultural-loaded words in the original Kong I-Chi text, such as this. Culture-loaded words are deeply imprinted by the region and era of a certain language society which express things and concepts peculiar to a certain culture. Such words as “进学” and “秀才” not only carry rich cultural connotations, but also exist only in a certain culture which may be blank in another culture. It is this characteristic which is “I have and you do not have” that often becomes an obstacle to cross-cultural communication and translation. From the perspective of Functional Equivalence, this thesis will analyze how these words are handled in Yang's translation.&lt;br /&gt;
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In the sentence “幸亏荐头的情面大，辞退不得”, the word “荐头” was translated into “someone influential” by Yang and Dai. “荐头” is the person who introduces works to other people in ancient China. Such person is absolutely influential. But for reader, such influential people may be a nobleman or someone who is very authoritative in the area which may result in discrimination. The job introducers also can be regarded as common people instead of the influential. From the perspective of Functional Equivalence, Yang’s translation explicitly showed the deep meaning with loss of cultural characteristic.&lt;br /&gt;
The phrase “之乎者也” was translated into “archaisms” which stands for the use of an archaic expression. In Chinese, the original meaning of “之乎者也” is four auxiliary words commonly used in classical Chinese. Therefore, the word &amp;quot;之乎&amp;quot; also refers to the basic abilities that a scholar should possess. Later, it is used to ridicule the scholar who only knows how to analyze words while cannot solve practical problems. Functional equivalence theory requires efforts to create translations that not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. The word “archaisms” corresponds exactly to the description of Kong I-Chi in Lu Xun’s story who is a nerd.&lt;br /&gt;
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Other prototypical cultural-loaded word is “进学”. Yang translated it into “pass the official examination”. As a link in the imperial examination system in ancient China, “进学” means that the children of the Qing dynasties who can pass the examination will be admitted to the prefectural and county schools. Such system is unique to China. To achieve functional equivalence, that is, to allow non-native readers to understand this special cultural mark, the translator must explain this cultural phenomenon as much as possible or find a corresponding expression in the foreign language culture. The same in the word “秀才” on this sentence “你怎的连半个秀才也捞不到呢?” “秀才” also belong to the imperial system. “秀才” is a subject for selecting officials in ancient China, and it was once used as a special name for school students. Yang translated it into “passed the lowest official examination”. As the minimum requirement of the ancient imperial examination system, those who passed the selection examination were called  “秀才”. According to Nida’s theory, it perfectly expresses the ancient Chinese imperial examination system, and at the same time allows foreign language readers to understand Kong I-Chi’s knowledge background.&lt;br /&gt;
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==== Syntax Analysis ====&lt;br /&gt;
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In terms of syntax, the differences in sentence patterns between English and Chinese are the most salient. English emphasizes hypothesis while Chinese emphasizes parataxis, which leads to the conversion of sentence patterns in the process of translation. According to Nida's Functional Equivalence Theory, if the change in form is still insufficient to express the meaning and culture of the original text, the translation technique of &amp;quot;reconstruction&amp;quot; can be used to resolve cultural differences and make the source language and the target language equal in meaning. &amp;quot;Reconstruction&amp;quot; refers to the conversion of the deep structure of the source language into the surface structure of the target language (郭建中,2000 , P67), that is, the cultural connotation of the source language article is explained by the vocabulary of the target language.&lt;br /&gt;
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In ''Kong I-Chi'', when Kong I-Chi took our his money and ordered some food, other people started to sneer at his revenue sources and said “你一定又偷了人家东西了!” The exclamatory sentence in the original text showed others' affirmation of Kong I-Chi's theft. Yang translated it into “You must have been stealing again!” Here we can notice the tense of the two sentences. Lu Xun used the past tense in original text, which expresses that Kong I-Chi's stealing is an established fact. However, Yang used the present perfect continuous tense when translating. In English, the present perfect continuous tense manifests that something the subject has done in the past is still being done, and may continue in the future, expressing the continuation of an action. There is no need to add any other additional descriptions, just from this tense, readers can realize everyone's thoughts on Kong I-Chi's theft. Such reconstruction of tense verifies the application of Functional Equivalence Theory in turn.&lt;br /&gt;
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Afterwards, these people who deprecated him refuted Kong I-Chi's maintenance of himself, saying: “什么清白?” In Yang's translation, it is translated as “Pooh, good name indeed!” In the original text, it is originally an interrogative sentence, but Yang transformed it into an exclamation sentence, added English slang “pooh” in it and translated “清白” into good name. If the interrogative sentence in the original text is literally translated into &amp;quot;what’s the innocence&amp;quot;, the comic effect, that is, everyone's disdain for Kong I-Chi in the exclamatory sentence will not be achieved. The sentiment contained in the original text is successfully conveyed through the conversion of sentence patterns.&lt;br /&gt;
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When describing Kong I-Chi’s knowledge background, the original text mentioned: “幸而写得一笔好字，便替人家钞钞书”. In Yang’s translation, he didn’t directly translate it into a verb phrase instead of into a noun phrase which was “Happily, he was a good calligrapher.” Knowing the characteristics of English and Chinese languages, he metonymically recreated dynamic Chinese verb clauses into static noun clauses.&lt;br /&gt;
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==== Semantic Analysis ====&lt;br /&gt;
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How to eliminate cultural differences as much as possible so that the semantics of the original language can be perfectly embodied? From the perspective of Functional Equivalence Theory, the translator needs to transform the deep structure of the source language into the surface structure of the target language which requires translator to use the corresponding vocabulary in the target language to directly explain the connotation of the original text, so that the target readers can accept the translation more easily. For example, in the original text, the sentence “因为他姓孔，别人便从描红纸上的 ‘上大人孔乙己’这半懂不懂的话里，替他取下一个绰号，叫作孔乙己” includes an allusion: 上大人孔乙己 which refers to a character in the card game popular in ancient China. In such card game, the characters always are drawn in a red paper. For children in ancient China, the card game was easy to play and was a childhood memory.&lt;br /&gt;
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In Yang’s translation, he translated it into “As his surname was Kung, he was nicknamed ‘Kung I-chi’, the first three characters in a children's copybook.” Such translation omits a lot of information from the original text, such as “描红纸上” and “半懂不懂”. But Yang gave a substitute for the omission: he explained the game allusion about children which can be regarded as a strategy that helps foreign readers better understand how Kong I-Chi comes. &lt;br /&gt;
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Another illustration is the translation of this sentence: “孔乙己，你当真认识字么？” It seems fairly easy for common people to translate it with “Kong I-Chi, do you really know words?” , while Yang gave a different version: “Kung I-chi, do you really know how to read?” In our cognitive concepts, if a man knows how to read a word, then he must know this word. But if he knows the word, he may not only know how to read it, but even know how to write it. Such special mechanism is called conceptual metonymy. Yang metonymically narrowed the scope of the meaning of the word “认识”and accurately positioned the meaning of this understanding according to the context. The translator abandons the equivalence of form and achieves the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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This article selects Yang’s translation of &amp;quot;''Kong I-Chi''&amp;quot; as the study case, and analyzes the translation effect from three aspects: lexicon, syntax and semantics, combined with Nida’s Functional Equivalence Theory. It is believed that the translator flexibly uses a variety of translation methods to deal with the differences between English and Chinese languages, and the translation has realized functional equivalence as a whole.&lt;br /&gt;
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At the lexical level, the translator adopts the naturalization method when translating the proper nouns of &amp;quot; ''Kong I-Chi'' &amp;quot;, adding notes to individual words. The translation perfectly conveys the meaning of the original vocabulary. &lt;br /&gt;
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At the syntactic level, when there are differences in the expression of English and Chinese sentences, the translator will split the sentence, adjust the subject and object of the sentence, change the sentence structure and the sentence order to make the translation conform to the expression of the target language where the translation is smooth and natural. When translating the allusions of &amp;quot; ''Kong I-Chi'' &amp;quot;, the translator adopts literal translation and annotations. &lt;br /&gt;
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In terms of semantics, the translator uses the mechanism of conceptual metaphors to accurately show the original flavor.&lt;br /&gt;
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This article believes that the success of Yang’s English translation of &amp;quot;''Kong I-Chi''&amp;quot; lies in its fluent, natural language and exotic flavor. The author and translator of &amp;quot; ''Kong I-Chi'' &amp;quot; are both famous artists. The translation case from the English translation of &amp;quot;''Kong I-Chi''&amp;quot; reflects the practical application of the Functional Equivalence Theory in Lu Xun's novels. The writer also hopes that this thesis can provide ideas and inspirations for the English translation of other Lu Xun's novels.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Nida E.A. ''Language and Culture: Contexts in translating''. Shanghai: Shanghai Foreign Language Education Press.2001. &lt;br /&gt;
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[2]Nida, Eugene A.1964. Towardsa ''Science of Translating'', Leiden: E.J.Brill. &lt;br /&gt;
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[3]Nida, Eugene A.&amp;amp;Charles R.Taber, 1969, ''The Theory and Practice of Translation'', Leiden: E.J.Brill&lt;br /&gt;
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[4]鲁迅Lu Xun.鲁迅全集(第一卷)Selected Work of Lu Xun(volume Ⅰ）[M].北京Beijing:人民文学出版社People's Literature Publishing House ,1982.&lt;br /&gt;
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[5]谭载喜Tan Zaixi．新编奈达论翻译New Nida's Translation[M]．北京Beijing：中国对外翻译出版公司China Translation &amp;amp; Publishing Corporation，1999.&lt;br /&gt;
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[6]杨坚定Yang Jianding，孙鸿仁Sun Hongren．鲁迅小说英译版本综述A Summary of the English Versions of Lu Xun's Novels[J]．鲁迅研究月刊Lu Xun Research Monthly，2021(4)．&lt;br /&gt;
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[7]伊塞尔Iser.本文中的读者 Readers in this article[A]．二十世纪西方美学名著选（下）Selected Works of Western Aesthetics in the Twentieth Century (Part 2)[C]．上海Shanghai：复旦大学出版社Fudan University press,1998.&lt;br /&gt;
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[8]杨宪益.Yang Xianyi,戴乃迭 Dai Naidie译.鲁迅选集英文版(一) Selected Works of Lu Xun (1)[M].北京:外文出版社 Beijing: Foreign Languages Press,1980.&lt;br /&gt;
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[9]https://baike.baidu.com/item/%E5%8A%9F%E8%83%BD%E5%AF%B9%E7%AD%89%E7%90%86%E8%AE%BA/3373397?fr=aladdin&lt;br /&gt;
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[10]https://www.zhihu.com/question/29965932&lt;br /&gt;
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=颜子涵 Translation methods and strategies applicable to the style of biographical literature -- Taking Incidents in Life of Slave Girl (excerpt) as an example=&lt;br /&gt;
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[[Trans_Type_EN_8]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
The translated text of this article is a part of the English biography Incidents in Life of Slave Gir. The author of this work is Harriet Jacobs. This translation mainly takes the translation functional equivalence theory of American linguist Eugene A.Nida as the theoretical framework, adopts some translation skills in translation practice, and discusses the translation skills and Strategies of Chinese translation of such texts by analyzing the stylistic characteristics of biographical literature, especially African American autobiography. Through the Chinese translation of this autobiography, we can have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Autobiographical Literature; Black female slaves; Translation methods and Strategies&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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This paper is divided into four parts. The first part is an overview of the translation project, which mainly introduces the relevant situation of the translation project, the author and works of the translated text; The second part is the preliminary preparation of translation, including project text analysis and translation plan formulation; The third part, translation theory and case analysis, including functional equivalence theory, translation strategies and case analysis; The fourth part is the summary of the project, mainly on the problems encountered in translation, the experience and inspiration gained in the process of translation.&lt;br /&gt;
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This work belongs to the category of biographical literature. Biographical literature is a literary genre in which the author reproduces the characters' life stories and experiences, shows the characters' spiritual outlook and values, and depicts the characters' distinct love and hate and vivid personality through documentary writing and a variety of literary and artistic techniques. There are more than 50 characters involved in the biography. In the author's works, these characters are very vivid, such as the forbearance of a strong grandmother to the slave owner, the loyalty of a hard-working aunt to the slave owner, the oppression of female slaves by a crafty and sinister doctor, and the wit of Linda Brent, the heroine who pursues freedom and courage. In particular, the author's description of the heroine's seven years spent in a &amp;quot;cage&amp;quot; like cabin before she fled to the North more ruthlessly castigates the evil of slavery. The heroine's experience deeply moved her relatives and friends, including white slave owners. With the help of her relatives and friends, the heroine was able to escape to the north.&lt;br /&gt;
Taking the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework, this paper adopts the following translation skills in the process of translation: 1. The translation methods of foreignization and domestication are used to achieve partial functional equivalence between the source language and the target language, so as to reduce the lack of culture after translation. 2. According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to make the translation conform to the expression habits of the target language. 3. The methods of addition and subtraction are adopted to make the translation consistent with the original in grammar and language form, as well as in cultural background and word association. 4. The Conversion Transformation is adopted to make the translation more acceptable to the target language readers. By analyzing the stylistic characteristics of biographical literature, especially African American autobiography, the author discusses the translation skills and Strategies of Chinese translation of such texts.&lt;br /&gt;
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=== Text background===&lt;br /&gt;
From the beginning of the British northern colony to the early 20th century, blacks were brutally exploited and oppressed by the slavery system. In particular, female slaves not only had to bear heavy labor, but also suffered the destruction and abuse of supervisors. Since the publication of the first Autobiography of black slaves in 1760, some advanced elements in black slaves denounced and denounced the evils of slavery with their own experience, and made outstanding contributions to the abolition movement. The author of this work is Harriet Jacobs, whose pseudonym is Linda Brent. Born in a slave family, she fought tirelessly because she could not bear the persecution of slave owners on her and her children. After fleeing to the north, the author wrote a biography of his personal experience of being enslaved, exploited, persecuted, fleeing to the north and realizing freedom, which was published in 1861. Through the Chinese translation of this autobiography, more people have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves.&lt;br /&gt;
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===Research Purpose and Significance===&lt;br /&gt;
This autobiography of black women starts from the experience of childhood from the perspectives of black slaves and women. In the process of growing up, the author experienced different masters of good and evil. When she was a child, her hostess let the author learn to read and write. Later, she died of illness. Then the new owner, Dr. flint and his wife tortured and framed her. Later, for the freedom of her children, the author resolutely decided to flee to the north and enjoy the right to freedom with her children. In the process of pursuing freedom, he went through escape, pursuit, hiding until he went north by boat. The author selects simple but typical examples in daily life, through the description of characters' psychology and language, the contradictory struggle between the interests of opposite classes, the criminal complaint of slave trafficking, and the process of slaves fleeing to the north, reveals the slave owner's naked exploitation and fraud of slaves, and reveals the slave's sincerity, courage and longing for freedom. The simple language and narrative techniques of the work fully shape the tenacity, courage, intelligence and clear love and hate of the female slave Linda Brent, and show the readers the misfortune and suffering of many slaves.&lt;br /&gt;
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=== Translation theory and case analysis===&lt;br /&gt;
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3.1 functional equivalence theory&lt;br /&gt;
This translation practice report takes the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework. Eugene Nida is an American linguist and a famous translation theorist. From the perspective of etymology, according to the essence of translation, he put forward the famous dynamic equivalence translation theory, namely &amp;quot;functional equivalence&amp;quot;. In this theory, he pointed out that &amp;quot;translation is to reproduce the information of the source language from semantics to style in the most appropriate, natural and equivalent language&amp;quot;. He believes that translation is not only the equivalence of lexical meaning, but also the equivalence of semantic style and style. The information conveyed by translation includes both surface lexical information and deep cultural information. Equivalence in dynamic equivalence includes lexical equivalence, syntactic equivalence, textual equivalence and stylistic equivalence. Nida pointed out that the translation should be functionally equivalent to the original text. Judging whether the translation is equivalent to the original text should be based on the psychological response of the readers, that is, the translator should not only stay in the equivalence of structure and semantics, but strive to make the target readers produce the functions and effects that the original author wants to achieve through his works, so as to make the target readers after reading the translation, Get the same feelings as the original readers, and make translation really become a converter of thoughts, feelings and cultural information. Therefore, in literary translation, according to Nida's theory, the translator should take the four aspects of dynamic equivalence as the translation principle to accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
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The core of Nida's functional equivalence theory is &amp;quot;content is greater than form&amp;quot;, which emphasizes that when there is a conflict between content and form, content must precede form (Nida, 2004:203). Due to the differences between Chinese and Western ways of thinking and logical habits, in order to make the translation conform to the habits of readers in the target country and make it easier for readers in the target country to accept, the author has adopted different translation methods and strategies. According to the specific content of Nida theory, this paper intends to analyze its application in English-Chinese translation practice from four aspects. 1、 According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to achieve lexical semantic equivalence between the source language and the target language; second, addition and subtraction and part of speech conversion are used to make the translation conform to the expression habits of target slogans in grammar and language form and consistent with the original text in terms of cultural background and word association; third, forward and reverse translation is used to reproduce the original text Fourth, for the long and difficult sentences of the original text, the translation methods such as reorganization, sentence splitting and merging are adopted to make the language expression forms of the translation more rich and diverse, and more easily accepted by the target language readers.&lt;br /&gt;
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3.2 translation skills and case analysis&lt;br /&gt;
When translating vocabulary, the author mostly adopts the literal translation method to convey the information of the original text more accurately. If the meaning of the translation is not accurate enough or does not conform to the Chinese expression habits after the literal translation, the author adopts the free translation method, while for the long and difficult sentences with complex structure, the translational translation method and split method are adopted to make them conform to the Chinese expression habits and more acceptable to the readers.&lt;br /&gt;
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=== Translation skills, methods and case studies===&lt;br /&gt;
Case 1: literal translation and free translation to achieve semantic equivalence in vocabularyIn the process of translation, it is the basic quality of every translator to correctly express the source language in the target language. In order to achieve this goal, the translator must start with the smallest unit of the source language—vocabulary. In project translation, the author follows the functional translation theory and pursues semantic equivalence. First, we must ensure the equivalence of lexical meaning. The author mainly discusses the semantic equivalence of words from two aspects: literal translation and free translation.&lt;br /&gt;
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1. Literal translation  &lt;br /&gt;
Literal translation emphasizes the consistency between the original text and the translation in form and content, which helps to maintain the style of the original text. Literal translation is not a dead translation, a hard translation, or a literal translation. Literal translation emphasizes retaining its form and reaching its meaning.&lt;br /&gt;
The example 1:&lt;br /&gt;
“Nothing could please her better than to see me humbled and trampled upon” is literally translated as ”没有什么比看到我恭顺谦卑、任人践踏更让她快活啦。”&lt;br /&gt;
Analysis: in this sentence, humbled and trampled upon is used to express the due psychology and living state of slaves in the eyes of slave owners. Here, it can be translated into obedience, humility and trampling, which can reflect the coldness of slave owners and the misery of slaves.&lt;br /&gt;
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2. Free translation&lt;br /&gt;
Paraphrase emphasizes divine similarity. When the original text is quite different from the translation in terms of lexical meaning, syntactic structure and style, it can not be confined to the original text. Free translation should be adopted to explain the form of the original language in another language form, so as to correctly express the ideological thrust of the original text. Free translation should conform to the grammatical norms and expression habits of the target language, so as to make the translation more fluent and natural. Free translation is not arbitrary addition and deletion, nor random translation. Free translation emphasizes &amp;quot;preaching its spirit&amp;quot; rather than &amp;quot;retaining its shape&amp;quot;. The work belongs to biographical literature. There are great differences between the source language culture and the target language culture. The translator can not adhere to literal translation from beginning to end, but should carry out free translation according to needs, so as to achieve better translation effect.&lt;br /&gt;
The example 2:&lt;br /&gt;
I resolved to give him no cause to accuse me of being too much of a lady, so far as work was concerned.&lt;br /&gt;
literal translation: 就工作而言，我决心让他找不到口实指责我过分淑女。&lt;br /&gt;
free translation: 就工作而言，我决心让他找不到口实指责我养尊处优。&lt;br /&gt;
Analysis: a lady originally means 女士或优雅的女子. Too much of a lady is often understood as 十分优雅. Because the author could read and write and looked dignified, he had not done heavy work like other slaves before, &amp;quot;I&amp;quot; guessed that the young master was disgusted with it. Here, too much of a lady is translated by free translation, which reflects the inner contempt of the young master for &amp;quot;me&amp;quot;.&lt;br /&gt;
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Case 2: addition, subtraction and part of speech conversion make the translation achieve sentence meaning equivalence, which is in line with the expression habit of the target language.&lt;br /&gt;
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3. Additional translation&lt;br /&gt;
The example 4:&lt;br /&gt;
One day, she sat under the window where I was at work, crying that weary cry which makes a mother's heart bleed. &lt;br /&gt;
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一天，她就坐在我干活的那个房间的窗户外哭，哭得声嘶力竭让任何一个做母亲的心里流血。&lt;br /&gt;
Analysis: A mother literally means &amp;quot;一个母亲&amp;quot;, but the following clause is translated into &amp;quot;哭得声嘶力竭让一个母亲的心里流血&amp;quot;. The emotion of the translation is weak. In this article, &amp;quot;I&amp;quot; as a slave must work and can't take into account children and family affection, because in the slave owner's view, slaves are low animals and don't deserve feelings. Although I heard my daughter crying, I couldn't get over it. Any mother would be distressed to hear her daughter's cry. In order to make up for the lack of emotion in literal translation, the method of additional translation should be adopted here, which is translated as &amp;quot;任何一个母亲&amp;quot;&lt;br /&gt;
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4. Omission &lt;br /&gt;
The example 5:&lt;br /&gt;
The doctor stamped his foot at him in a rage, and exclaimed, &amp;quot;Get out of the way, you little damned rascal! If you don't, I'll cut off your head.&amp;quot;&lt;br /&gt;
translated text：医生愤怒地跺了他一脚，厉声说道：“滚开!他妈的小坏蛋，如果不听话，我把你的头砍下来!”&lt;br /&gt;
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Analysis: Dr. flint twice went to the north to pursue the fugitive slave &amp;quot;I&amp;quot; without success. He spent a lot of money and was full of anger. At this time, my son asked him if he had brought his mother back. Dr. flint stamped his feet angrily, scolded and threatened the child. Through the vivid description of Dr. Flint's body movements and language, his angry image jumped onto the paper,In order to achieve the same effect and achieve the equivalence of language style, the author uses even verbs according to the original &amp;quot;stamped his foot at him in a rage, and exclaimed&amp;quot; and translates it into &amp;quot;stamp his foot angrily and say&amp;quot; you little damned rascal!!! &amp;quot;It is also a typical strong adult's words towards weak children. In order to be concise and powerful, the author omits &amp;quot;you&amp;quot; and translates it into &amp;quot;他妈的小坏蛋&amp;quot;.&lt;br /&gt;
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The example 6:&lt;br /&gt;
But when winter came, the cold penetrated through the thin shingle roof, and I was dreadfully chilled.&lt;br /&gt;
translated text：上次遭遇蛇咬，现在我对蛇更惧怕了，踏上这个藏身的地方，我不由心惊胆颤。&lt;br /&gt;
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Analysis: My fear of snakes is literally translated as &amp;quot;我对蛇的恐惧&amp;quot;, and the subject of the following clause is &amp;quot;我&amp;quot;. In order to give the target readers a unified reading perspective, my fear of snakes had been increased is translated as: 我对蛇更惧怕了. By transforming the noun of fear into a verb, the translation is more concise and more in line with Chinese expression habits than literal translation.&lt;br /&gt;
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Case 3: The stylistic style of the original text is reproduced by positive and negative translation.&lt;br /&gt;
5.The Positive and Negative Translation&lt;br /&gt;
The example 7:Nobody respects a mother who forsakes her children; and if you leave them, you will never have a happy moment.&lt;br /&gt;
translated text 1：没有人尊重抛弃孩子的母亲，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
translated text 2：抛弃孩子的母亲会遭人唾弃，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
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Analysis: This sentence contains a negative indefinite pronoun—nobody. In translation text 1, the first half of the original text (Nobody respects a mother who forsakes her children) is translated into &amp;quot;没有人尊重抛弃孩子的母亲&amp;quot;. Although the meaning is translated, the expression is not authentic. Translation text 2 uses the positive and negative translation method to change negative into positive, and “Nobody respects” into &amp;quot;being despised&amp;quot; can better express the speaker's (my grandmother's) eagerness to oppose &amp;quot;I&amp;quot; to escape.&lt;br /&gt;
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Case 4:The translation methods of reorganization, sentence splitting and merging are adopted to make the translation conform to the expression habits of the target language&lt;br /&gt;
There are great differences between English and Chinese syntactic structures. English is a linear language. Its syntax takes the subject predicate structure as the central axis, while other components form branch lines in the form of branches and connect with the main axis through connectives. The logical relationship between sentences tends to be explicit,; Chinese is more parataxis, and the combination between the components in a sentence or between sentences mostly depends on the connection of semantics and uses fewer connectives. Chinese sentences are arranged under the command of theme, that is, the structure of &amp;quot;topic description&amp;quot; has various forms and free combination. The logical relationship between sentences is more implicit (Yang Lin, 2007: Preface). There are few logical relational words between clauses and between sentences. Therefore, the author adopts the reorganization method, combining syntax and disassembling syntax to realize the semantic equivalence of sentences, and studies the influence of sentence structure on the translation. The significance is to better guide the translation practice.&lt;br /&gt;
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5.Recasting&lt;br /&gt;
The example 7: This was the good old lady who paid fifty dollars for my grandmother, for the purpose of making her free, when she stood on the auction block.&lt;br /&gt;
translated text：这个老太太是个好人，当年外祖母站在拍卖台上，为了让外祖母获得自由她花五十美元买下了我的外祖母。&lt;br /&gt;
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Analysis: The original text contains two compound structures, one is an attributive clause, the other is a time adverbial clause. Because Chinese sentences are constructed according to the law of logical order, the word order is arranged according to the actual sequence and event order, which is divided into sequence in time, and pay attention to the causality in logic. The author adjusts the time adverbial clause to the front, first explain the time, then explain the reason, and finally the result. This reorganized translation plays an important role in shaping the relationship between sentences, which is in line with the characteristics of Chinese sentence structure.&lt;br /&gt;
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6.Sentence-combining&lt;br /&gt;
The example 8: There was joy and there was sadness in the sound. It made my tears flow.&lt;br /&gt;
translated text：无论是哭声还是笑声都会让我泪流满面。&lt;br /&gt;
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Analysis: The original text is two sentences. Considering the close causal relationship between the two sentences, the author adopts the translation method of combined sentence to translate it into one sentence, so that the target language readers can read it more naturally.&lt;br /&gt;
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7.Dismantle the syntactic&lt;br /&gt;
The example 9: My hope was that the doctor would get discouraged, and, for fear of losing my value, and also of subsequently finding my children among the missing, he would consent to sell us; and I knew somebody would buy us.&lt;br /&gt;
translated text：损失一个女奴，再赔上我的两个孩子，这正是弗林特医生所担心的。他会泄气并同意卖掉我们，我知道有人会买下我们，而这正是我所希望的！  &lt;br /&gt;
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Analysis: When dealing with long English sentences, the method of splitting is generally used to divide the original sentence into several parts and combine them according to their internal logical relationship. The adverbial clause after the subject of “My hope” consists of three parallel sentences, the second of which has a more complex cause adverbial. The author first takes apart the subject clause, first translates the clause, and then presents the subject at the end, which is in line with the characteristics of Chinese presentation before topic.&lt;br /&gt;
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Case 5: Stylistic equivalence&lt;br /&gt;
The basic task of translation is to faithfully present the original text, so it is necessary for the translator to pursue the style of the original text. To achieve stylistic equivalence, the translator needs to analyze and identify the stylistic markers in the original. The original text contains national language characteristics, historical allusions and religious beliefs, so it has cultural differences. In translation, it should reflect the style of the original text and optimize it accordingly, so as to realize the re creation of style and adapt to the communication of the target language.&lt;br /&gt;
The original text has strong religious and cultural content, simple and pious faith, and shows their enthusiasm and passion for them. In translation, we should not only show the feeling of religious belief and culture, but also optimize the sentence style and deal with alienation appropriately, so that readers can feel the piety and understand the author's writing intention.&lt;br /&gt;
The key to shaping the problem role lies in its adaptability to the style of the original language. Only by adopting appropriate translation methods, deeply understanding the cultural background of the original text and skillfully changing the style of the original text, can the style meaning of the original text be reproduced in the target language and better reflect its charm and artistic conception.&lt;br /&gt;
In a word, a biographical text should be well expressed first to make it conform to the expression habits of the target language. First, we should deeply understand the creative intention of the original author and think of what we think from the perspective of the original author, so as to realize the central idea of the original text. The premise of translation is that the translator should have profound language and cultural skills and deeply understand the particularity of different background cultures, Have a good command of the target language, and then use it flexibly.&lt;br /&gt;
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The example 10: She hasn't so much feeling for her children as a cow has for its calf. If she had, she would have come back long ago, to get them out of jail, and save all this expense and trouble. &lt;br /&gt;
translated text：她对孩子的感情还不如母牛呢，母牛还知道护犊子。如果她有感情，她很久以前就会回来把他们救出去了，也就没有这些代价和麻烦了。&lt;br /&gt;
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Analysis: This sentence is a complaint made by Dr. Flint's wife—my mistress, about my escape. Considering that cows in Chinese culture also have the image of caring for their cubs, The author translates call “feeling for her children as a cow has for its calf” as：“母牛还知道护犊子”, This not only achieves cultural equivalence, but also sounds colloquial. On the other hand, it is in line with the speaker's identity as a mean slave owner.[He was &amp;quot;a chip of the old block.&amp;quot; If he found any slave out after nine o'clock, he could whip him as much as he liked; and that was a privilege to be coveted.如果他发现任何人九点后（宵禁时刻）跑出去，他就会抓住并鞭打此人，直到他满意为止。这是别人垂涎三尺的特权。]&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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Through the development of this project, the author believes that the translation of biographical works needs to have a full understanding of the differences between Chinese and English languages and cultures, thinking habits and expression methods. Only after having an accurate understanding and grasp of the language characteristics and contents of the original text, can words and sentences be carefully selected and constantly modified and polished in the process of translation, Make it an excellent translation. The author summarizes the following points in the whole translation process:&lt;br /&gt;
The translation method of biographical text. Biographical text has both information function and expression function (Zhang Meifang, 2006). Therefore, in translation, the translator should not only correctly express the information of the original text, but also reflect the literariness of biographical literature. In view of the differences in thinking and logic between Chinese and English, different translation methods should be adopted in the translation process. For example, literal translation can be used in terms of vocabulary, so as to simply, clearly and accurately convey the meaning of the original text. If literal translation is not possible, free translation, addition or subtraction, positive and negative translation, such transformation and other methods should be adopted to strive to achieve literal semantic equivalence. In terms of sentences, according to the respective characteristics of Chinese and English sentence structures, translation skills such as reorganization, disassembly and combination of syntax are adopted in order to meet the reading habits of target language readers. Experience the language style of biographical literature. In this project, the author's narrative language is simple and simple, and do a good job in the analysis of the characteristics of biographical literature materials. For a translator, the types of material translation can be diverse, literary or scientific, so the translator must do a good job in the analysis of text materials when he gets a relatively unfamiliar translated text, Only after analyzing the materials thoroughly and finding out the characteristics can the preparatory work be done adequately. This project adopts biographical text, which is characterized by many names and place names and strong local cultural characteristics. Therefore, in order to improve the accuracy of translation, the author has made a lot of preparations before translation, including finding the author's relevant background information, relevant historical facts, as well as the folk customs at that time. With reference to the new English Chinese dictionary, the names of people and places in the text are translated uniformly. Due to sufficient preparation, these problems encountered in translation have been solved.&lt;br /&gt;
The author has two experiences in maintaining problem awareness in the translation process. &lt;br /&gt;
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First, if you encounter an uncertain word and sentence in the translation process, you should consult the relevant reference books in time or use the Internet. &lt;br /&gt;
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Second, when dealing with cultural problems, I often ask my classmates or experts in this field for advice, so as to solve the problems in time.&lt;br /&gt;
At the same time, there are some problems in the process: My translation experience is still shallow and the cultural knowledge reserve is insufficient. There are some disadvantages in this project.Because my Chinese level needs to be further improved, the translated language is still immature and not concise enough. Second, the lack of relevant knowledge leads to the fact that the unique things of foreign culture can only be translated directly and hard in translation, resulting in the stiff and rigid translation. Such as a box, covered with sheepskin, is called the gumbo box. A dozen beat on this, while other strike triangles and jawbones, to which bands of dancers keep time.&lt;br /&gt;
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Third, in translation, we should not only maintain the meaning of the original text, but also reflect the style of the original text. We can't have both fish and bear's paw—鱼和熊掌不可兼得。Therefore, I believe that only through a lot of translation practice and summing up experience can we improve our translation level.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Beardslee, Karen E. Through Slave Culture's Lens Comes the Abundant Source: Harriet A. Jacobs's Incidents in the Life of a Slave Girl.&amp;quot; MELUS 24 (1999): 37-58.&lt;br /&gt;
&lt;br /&gt;
[2]Jacobs Incidents in the life of a Slave Girl: Written by herself.&amp;quot; Languages &amp;amp;Literature 15(2001):314-336.&lt;br /&gt;
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[3]Incidents in Life of a Slave Girl chapters 16 to 30&lt;br /&gt;
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[4]李小春. (2016). 浅析英语翻译技巧及方法的应用. 读天下(20), 1.&lt;br /&gt;
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[5]李亚云.《一名女奴的人生际遇》之黑人女性身份建构[J].文学教育(上),2015(07):30-31.p&lt;br /&gt;
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[6]李亚云. 《一名女奴的人生际遇》之黑人母性分析[D].中央民族大学,2016.&lt;br /&gt;
&lt;br /&gt;
[7]付娟. 英汉翻译中拆句法和合并法的有机结合探析[J]. 好家长, 2016(38):1.&lt;br /&gt;
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=邝艳丽 On the Translation Strategies of English Version of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hong-Ming and Xu Yuanchong=&lt;br /&gt;
[[Trans_Type_EN_9]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
''Lun Yu'', one of Chinese classics, records behavior and thoughts of Confucius and his disciples. ''Lun Yu'', intensively reflecting Chinese Confucianism, plays a significant role in Chinese culture. Dating from 1809, there are about sixty translations of ''Lun Yu'' during the two hundred years. This paper will study the two English versions of ''Lun Yu'' by Ku Hung-ming and Xu Yuanchong from the the theory of Horizon Fusion proposed by Hans-Georg Gadamer, mainly the core conceptual words in ''Lun Yu''. Besides, the paper will explore the translation strategies adopted by the two translators from different visions such as the horizons of the original text, the translator and the target culture. The better translation of core conceptual words will come to a conclusion through the contrastive analysis.&lt;br /&gt;
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===Keywords===&lt;br /&gt;
Fusion of horizons; Ku Hong-Ming; ''Lun Yu''; Xu Yuanchong&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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''Lun Yu'', as a carrier of Confucianism, has profound influence on the culture all over the world. Confucianism has largely influenced the development of European philosophy, which provide new theoretical basis for European Enlightenment in the eighteenth century (Li Zongzheng 2016: 112-116). In Voltaire’s opinion, the discovery of Chinese culture is important to the process of European society, just as what what has been discovered by Vasco da Dagama and Magellan to the nature (Bao Xiankuo 2001: 62-67). With the continuing development of China in the recent years, China exerts more and more significant influence on the world. In the meanwhile, more and more people would like to learn Chinese language and cultures. When it comes to Chinese culture, all the people, Chinese and foreigners, nearly think of Confucianism, which is generally regarded as the important components of Chinese traditional culture, as well as the mainstream of the spirit of national modern culture. Moreover, Confucianism is intensively embodied in the ancient work called ''Lun Yu'', which records the behaviors and thoughts of Confucius and his disciples mainly in the form of dialogues. ''Lun Yu'' involves so many aspects such as politics, education and so on. The wide and profound influence of Confucianism on the world attributes the success to the development of translations of ''Lun Yu'' by Chinese or foreign translators.&lt;br /&gt;
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''Lun Yu'' is a classic work. The reason why classics remains classics is that it can be translated and re-translated. The language itself of ''Lun Yu'' is difficult to be understood, and what are reflected by ''Lun Yu'' such as history, thoughts, culture and culture is also hard to be understood. Therefore, translators in different times produce different translations of ''Lun Yu'' due to different constrictions of subjective or objective factors. Derrida, holding the point of hermeneutics, considers that the understanding of works is open and that the understanding of text by the readers is always unfinished and uncertain for reading is the process of creation. ''Lun Yu'', acclaimed as one of the leading classics in the course of Chinese literature’s development, is always given new life by the scholars. Therefore, every translation version of classics deserves to be studiedin the different times. Moreover, the employment of fusion of horizons may not only be a reference for English translation of ancient Chinese classics, but also be beneficial foe the spread of traditional culture. &lt;br /&gt;
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This paper chooses two English translation versions of ''Lun Yu'', one by Ku Hung-ming, the other one by Xu Yuanchong. The paper mainly makes a contrastive study of different translation strategies adopted by the two translators from the perspective of fusion of horizons. In order to make an in-depth study, the thesis will focus on the analysis of the translation of core conceptual words of ''Lun Yu'', and aim to present a more appropriate translation to both fully express the content of Chinese culture and make western readers easier to understand.&lt;br /&gt;
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===Overview on the Theory of Fusion of Horizons===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====Fusion of Hrizons====&lt;br /&gt;
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Hans-Georg Gadamer is the greatest thinker in 20th century when his academic work ''Truth and Method'' was published. The publishment brought about widespread attention in the world and helped him reach the immortal status in the field of philosophy. Actually, the theory used in this paper is originated from ''Truth and Method''. “Horizon” was first proposed by Edmund Husserl, a great German philosopher. For the concept of “Horizon”, Husserl believed that “everything worldly giving is given under the horizon. Finally, everything given by the world itself has the horizon of the world, and it is only for this reason that it is realized as the world.” (Wei Fangyuan 2013: 134-136)&lt;br /&gt;
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It can be seen that “Horizon” in Husserl’s eye is related to consciousness. Husserl’s “Horizon” includes two ones, internal horizon and external horizon. Internal horizon refers to what previous knowledge people have grasped or not. External horizon refers to grasp or experience of another open horizon when people have internal horizon. Martin Heidegger, from the respective of Ontology, believed that “Horizon” is something real which has been known by human and exists previously. This becomes precondition of our understanding. Inspired by Martin Heidegger and Edmund Husserl, Hans-Georg Gadamer affirmed the importance of “Horizon”. In his Hermeneutic, “Horizon” refers to the process of understanding from a specific standpoint. And “Fusion of Horizons” means that the process of understanding in nature is open without fixed pattern and answer. “Fusion of Horizon is not onlly diachronic, but also synchronic. History and present, object and subject, self and other, all form an infinite unified entirety. (Wei Fangyuan 2013: 134-136 ) &lt;br /&gt;
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Gadamer thinks that, both the translator and the object which is explained by the translator have their own horizons. The object-- history, classics, personal life, philosophy or work of art—has its own historical horizons. When we understand historical classical works, philosophy or certain culture with the horizons given by the history, the conflict of two different horizons and historical background will inevitably happen. Translation neither demands the translator to totally give up his own horizon in order to get into the text’s horizons, nor allows the interpreter simply includes the text into his own horizons. Translator, starting from his original horizons, ceaselessly test his own “prejudice” and open his own horizons, in the contact with the object which is interpreted by the interpreter, then two different horizons forming a new horizon. This process is called “fusion of horizons”. The reason why it is possible to interpret historical text is the fusion of horizons of the readers and writers of the original text.&lt;br /&gt;
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====Fusion of Horizons in translation study====&lt;br /&gt;
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In the view of Hans-Georg Gadamer, any understandings is carried out in the stream of history for any interpreter and reader lives in the history in his or her own way. Historicity is the basic fact of human existence. People’s historical particularity and limitations cannot be eliminated and avoided. Both subject and object exist in historicity. History determines that people cannot get rid of historicity. Such question faced by Hermeneutics is not what we carry out but what caused on us by something beyond our willing and behavior. In the research of translation Gadamer’s “Fusion of Horizons” can be borrowed and reformed into views or perspective available to the translation study. (Li Ge 2020:50-63)&lt;br /&gt;
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To achieve such a horizon, means that we learn to see something beyond its restricted horizon. However, the reason why we do this is for watching the things in a more correct angle and in a bigger unity, rather than for avoid seeing it.(Gadamer, H. G. 2004: 304) We need to study translation from a higher point and in a more overall angle. Only in this way can we “full see” the parts of the integrity, which is the enlightenment brought by “fusion of horizons”. The precondition of translation is that the translator and the original text have the common horizons. If the translator does not know medicine, he cannot interpret some books about medicine, and vice versa. The translator need to understand the original text’s meanings at first, which means that he will get into the horizon of the original text, and overcome the difference to form a new horizon. This is the first fusion of horizons. The second one is that the translator gets into the horizons of the target readers. Then the third fusion of horizons, the final interpretation of the translator, is the fusion of the two texts after the first two fusions. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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During the process of translation, the horizons are produced in the history rather than in isolation. In the fusion of horizons, the past and the present, the subject and the object, form a unity. Everything exists in the point of history, and all the interpretation cannot be finished for good. The original text itself is historical. The language, content, thoughts and etc. in it are marked by characteristics of the times. The translator is also historical. He will be influenced by his identity, status and tradition. There does not exist “perfectness” and “standard” in the translation. It will vary with different historical period. So the study of translation also goes on. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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===Overview on the Translations of ''Lun Yu''===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====The history of translations of ''Lun Yu====&lt;br /&gt;
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''Lun Yu'' is as important to Chinese is the Bible is to Westerners. So ''Lun Yu''’s translation is hot in western countries. ''Lun Yu'', whose translation can be traced back as early as the end of 16th century, has been translated by lots of missionary, sinologist, philosopher, litterateur and other scholars. There have been more than 40 translation versions of ''Lun Yu'' so far. Its English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. In 1861 James Legge’s The Confucian Analects became the mark of the English translation of ''Lun Yu''. A Companion for Chinese Translators makes comments on the translation version that James Legge can roughly understand the meaning of the original text and that his enormous notes can show his serious and careful attitude to the translation of our Chinese classics. (Wang Hui 2003: 39-43) &lt;br /&gt;
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In 1898, Ku Hong-ming’s translation of Lun Yu was published in Shanghai. The reason why he retranslated Lun Yu is that he was not content with James Legge’s. Ku Hong-ming use the strategy of foreignization, trying to translate Lun Yu in the same way an educated British express his thoughts. And Ku thought the Chinese proper nouns should be omitted and some European writers’ saying in order to remove the feeling of strangeness of British readers. In 1938, Arthur Waley’s version of Lun Yu was published. Waley wrote long-winded introduction for the translation, which was accompanied by detailed notes for readers and was followed by the footnotes for in-depth discussion on the text. Cui Yonglu thought that Waley’s translation, retaining the original text’s meaning and culture and paying attention to the detail, is beneficial to scholars. In 1998, Roger Ames’ translation of Lun Yu was published. His retranslation, which is based on a philosophical perspective, exerted great influence in the world of translation at home and abroad. In 2005, Xu Yuanchong’s Thus Spoke the Master was published. The book’s title borrowed the name of well-known philosophical translation called Thus Spoke Zarathustra, which shows Chinese translators’ creative spirits. In addition, there are still so many translators, such as Ezra Pound, James Ware, Din Cheuk Lau, Lin Yu tang and so on. (Wang Hui 2003: 39-43) &lt;br /&gt;
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====Different angles of the study on the translations of ''Lun Yu''====&lt;br /&gt;
In the nearly 30 years, the study of ''Lun Yu''’s translation has become hot in the translation studies. Scholars have made lot of studies of ''Lun Yu''’s translation from different angles and theories. From the linguistic point of view, scholars focus on the equivalence of lexicon, syntax, text and style. Professor Liu Chongde wrote “A research into Waley’s English version of The Analects—And some comments on its English versions by Legge and D. C. Lau”. Professor Liu summarized the language features and style of the two translations by Waley and Legge. Besides, he compared James Legge’s version and D. C. Lau’s, and made a conclusion that the former one preferred the written English, complicated sentences and archaic words which were quite similar to the style of the original, while the latter one preferred using spoken English and simple sentences.(Liu Chongde 2001:15-17) &lt;br /&gt;
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From the cultural point of view, Yao Shun in Southwest Jiaotong University did “On English translation of Confucius notions from the perspective of Skopos theory—A case study on Legge’s and Waley’s Translation of ''Lun Yu''”. Yao concluded that translation cannot be measured only by the equivalence with the source text, other elements such as translators’ purposes and expectation of target readers should be taken allowance for and that amongst these factors, the intention of the target text ranks the first.(Yao Shun 2014: 42-43)&lt;br /&gt;
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From the sociological point of view, Zhang Xin in Jiangnan University did “A study on Xu Yuanchong’s English Translation of ''Lun Yu'' from the Sociological Perspective of Bourdieu”.   Zhang draw some tentative conclusions. Firstly, the original text must be valuable and unique with an international reputation to facilitate its dissemination in the world. Secondly, translators should pay full attention to the readability and acceptability of target readers to meet their anticipation. Thirdly, the success of a work is the combination of various social factors.(Zhang Xi 2020:80-89)&lt;br /&gt;
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=== The Translation of ''Lun Yu'' from Fusion of Horizons===&lt;br /&gt;
''Lun Yu'' has always been translated or retranslated into many languages. Before interpretation, interpreters are supposed to try to totally understand ''Lun Yu'' in the first step. However, in the matter of fact, the language of a text is really hard for translators to totally understand. Different cultural background and different translators may produce different translation version.&lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》） [8]”. In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. &lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
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Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》）”.In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. (Yao Sshun 2014:42-43) &lt;br /&gt;
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====Horizon of the translator====&lt;br /&gt;
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Ku Hung-ming (1857-1928) is not only a famous literary figure in modern China, but also a great translator. He became an influential scholar at the turn of the 20th century because of his works that advocated Confucianism. Ku’s traslated works, including Lun Yu and Zhong Yong, played a significant role in spreading traditional Chinese culture to the western world. Ku, well-versed in both Chinese and Western cultures, has a good command of nine languages such as English, French, Germany and so on. He is the first one was proficient in Western science and language in the late Qing Dynasty. Special background of growth and education makes his thoughts combine advantages between Chinese and Western cultures. He tried to translate Lun Yu as a work written by a educated English man in order to promote Chinese traditional culture to spread in Western countries. At the meanwhile, he added his thinking and understanding of Confucianism in order to express the truth and spirit of Confucian classics and Chinese belief system. In order to make Western readers accept to the most extent the Confucian culture, Ku adopted some special methods, such as using extreme translation strategy of Domestication to translate Chinese special expression; borrowing the expression in Western literature to translate some words; applying the strategy of combination of omission and addition.(Niu Xiyu 2021: 89-90)&lt;br /&gt;
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When translating Lun Yu, Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. Western readers are not familiar with Confucian core words whose total equivalence can not be found in the Wesern culture. Ku did not translate the core words according to the literal meaning, but according to his deep understanding of Confucian classics he adopted flexible methods to translate the words in different situation. Besides, in order to make the translation of Lun Yu more readable to Western readers, Ku adopted the stratedy of domestication to interprete Confucian thoughts in Western way of mind. On the one hand, Ku used Western terms to translate those Confucian concept words which is difficult to Western readers. For example, he translates “天” as “God”. On the other hand, he quoted those well-known writers and thinkers who are familiar to Western readers, such as Johann Wolfgang von Goethe, Ralph Waldo Emersonand so on. Ku tries to make the content and form of the translation to accord with the way of thinking and cognitive structure of Western people. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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Xu Yuanchong, professor in Peking University, has been devoting himself in Literature translation study. He accomplished numerous classical translations and proposed many translation theories. He makes contribution to the development of Chinese traditional career.In 1921, Xu Yuanchong was born in Jiangxi Province in China. Since he was a child, Xu Yuanchong had been deeply influenced by his families. His mother was well educated and his uncle worked as a translator. All of these inspired his passion of enjoying literature and going after beauty, as we can see the three-beauty-concept-concept proposed in his later books. His uncle succeeded in translating the play called Wang Baochuan into English, which caused a sensation when it was performed in England. Later on the British dramatist George Bernard Shaw interviewed his uncle, which inspired the great interests of Xu Yuanchong in learning English well. In 1938, he was admitted to the Foreign Languages Department of National Southwest United University with the seventh place. In 1939, he translated the book “别丢掉” written by Lin Huiyin at the first time in order to express his love for a girl. Then he fell in love with translation ever after. Although suffering a lot, he still insisted to be himself. Xu made a great contribution to the development of Chinese translation. Xu introduces the three-beauty-concept to translation theory. The theory of three beauty advocates that a translation should be as beautiful as the original in sense, in sound and in font. These three aspects call also be respectively called Beauty of Sense, Beauty of Sound, and Beauty of Form. Beauty of Sense, emphasizing the deeper meaning, is of the first-rate importance. Beauty of Sound, emphasizing rhyme and rhythm, is of the second-importance. Beauty of Form, emphasizing length, is of the third-rate importance. All of these have great influence on his translation. (Li Mi 2004: 83-84)&lt;br /&gt;
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====Horizon of the target language culture====&lt;br /&gt;
The purpose of translation is to be read by the target readers. However, the target individual is different. They differ from historical background, education, knowledge, and so on. Some foreign readers read Lun Yu just for broaden his vision and know Chinese culture, some study the translation just for doing academic researches. The ages of target readers also influence the translation. Some young readers with less knowledge need translation which can be easily understood. For those aged readers the sophisticated translations are needed. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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===Contrastive Analysis===&lt;br /&gt;
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As Confucian classics recording the words and deeds between Confucius and his disciples, Lun Yu deeply influences generations of Chinese people. Lun Yu combines Chinese rich culture from thousands of years and gathers immortal spirit of Eastern philosophy. Therefore, a number of scholars at home or abroad want to translate Lun Yu. Especially, the various academic conference that has taken place in the recent years attract many scholars to absorb Confucian wisdom and explore Chinese wisdom from the old classics.&lt;br /&gt;
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====Description of key conceptual words====&lt;br /&gt;
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''Lun Yu''’s English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. Since that many other scholars have thrown themselves in the wave of translation of ''Lun Yu''. The scholars at home and abroad attempt to know more about the Chinese society, language, and Chinese culture through ''Lun Yu''. However, in order to really understand and interpret ''Lun Yu'', we must be clear about the meaning of the core conceptual words in ''Lun Yu''. Whether the translation of the core conceptual words is right or not has something to do with whether the readers abroad can understand the real meaning of the classics ''Lun Yu''. The translation of core conceptual words is so critical that has drawn many scholars’ attention. However, in the present situation of translation, one core conceptual word has so many Chinese translation, and some translation is not very accurate, which will cause trouble for foreigner readers to understand the original meaning and its cultural meaning. For those core words concerning Chinese culture, if wrongly translated, will not cause foreigners’ misunderstanding Chinese traditional culture, but also influence the improvement of national cultural soft power. Thus, the discussion of the translation of ''Lun Yu'', especially that of the core words, is very important to the circles of translation and culture. There are lots of core conceptual words in Lun Yu, but This thesis will mainly discuss the five core words: “''ren''”, “''li''”, and “''junzi''”. &lt;br /&gt;
“''Ren''” is the supreme state of moral ideal advocated by Confucius, and the spirit and centre of Confucian theory. Xu Shen in the Eastern Han Dynasty made an explanation of the word “''ren''” in “Shuo-wen chieh-tzu”. He thought “''ren''” is combined by “''ren''”(man) and “er”(number 2), and that “''ren''” does not express the quantitative relation but the interpersonal relationship, more accurately the interpersonal relationship close to friendship. (Xu Shen 2013: 1458) According to The Notes of ''Lun Yu'' by Yang Bojun, “''ren''” appears 109 times in ''Lun Yu'' . (Yang Bojun, 2009)&lt;br /&gt;
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“''Li''” is another important concept in ''Lun Yu'' after “''ren''”. According to The Notes of ''Lun Yu'' by Yang Bojun, “''li''” appears 74 times. Obviously, “''li''” is one of main ideas repeated by Confucius. Its connotation has become one of the objects the scholars of every dynasty attempt to study and understand since the ''Lun Yu'' came out. Both “''ren''” and “''li''” work as the centre of Confucianism. They complement and perfect each other. Just as the saying in Lun Yu, “To Subdue Oneself and Return to the Proprieties is Perfect Virtue”. “Li” refers to external behavior, while “ren” refers to internal morality. “''Li''” is a general term the rules and regulation according to the moral demanding. “''Li''” can restrict personal behavior, improve interpersonal relationship and help building a harmony and orderly society. However, Confucius does not give an accurate explanation of “''li''”, but its meanings can be analyzed from the concrete sentences concerning “''li''”. (Yang Bojun 2009: 23)&lt;br /&gt;
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“''Junzi''”, first found in The Book of Songs, was roughly referred to noble man. Thereafter, “''junzi''” was widely used in many ancient classics such as The Book of Changes, Shangshu and so on. Based on the original meaning “the noble man”, “''junzi''”’s meaning was extended and expanded. In Lun Yu, the word “''junzi''” got extended meaning of morality. The core conceptual word “''junzi''” mainly placed emphasis on moral deeds, then developed into the important cultural icon in Confucianism. According to The Notes of ''Lun Yu'' by Yang Bojun, “''junzi''” appears 107 times in ''Lun Yu'' .(Yang Bojun 2009: 11)&lt;br /&gt;
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====Different translations of key conceptual words====&lt;br /&gt;
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Different translators will have different translation. &lt;br /&gt;
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“Ren” has rich meanings. Its translation will to the certain degree influence the understanding of Lun Yu and Chinese traditional culture. For example:&lt;br /&gt;
子曰：“巧言令色，鲜矣仁！”《学而》&lt;br /&gt;
Ku: Confucius remarked, “With plausible speech and fine manners will seldom be found moral character.” &lt;br /&gt;
Xu: A good man, said the Master, would rarely say what he does not believe, or pretend to appear better than he is.&lt;br /&gt;
From the translation above, it is seen that Ku adopts free translation, and the English sentence is in formal grammer and syntax which accords with Western readers’ language habits. While Xu’s translation is not in the form of direct speech and he changes the order of the target text and use the parenthesis so as to conform to the habits of target language readers. It can be easily seen that Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. And Xu employs free translation to make target readers better understand the meanings. For the translation of “ren”, Ku translated it into “moral character”. He thought “ren” is refers to all the morality, and that “ren” is the highest realm of life. The translation “moral character” is more in line with Western language habits. While Xu interpreted it into “a good person”, of which “good” has broad meanings just like “ren” which is a kind of moral category of extremely broad meanings in ancient China. By comparison, “mental character” is better translation for “ren”. (Yang Bojun 2009: 23) (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Li” is generally thought to have three main meanings. The first one is worshiping the God. The second one refers to a ceremony held to show respect or solemnity. The third one refers to the social and moral norms of the aristocratic hierarchy in slave society of feudal society. For example, &lt;br /&gt;
道之以道，齐之以礼，有耻且格 。（《为政》）&lt;br /&gt;
Ku: If, on the other hand, in government you depend upon the moral sentiment, and maintain order by encouragung education and good manners, the people will have a sense of shame for wrong – doing and, moreover, wil emulate what is good. &lt;br /&gt;
Xu: If they are led by virtue and order is kept by the rites, they would be conscientious and act in agreement with what is right. &lt;br /&gt;
Generally, “li” is rendered as “rites,” “customs,” “propriety,” “ritual,” “moral,” “rules of proper behavior,” and “worship.” However, Ku did not literally translated “li” but to fully understand its original meaning in such concrete situation to translated it into “education and good manners”. While Xu translated it into “rites”. In the Oxford dictionary, “rite” means a ceremony performed by a particular group, often for religious purpose. In Spring and Autumn and Warring States periods of China, the social order was in chaos. Actually, “rite” is a proper word full of Chinese speciality, which is really hard for Western readers to understand. Therefore, Ku’s translation “education and good manners” is better one. It not only convey Confucian thoughts but also make it readable to Western readers. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Junzi” is Confucian ideal character standard. Then what is “junzi”? In Confucian point of view, “junzi” should be erudite, which is an important standard of being “junzi”. First and the most, “junzi” should be a benevolent man. In addition, “junzi” and “xiaoren” form contrast. For example,&lt;br /&gt;
人不知，而不愠，不亦君子乎？（《学而》）&lt;br /&gt;
Ku: But he is truly a wise and good man who fees no discomposure even when he is not noticed of men.&lt;br /&gt;
Xu: Is he not an intelligentleman, who is careless alike of being known or unknown?&lt;br /&gt;
According to Oxford dictionary, the term “exemplary” refers to providing a good example for people to copy. Ku adopted free translation to interprete one word “junzi” into several words “wide and good man”, which is easy for Western peple to understand what “junzi” is. It can be seen that Ku had a thoroungh understanding of Confucian thoughts as well as well-versed in English. While, Xu translated it into “intelligentleman”, which cannot be found in dictionaries. It is a new word created by Xu. “Interlligentleman” is combined by “intelligent” and “gentleman”. In the Oxford dictionary, the term “intelligent” means good at learning, understanding and thinking in a logical way about things. “gentleman” refers to a man who is polite and well educated and who has excellent manners and always behaves well. “Intelligentlemen” seemly attempt to achieve formal equivalence with “junzi”. However, it is unfamiliar to Wetern readers. So Ku’s translation “a wise and goood man”. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
In this paper, we have talked over two translation versions of ''Lun Yu'' written by Ku Hung-ming and Xu Yuanchong, especially the core conceptual words in ''Lun Y''u. In the matter of fact, both of them had good command of Chinese and western cultures. But their interpretation of Lun Yu were quite different from each other. Here we use Gadamer’s “fusion of horizons” to explain why they had different understandings of Lun Yu. Understanding is regarded as the fusion of horizons between translator and the text in the hermeneutics, however, besides, the target readers should also be taken into consideration. Thus, in the paper, the horizons of the original text, two translators and target readers are expounded in detail. Under the contrast between the two translation versions, we could find out that Ku Hung-ming’s translation is better one which can more convey the meaning of original text and can be easier for the readers of the target culture from the perspective of the fusion of horizons. &lt;br /&gt;
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However, this paper could not give an in-depth research on the transaltion of ''Lun Yu'' because of the author’s limited knowledge and not thorough understanding of the theory of “fusion of horizons”. In addition, Confucianism has got more and more important influence on the world in the recent years. However, the study of translation of ''Lun Yu'' has not gone far enough. Though lots of scholars have achieved a lot in the field, there is still much work to do in the future. Written by --[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 03:41, 9 December 2021 (UTC)&lt;br /&gt;
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Li Zongzheng, Ma Haidong 李宗政,马海东. (2016)《论语》英译的当代价值研究[J] [A study on the contemporary value of the ''Analects of Confucius''] 112-116.&lt;br /&gt;
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Wei Yuanfang 韦芳元. (2020) 浅析伽达默尔的视域融合理论[J].[On the Gadamer’s Theory Fusion of Horizons] 2013(12):134-136.&lt;br /&gt;
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Gadamer, H. G. Truth and Method[M]. New York: Continuum, 2004: 304.&lt;br /&gt;
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Wang Hui 王辉. (2003) 理雅各与《中国经典》[J]. [James Legge and Chinese Classics] 2003: 39-43.&lt;br /&gt;
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Lieu Chongde 刘重德. (2003)《论语》韦利英译本之研究—兼议里雅各、刘殿爵英译本[J]. [A Study of Lun Yu by Whaley—Discussion on contrastive analysis between James Legge and D.C.Lau)  2001: 15-17.&lt;br /&gt;
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Yao Shun 姚舜. (2014) 目的论视角下的儒家思想核心概念英译研究—以理雅各和韦利《论语》英译对比分析为例[D]. [A Study of Lun Yu Translated by Xu Yuanchong in the perspective of Skopostheory] 2014: 42-43.&lt;br /&gt;
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Niu Xiyu 牛汐语. (2021) 辜鸿铭《论语》译本中译者主体性的体现[J]. [The Presentation of Translator’s Subjectivity in Ku Hung-ming’s Lun Yu’s Translation] 2021:89-90.&lt;br /&gt;
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Li Mi 李谧. (2004) 许渊冲的诗译“三美”之说[J]. [Three Beauty in Poetic Translation of Xu Yuanchong] 2004: 83-84.&lt;br /&gt;
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Xu Shen 许慎. (2013)《说文解字》[Z]. [Shut-wen chieh-tzu] 2013: 1458&lt;br /&gt;
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Yang Bojun 杨伯峻. (2009)《论语释注》[Z]. [Annotation Analects] 2009: 213, 214, 215,2, 11, 23,&lt;br /&gt;
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Ku Hungming 辜鸿铭.(2011)《辜鸿铭英译&amp;lt;论语&amp;gt;》[M]. [The Discourses And Sayings of Confucius] 2011&lt;br /&gt;
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Yuanchong, Xu. (2013) Thus Spoke the Master[M]. Beijing: Dolphin Books, 2013: 12, 18.&lt;br /&gt;
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=杨柳青 Bian Zhilin's Literary Translation Theories and Practice  ——Take His Translation of Romantic Poems as examples=&lt;br /&gt;
[[Trans_Type_EN_10]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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Bian Zhilin is a famous Chinese translator and poet. He absorbed traditional translation theories dialectically and created translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; from the perspective of literary translation. Specifically, &amp;quot;Replacing foot with dun&amp;quot; is his poetry translation strategy. This paper will analyze Bian Zhilin translations of some romantic poems and shows some critical thinking about his literary translation theories.&lt;br /&gt;
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===Key words===&lt;br /&gt;
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&amp;quot;Faithfulness, Similarity and Translation&amp;quot;; &amp;quot;Replacing Foot with Dun&amp;quot;; Romantic Poetry&lt;br /&gt;
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===题目===&lt;br /&gt;
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卞之琳文学翻译理论和实践 ——以其浪漫主义诗歌译作为例&lt;br /&gt;
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===摘要===&lt;br /&gt;
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卞之林是著名的中国翻译家、诗人。他辩证地吸收传统翻译理论，从文学翻译的角度创立了“信、似、译”的翻译理论。 具体而言，“以顿代步”是他的诗歌翻译策略。本文将对卞之琳的浪漫主义诗歌译作进行分析，并对其文学翻译理论提出一些批判性性思考。&lt;br /&gt;
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===关键词===&lt;br /&gt;
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“信、似、译”；“以顿代步”；浪漫主义诗歌&lt;br /&gt;
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===Chapter 1 Introduction of Bian Zhilin and Romanticism===&lt;br /&gt;
====Introduction of Bian Zhilin====&lt;br /&gt;
Bian Zhilin is a representative of Chinese modernist poetry, a famous literary critic and literary translator. He translated foreign literature especially poetry and Shakespeare's plays. He has devoted his whole life to the literature and cultural exchanges between China and foreign countries. He is known as &amp;quot;the master of Poetry and the leading scholar in translation in China&amp;quot;. He dialectically absorbed previous translation theories and formed his unique translation thoughts. His famous works include ''Leaves of Three Autumns'' which is his first volume of Poetry and contains verses filled with the melancholy and despair, ''Fish Eyes Collection'', ''The Han Garden Collection'' and ''Poems of a Decade'' and so on.&lt;br /&gt;
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====Introduction of Romanticism====&lt;br /&gt;
Romanticism is a reaction against the Enlightenment and rationalism in 18th century, and a rejection of the precepts of order, calm, harmony, balance, idealization, and rationality that typified in classicism and neoclassicism. English Romanticism is generally defined to begin in 1798 with the publication of William Wordsworth and Samuel Taylor Coleridge's Lyrical Ballads and end in 1832 with Walter Scott's death. Romanticists place the individual at the center of art and make literature most valuable as an expression of his or her unique feelings and particular attitudes and make its accuracy a portraying the individual's experience. &lt;br /&gt;
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Romanticism is a period of poetry. During this period, many poets created plenty of wonderful poems which vividly show the beauty of nature and humanistic thoughts. English romantic poets contain the elder generation and the younger generation. The elder generation, also called &amp;quot;lake poets&amp;quot; includes William Wordsworth, Samuel Taylor Coleridge and Robert Southey and so on. The younger generation includes George Gordon Byron, Percy Bysshe Shelley and John Keats and so on. Besides, William Blake also deserves attention. He is a pre-romanticist and a forerunner of the romantic poetry of the 19th century. In this paper, I will analyze poems of William Blake, William Wordsworth and Percy Bysshe Shelly to show Bian Zhilin's translation theories.&lt;br /&gt;
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===Chapter 2 Bian Zhilin's Literary Translation Theories===&lt;br /&gt;
====&amp;quot;Faithfulness, Similarity and Translation&amp;quot;====&lt;br /&gt;
Bian Zhilin is a famous poet, translator and literary researcher in China. For decades, he not only made remarkable achievements in the field of poetry and Chinese and foreign literature studies, but also left a valuable fortune in literary translation, especially in poetry translation. Bian Zhilin has formed clear and instructive translation thoughts and theoretical views through her long-term translation practice. These translation thoughts and theoretical views influenced his translation behavior and effect, formed his exquisite translation art, and also had a great influence in the field of translation. He broke through the traditional translation theories and put forward the translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot; which is based on dialectically absorbing and reasonably sublating the traditional translation theories.&lt;br /&gt;
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=====Faithfulness=====&lt;br /&gt;
It is well-known that &amp;quot;faithfulness, expressiveness and elegance&amp;quot; created by a modern Chinese translator Yan Fu has become the most widely spread and popular translation standards in history of modern Chinese translation. And it has always been in the mainstream in the field of translation in China. There has been a long debate in Chinese translation field around &amp;quot;faithfulness, expressive and elegance&amp;quot;. However, &amp;quot;faithfulness&amp;quot; put forward by Bian Zhilin has achieved the transcendence and unification of this debate. &lt;br /&gt;
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======Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
According to Yan Fu, &amp;quot;faithfulness&amp;quot; means a translation should be faithful to the content of the original which is the first requirement of translation. &amp;quot;Expressiveness&amp;quot; means a translation should be fluent and articulate. &amp;quot;Elegance&amp;quot; means a translation should use elegant words so as to make the translation literary (Luo Xinzhang 136). Yan Fu believed that only elegant words can express the essence of original text. And he advocated translator used classical Chinese before Han Dynasty, namely, pre-Qin period. In fact, Yan Fu translated a lot of works in accordance with this criterion. &lt;br /&gt;
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======Debates around Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
Many speakers thought highly of Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, and this criterion once became the only standard for evaluating the quality of translation. Many literary translators like Liang Qichao, Lu Xun praised this criterion.&lt;br /&gt;
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Though &amp;quot;Faithfulness, expressiveness and elegance&amp;quot; has been widely accepted, there were still many doubts about this criterion. Most translators acknowledged Yan Fu's &amp;quot;faithfulness,expressiveness and elegance&amp;quot;, but they doubted &amp;quot;elegance&amp;quot;. For example, Chen Xiying, a famous Chinese female translator, opposed &amp;quot;elegance&amp;quot; because she thought &amp;quot;faithfulness and expressiveness&amp;quot; is quite enough for non-literary works and &amp;quot;elegance&amp;quot; is not necessary. Even for literary works, &amp;quot;elegance&amp;quot; is not necessary since some characters in literary works are from countryside and their speeches apparently couldn't be elegant (Luo Xinzhang 401-402). &lt;br /&gt;
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However, though these opinions are different they have one thing in common: all these opinions divide &amp;quot;faithfulness, expressiveness and elegance&amp;quot; up and judge them separately. &lt;br /&gt;
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======Bian Zhilin's &amp;quot;faithfulness&amp;quot;======&lt;br /&gt;
Unlike most translators, Bian Zhilin has his own unique view. Bian Zhilin believes there is only one advisable standard in &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, that is &amp;quot;faithfulness&amp;quot;. According to Bian Zhilin, &amp;quot;faithfulness&amp;quot; means being loyal to the original text comprehensively, not only to the content of the original text, but also to the form (Bian Zhilin 503). It seems that there is no apparent difference between Yan Fu's faithfulness and Bian Zhilin's faithfulness. But that's not the case. &lt;br /&gt;
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Firstly, Bian Zhilin doesn't totally deny the value of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. His faithfulness is mainly for literary translation which aims to highlight the artistic features of literary translation. Bian Zhilin believes that literary translation is an artistic and creative activity which not only includes language conversion but also involves the knowledge of literature, aesthetics, literature and art. He thinks &amp;quot;faithfulness, expressiveness and elegance&amp;quot; lays too much emphasis on the content and form of language which is not suitable for literary translation. &lt;br /&gt;
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Secondly, Bian Zhilin opposed the artificial separation of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. He thinks this separation is a kind of false perception which may cause the emphasis of one aspect and the neglect of the others. He thinks that artistic translation standard, strictly speaking, is only &amp;quot;faithfulness&amp;quot; which means the full fidelity to content and form. Actually, Bian Zhilin doesn't deny the existence value of expressiveness and elegance; instead, he seems &amp;quot;faithfulness, expressiveness and elegance&amp;quot; as a whole and &amp;quot;faithfulness&amp;quot; includes &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot;. Therefore, his faithfulness is comprehensive: both &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot; are internalized in &amp;quot;faithfulness&amp;quot;.&lt;br /&gt;
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Thirdly, Bian Zhilin believes &amp;quot;faithfulness&amp;quot; in literary translation means translation should be loyal to original text both in content and form. In others words, it's not desirable that translation be better or worse than the original. Besides, he holds that &amp;quot;faithfulness&amp;quot; in translation is not absolute but relative and it needs artistic creation of translators(Li Changshuan 57). What's more, literary translators should have the confidence in translating the &amp;quot;spirit&amp;quot; of the original so as to make translation vivid and expressive.&lt;br /&gt;
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All in all, Bian Zhilin believes the content and form of literary works are unified and indivisible, so is &amp;quot;faithfulness, expressiveness and elegance&amp;quot;.  At the same time, he admits &amp;quot;faithfulness&amp;quot; is relative rather than absolute considering difference between language and culture. Therefore, Bian Zhilin's faithfulness is inheritance and innovation of traditional translation theory and has important theoretical value.&lt;br /&gt;
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=====Similarity=====&lt;br /&gt;
======Formal Similarity and Spiritual Similarity======&lt;br /&gt;
Formal similarity means translation preserves the linguistic form of the original which includes words, grammar, sentence structure, figures of speech and types or forms of literature and so on. Any two languages have something both common and different. Those common features are the bases of formal similarity of translation. &lt;br /&gt;
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Spiritual similarity, on the contrary to formal similarity, means getting rid of the bondage of language form such as words, grammar when it is necessary. And translators should use authentic translation to convey the artistic features of the original. Spiritual similarity was first put forward by Mao Dun and was further advocated and practiced by Fu Lei. It has become one of the dominant theories in Chinese translation theories.&lt;br /&gt;
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======Debates around Formal Similarity and Spiritual Similarity======&lt;br /&gt;
In the field of Chinese translation, translators debated a lot around formal translation and spiritual translation. Many translators believe formal translation is more advisable than spirit translation. But others think differently. For instance, Chen Xiying believed there were three kinds of &amp;quot;faithfulness&amp;quot;, namely spiritual similarity, meaning similarity and formal similarity, among which spiritual similarity is superior, meaning similarity is the second and formal similarity is inferior. Chen Xiying held that formal similarity ignores the writing style of the original though it conveys the meaning of the original completely. Meaning translation is better than formal translation because it focuses on not only what the original writer says but also how he says it. But meaning translation is much more like imitation which cannot grasp the &amp;quot;spirit&amp;quot; of the original. Spirit translation, however, is the exact way to convey the &amp;quot;spirit&amp;quot; of the original. Besides, Yan Fu is another representative who pays more attention to spirit similarity than to formal similarity (Luo Xinzhang 694).&lt;br /&gt;
======Bian Zhilin's &amp;quot;Similarity&amp;quot;======&lt;br /&gt;
Bian Zhilin took a stand against the long-standing debate around formal similarity and spiritual similarity. In his opinion, there is only one word between formal similarity and spiritual similarity that is advisable——&amp;quot;Similarity&amp;quot;. Bian Zhilin holds that literary work is a unity of content and form; &amp;quot;form&amp;quot; and &amp;quot;spirit&amp;quot; in literary translation is complementary. On the one hand, &amp;quot;form&amp;quot; is the basis of &amp;quot;spirit&amp;quot; which means without concrete form, the spirit and artistic value of literary works can only be empty talk. On the other hand, &amp;quot;spirit&amp;quot; is the life of &amp;quot;form&amp;quot; which means literary works without &amp;quot;spirit&amp;quot; likes people without soul, which can only be empty body and meaningless form (Bian Zhilin 551).&lt;br /&gt;
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&amp;quot;Similarity&amp;quot; which was put forward by Bian Zhilin, actually contains the similarity both in formal similarity and spiritual similarity. In other words, ideal literary translation should achieve the unity of form and spirit. Bian Zhilin thinks literary translation can only achieve similarity with the original but not sameness (Bian Zhilin 8-9), which not only recognizes the difference between the original and the translation, but also acknowledges translators' creative efforts.&lt;br /&gt;
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=====Translation=====&lt;br /&gt;
======Literal Translation and Free Translation======&lt;br /&gt;
Literal Translation means expression forms and syntactic structure of the translated text should be as consistent as possible with the original when translators convey the meaning of the original text. Free translation, however, means translators should break the linguistic form of the original text and express the meaning of the original by using the customary expressions of the target language.&lt;br /&gt;
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======Debates around Literal Translation and Free Translation======&lt;br /&gt;
The debates between literal translation and free translation in the history of western translation can be date back to Cicero (106BC-43BC). Cicero opposed &amp;quot;word for word translation&amp;quot; (literal translation) which was deemed as &amp;quot;interpreter's translation&amp;quot; and advocated &amp;quot;sense for sense translation&amp;quot; (free translation) which was deemed as &amp;quot;orator's translation&amp;quot;(Tan Zaixi 24). Cicero's distinction about translation paved the way for following translators. For example, John Dryden published his views on literal translation and free translation. Dryden made distinction between metaphrase, phrase and imitation which was an extension of literal translation and free translation. What's more, Newmark thinks literal translation is preferred when the effect is the same (Newmark 39). And Nabokov holds that literal translation is true translation because it can convey the exact contextual meaning of the text as accurately as possible (Nabokov viii).&lt;br /&gt;
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======Bian Zhilin's Translation======&lt;br /&gt;
Bian Zhilin thinks only &amp;quot;translation&amp;quot; is advisable over the long-standing dispute over literal translation and free translation. Translation contains following meanings (Bian Zhilin 8).&lt;br /&gt;
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Firstly, literal translation and free translation are not contradictory but complementary. Too much emphasis on either side will only have a bad effect on literary translation. Bian Zhilin also criticizes translations that put too much emphasis on the source language or the target language.&lt;br /&gt;
&lt;br /&gt;
Secondly, translation cannot be creation. Translation should be based on the original text, not personal creation. But Bian Zhilin doesn't deny the creativity in translation and thinks the creativity is the life of translation as long as it is based on the original.&lt;br /&gt;
&lt;br /&gt;
====Bian Zhilin's Poetry Translation Strategies====&lt;br /&gt;
Absorbed thoughts from former and contemporary poets, Bian Zhilin created his poetry translation strategies. That is to translate English poetry in a poetical and metrical way and replace foot with dun. These strategies not only consider the western poetry patterns, but also considers the characteristics of Chinese, which has strong feasibility. Bian Zhilin's poetry translation strategies are closely related with his literary translation theory of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
=====Translating Poetry in A Poetical and Metrical Way=====&lt;br /&gt;
Bian Zhilin thinks that poetry is more a unity of content and form than other literary forms. Therefore, poetry translation includes both translation of poetry content and form. Bian Zhilin thinks poetry translation should be loyal to the original poem not only in content but also in form. Poems should be translated into the form of poem rather than prose. If the original poem is free verse, then translated version also should be free verse. If the original poem is metrical poem, then translation also should be a metrical one. (Bian Zhilin, 319) The coincidence between form and content in poetry translation is an embodiment of translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Meter is an important feature of poetry, including rhythm, rhythm and arrangement of words and stanzas. There are many differences in meter among poetry of different languages. And different poets and works use different meters. These become major factors of difficulties in poetry translation. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin thinks translators should preserve the metrical features of the original poems. In other words, translators should translate poetry in a metrical way. Therefore, poems should be translated by using equivalent meter. To be more specific, translators should translate foreign poems by using commonalities between Chinese traditional metrical basis and foreign metrical basis. It's not just simple application of foreign poetry patterns nor of Chinese traditional poetry patterns. Instead, it's the crossover of the two poetry patterns.&lt;br /&gt;
&lt;br /&gt;
=====Replacing Foot with Dun=====&lt;br /&gt;
The key to the metrical problem of poetry translation is what is the metrical unit of the line, &amp;quot;word&amp;quot; (a syllable) as a unit or &amp;quot;dun&amp;quot; (syllables) as a unit. Bian Zhilin believes metrical poems should be translated in equivalent &amp;quot;duns&amp;quot; which can replace meters and this kind of translation is without the limit of word numbers. This theory is well thought out and based on rhythmic characteristics of Chinese. As Bian Zhilin analyzed that when we speak Chinese, we usually say two or three Chinese characters as a &amp;quot;dun&amp;quot; in most cases, one character at least as a &amp;quot;dun&amp;quot; and four characters at most as a &amp;quot;dun&amp;quot;. This is the internal rules of Chinese. Chinese poems constitute stanzas, stanzas constitute lines and lines constitutes &amp;quot;duns&amp;quot;. Therefore, &amp;quot;dun&amp;quot; is the natural rhythmic units of Chinese poetry and reveals poems' &amp;quot;inherent music-like rhythm and beat&amp;quot;.&lt;br /&gt;
 &lt;br /&gt;
However, that &amp;quot;dun&amp;quot; is the basic metrical unit of the Chinese poetry doesn't mean the number of duns in each line is exactly the same. Bian Zhilin advocates dun of two characters and dun of three characters should be arranged alternately and adjusted mutually to meet the needs of poetic expression and produce an effect similar to feet in western poetry.&lt;br /&gt;
&lt;br /&gt;
===Chapter 3 Analyses of Bian Zhilin's Translation Practice===&lt;br /&gt;
Bian Zhilin put his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and poetry translation strategies of &amp;quot;replacing foot with dun&amp;quot; into practice. Here are three poem excerpts of romantic poets and Bian Zhilin's translation of them.&lt;br /&gt;
&lt;br /&gt;
====William Blake's ''The Tiger'' in ''Songs of Experience''====&lt;br /&gt;
William Blake is a representative of English romantic literature. He was hailed by 20th century critics as &amp;quot;the great prophet&amp;quot; who was a pioneer of romanticism. He broke neoclassical traditions in the 18th century and emphasized instinct, passion and imagination. Besides, Blake is a revolutionary poet and expressed strong revolutionary passion and rebellious spirit in his poem. The Tiger is one of his earliest lyrical poems. It eulogizes the shape and strength of the tiger. Here is an excerpt of it:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Tiger! Tiger! Burning bright&lt;br /&gt;
&lt;br /&gt;
In the forests of the night,&lt;br /&gt;
&lt;br /&gt;
What immortal hand or eye&lt;br /&gt;
&lt;br /&gt;
Could frame thy fearful symmetry?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
老虎！|老虎！|火一样的辉煌，&lt;br /&gt;
&lt;br /&gt;
烧穿了|黑夜的|森林和|草莽，&lt;br /&gt;
&lt;br /&gt;
什么样|非凡的|手和|眼睛&lt;br /&gt;
&lt;br /&gt;
能塑造|你一身|惊人的|匀称？&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of dun.)&lt;br /&gt;
&lt;br /&gt;
The excerpt shows the praise for the tiger. In the poem, Blake uses symbolization and compares the tiger to a fire that destroys everything. Bian Zhilin represents the perfect creation of the creator with the symmetry of the tiger. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem on the guidance of his theory of &amp;quot;faithfulness, similarity and translation&amp;quot;. In the first line of the excerpt, the use of &amp;quot;Tiger&amp;quot; with exclamation marks is a kind of call of the tiger——the king of the forest. Bian Zhilin translates them faithfully into &amp;quot;老虎！老虎！&amp;quot;. The third line is a rhetorical sentence that asks without answering, which reminds readers of the Creator——God, thus making the poetry profound. Bian Zhilin follows the rhythmic characteristics of the original poem and translates it artistically.  &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin also makes his translation according to his theory of &amp;quot;replacing foot with dun”. The above stanza consists of four lines of trochaic tetrameter. Therefore, there are four feet in each line. And in translated version, there are four lines of four duns. Each duns contains two or three characters, thus make the structure of the translated poem neat and have a strong rhythm.&lt;br /&gt;
&lt;br /&gt;
====William Wordsworth's ''The“Lucy”Series''====&lt;br /&gt;
William Wordsworth is also an important poet in English romanticism. He was made poet laureate and he strongly promoted the innovation of English poetry and the development of the Romantic movement. He believes &amp;quot;Poetry is the spontaneous overflow of powerful feelings&amp;quot;. The following excerpt is taken from his &amp;quot;Lucy&amp;quot; series:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
A slumber did my spirit seal&lt;br /&gt;
&lt;br /&gt;
I had no human fears&lt;br /&gt;
&lt;br /&gt;
She seemed a thing that could not feel&lt;br /&gt;
&lt;br /&gt;
The touch of earthly years &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
No motion has she now, no force&lt;br /&gt;
&lt;br /&gt;
She neither hears nor sees&lt;br /&gt;
&lt;br /&gt;
Rolled round in earth's diurnal course&lt;br /&gt;
&lt;br /&gt;
With rocks, and stones, and trees.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
迷糊|封住了|我的|精神；&lt;br /&gt;
&lt;br /&gt;
我没有|人世的|忧惶：&lt;br /&gt;
&lt;br /&gt;
她似乎|超然|物外，|不可能&lt;br /&gt;
&lt;br /&gt;
感觉到|岁月的|影响。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
现在|她无力了，|也不能|动弹；&lt;br /&gt;
&lt;br /&gt;
她不再|耳闻|目睹；&lt;br /&gt;
&lt;br /&gt;
卷在|地球的|日程里|滚转，&lt;br /&gt;
&lt;br /&gt;
混同了|岩石、|树木。&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
The above poem was written when Wordsworth went and stayed in Germany with his sister Dorothy in 1798 and 1799. It uses simple words and the meaning of the poems is quite clear. And Bian Zhilin's translation of the poem is quite faithful and vivid. &amp;quot;Slumber&amp;quot; in the first line of the original is translated into &amp;quot;迷糊&amp;quot; rather than &amp;quot;沉睡&amp;quot;, which gives readers a sense of &amp;quot;lazy charm&amp;quot;. And &amp;quot;fears&amp;quot; in the second line was translated into &amp;quot;忧惶&amp;quot;；it’s quite vivid and pertinent. Besides, the original poem consists of two stanzas with four lines of iambus. In each stanza, the first and the third line have four feet and the second and the fourth line have three feet. The whole poem follows the rhyme scheme of &amp;quot;a-b-a-b, c-d-c-d&amp;quot;. Bian Zhilin replaces feet in the poem with duns. There are fours duns in the first and the third lines and three duns in the second and fourth lines in translation. And the translated version follows the same rhyme scheme with the original. The whole poem is translated and expressed in quite appropriate way.&lt;br /&gt;
&lt;br /&gt;
====Percy Bysshe Shelley's ''Song to the Men of England''====&lt;br /&gt;
Percy Bysshe Shelley, as one of the famous romantic poets, pursued freedom and resisted violence in his short life. He encouraged people to stand and fight for a better life and was branded a &amp;quot;complete revolutionary&amp;quot; by Marx. And Song to the Men of England was written by Shelley after &amp;quot;Peterloo incident&amp;quot; in Manchester in 1819 to reveal the cruel nature of reactionary rulers and call on people to revolt bravely. Here is an excerpt of Song to the Men of England:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Men of England, wherefore plough&lt;br /&gt;
&lt;br /&gt;
For the lords who lay ye low?&lt;br /&gt;
&lt;br /&gt;
Wherefore weave with toil and care&lt;br /&gt;
&lt;br /&gt;
The rich robes your tyrants wear?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Wherefore feed and clothe and save&lt;br /&gt;
&lt;br /&gt;
From the cradle to the grave&lt;br /&gt;
&lt;br /&gt;
Those ungrateful drones who would&lt;br /&gt;
&lt;br /&gt;
Drain your sweat——nay, drink your blood?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
英国的|人民，|为什么|犁地&lt;br /&gt;
&lt;br /&gt;
报答|老爷们|踩你们|成泥？&lt;br /&gt;
&lt;br /&gt;
为什么|辛勤|劳苦|去织布，&lt;br /&gt;
&lt;br /&gt;
让那些|恶霸|穿华丽|衣服？&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
为什么|你们|从摇篮|到坟冢&lt;br /&gt;
&lt;br /&gt;
尽供给|和保养|那许多|雄峰？&lt;br /&gt;
&lt;br /&gt;
他们|不感激，|还非常|坚决，&lt;br /&gt;
&lt;br /&gt;
要喝干|你们的汗|——再加|血；&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
This excerpt is about the clash between two classes of society, the poor working class and the rich nobles. The major theme of this poem is exploitation. People plow for the sake of the lords, who are like drone bees that do no work but live off of the works of others. The narrator is urging the workers to make a stand as they are being treated unfairly. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin practices his poetry translation strategies of &amp;quot;translating poetry in metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; in this poem. In the original poem, each of two stanzas consists of four lines of iambic tetrameter, rhyming &amp;quot;a-a-b-b, a-a-b-b&amp;quot;. In the translated version, there are also two stanzas composed of four lines. And in each line, there are four duns which replaces the four feet in the original poem. The rhyme scheme in translated version is the same as that in the original.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translate the poem faithfully and vividly. For example, he translates &amp;quot;lay ye low&amp;quot; into &amp;quot;踩你们成泥&amp;quot; which well preserves the images of the original work. And &amp;quot;tyrants&amp;quot; in the fourth line of the first stanza is translated into &amp;quot;恶霸&amp;quot; which is concise and accurate. In the second stanza, &amp;quot;From the cradle to the grave&amp;quot; modifies &amp;quot;the men of England&amp;quot; rather than those &amp;quot;ungrateful drones&amp;quot;, Bian Zhilin understands the linguistic structure of the poem and translates it into &amp;quot;你们从摇篮到坟冢&amp;quot;. &amp;quot;坟冢&amp;quot; is more formal than &amp;quot;坟墓&amp;quot; and it's suitable for poetry, from which we can see the precision of Bian Zhilin's choose of words. In the last line, Bian Zhilin uses a dash and the words &amp;quot;再加&amp;quot; to highlight the brutal nature of the rulers. Actually, this translation is a good practice of his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===Chapter 4 Critical Thinking of Bian Zhilin's Translation Theories===&lt;br /&gt;
There is no doubt that Bian Zhilin's translation theories greatly promoted the development of English poetry translation in China. His &amp;quot;faithfulness, similarity and translation&amp;quot; is the inheritance and innovation of Chinese traditional translation theories. And it indeed provides a new way for poetry translation. Besides, Bian Zhilin thinks poetry should be translated into poetry rather than prose. In other words, translators should translate poetry in a poetical and metrical way. He stresses the importance of the unity between form and content and thinks high quality translation should be a unity of content and artistic style of the original text.&lt;br /&gt;
&lt;br /&gt;
Despite Bian Zhilin's great contribution to literary translation theories, I think there are still some problems existing in Bian Zhilin's translation strategies. In Bian Zhilin's opinion, translators can replace foot with dun thus achieving similar rhythmical effect in Chinese version with the English original. It seems that it is a quite advisable and feasible method. Bur actually, it cannot be practiced widely. In English poetry, each foot consists of two syllables, which is fixed and regular. But things are changed in Chinese. The character numbers in each dun in Chinese are not fixed. There may be one or two or three or four characters in each dun, so different people may have different divisions of duns based on their different understanding of context. Therefore, the division of duns may be disordered and random, which makes &amp;quot;replacing foot with dun&amp;quot; not advisable in many cases.&lt;br /&gt;
&lt;br /&gt;
Another problem in Bian Zhilin's translation theories is the ignorance of metrical patterns of foot. In English poetry, there are different metrical patterns like iambus, trochee, spondee and pyrrhic and so on. But there are no such meters in Chinese. &amp;quot;Replacing foot with dun&amp;quot; only considers the correspondence of foot but ignores the correspondence of metrical patterns of foot, so Bian Zhilin's &amp;quot;translating poetry in metrical way&amp;quot; actually is not adequate. We know Chinese is a kind of tone language which has four tones. We can use four tones to correspond the metrical patterns of foot in English. But it's quite difficult in so far and still needs more exploration.&lt;br /&gt;
&lt;br /&gt;
===Chapter 5 Conclusion===&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. His literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and &amp;quot;translating poems in a poetical and metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; give us a lot of enlightenment in the translation of poems. This paper analyzes Bian Zhilin's translation of romantic poems to show his translation strategies. However, there are still some problems in his theories, for example, the division of duns are disordered and random which are based on the understanding of translators and there is no correspondence in metrical patterns of foot. These are the problems that are needed to be considered and solved.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Blake, William. Songs of Experience[M]. New York: Dover Publications, Inc., 1971.&lt;br /&gt;
&lt;br /&gt;
Durrant, Geoffrey. William Wordsworth [M]. Cambridge: Cambridge University Press, 1979.&lt;br /&gt;
&lt;br /&gt;
Nabokov, Vladimir. &amp;quot;Forward&amp;quot;, A.S.Pushkin, Eugene Onegin, Nabokov, V.trans. London: Routledge &amp;amp; Kegan Paul, 1964/1975, p.viii.&lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. Approaches to Translation. Oxford: Pergamon, 1981, p39.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2002).《卞之琳文集》（中卷）. 安徽教育出版社, p503.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2000).《卞之琳文集》（上卷）. 安徽教育出版社, p8.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(1994).《从&amp;lt;西窗集&amp;gt;到&amp;lt;西窗小书&amp;gt;》.[英] 克里斯托弗·衣修伍德《紫罗兰姑娘》, 卞之琳译. 中国工人出版社, p8-9.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2007).《人与诗：忆旧说新》（增订本）. 安徽教育出版社, p319.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2005). 《英国诗选》. 商务印书馆, p156.&lt;br /&gt;
&lt;br /&gt;
Chen Xiying陈西滢(1984).《论翻译》. 罗新璋编《翻译论集》. 商务印书馆, p401-402.&lt;br /&gt;
&lt;br /&gt;
Fu Lei傅雷(1984).《论文学翻译书》. 罗新璋编《翻译论集》. 商务印书馆, p694.&lt;br /&gt;
&lt;br /&gt;
Li Changshuan李长栓(2004). 《非文学翻译理论与实践》. 中国对外翻译出版公司, p57.&lt;br /&gt;
&lt;br /&gt;
Shen Suru沈苏儒(1998).《论信达雅：严复翻译理论研究》. 商务印书馆, p8.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜(1991).《西方翻译简史》.商务印书馆, p24.&lt;br /&gt;
&lt;br /&gt;
Yan Fu严复(1984).《&amp;lt;天演论&amp;gt;译例言》.罗新璋编《翻译论集》. 商务印书馆, p136.&lt;br /&gt;
&lt;br /&gt;
=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday, 2012) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær, 2015; von Flotow, 2010). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh (2015) argues that translation is one of the traditional communicating methods between communities all around the world. Jothiraj (2004) states that “translation plays an important role in the inter-lingual process of communication” (p. 1). Translation is essential for cultures and languages to exchange information. Newmark (1988) defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects. Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
&lt;br /&gt;
Nida (1964) indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style. Larson (1998) has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context. &lt;br /&gt;
&lt;br /&gt;
Culture plays a considerable role, Snell-Hornby (1988, p. 33) assumed that “Culture refers to all socially conditioned aspects of human life”. Another definition of culture is formulated by Goodenough (1957, p. 167). For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term. By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
&lt;br /&gt;
The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline (2003, p.16) thought that “religion is an important institutional network that binds people to one another.” But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
&lt;br /&gt;
This study is aimed to probe Newmark's (1988) translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion (1988, p. 81), seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL. &lt;br /&gt;
&lt;br /&gt;
===Translation and Culture===&lt;br /&gt;
&lt;br /&gt;
2. Translation and Culture &lt;br /&gt;
&lt;br /&gt;
Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.  &lt;br /&gt;
The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988, 7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988, 5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988, 7).  &lt;br /&gt;
&lt;br /&gt;
In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford (1965) defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language” (Catford 1965, 20). According to Venuti’s translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader” (Venuti 1995, 18). Schjoldager stated that “a translation is a text that expresses what another text has expressed in another language” (Schjoldager 2008, 19). Culture is a complex whole which includes knowledge, belief, art, law, morals, customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan (2014), claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014, 2). Hermanns (1999) contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures. Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014, 2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark (2001), illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001, 328). &lt;br /&gt;
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Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
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2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
&lt;br /&gt;
Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora, fauna, food, clothes, housing, work, leisure, politics, law, and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988, 327) Christine Nord names them “culturemes” (Nord 1997, 9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012, 1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Aixela, 1997; Davies, 2003), others choose cultural words (Newmark, 2003) or culture-bound phenomena/concepts (Baker, 1992, Newmark, 2003, Robinson, 2003). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker, 1992, 21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988, 94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988, 95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988, 95).&lt;br /&gt;
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2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
&lt;br /&gt;
The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85, P. 22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003, 16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.&lt;br /&gt;
&lt;br /&gt;
===Types of Translation ===&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
Newmark (1988) determines 8 types of translation which are: &lt;br /&gt;
 &lt;br /&gt;
3.1 Word-for-Word Translation &lt;br /&gt;
&lt;br /&gt;
This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
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3.2 Literal translation &lt;br /&gt;
&lt;br /&gt;
In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
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3.4 Semantic Translation &lt;br /&gt;
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Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
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3.5 Adaptation &lt;br /&gt;
&lt;br /&gt;
This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015, 15). &lt;br /&gt;
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3.6 Free Translation &lt;br /&gt;
&lt;br /&gt;
The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
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3.7 Idiomatic Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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3.8 Communicative Translation &lt;br /&gt;
&lt;br /&gt;
This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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===Translation Strategies  ===&lt;br /&gt;
&lt;br /&gt;
4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
&lt;br /&gt;
4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela (1996), translators need to choose several strategies based on the source language culture and target culture.  He distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, he tries to command by the level of their intercultural intervention. He divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies). &lt;br /&gt;
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4.1.1. Conservation: &lt;br /&gt;
In conservation, the less compelling process includes repetition, orthographic adaptation, linguistic translation, extratextual gloss and intratextual gloss. &lt;br /&gt;
&lt;br /&gt;
4.1.1.1 Repetition: In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus, the translator keeps as much as possible the original reference (Aixela, 1996, p. 61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
&lt;br /&gt;
4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
&lt;br /&gt;
4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
&lt;br /&gt;
4.1.1.4 Extra-textual Gloss: Here, the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes, endings, words, ideas, translators in dictionaries, italics and so on. &lt;br /&gt;
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4.1.1.5 Intra-textual Gloss: It's like the past but the translator feels that he/she can include the globe as an indirect part of the text, not to distract the reader. &lt;br /&gt;
&lt;br /&gt;
4.2.1 Substitution &lt;br /&gt;
In substitution, According (Aixela, 1996) “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here”. &lt;br /&gt;
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4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
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4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
&lt;br /&gt;
4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela, 1997, p.63). &lt;br /&gt;
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4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Shokri, Ketabi, 2015, p.8). &lt;br /&gt;
&lt;br /&gt;
4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela, 1996, p. 64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
&lt;br /&gt;
4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela, 1997). &lt;br /&gt;
&lt;br /&gt;
4.3 Mona Baker’s Translation Strategies &lt;br /&gt;
Baker’s strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation. (Baker, 1992). He suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies, which are the following: &lt;br /&gt;
&lt;br /&gt;
4.3.1 Translation by a more general word: According to Baker, this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
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4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
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4.3.3 Translation by cultural substitution: This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
&lt;br /&gt;
4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
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4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
&lt;br /&gt;
4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
&lt;br /&gt;
4.3.7 Translation by omission: Losing phrases or words that are not vital to text development. &lt;br /&gt;
&lt;br /&gt;
4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view, however, Baker's (1992) translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
&lt;br /&gt;
===Cultural Categories  ===&lt;br /&gt;
5. Cultural categories &lt;br /&gt;
 &lt;br /&gt;
5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
5.1.2 Material culture &lt;br /&gt;
Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.” &lt;br /&gt;
5.1.3 Social culture &lt;br /&gt;
The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
5.1.4 Organisation &lt;br /&gt;
Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
 &lt;br /&gt;
5.2 Newmark Classification CSIs &lt;br /&gt;
Newmark (1988) established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items.&lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
 &lt;br /&gt;
Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
&lt;br /&gt;
2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
&lt;br /&gt;
3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
&lt;br /&gt;
4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
&lt;br /&gt;
5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
&lt;br /&gt;
6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
&lt;br /&gt;
7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
&lt;br /&gt;
8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
&lt;br /&gt;
9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
&lt;br /&gt;
10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
&lt;br /&gt;
11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
&lt;br /&gt;
12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
&lt;br /&gt;
13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
&lt;br /&gt;
14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
&lt;br /&gt;
16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
&lt;br /&gt;
17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
&lt;br /&gt;
18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
&lt;br /&gt;
19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
&lt;br /&gt;
20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
&lt;br /&gt;
21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
&lt;br /&gt;
22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
&lt;br /&gt;
23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
&lt;br /&gt;
24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996, 31), “translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by (Newmark 1988, 81), “translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.” &lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation, then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions. &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity, as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts, the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term, and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part, but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark (1988) has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9. &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark’s strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                           	 قرُۡءٰنًا	Quran &lt;br /&gt;
 	                         ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference               	 يعَۡقوُۡب	Yaqub &lt;br /&gt;
 	                            اِسۡحٰق	Ishaq &lt;br /&gt;
 	                         يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
===8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
===      This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
===8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
===8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
===The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark (1988) were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
===This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However, the translator must be competent in using the translation procedures to provide an accurate translation. &lt;br /&gt;
&lt;br /&gt;
===8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
===The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abdi, H. (2019). Translating culture-specific items (CSIs) as a conundrum for Iranian MA translation students: Considering the level of study. Journal of new advances in English Language Teaching and Applied Linguistics, 1(1), 88-109. &lt;br /&gt;
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Aguado-Gimenez, P., &amp;amp; Pérez-Paredes, P. F. (2005). Translation-strategies use: A classroombased examination of Baker’s taxonomy. Meta: journal des traducteurs/Meta: &lt;br /&gt;
Translators' Journal, 50(1), 294-311. &lt;br /&gt;
&lt;br /&gt;
Ahmadi, M. R.S and Nosrati, Fatemah. (2012). Domestication and Foreignization Strategies in Translation of Culture-Specific Items. Translations of English-Persian Children’s Literature. San Francisco: Grin Publishing. Google Books. &lt;br /&gt;
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Al Saleh, R. A. (2019). An Application of Newmark's Procedures to Muhammad Abul Quasem's Alleman, J. C. Bee. W. Ulitkin, I. Files, F., Zetzsche, J., Chatonnet-Marton, P. &amp;amp; y del Árbol, E. V. Translation Strategies. &lt;br /&gt;
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Al-Sofi, B. B. M. A., &amp;amp; Abouabdulqader, H. (2020). Bridging the gap between translation and culture: towards a cultural dimension of translation. International journal of linguistics, literature and culture, 6(1), 1-13. &lt;br /&gt;
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Baker, M., 1992. In Other Words: A Coursebook on Translation. London: Routledge, p.20–42. &lt;br /&gt;
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Blažytė, D., &amp;amp; Liubinienė, V. (2016). Culture-specific items (CSI) and their translation strategies in Martin Lindstrom’s&amp;quot; Brand sense&amp;quot;. Kalbų studijos, (29), 42-57. &lt;br /&gt;
&lt;br /&gt;
Bush, P. (1998) &amp;quot;Literary Translation.&amp;quot; In: M. Baker, ed. Routledge Encyclopedia of Translation Studies, London: Routledge, pp.127-130. &lt;br /&gt;
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Catford. J. C. (1965). A linguistic theory of translation. Oxford: Oxford University Press. &lt;br /&gt;
English Translation of Mohammad Al-Ghazali's Islamic Guidance.Literature and Culture, 6(1), 1-13. &lt;br /&gt;
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Gečaitė, L. (2020). Culture-Specific Items and Their Translation Strategies in Victoria Hislop's Novel The Sunrise.” (2020). &lt;br /&gt;
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Hassan, B. E. A. (2014). Between English and Arabic: A practical course in translation. &lt;br /&gt;
Cambridge Scholars Publishing. &lt;br /&gt;
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Hermans, T. (1999). Translation in systems. Manchester: St. Jerome Publication  House, J. (Ed.). (2014). Translation: a multidisciplinary approach. Springer. &lt;br /&gt;
Issa, A. L. S. M., &amp;amp; Hammood, L. H. R.- Quranic-Specific Phrases under the Study of Translation; Significance and Applications. &lt;br /&gt;
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Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. (33), p. 83-87). &lt;br /&gt;
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Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. 33, p. 83-87). &lt;br /&gt;
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Lambert, J. (1998) Literary Translation. In: M. Baker, ed. Routledge Encyclopedia of Translation Studies. London: Routledge, 130-134. &lt;br /&gt;
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Landers, Clifford E. (2001) Literary Translation: A practical guide. New Jersey University Press: Multilingual Maters. &lt;br /&gt;
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Lustig, Myron, W. and Koeser, Joline  (2003), Intercultural Competence: Interpersonal Communication Across Cultures, Boston: Allyn and Bacon. &lt;br /&gt;
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Malmkjær, K. (1993). Who Can Make Nice A Better Word Than Pretty? Collocation, Translation, and Psycholoinguistics. In: Baker, M., Francis, G. and Tognini-Bonelli, E. &lt;br /&gt;
eds. Text and Technology. Philadelphia/Amsterdam: John Benjamins Publishing Company. pp.213-32. &lt;br /&gt;
&lt;br /&gt;
Mosavat, S., &amp;amp; Rahimpour, S. (2016). The Most and Least Used Translation Strategies for &lt;br /&gt;
Conveying Culture-Specific-Items in Young Adult Literature from English into Persian. International Journal of Humanities and Cultural Studies (IJHCS) ISSN 23565926, 1853-1873. &lt;br /&gt;
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Munday, J. (1997). Systems in Translation: A computer-assisted systemic approach to the analysis of translation of García Márquez. Ph.D thesis, University of Bradford. &lt;br /&gt;
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Newmark, P. (2001). A Textbook of Translation. Shanghai: Shanghai Foreign Language &lt;br /&gt;
Education Press &lt;br /&gt;
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Newmark, Peter. (1988). A Textbook of Translation. New Jersey: Prentice-Halls &lt;br /&gt;
&lt;br /&gt;
Nord, Christiane. (1997). Translating as a Purposeful Activity: Functionalist Approaches &lt;br /&gt;
Explained. Manchester: St. Jerome. Accessed 10 November. 2018. Google Books Schjoldager, A. (2008). Understanding translation. Academica: Århus. &lt;br /&gt;
&lt;br /&gt;
Silalahi, M., &amp;amp; Lubis, S. (2013). Translation Procedures of Cultural Terms Found In Sejarah Bilingual For Students of Senior High School. &lt;br /&gt;
Valipoor, K., &amp;amp; andAzizeh Chalak, H. H. T. (2019). Cultural-specific items in translation of the Holy Quran by Irving: 43-51. &lt;br /&gt;
&lt;br /&gt;
Venuti, L. (1995). The translator’s invisibility: A history of translation. London and New York: &lt;br /&gt;
Routledge &lt;br /&gt;
&lt;br /&gt;
Widiarto, O. V. V. (2016). The translation procedures of cultural expressions applied in a game of thrones translated into Perebutan Tahta novel by Barokah Ruziati (Doctoral dissertation, Dian Nuswantoro University).&lt;br /&gt;
&lt;br /&gt;
=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
===An Overview on Translation Studies  ===&lt;br /&gt;
&lt;br /&gt;
===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
&lt;br /&gt;
=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the researcher wants to highlight the different concepts about the fundamental question &amp;quot;what is idiomatic expression&amp;quot; of different critics, theorists and linguistic experts, and prominent scholars of translation studies. Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
&lt;br /&gt;
Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda Corelli 2006, 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984, 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992, 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to (Newmark 1981, 11), “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”&lt;br /&gt;
.	The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to (Corelli 2006, 53), English has a sizeable idiomatic base.&lt;br /&gt;
About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.&lt;br /&gt;
The main issue that idiomatic and fixed expressions pose for translators, according to (Baker 1992, 65), is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.&lt;br /&gt;
&lt;br /&gt;
Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.&lt;br /&gt;
&lt;br /&gt;
===Literature Review ===&lt;br /&gt;
In this chapter, the author/researcher defines the strategy and its different definitions from the perspective of different subjects and fields. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented. Krings defines it as the content of the project, while Seguinet divided the term into three steps. However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. &lt;br /&gt;
&lt;br /&gt;
The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward.&lt;br /&gt;
Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint.&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to (Seguinot 1989, 27) (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.&lt;br /&gt;
 Furthermore, (Loescher 1991, 8) defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot; As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998, 4) claim moreover, (Bell 1998, 188) distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.&lt;br /&gt;
 According to (Venuti 1998, 240), &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot; He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to (Jaaskelainen 2005, 15), product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.&lt;br /&gt;
&lt;br /&gt;
Furthermore, (Jaaskelainen 2005, 16) distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making. (Newmark 1988, 221) distinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016, 13).&lt;br /&gt;
The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010, 15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017, 54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985, 9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female.&lt;br /&gt;
Several research articles are found on translated work (license and khol do) of Urdu famous short stories writer Sadat Hassan Manto's from a different perspective like psychoanalysis, postcolonial, feminist approaches but to explore the problem of translations strategies face by translator Aatish Taseer during the process of translation has not been mention till date. To summarize this, the research includes a critical, in-depth, comprehensive analysis of issues that previously did not address.&lt;br /&gt;
&lt;br /&gt;
=== Theoritical Framework ===&lt;br /&gt;
&lt;br /&gt;
Different strategies have been used, like using an idiom of similar meaning and similar form, the idiom of similar meaning and different form, translation by Paraphrasing, translation by omission. The approach of employing idioms of similar meaning and form, according to Mona Baker, entails using an idiom in the target language that can express about the same meaning as the source language idiom, as well as having lexical similarity. On the other hand, this type of matching happens periodically as well as regularly.&lt;br /&gt;
&lt;br /&gt;
Similarly, employing idioms with similar meanings but different forms means that it is possible to locate an idiom or fixed expression in the target text language that has a similar meaning to the source idiom or expression but is made up of distinct lexical elements. Consider the case of English and French, both of which use the idiom mentioned above. In English, one good deed is rewarded with another, whereas in French, handsome deeds are rewarded with handsome deeds.&lt;br /&gt;
&lt;br /&gt;
Furthermore, we did not come across any idioms in the category mentioned above during translating idioms. To deal with this issue, the translators used the most popular approach, known as a translation by paraphrase, which is short, straightforward, and time-saving. When a match cannot be identified in the target language or when it appears improper to employ idiomatic language in target material due to aesthetic differences between the source and target languages, this is the most typical approach for translating an idiom from source to target language. However, one thing to keep in mind is that a perfect translation is not required is necessary or possible.&lt;br /&gt;
&lt;br /&gt;
Last but not least, to overcome the problem of idiom translation, the translator employs the strategy of translation by omission. This can be defined as an idiom being omitted entirely in the target text with a single word. This is done because the idiom has no close match in the target language; its meaning cannot be easily paraphrased or due to stylistic reasons. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
3.4 Data analysis Techniques:&lt;br /&gt;
Textual analysis is the method of data analysis in qualitative research that brings forth the hidden and potent message, structure, and function of research in giving text, Alan Mckee (defines textual analysis as whenever we perform textual analysis on the text, we make an educated guess at some time of the most likely interpretations that might be made of that text (Alan Mckee 2001, 3)&lt;br /&gt;
Analysis of the translation of short stories in light of Mona baker's theory &amp;quot;khol do and license&amp;quot; are short stories written by Sadat Hassan Manto and translated by many translators from Urdu into English. During translation, the translator adopted many strategies for translating idiomatic expression, sometimes by Paraphrasing, sometimes by omission, sometimes using similar idioms of form and meaning while sometimes using different words and the same form, the whole.&lt;br /&gt;
&lt;br /&gt;
===Discussion and Analysis===&lt;br /&gt;
The chapter analyzes and discusses all the data collected by the author/researcher from different sources. All the examples of idioms are first identified, then translated into the target text, and back-translated for the sole purpose of exploring the strategies being used by the translator. A separate section is given to every strategy with its related example. Moreover, the idiomatic expression, the target work for finding, is highlighted through the bold letter.&lt;br /&gt;
&lt;br /&gt;
4.1	Translation by Paraphrasing:&lt;br /&gt;
Based on our findings, the most often used strategy was &amp;quot;translation by paraphrasing.&amp;quot; An inspection also reveals that Aatish Taseer preferred this strategy. Here are some examples applied by the translators, and in the following section, the logic behind their preference towards this strategy is elaborate. The following are examples from two short stories of Sadat Husain Manto's &amp;quot;khol do&amp;quot; and &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 1: &lt;br /&gt;
ST: Sirajuddin ne subah das baji anki kholi to logo ka ail mutalatam samandar deka.&lt;br /&gt;
TT: Ten a.m., Siraj Uddin opens his eyes on the cold floor of the camp, seeing the swelling sea of men.&lt;br /&gt;
BT: sub ke das baji jab Sirajuddin ne apni anki koli to logo ka aik ublaha howa samandar ka nizara dekni laga.&lt;br /&gt;
So, the above idioms are literal idioms being translated with the help of Paraphrasing because there is no perfect equivalent of mutalatam words in English languages. A similar look at another idiom from short stories &amp;quot;khol do.&amp;quot;&lt;br /&gt;
Example 2:&lt;br /&gt;
ST: Khuda tomahra bala kari.&lt;br /&gt;
TT: Your God will reward&lt;br /&gt;
BT: Is ka badla khoda tomahi di.&lt;br /&gt;
Here, the word reward is being used for Bala Kari, an example of transitional by Paraphrasing.&lt;br /&gt;
Let  take another example from &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
ST: unkho nai Jan khateli pa rak kar sakena ko donda.&lt;br /&gt;
TT: even putting their lives online, they search sakina &lt;br /&gt;
BT: apni zindagio ko khatri me dal kar unkho nai sakina ko dond nekala.&lt;br /&gt;
The above idioms are examples of pure idiom translated from Urdu into English with the help of paraphrases strategies. However, under the same strategies, the idioms of another short story of Manto,s &amp;quot;license,&amp;quot; are translated by Aatish Taseer. Some of the examples are given below.&lt;br /&gt;
Example 4:&lt;br /&gt;
ST: Abu kochwan bara cheel jabela ta. It is the binomial type of idioms taken from the first sentence of the short story &amp;quot;license&amp;quot; by Sadat Hasan Manto &lt;br /&gt;
TT: Abu kochwan is stylish man.&lt;br /&gt;
BT: Abu kochwan aik wazahdar admi ta.&lt;br /&gt;
From the above idiom, it is clear that there is no perfect equivalence of cheela chabela idiom in English; that is, the translator goes through paraphrasing strategies. Look at another example from &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 5:&lt;br /&gt;
ST: Lein har waqat bank bani rekhi ka usi be had showk ta&lt;br /&gt;
TT: He had a weakness for style and fashion.&lt;br /&gt;
BT: Dan saj ke rekhna uski kamzori me sai ik ta.&lt;br /&gt;
So all of the above examples, which are analyzed one by one, are examples of idioms being translated through paraphrasing strategies. (De Beaugrande and Dressler 1981, 50) define paraphrases as &amp;quot;approximate conceptual equivalence among outwardly different material.&amp;quot; Similarly, in this regard, Hirst defines paraphrases as &amp;quot;talk(ing) about the same situation in a different way.&amp;quot; Munday declared that &amp;quot;equivalence is particularly useful in translating idioms and proverbs” For instance, if the English idiom like a bear with a sore head is rendered into Persian as (mesle borje zahremar), meaning like a tower of snake venom, the strategy of equivalence has been applied. &lt;br /&gt;
According to Leonardi, &amp;quot;Equivalence can be said to be the central issue in translation.&amp;quot; In this regard, house believes that &amp;quot;a translation text should match not only its source text in function but also employ equivalent situational-dimensional means to achieve that function&amp;quot; (Baker 2002, 49).  who shares this approach, states that equivalence is used &amp;quot;for the sake of convenience—because most translators are used to it rather than because it has any theoretical status&amp;quot; (Kenny 1998, 77). &lt;br /&gt;
Despite different attitudes to the concept of equivalence, most specialists pay much attention to its meaning in the theory of translation. The translation is a form of communication, and that is why it is vital to establish equivalence between the source text and the target text. Although Vinay and Darbelnet believe that equivalence is used differently than in modern translation theory, it is evident that equivalence is one of the basic concepts of translation that cannot be neglected. Consequently, based on the Above mentioned studies using Paraphrasing in translation stands as the core concept in the process of translation, and still, most of the translators cling to it for producing a more comprehensible and explicable text. These language ideas and translation models are ideal constructs, presented abstractly in order to be differentiated precisely. They may exist in an uneasy combination in actual theories and practices, resulting in logical tensions or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation. Theories and actions must be contextualized in historical settings. They've been utilized as analytical tools to describe various topics in section introductions. Theoretical writings and current events these language notions and translation models are ideal constructs expressed in an abstract manner in order to be distinguished precisely in real-life hypotheses they may exist in an uncomfortable mix, resulting in logical conflicts or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
4.2	Using an idiom of Similar Meaning and Form &lt;br /&gt;
As mentioned earlier, this strategy type is being used by Aatish Taseer during their translated work of Manto's short stories &amp;quot;khol do&amp;quot; and&amp;quot; license&amp;quot; on an occasional basis. Some examples are mention below.&lt;br /&gt;
From khol do.&lt;br /&gt;
Example 6:&lt;br /&gt;
ST: Larki ka rang zard hogaya.&lt;br /&gt;
TT: The girl's face became fail&lt;br /&gt;
BT: larki ka rang zar hogya.&lt;br /&gt;
Similarly, another example from the license is&lt;br /&gt;
Example 7:&lt;br /&gt;
ST: Abu our us ke mat beer hogaie&lt;br /&gt;
TT: They fall in love with each other.&lt;br /&gt;
BT: WO ik dosri ke mokhbat me geriftar hogaie&lt;br /&gt;
The above idioms are pure ones and are being translated with the help of similar meanings and similar forms.&lt;br /&gt;
	 The procedures: transposition, modulation, equivalence, and adaptation, and when it comes to defining the term Equivalence, (Vinay and Darbelnet 2000, 90) propose that it consists in rendering &amp;quot;the same situation … by two texts using completely different stylistic and structural methods&amp;quot;, and when it comes to translating idiomatic expressions like &amp;quot;Il pleut à seaux&amp;quot; it can be translated as &amp;quot;It is raining cats and dogs&amp;quot; using the idiom of similar form and meaning in the target language.&lt;br /&gt;
As (Baker 1992, 12) states, this strategy involves using an idiom in the TL which conveys roughly the same meaning as that of the source language idiom and, in addition, consists of identical lexical items. The salient point is that this kind of match can only occasionally be achieved, which cannot be picked up more often by translators. Accordingly, both translators mentioned in the current study had quite a slim chance of using this strategy type. &lt;br /&gt;
&lt;br /&gt;
4.3 Using an idiom of similar meaning but different form:&lt;br /&gt;
During translating Manto short stories, &amp;quot;khol do&amp;quot; and &amp;quot;license,&amp;quot; some of the idioms are translated with the help of this strategy. Some of the examples are given below from two different short stories.&lt;br /&gt;
Example number one is from the short story &amp;quot;khol do&amp;quot;&lt;br /&gt;
Example 8:&lt;br /&gt;
ST: Aur bolwai gos ayai thee?&lt;br /&gt;
TT: The roitors come abroad.&lt;br /&gt;
BT: pasadi bahar agai hai.&lt;br /&gt;
The above idiom is a pure type of idiom being translated with the help of above mention strategy. The word rioter is being used for bolwai, which is not a perfect word for bolwai. In Urdu bolwai, people believe in violence when minorities or the low population of any country want some rights. These people stop them by using violence, burn down their properties, rapes women, and do things like that. Another example from the license is below.&lt;br /&gt;
Example 9:&lt;br /&gt;
ST: Dosri kotwal abu ko dek kar jal ban ho jati.&lt;br /&gt;
TT: The other coachman burn with envy.&lt;br /&gt;
BT: Abu ke kamyabi dek kar aur kotwal abu sai khasad karni lagi’&lt;br /&gt;
The above idioms are a pure idiom that reflects the effect of jealousy between competitors to achieve equivalency. Aatish Taseer uses envy word for jal ban instead of other which have similar meaning but different form. Look at the other example from &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 10:&lt;br /&gt;
ST: Dino lat vo lagal se kam karni laga.&lt;br /&gt;
TT: Dino came with an excuse.&lt;br /&gt;
BT: Dino abb bahi tarashni laga.&lt;br /&gt;
	&lt;br /&gt;
The above idioms are types of binomial idioms translated with the help of idioms with similar meanings and different forms. (Newmark 1988, 81) mentions the difference between translation methods and translation procedures. He writes that &amp;quot;[w]hile translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language&amp;quot; (Newmark 1988, 81). Idiomatic translation in his definition reproduces the 'message' of the original. However, it distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original, leading to using an idiom of similar meaning but a different form. Besides, it is often possible to find an idiom or fixed expression in the target language with a meaning similar to that of the source idiom or expression but which consists of different lexical items (Baker 1992, 12). Therefore, translators discover idiomatic expressions in the target language with different forms than in the source language. In the current study, the translators approached this strategy merely for 9% of the total times, which means the frequency of Iranian and English idioms with the same meaning and different forms is not considered high. &lt;br /&gt;
&lt;br /&gt;
4.4 Translation by omission:&lt;br /&gt;
A translator is less using these strategies, and we did not find any clue on this type of strategy in an area under consideration.&lt;br /&gt;
&lt;br /&gt;
=== Findings===&lt;br /&gt;
&lt;br /&gt;
(Mandelbit 1995) believed that idioms with different cognitive mapping in the target language would be more challenging to translate. After conducting study and data analysis of collected data, the result revealed that the translator frequently used three out of four strategies of the Mona Baker model during the translation process, which is a translation by Paraphrasing, translation by similar meaning and similar form, translation by similar meaning and different form. In contrast, translation by omission does not found in his work.&lt;br /&gt;
After detail and careful analysis of data, more than half of idioms like &amp;quot;swelling sea of man,” my lord break his arrogance, “weakness for style and fashion.&amp;quot; As I mentioned earlier, many more are translated under the umbrella of Paraphrasing, which is considered the most common method used for translating idioms.&lt;br /&gt;
&lt;br /&gt;
Similarly, we also reflect strategies like similar meaning and different form and similar meaning and similar form. The idiom &amp;quot;rioter came abroad,” burn with envy,” The girl's face became pale, &amp;quot; They fall in love with each other&amp;quot; are translated with the help of two mention strategies, respectively.&lt;br /&gt;
&lt;br /&gt;
Although translation by omission is a strategy used on rare occasions because of its meaning, its meaning cannot be easily paraphrased or stylistic reason. Here, the researcher also did not find any idiom translated with the help of the omission strategy.&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
Go through detailed discussion and analysis of data collected from my source. We finally concluded that the idioms present in two short stories, &amp;quot;khol do&amp;quot; and &amp;quot;License,&amp;quot; are translated under the frame of Mona Baker's idiomatic model. Translation by Paraphrasing is mainly used while idioms of similar meaning and form and idioms of similar meaning and different forms are used occasionally. The researcher discusses all the strategies with related examples in the order of maximum used to minimum used. The strategy by omission did not find it works. All the data are collected from different sources and analyzed with the help of different researcher tools, and the result is written in light of the finding. Different from previous studies, the writer presents the strategies to translate idioms by each type of idiomatic expression found in the story. From the result, it is considered the translation of idiomatic expressions in the story is quite accurate. As the number of accurate data is more the data which is not related to the translation. We take conclusion from the translation through idiomatic expression and paraphrasing is the best way to translate a novel or a story however it is very difficult job to do because it needs more accurate and precise knowledge about the source language and an inspiring method to express ideas in the target language. However, translation is thing through which we can connect the world with each other and also we can study and observe diverse cultures.            &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abu-Saydeh, A. F. (2004). Translation of English idioms into Arabic. Babel, 114-131.&lt;br /&gt;
&lt;br /&gt;
Ahsan, S. (2020). A comparative study of two translations of manto's short story &amp;quot;Toba Tek&amp;quot;. International Journal of English Language Studies, 12-27.&lt;br /&gt;
&lt;br /&gt;
Alexander, R. J. (1987). Mimeograph. In R. J. Alexander (Ed.) Collocation and Culture. Trier: University of Trier, West Germany.&lt;br /&gt;
&lt;br /&gt;
Al-Qinai, J. (2000). Translation quality assessment. strategies, parameters and procedures. Translator's Journal, 497-519.&lt;br /&gt;
&lt;br /&gt;
Bayashi, J. (2020). Japanese-English translation: An advanced guide. Oxfordshire: Routledge.&lt;br /&gt;
&lt;br /&gt;
Das, V. &amp;amp;. (1995). Critical events: An anthropological perspective on contemporary India. New Delhi: Oxford Printing Press.&lt;br /&gt;
&lt;br /&gt;
Mufti, A. (2007). The Language of English India. In I. &amp;amp;. End (Ed.) Enlightenment in the Colony. Princeton University Press.&lt;br /&gt;
&lt;br /&gt;
Waka Xia, L. (2019). A discourse analysis of news translation in China. Syydney: Routledge.&lt;br /&gt;
&lt;br /&gt;
= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
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===Ambiguity===&lt;br /&gt;
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===Lexical and Structural Mismatches===&lt;br /&gt;
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===Multiword units: Idioms and Collocations===&lt;br /&gt;
&lt;br /&gt;
===Summary===&lt;br /&gt;
&lt;br /&gt;
===Further Reading===&lt;/div&gt;</summary>
		<author><name>Atta Ur Rahman</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=130882</id>
		<title>Translation types, strategies, styles, methods</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=130882"/>
		<updated>2021-12-10T15:11:42Z</updated>

		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* Conclusion */&lt;/p&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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==Abstract==&lt;br /&gt;
''Legend of Zhen Huan'', as an excellent Chinese TV series, has successfully entered the American market. However, the American version of Legend of Zhen Huan still has some shortcomings in translation. By comparing and analyzing the subtitle texts of the ''Legend of Zhen Huan'' in China and the United States, this paper aims to discuss the problems existing in the overseas translation of the ''legend of Zhen Huan'' and the translation strategies and methods adopted in the subtitle translation of the American version, so as to provide some enlightenment for Chinese costume dramas to reach the world in the future.&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
Translation strategy and translation methods; ''Legend of Zhen Huan''; Subtitle translation&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
The TV series ''Legend of Zhen Huan'' is Imperial-harem competing play produced by the Beijing Television Arts Center in 2011. This play is adapted from a novel of the same name written by Liu Lianzi, which mainly tells the story of the young girl Zhen Huan growing up from an unsophisticated young girl to an empress dowager who is good at politics. Since its debut in China in 2012, ''the Legend of Zhen Huan'' has been a hit among Chinese audiences, with its ratings rising and even forming “Zhen Huan craze” for a time. The reason why the play has received so much praise, on the one hand, is that the film and television script is well-produced; on the other hand, it is because the plots and dialogues of the characters in the play cover a wealth of historical and cultural knowledge, embodying the profundity of Chinese culture.&lt;br /&gt;
Due to its great success in the domestic market, the series finally attracted the attention of foreign producers: the American team adapted the original ''Legend of Zhen Huan'', cutting the 76-episode original drama into six episodes,which was officially launched on Netflix’s paid website in the United States on March 15, 2015. It is the first Chinese TV series to be broadcast on mainstream TV stations in the United States. &lt;br /&gt;
However, the American version of the ''Legend of Zhen Huan'' failed to be sought after by audiences in the US, with most viewers abandoning the show after only one or two episodes.The English lines of the ''Legend of Zhen Huan''’s have ever been criticized by some Chinese audiences. After a deep study of the reason, in addition to the lack of content caused by a large amount of deletion and cutting, another important reason is the insufficiency of subtitle translation. This paper attempts to explore the translation strategies of the subtitle of ''Legend of Zhen Huan'', hoping to provide some inspiration for the subtitle translation of domestic film and television works of the same type.&lt;br /&gt;
&lt;br /&gt;
==Literature Review==&lt;br /&gt;
&lt;br /&gt;
===Previous studies in Subtitle Tranlation abroad===&lt;br /&gt;
In the early 1970s, Doller Up (1974) published a paper entitled “On Subtitle in TV Programs” on Babel, an authoritative journal of the International Association of Translators, which was the first time that scholars paid special attention to subtitle translation. In addition, he creatively pointed out the great value of TV subtitles to foreign language teaching, and then made contributions to the cause of education.&lt;br /&gt;
&lt;br /&gt;
In 1976, Istvan Fodor published a book called Film Dubbing: Aspects of Phonology, Semiotic Aesthetics, and Psychology, which centered on film dubbing from an acoustic perspective. Fodor argues that because each country’s language and culture are unique and irreplaceable, it is almost impossible to achieve perfect “synchronization” in all aspects of the translation of film(Fodor 1976:82).&lt;br /&gt;
&lt;br /&gt;
In 1982, Christopher Titford first proposed the concept of “restricted translation” in his article “Subtitling: Restricted Translation”. He believes that the limitations of film and television as a medium themselves are the main cause of problems encountered by translators in practice (Titford 1982:113).&lt;br /&gt;
&lt;br /&gt;
In 1992, Ivarsson, a Swedish subtitling translation scholar, published his book Subtitling for Media: A Handout of Art, which can be said to be the first comprehensive study of subtitling translation works in Europe. In this book, Ivarsson introduces the development of subtitle translation technology in detail. The most representative subtitle translation scholars are Gambill and Gottlieb, who are two translation theorists. Yves Gambill, a Finnish translator, is a very important expert in the field of film and television translation. Gambill has a wide range of research fields, he has compiled a large number of academic monographs, such as language transfer and Audiovisual Communication: bibliography, which discusses the classification of translation patterns, translation strategies, translation audience and so on (Gambill 1997).&lt;br /&gt;
&lt;br /&gt;
===Previous studies on Subtitle translation at home===&lt;br /&gt;
The research on subtitle translation in China mainly focuses on the English translation of Chinese films, and a large number of such papers and articles have been published, which are also the most representative research results of subtitle translation in China. In addition, with more and more domestic films moving toward the international stage, some attention has been paid to the study of Chinese subtitles.&lt;br /&gt;
&lt;br /&gt;
The study on Chinese and English subtitle translation can be divided into several fields, including film and television language characteristics, subtitle translation methods, subtitle translation history and so on.&lt;br /&gt;
&lt;br /&gt;
Subtitle translation methods can be broadly divided into two categories. One category refers to some practical translation methods and skills summed up by translators based on their years of translation experience, such as the seven kinds of experiences of film and television translation proposed by Qian Shaochang (2000), which stresses the importance of “translation” in the output of films and TV plays. The other is related to domestic MA papers. They usually start with some translation theories, such as German functional translation theory, Eugene Nida’s functional equivalence theory, relevance theory, and Susan Basnett’s cultural translation theory, and finally conclude translation methods such as domestication, foreignization, literal translation, free translation, omission and so on.&lt;br /&gt;
&lt;br /&gt;
In recent years, with the increasing popularity of American TV series in China, the phenomenon of online subtitle translation has begun to attract attention from all sides. As time went by, subtitle translation goes beyond the simple purpose of satisfying the entertainment needs of movie fans, and begin to be applied to teaching practice and students’ self-learning process. This phenomenon is bound to attract academic attention. For example, Wang Hui (2005) discussed this issue in his article “The Impact of Subtitling on Vocabulary Acquisition”. This paper draws some conclusions which are beneficial to foreign language teaching.&lt;br /&gt;
&lt;br /&gt;
However, there are still many deficiencies in the study on subtitle translation. The only literature we can refer to is few books on the translation of film and television subtitle. In other words, subtitle translation is not discussed in detail.&lt;br /&gt;
&lt;br /&gt;
==Subtitle translation features==&lt;br /&gt;
&lt;br /&gt;
===Subtitle translation needs to be brief and comprehensive===&lt;br /&gt;
Subtitle translation should not be lengthy for two reasons: First, because the screen keeps switching, each screen stay can not be very long, the scene with the character’s dialogue switches over more quickly, in a matter of seconds, which is fleeting. Second, whether it is the large screen in the cinema or the small screen in the home, due to space constraints, if the subtitle translation is not simple enough, it will lead to an increase in the number of words in the target language, not to mention the English words that take up more space than Chinese phrases. English words take up more space than Chinese phrases.&lt;br /&gt;
&lt;br /&gt;
Take the Chinese phrase “Computer”for example, the English equivalent word is computer. The Chinese verb “来”corresponds to the English word “Come”. In general, English words have more characters than their Chinese counterparts, except in rare cases. Since the length of the word can not be artificially controlled, subtitle translation will put a higher demand on the number of words. In a typical presentation, Chinese and English subtitles are displayed simultaneously at the bottom of the screen, up to two lines of Chinese and two lines of English.&lt;br /&gt;
&lt;br /&gt;
If there are too many words, the limited space can not accommodate in a few seconds, the audience will have a dazzling feeling as well. Therefore, one of the distinctive features of subtitle translation is its concise use of words.&lt;br /&gt;
&lt;br /&gt;
===Subtitling translation requires natural equivalence===&lt;br /&gt;
The subtitling of the target language should be as natural as the subtitling of the source language. The subtitle translation discussed in this paper is mainly about the dialogue of the characters in the play. On the one hand, the style of dialogue is colloquial, in this sense,It is important   for the translator to pay attention to whether the subtitle translation that the target language audience can hear and see is in line with their daily speaking style.If the original spoken language is translated formally and rigidly, the audience of the target language will feel less natural and fluent, and their movie-watching experience can not be comparable with that of the source language audience. On the other hand, the spoken language features of the characters can clearly shape the characters in the play. If the translator does not grasp the spoken features of the characters, the target audience can not understand the character’s connotation as well as the source audience.&lt;br /&gt;
&lt;br /&gt;
Therefore,if a character needs to say something filthy, or even taboo, to make the character stand out, the subtitle translator must also translate the same filthy and taboo.These taboos should inevitably appear in the subtitle translation, and we should not mince words about them. The same is true of English to Chinese subtitle translation and Chinese to English translation. Because these taboo words are the extension of the role connotation, improper handling will affect the target audience's understanding of the connotation of the role.&lt;br /&gt;
&lt;br /&gt;
===Subtitle translation needs to be easy to understand===&lt;br /&gt;
The film and Television Play is the Popular Entertainment Program, so subtitle translation should be clear at a glance. There are thousands of people watching TV dramas, and their knowledge and cultural level vary widely, and their appreciation level is naturally mixed.Film and TV series have such a wide audience, which requires subtitle translation to take care of the needs of the majority of the audience whether from the perspective of box office and Audience Rating, or from the perspective of cultural communication.&lt;br /&gt;
&lt;br /&gt;
==Theory of Domestication and Foreignization==&lt;br /&gt;
In the process of translation, the translator should determine the general direction of translation, cultivate a good sense of culture, and fully understand that translation is an important feature of information exchange across different languages and cultures. But how to achieve that? There are two opposite strategies in translation: foreignization and domestication. The terms of domestication and foreignization were put forward by Laurence Venutti in his book Translators’ invisibility in 1995:&lt;br /&gt;
&lt;br /&gt;
===Domestication===&lt;br /&gt;
The domestication strategy is to localize the source language, take the target language or target readers as the destination, and convey the content of the original text in the way that the target language readers are accustomed to.Domestication requires the translator to be closer to the target language reader, and the translator must speak like the native author.This translation strategy will often make the translation transparent, smooth, relaxed and natural, close to the reader to the greatest extent, so as to dilute the strangeness brought by the original text.In film and television subtitle translation, domestication is often used in order to make the audience understand the film smoothly.&lt;br /&gt;
&lt;br /&gt;
===Foreignization===&lt;br /&gt;
The foreignization strategy is completely opposite to the domestication strategy, which is oriented by the source language culture and that &amp;quot;the translator should not disturb the author as much as possible to make the reader close to the author&amp;quot;.Foreignization advocates believe that the main purpose of translation is cultural communication, so the translation should try its best to preserve the language and cultural information contained in the source language.Only in this way can the exchange and fusion of source and target cultures be achieved through translation. In addition, they believe that the translator should believe the reader’s imagination and intelligence to the utmost, and believe that when reading the translated version, the reader should not only understand the simple words, but also understand the foreign culture through the words, and they have the capacity to understand the culture. &lt;br /&gt;
&lt;br /&gt;
Of course, as two translation strategies, domestication and foreignization are the unity of opposites and they complement each other. Absolute domestication and absolute foreignization do not exist.&lt;br /&gt;
&lt;br /&gt;
==Case Study==&lt;br /&gt;
&lt;br /&gt;
===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
The essence of “foreignization”is “the tendency toward the original author”, that is, the translator tries to be close to the original author in his translation (Xiong Bing, 2014). In the words of the Friedrich Schleiermacher, this means that the translator“Tries not to disturb the original author, but to take the reader to the original author”(Robinson, 2006:229) . Specifically in Translation, the translator tries to retain the original language, literariness, cultural characteristics and exotic customs (Xiong Bing, 2014) . Therefore, the nature of foreignization strategy is mainly in favor of the original author, and its defects are mainly reflected in the readability of the translation. In other words, the translation may be blunt and not well received and understood by the audience. Therefore, the translation effect is not ideal for the target audience.&lt;br /&gt;
&lt;br /&gt;
====Literal Translation====&lt;br /&gt;
Literal translation means keeping both the content and the form of the original text in the translation when the language conditions permit, especially the metaphor, image, national and local color of the original text.The vast majority of subtitle translation of the Us version of ''Legend of Zhen Huan'' adopts literal translation. Look at the following example:&lt;br /&gt;
&lt;br /&gt;
Example 1&lt;br /&gt;
&lt;br /&gt;
Chinese version：嬛嬛一袅楚宫腰。&lt;br /&gt;
&lt;br /&gt;
American version：the slim waist of the concubines of the Chu palace.&lt;br /&gt;
&lt;br /&gt;
For the word “Huan”in the name of Zhen Huan, the American version uses the Foreignization method, which is translated literally as the slim waist of the concubines of the Chu palace.Western audiences may be confused by the subtitles,Western audiences may be confused by the subtitles, because Zhen Huan is clearly a woman from the Qing Dynasty, how come another Chu Palace? In terms of accuracy and the conveying of cultural context, this translation is well-done, but it creates a barrier for the audience to understand. Therefore, the translation can throw out on its real meaning, such as translated into As my name, Huan, means graceful women with slim waist, &amp;quot;Chu palace&amp;quot; here means can be omitted.&lt;br /&gt;
&lt;br /&gt;
Example 2&lt;br /&gt;
&lt;br /&gt;
Chinese version：一片冰心在玉壶&lt;br /&gt;
&lt;br /&gt;
American version：A jade vessel is the symbol of a pure heart.&lt;br /&gt;
&lt;br /&gt;
“Jade Vessel”in Chinese has a unique associative meaning, while the meaning of these words in English is vacant. Western audiences just think that Dr. Wen is evaluating his character, but they can’t hear his pure love for Zhen Huan, so on the basis of foreignization, it’s better to add some domestication translation to make it easier for the audience to understand.&lt;br /&gt;
&lt;br /&gt;
The American versions of examples 1 and 2 are very literal and concise translations, because the original subtitles have no hidden meaning.However, due to the wrong choice of translation methods, a small number of translated subtitles are just like translation cavities.If the cultural significance of the original text is lost, the translation may be regarded as a failure.In a sense, actors’ performances and lines are the &amp;quot;booster&amp;quot; of the plot development of the TV series.However, if the audience can not understand the original meaning, the story will be much less attractive in the eyes of the audience.For example:&lt;br /&gt;
&lt;br /&gt;
Example 3&lt;br /&gt;
&lt;br /&gt;
Chinese version：“赏你一丈红”&lt;br /&gt;
&lt;br /&gt;
American version：Then I will award Attendant Xia the Scarlet Red.&lt;br /&gt;
&lt;br /&gt;
In the original subtitle of example 3, “一丈红” (yi zhang hong,  literally “two-meter-long red”) is used to punish a palace maid or a  concubine who had done something wrong in China’s ancient imperial palace. The specific content of the penalty goes as follows: a two-meter-long and two-inch-thick board was used by the performer to give the guilty palace maid or concubine a good beating on their waist or the place below it until their bones were broken and the blood gushed out.   Looking from the distance, you will see that the blood covered a long distance. Thus, it is called “一丈红”. &lt;br /&gt;
&lt;br /&gt;
In the American version of Legend of Zhen Huan, it is translated into “the Scarlet Red”. the word Scarlet itself means “Lewd and sinful,”as in the Scarlet letter. It is very appropriate to translate &amp;quot;red&amp;quot; with scarlet. However, this partial literal translation runs counter to the American audience’s way of thinking, which they think it as nothing more than a horror show. In this way, the specific penalty content will be lost, and the target audience can't feel that the harem struggle is everywhere in the court, and can't get the equal effect for them.&lt;br /&gt;
&lt;br /&gt;
In this way, the specific content of the penalty will be lost, the target audience can not feel the Harem struggle existed everywhere in the imperial court and the equivalent effects cannot be obtained for them.&lt;br /&gt;
&lt;br /&gt;
====Zero Translation====&lt;br /&gt;
The so-called &amp;quot;zero translation&amp;quot; means that some elements of the source language are directly introduced into the target language without the ready-made words in the target language (Xiong Bing, 2014). This translation method is mainly used to translate the names of people and officials in the English version of the ''Legend of Zhen Huan''. That’s because in ancient China, there was a very strict patriarchal system with the ideas of three cardinal guides and the five constant virtues.&lt;br /&gt;
&lt;br /&gt;
In the eyes of the Chinese people, the distinction between the titles of concubines and concubines is clear at a glance, but it is difficult for foreigners to see these things, because medieval European monarchs were nominally allowed only one wife, there is no such complicated hierarchy of appellation among women. Therefore, such titles as &amp;quot;贵妃&amp;quot;, &amp;quot;妃&amp;quot;, &amp;quot;嫔&amp;quot;, &amp;quot;贵人&amp;quot;, &amp;quot;常在&amp;quot; and &amp;quot;答应&amp;quot; are presented in a dynamic equivalent way (words with similar functions in the source language), for example:&lt;br /&gt;
&lt;br /&gt;
Example 4&lt;br /&gt;
&lt;br /&gt;
熹贵妃——Noble Consort Xi    华妃——Consort Hua&lt;br /&gt;
&lt;br /&gt;
莞嫔 ——Concubine Huan       沈贵人——Lady Shen&lt;br /&gt;
&lt;br /&gt;
夏常在——Attendant Xia       小主——Young Mistress&lt;br /&gt;
&lt;br /&gt;
敦亲王：Prince Dun            舒太妃：Consort Dowager Shu&lt;br /&gt;
&lt;br /&gt;
Example 4 only shows a few official titles of the characters in the ''Legend of Zhen Huan''. However, the translation subtitles in this example reveal a subtitle rule that the American version of the ''Legend of Zhen Huan'' Uses Zero Translation for personal names and free translation for official titles. And we can clearly see the efforts of translators to represent this hierarchical culture in ancient China. However, this method of translation can not meet the needs of the current audience, because the ancient Chinese culture is broad and profound, and the official titles of emperors and concubines in the play conform to the traditional Chinese culture&lt;br /&gt;
&lt;br /&gt;
However, the cultural ideologies of the American people and the Chinese people are very different. Traditional translation can not convey the characteristics of the characters and the intensification of their contradictions. The American people have not experienced the five thousand years of slavery and feudalism in China, nor do English dictionaries or translation related books have Chinese cultural vocabulary. In addition, the current subtitle translation does not advocate the use of a large number of notes, which will have a negative impact on the effect of watching the drama.&lt;br /&gt;
&lt;br /&gt;
Therefore, notes are usually used only for the first appearance of a character, in order to provide the necessary introduction in enough subtitling space.When they appear a second time, the introduction will be omitted.As for the conflicts between the characters and the progress of the plot, it is difficult for the target audience unfamiliar with Chinese History to adapt to the culture and conflict in the play. Therefore, it is hard to arouse their interest in watching this drama.&lt;br /&gt;
&lt;br /&gt;
===Translation Methods under Domesticating Strategy===&lt;br /&gt;
Opposite to the foreignizing strategy, domestication is characterized by the “tendency toward the target recipients” (Xiong Bing, 2014). In other words, the translator tries to be as close to the target recipients in the translation as possible. In Schleiermacher’s words, it means that translators “try not to disturb the reader, but to bring the original author to the reader” (Robinson, 2006: 229). Specifically speaking, in the translation, the translator uses the language, literary devices, cultural elements that the target language readers love to replace the language, literary devices and cultural elements of the original language as much as possible, and abides by the language, literary devices and cultural norms of the original language (Xiong Bing, 2014). &lt;br /&gt;
&lt;br /&gt;
The domesticating strategy is a translation strategy just opposite to the foreignizing strategy. Its advantage is that the translation can be fluent, easy to understand, and easily accepted by the target recipients; or it tries to meet the specific needs of the target audience. However, the domesticating strategy also has some shortcomings. The first weakness of it is the loss of the language, literariness, culture and other important elements of the source text, so that the target audience cannot appreciate the exotic authentic language and cultural practices. This cannot help the cultural exchange and dissemination between different ethnic groups. The second weakness is that the domesticating strategy of the translated text may lead to semantic loss and semantic ambiguity in translated texts.&lt;br /&gt;
&lt;br /&gt;
====Omission====&lt;br /&gt;
Omission is a very important method in domestication strategy.The Syntactic structure of English emphasizes &amp;quot;hypotaxis&amp;quot;, and there are appropriate connecting elements between each component of a sentence to express their mutual relations, which emphasizes the consistency and coordination of grammatical relations.The structure of Chinese sentences is &amp;quot;parataxis&amp;quot;, and the relationship between each component of the sentence depends more on the intention, and less on the linking component. The structure form is relatively relaxed, and the words and sentences are relatively simple.Therefore, Omission is one of the most common methods in Chinese text translation.Word reduction means that in translation, the translator must grasp the differences between Chinese and English, omit the unnecessary linking elements in Chinese, make the translation smooth, avoid stiff and cumbersome, and eliminate unnecessary words and words as far as possible.There are many examples of reducing words in the translation of Legend of Zhen Huan.&lt;br /&gt;
&lt;br /&gt;
Example 1&lt;br /&gt;
&lt;br /&gt;
Chinese version:“先敬罗衣后敬人。” &lt;br /&gt;
&lt;br /&gt;
American version: “The clothing completes the person.”&lt;br /&gt;
&lt;br /&gt;
This Chinese idiom means that people will first look at the clothes they are wearing and judge their social status according to the clothes. There is a derogatory element in it.However, in the translation of this sentence, the translator adopted the word reduction method and did not translate every word.The word &amp;quot;complete&amp;quot; expresses the idea that &amp;quot;clothes make the man&amp;quot;, but fails to express the meaning intended in the original text.Therefore, the author thinks that can continue to use the Omission here, will change its translated into “According to clothing to estimate people’s status.”&lt;br /&gt;
&lt;br /&gt;
Example 2&lt;br /&gt;
&lt;br /&gt;
Chinese version: “花开堪折直须折，莫待无花空折枝。” &lt;br /&gt;
&lt;br /&gt;
American version: One must pick a flower at the prime of its bloom, Do not wait until the blossom fade and falls.&lt;br /&gt;
&lt;br /&gt;
There are three Chinese characters for &amp;quot;折&amp;quot; in this sentence, but the translator did not show any of them in the Process of English translation.Shall we say that he did not translate the Chinese meaning?Of course not. The translator must have noticed these three &amp;quot;fold&amp;quot; characters in the process of translation. If one of them is translated out, the sentence will appear too long-winded and not in line with the characteristics of subtitle translation.Therefore, the translator starts from the meaning of the original text to persuade people to cherish, and cleverly leaves out the word &amp;quot;折&amp;quot;, which not only avoids repetition, but also conveys the meaning of the original text.This reflects the three principles of Skopos theory: &amp;quot;Based on the source language, pay attention to the culture in the target language, the intention of translation activities and the acceptance state of the American audience&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
====Addition====&lt;br /&gt;
Addition is also an important translation method in domestication strategy.Augmentation refers to the use of structural and semantic augmentation to compensate for linguistic and cultural deficiencies in the target text.Structural supplement refers to the addition of omitted words or replaced words to make the content of translation more complete.Semantic supplement refers to the translator's addition of nouns, verbs, summative words, explanatory words and conjunctions to compensate for the lack of language and culture in the target text so that readers can understand the original text.&lt;br /&gt;
&lt;br /&gt;
Example 1&lt;br /&gt;
&lt;br /&gt;
Chinese version:“他不忍叫你明珠暗投。”  &lt;br /&gt;
&lt;br /&gt;
American version:&amp;quot;You will not be granted an ordinary life when you can live an extraordinary one.&lt;br /&gt;
&lt;br /&gt;
In this example, the translator adopted Addition method to make a explanatory translation for &amp;quot;明珠暗投&amp;quot; , the translation of &amp;quot;be granted an ordinary life when you can live an extraordinary one.&amp;quot;As we know, Chinese idioms are one of the wonders of The Han culture, and they often show rich implicit meanings in condensed four-character sentences.In the translation of this sentence, it is easy for us to understand the meaning of &amp;quot; 明珠暗投&amp;quot;&amp;quot;, but how to make the American audience understand, the translator needs to make an explanation, so that the American audience can understand the implicit meaning of the original text, so as to reduce the cultural burden.&lt;br /&gt;
&lt;br /&gt;
Example 2&lt;br /&gt;
&lt;br /&gt;
Chinese version：“臣妾一与社稷无功，二与龙脉无助。” &lt;br /&gt;
&lt;br /&gt;
American version:“Firstly, I have made no contribution to the nation. Secondly, I have begotten no heirs.&lt;br /&gt;
&lt;br /&gt;
In example 2, the translator interprets &amp;quot;社稷&amp;quot; as &amp;quot;nation&amp;quot; for readers to understand.&amp;quot;社稷&amp;quot; has always been a synonym for &amp;quot;nation&amp;quot; in Chinese, just as &amp;quot;White House&amp;quot; is a synonym for &amp;quot;America&amp;quot;. In addition, there is no English equivalent for &amp;quot;nation&amp;quot;, so it is appropriate for the translator to use &amp;quot;nation&amp;quot;.Heirs to dragon vein, a Feng shui concept meaning undulating mountains, succeed.Later, the royal family regarded it as the lifeblood of the country, so they would call the royal blood &amp;quot;dragon vein&amp;quot;.Heirs to dragon Vein, which in this case means heirs to the emperor's children, succeed in translating it into Heirs to the emperor.It's less common and more advanced than the word &amp;quot;children&amp;quot;, which is often thrown around.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
The subtitle translation strategy of Legend of Zhen Huan generally focuses on domestication, and tends to transform implicit meaning into explicit meaning.When the meaning of the source language is complex and difficult to be understood by the target language audience, the translation strategy of domestication is usually adopted, and the expressions used in the target language are adopted.If there is an equivalent or similar expression between the target language and the source language, alienation should be considered, and a concise explanation should be added if conditions permit, so that the cultural essence of the source language can be preserved and the audience can experience the charm and national characteristics of traditional Chinese culture.&lt;br /&gt;
&lt;br /&gt;
As a translation strategy, absolute domestication and absolute foreignization do not exist in translation practice.The task of the translator is to make the best use of the two strategies in practice according to the specific language characteristics, the purpose, the language characteristics of the source language and the target language, and the national culture, so as to bridge the cultural differences between the two countries.&lt;br /&gt;
&lt;br /&gt;
==Reference==&lt;br /&gt;
[１]Dollerup, Cay. On Subtitles in Television Programs[J]. Babel, 1974, (20): 197-202. &lt;br /&gt;
&lt;br /&gt;
[２]Ivstor, Fordor. Film Dubbing: Phonetic Semiotic, Esthetic and Psychological Aspects[C]. John Benjamins, 1976. &lt;br /&gt;
&lt;br /&gt;
[３]Schleiermacher, F. On the Different Methods of Translation[A]. In Robinson, D.(ed.). Western Translation Theory: From Herodotus to Nietzsche[C]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
&lt;br /&gt;
[４]Titford, Christopher.Subtitling: Constrained Translation[J]. Lebende Sprachen, 1982, 27(3):113-116.  &lt;br /&gt;
&lt;br /&gt;
[５]钱绍昌. 影视翻译──翻译园地中愈来愈重要的领域[J]. 中国翻译, 2000(1):61-65.&lt;br /&gt;
&lt;br /&gt;
[６]汪徽.字幕对伴随性词汇习得的影响[J].外语电化教学,2005(2):47-52. &lt;br /&gt;
&lt;br /&gt;
[７]熊兵. 翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J]. 中国翻译, 2014(3):82-88.&lt;br /&gt;
&lt;br /&gt;
=2 刘晓 The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
[[Trans_Type_EN_2]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
With the rapid growth of economy, people's pursuit of life quality is gradually increasing. Travelling abroad has become a hot topic nowadays. The rapid development of overseas travel has increased the market demand for tourism translation, and more stringent requirements for tourism translators. How to deal with the translation problems caused by the cultural differences between Chinese and English during the translation process is of great importance to improve the quality of tourism translation. The communicative translation strategy in Newmark's translation theory focuses on the effect that the translation brings to the target language readers, which is of certain guiding significance to the E-C translation of tourism texts. Therefore, this paper takes ''Everglades National Park, Florida (Excerpt)'' as an example to analyze the specific translation strategies and methods in the application of Newmark's translation theory in tourism texts, so as to provide reference for other translators.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Translation strategy and translation methods; Peter Newmark; Tourism texts&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
This paper is based on the English-Chinese translation of ''Everglades National Park, Florida (Excerpt)''. By analyzing the application of Peter Newmark's communicative transaltion in the translation, the author proposes some translation methods, which can be provided for future references.  This chapter mainly introduces the background information and significance of the report, and the domestic research status.&lt;br /&gt;
&lt;br /&gt;
====Research background====&lt;br /&gt;
&lt;br /&gt;
With the development of the world, various kinds of tourism appear in people’s life, and has unprecedentedly, extremely widely spread a variety of culture and lifestyle. Tourism has become a rising sunrise industry in modern society (Jin Huikang, 2007). To a foreign country to enjoy the beautiful scenery can make people know the colorful world and further know what they want. And this activity also has made tourism translation a reality and a thriving discipline.&lt;br /&gt;
&lt;br /&gt;
However, due to the different geographical environments, cultural differences and historical backgrounds in different countries, many translators often ignore the disadvantages brought by differences in language and cultural habits in the process of translation, so that the original meaning of the original text will be lost in the process of transmission, which may cause confusion for tourists and cannot achieve the purpose of offering them accurate information and stimulating their interest.&lt;br /&gt;
&lt;br /&gt;
Therefore, in order to make it more convenient for domestic citizens to travel abroad, translators should choose appropriate translation strategies and methods according to the cultural differences between China and foreign countries in the process of tourism English translation, so that tourists can form an objective and correct understanding of scenic spots. The semantic translation and communicative translation strategies in Peter Newmark’s Theories respectively focus on whether the meaning of the original text is exactly reproduced and the effect and influence that the translation brings to the target language readers, which are of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
&lt;br /&gt;
====Research significance====&lt;br /&gt;
&lt;br /&gt;
In theory, based on Peter Newmark’s translation theories, this paper chooses the semantic translation strategy and puts forward appropriate translation methods for the English-Chinese translation of tourist text -- the ''Everglades National Park, Florida (Excerpt)'', which is of certain guiding significance for English - Chinese translation of tourist texts.&lt;br /&gt;
Based on the practice of the ''Everglades National Park, Florida (Excerpt)'' English - Chinese translation and the analysis of Newmark’s communicative translation strategy’s application, this paper sums up some translation methods, such as voice change, objective and personal subject changing, adding conjunctions, etc. And these methods can be provided for future references in the translation study and practice of others, which has a certain practical significance.&lt;br /&gt;
&lt;br /&gt;
====Literature review====&lt;br /&gt;
&lt;br /&gt;
Through the analysis of Newmark’s communicative translation in recent years, it can be found that there are many references for the guidance of communicative translation on tourism translation texts. He Xueyun (2005) proposes that the public notices and signs should belong to the vocative functional text and focus on the reader-centered communicative translation, which can give foreigners a better environment for travel, study and work in China. For such a style, the communicative translation theory should be chosen, the target readers put in the first place and always in mind, and their culture and receptivity taken into account. Jin Huikang (2006) believes that tour guide words must have a specific expected function, which are a kind of texts that integrate informative, expressive and vocative functions. Therefore, tourism translation should aim at effective attraction for overseas tourists, and the translator should grasp the group characteristics of overseas tourists and audiences when carrying out tourism propaganda or translating tourism materials. Ma Chen (2010) points out that the tourism text is a kind of article mainly based on vocative function, and the core of which is to accurately convey information for readers. Liu Anhong (2013) proposes tourism text as a kind of publicity material, aiming to stimulate tourists’ interest in visiting. According to the division of Newmark, the tourism text should belong to the text with the vocative function as its main function and the informative function as its secondary function. Therefore, the translation of tourism text should effectively achieve the effects similar to the original text.&lt;br /&gt;
&lt;br /&gt;
From the combing of previous literatures, it can be found that there are many studies on the translation of tourism texts guided by Newmark’s communicative translation strategy. However, at present, there are few studies on the translation of tourism texts from English to Chinese, and more studies focus on the Chinese- English translation. For this reason, this paper is based on the translation practice of ''Everglades National Park, Florida (Excerpt)'' to provide some reference for future English – Chinese translation of tourism.&lt;br /&gt;
&lt;br /&gt;
===Tourism Texts===&lt;br /&gt;
&lt;br /&gt;
====General Introduction====&lt;br /&gt;
&lt;br /&gt;
Tourism text is an important carrier for readers to obtain scenic spot information, and Tourism text is to stimulate readers' desire to travel by introducing tourist attractions and resources, and its ultimate purpose is to meet readers' expectations and arouse readers' enthusiasm by delivering tourism information. In other words, the dominant function of tourism text is vocative function. At the same time, tourism texts also provide readers with information they like, from which people can acquire relevant knowledge such as culture and customs, natural geography, etc. Therefore, informative function is also its important feature. It can be seen that the two most important functions of tourism texts are respectively informative and vocative one, whose premise is to provide information and purpose is to attract tourists. &lt;br /&gt;
&lt;br /&gt;
In addition, we should realize that translation of tourism texts is a professional translation of tourist attractions and resources for target readers, and its essence is a communicative behavior. If the translator fails to properly deal with the differences between cultures, it will often fail to achieve the expected results. Therefore, during the translation process, more attention should be paid to the accuracy and effectiveness of the information, so as to make the translation conform to the target readers’ reading habits and aesthetic expectation (Li Daosheng, 2000). This requires the translator to put the reader's acceptance first in the process of translation. That is, tourism text translation should not only realize the conversion from one language to another, but also take language barriers and cultural differences into account. Therefore, in order to achieve the goal of successful communication, translators should flexibly apply various translation strategies and adopt appropriate translation methods according to the text types of tourism texts.&lt;br /&gt;
&lt;br /&gt;
====Introduction to the ''Everglades National Park, Florida (Excerpt)''====&lt;br /&gt;
&lt;br /&gt;
Established in 1974, Everglades National Park covers 2,354 square miles, or 6,097 square kilometers (1.4 million acres). Located at the tip of southern Florida, it is the largest subtropical wildlife sanctuary in the continental United States. Everglades National Park protects an unparalleled landscape which provides important habitat for numerous rare and endangered species such as the manatee, American crocodile, and the elusive Florida panther.&lt;br /&gt;
&lt;br /&gt;
''Everglades National Park, Florida (Excerpt)'' is excerpted from a notice from U.S. National Park Service about the phased reopening of the park, including alerts of the reopening, activities, safety and accessibility. It can also be regarded as a travel guide, which describes the journey towards people and offers help to the tourists who want to go there, and which often includes the description of the best travel time, transportation, accommodation, scenic spots and matters needing attention. As a practical text, its main purpose is to introduce and promote tourist scenic spots, that is the Everglades National Park in Florida. Its vocative and informative function are very prominent, and it has the characteristics of reader-orientation, the effectiveness of information transmission and timeliness.&lt;br /&gt;
&lt;br /&gt;
===Newmark's Translation Theory===&lt;br /&gt;
&lt;br /&gt;
====General introduction of Peter Newmark's translation theories====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark, a well-known translation theorist, is one of the main figures in the founding of translation studies in the English-speaking world in 20th century. Newmark devoted himself to studying the past and present of Western translation, and put forward his own views on this basis. Newmark’s translation theories mainly include three parts, that is, the classification of text types, translation approaches, and the lately correlative theory of translation.&lt;br /&gt;
&lt;br /&gt;
According to Karl Buhler’s knowledge of language features and Jacobson’s classification of them, Newmark proposed six functions of language informative function, expressive function, vocative function, phatic function, aesthetic function, and lastly metalingual function. (Hou Yingying, 2020) Then Newmark divided text types into three: expressive-functional texts, informative-functional texts, vocative-functional texts.&lt;br /&gt;
&lt;br /&gt;
After putting forward these three text types, Peter Newmark suggested eight translation approaches or strategies. Firstly, from the perspective of focusing on the source language, he suggested word-for-word translation, literal translation, faithful translation and semantic translation; Secondly, from the perspective of focusing on the target language, he suggested adaptation, free translation, idiomatic translation and communicative translation (Newmark, 2001:45).&lt;br /&gt;
&lt;br /&gt;
In 2007, Newmark came up with a new theory, that is, correlative theory of translation, which means that “The more serious and important the language of the original or source text, the more closely it should be translated.” (Newmark, 2007)&lt;br /&gt;
&lt;br /&gt;
In conclusion, Peter Newmark has proposed many significant theories and made extensive discussion on those concepts, which will have a great influence on the translation practice.&lt;br /&gt;
&lt;br /&gt;
====Semantic translation and communicative translation====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark divided text genres into “expressive text”, “informative text” and “vocative text” in his classic work ''Approaches to Translation''. Imaginative literary works, such as poems, songs, novels and dramas, authoritative statements, autobiographies, essays and personal correspondence, etc. are expressive texts. All the formatted texts with science and technology, industry and commerce, and economy as themes belong to informative texts. And vocative text refers to all texts that can infect readers and make them “get information”.&lt;br /&gt;
&lt;br /&gt;
With reference to these three kinds of texts, Newmark further creatively proposed the concepts of semantic translation and communicative translation: “communicative translation” means that the effect of the target text on the reader of the target language is as much as the effect of the original text on the reader of the source language; “semantic translation” refers to the reproduction of the context of the source text as accurately as possible under the premise of the semantic and syntactic structure of the target language. He believed that only communicative translation and semantic translation can achieve the two major goals of translation: being accurate, and being economic (effective).&lt;br /&gt;
&lt;br /&gt;
In ''About Translation'', Newmark made a detailed comparison of the characteristics of semantic translation and communicative translation from different aspects, and pointed out that the fundamental difference between them lies in that when the information and the effect are in conflict, communicative translation lays more emphasis on effect than content, while semantic translation lays more emphasis on content than effect. Communicative translation can give the translator full freedom, the translator can reorganize the syntax, eliminate the original obscure places in the source language, and make the language conform to the standard of the target language. However, semantic translation emphasizes the content of the information itself, tries to make the form of the target text similar to the form of the original text, and retains the language characteristics and expressive style of the original author. Therefore, compared with semantic translation, communicative translation is more subjective and can better reflect the translator’s creativity and it attaches great importance to the communicative effect of translation, the key to which is to convey information, make readers of the target language think, act and feel, and play an inductive role in making the translation natural and smooth, and more readable. &lt;br /&gt;
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Newmark pointed out that the translation of expressive texts should employ semantic translation, while informative and vocative texts communicative translation which is reader-centered. The most direct purpose of tourism texts translation is to convey information to readers on the premise of attracting readers’ attention and leaving readers with deep memories, so that readers can take actions -- to visit tourist attractions and pay attention to matters that should be paid attention to. Thus, it can be seen that the tourism text belongs to the vocative text and the communicative translation should be applied. &lt;br /&gt;
&lt;br /&gt;
To sum up, Newmark’s communicative translation focus on the effect that the translation brings to the target language readers, which is of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
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===Case Study===&lt;br /&gt;
&lt;br /&gt;
The purpose of communicative translation is to try to make the translation have the same effect on the target reader as the original does on the source reader. That is to say, the key point of communicative translation is to be loyal to the target language and the target text reader, that is, the source language is required to obey the target language and culture, leaving no doubt or obscurity to the reader, and eliminating difficulties and obstacles in reading or communication for the reader as far as possible.&lt;br /&gt;
&lt;br /&gt;
Because the translator wants to achieve a certain communicative purpose, emphasizes the effect and has a specific target audience, the translation has inevitably broken the restrictions of the original text, pursuing smoothness, clarity, directness and conformity with conventions. In this part, the author analyzes the specific application of communicative translation in the translation practice of the ''Everglades National Park, Florida (Excerpt)'' from three aspects: lexical, syntactic and textual analysis.&lt;br /&gt;
&lt;br /&gt;
====At Lexical Level====&lt;br /&gt;
&lt;br /&gt;
Generally speaking, there is partial equivalence between English and Chinese, that is, similar expressions in Chinese can replace the meaning of English words or phrases (Liu Junping, 2009). In the following, two translation methods used in lexical translation will be introduced: conversion of part of speech and the translation of public signs.&lt;br /&gt;
&lt;br /&gt;
1)Conversion of part of speech&lt;br /&gt;
&lt;br /&gt;
Example 1:&lt;br /&gt;
&lt;br /&gt;
ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors.''&lt;br /&gt;
&lt;br /&gt;
TT: 个人、团体或家庭都能在这找到适合的户外活动。&lt;br /&gt;
&lt;br /&gt;
Analysis: As we all know, English belongs to the Indo-European language family, while Chinese the Sino-Tibetan language family. Many differences exist between English and Chinese in terms of vocabulary and grammatical structure. Therefore, in the process of translating English into Chinese, due to the different ways of expression between English and Chinese some sentences can be translated word by word, while most sentences cannot. In order to make the Chinese translation smooth and natural, some words in the original text need to be converted into different parts of speech in the target text without sticking to the surface structure of the original text. In other words, some words in the original text can be converted into other parts of speech in Chinese on the premise of being faithful to the original meaning and retaining the original effect. &lt;br /&gt;
&lt;br /&gt;
The original sentence uses a nominal phrase “no shortage of” to express the meaning that no matter how many people come together for outdoor activities, there are always options. The translator translates it into a verbal phrase, that is, everyone can find a suitable outdoor activity here, so that the meaning gets across and the whole sentence flows naturally.&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&lt;br /&gt;
ST: ''Accessibility: No immediate trails.''&lt;br /&gt;
&lt;br /&gt;
TT: 如何前往：没有路径可直接到达。&lt;br /&gt;
&lt;br /&gt;
Analysis: As English tends to use more nouns with static narratives, while Chinese tends to use more verbs with dynamic ones. The static tendency of English mainly comes from nominalization, a common phenomenon in English. Nominalization mainly refers to the use of nouns (phrases) to express the information originally expressed by verbs (phrases), such as the use of abstract nouns to express actions, behaviors, changes, states, etc (Lian Shuneng, 1993). For example, “accessibility” in Example 2 is an abstract noun, which is used to show the way to one place. Chinese, on the other hand, tends to use verbs. So, in order to better convey the effect and let the reader read without any doubt or discomfort, the translator converted the noun into a verb phrase, that is “如何前往”. Likewise, in the noun phrase “no immediate trails”, the author wants to say that there is no direct way (to arrive at the destination). When translating, if it is directly translated into a noun phrase “没有直达路”, the reader may feel difficult to read. So, if it is translated into “there is no direct path can reach that place”, the sentence will be more smoothly and convey the original information and the effect is also retained.&lt;br /&gt;
&lt;br /&gt;
2)Public signs&lt;br /&gt;
&lt;br /&gt;
Example 3 &amp;amp; 4:&lt;br /&gt;
&lt;br /&gt;
ST: ''Things To Do'' &lt;br /&gt;
&lt;br /&gt;
TT: 活动介绍&lt;br /&gt;
&lt;br /&gt;
ST: ''What you can do''&lt;br /&gt;
&lt;br /&gt;
TT: 解决措施&lt;br /&gt;
&lt;br /&gt;
Analysis: As mentioned in the theoretical framework above, tourism text belongs to vocative text. As a kind of tourism text, public signs are a special style for specific people to achieve a certain communicative purpose. Its application scope is very wide, almost involved in every aspect of our daily life, such as street signs, billboards, road signs, shop signs, warnings, propaganda, travel briefs and so on. As a communicative tool, it conveys necessary and useful information to the public by means of a few words, simple and easy to understand icons or the combination of both (He Xueyun, 2006). Therefore, it can be seen that public signs feature lots of nouns, verbs, phrases and abbreviations and more often, fixed expression, which means in translation, only concise and idiomatic expression can fully convey the effect of the original text.&lt;br /&gt;
&lt;br /&gt;
Just as the example 3, once the original text is translated literally, that is “要做的事情”, it sounds rather awkward, which not only does not convey the meaning of the source text that was intended as an introduction to the activities that can be done, but also may lead the reader to believe that this section is about what is required. However, if it is translated into “活动介绍”, readers can clearly know the main content of this part and can find out the activities they are interested in. This expression is very concise and also in line with the Chinese language habits. The same is true of example 4.&lt;br /&gt;
&lt;br /&gt;
Example 5 &amp;amp; 6:&lt;br /&gt;
&lt;br /&gt;
ST: ''Alligators and crocodiles - Crocodilians are one of the reasons people visit the park, however, these are wild animals that can be dangerous to humans.''&lt;br /&gt;
&lt;br /&gt;
TT: 小心短吻鳄和鳄鱼——鳄鱼是人们参观公园的原因之一，然而，这些野生动物对人类会很危险。&lt;br /&gt;
&lt;br /&gt;
ST: ''Poisonous plants - The park’s ecosystems support a variety of plant life including some that cause reactions to human skin.''&lt;br /&gt;
&lt;br /&gt;
TT: 警惕有毒植物——公园的生态系统支持多种植物的生长，包括一些会对是人类皮肤过敏的植物。&lt;br /&gt;
&lt;br /&gt;
Analysis: Tourist texts belong to the vocative text, emphasizing the transfer of the effect of the information and the empathy of the reader. This requires the translator to pay attention to the internal logic of the text, modify the translated text to make it clear in the process of tourism translation without sticking to the original form and give full consideration to the core position of readers. &lt;br /&gt;
Examples 5 and 6 are in the same sentence structure -- firstly species are given, and then that the species could be in some danger is pointed out. If it is translated in accordance with the original text word by word, then the front part is just posing out that species. However, if such warning words as “小心” or “警惕” are added, it can let the reader know before he continues reading that this species may be dangerous when visiting, and then with reading below, the reader will know why it is dangerous. This will prepare the reader mentally, and the reading will be smoother.&lt;br /&gt;
&lt;br /&gt;
====At Syntactical Level====&lt;br /&gt;
&lt;br /&gt;
Two aspects are included in syntactic analysis, which are change of subjects and passive voice, and the punctuation.&lt;br /&gt;
&lt;br /&gt;
1)Change of subjects and passive voice&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: ''Wading birds, cormorants, Purple Gallinules, and nesting Anhingas may be found along the path anytime of the day during the winter (dry) season.''&lt;br /&gt;
&lt;br /&gt;
TT: 在冬季（旱季），任何时候您都可以在沿路发现涉水鸟类、鸬鹚、紫雀和筑巢的美洲蛇鸟。&lt;br /&gt;
&lt;br /&gt;
Analysis: English tends to use more impersonal subjects, which means it rarely uses the personal subject to describe but expresses how objective things act on people’s perception to things appear in an objective tone. So, the structure is often like this: inanimate subject + animate subject (Lian Shuneng, 2010). Chinese pays more attention to subjective thinking, and often describes objective things from the point of view of oneself, or tends to describe people and their behavior or state, so the personal subject is often used. When the personal subject is clear, Chinese often implies or omits it.&lt;br /&gt;
Passive voice is a common grammatical phenomenon in English. In some styles, the use of passive sentences has almost become a habit of expression. Passive sentences give rise to the tendency of using impersonal subjects, and vice versa. Chinese uses fewer passive forms. The main reason for this difference is that the use of passive forms in Chinese is limited, and the mark of the passive voice, such as “让”, “给”, “受”, mostly expresses displeasure.&lt;br /&gt;
&lt;br /&gt;
Therefore, in example 7, the translator transformed the passive voice into the active voice and the impersonal subjects “Wading birds, cormorants, Purple Gallinules, and nesting Anhingas” into the personal subjects “您”. What’s more, as this tourism text is written for readers, the use of the second person subject can shorten the distance. &lt;br /&gt;
&lt;br /&gt;
Example 8 &amp;amp; 9: &lt;br /&gt;
&lt;br /&gt;
ST: ''Wading birds, American Coots, Osprey, White-crowned Pigeons, warblers, Red-shouldered Hawks, Anhingas, rails, Painted Buntings and other transients are best viewed here in the morning.''&lt;br /&gt;
&lt;br /&gt;
TT: 早晨在这里观赏涉禽、美洲骨顶鸡、鱼鹰、白头鸽、莺、赤肩鹫、美洲蛇鸟、秧鸡、彩绘鹀和其他过路的鸟类的效果最好。&lt;br /&gt;
&lt;br /&gt;
ST: ''In the summer, fewer programs are offered.''&lt;br /&gt;
&lt;br /&gt;
TT: 夏季提供的项目较少。&lt;br /&gt;
&lt;br /&gt;
Analysis: Just as what has been said above, English has a tendency to use impersonal subjects and passive voice, while Chinese is exactly the opposite. And when the subject is clear, Chinese often implies or omits it, which is just like example 8 the personal subject “you” is omitted. &lt;br /&gt;
In example 9, the omitted subject is the national park, and the temporal adverbial phrase “in the summer” becomes the subject in form, which is a common expression in Chinese. That is because subjects in Chinese are not only in various forms, but also dispensable: it can denote giving, receiving, time, place.&lt;br /&gt;
 &lt;br /&gt;
2)Punctuation&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: ''Connecting trails through the Pinelands run 7 miles (11 km) west from the Long Pine Key campground to Pine Glades Lake along the main park road.''&lt;br /&gt;
&lt;br /&gt;
TT: 这些小道从长松岛营地向西延伸7英里（11公里），穿过一片松林地，连通公园主路边松林湖。&lt;br /&gt;
&lt;br /&gt;
Analysis: English sentences are complicated, and subordination is one of the most important characteristics of modern English, which features right-branching, sentences long and complex, made in “architecture style”. Conversely, Chinese sentences are relatively short, and commonly use scattered sentences, loose sentences, tight sentences or composite sentences with parallel structure. Chinese features left-branching, and sentences are made in “chronicle style”, using clauses to streamline the thoughts. &lt;br /&gt;
&lt;br /&gt;
So, when there are many prepositional phrases in the original English sentence, the translator can divide the long sentence into several short sentences and recognize those by adding comma, which can help readers to sort out the logic of the original text and get the main information. By using communicative translation, the translator divided the original sentence into three sentences. The logical sequence is that “The trails run seven miles (11 kilometers) west from the Long Pine Key campground. Passing through the Pinelands, they lead to Pine Glades Lake along the main park road.”, which shows the location of both the Long Pine Key campground, the Pinelands and Pine Glades Lake correctly, leaving no doubt to readers of the target language.&lt;br /&gt;
&lt;br /&gt;
Example 11:&lt;br /&gt;
&lt;br /&gt;
ST: ''In keeping with Monroe County’s closure order for beaches, North Nest Key and all waters within 100 yards from the shore will be closed for protection of park resources during the holiday weekend. The closure will begin on Friday, July 3 at 6 a.m.''&lt;br /&gt;
&lt;br /&gt;
TT: 根据门罗县对海滩的关闭安排，为保护公园资源，北巢岛和离海岸100码以内的所有水域将自7月3日星期五早上6点起暂停对外开放。&lt;br /&gt;
&lt;br /&gt;
Analysis: In the original text there are two sentences, which can be combined to make the meaning complete and language pithy in the target language. And it can be taken into consideration to reconstruct them by replacing full stop with comma. By considering communicative translation, the translator put two prepositional phrases in advance as adverbials, which are “in keeping with Monroe County’s closure order for beaches” and “for protection of park resources during the holiday weekend”, and then turned the second sentence into a temporal adverbial phrase and put it in the main clause as an adverbial. So, the whole structure is “In keeping with Monroe County’s closure order for beaches and for protection of park resources during the holiday weekend, North Nest Key and all waters within 100 yards from the shore will be closed from Friday, July 3 at 6 a.m.” By doing so, the information is concisely conveyed, and Chinese readers can well understand it.&lt;br /&gt;
&lt;br /&gt;
====At Textual Level====&lt;br /&gt;
&lt;br /&gt;
Discourse refers to the actual language unit used and is the whole language constituted by a series of consecutive paragraphs or sentences in the communication process. In general, a text consists of words, phrases, sentences and sentence cluster (Lan Lingyan, 2020), among which the components were cohesion in form and coherence in semantics.&lt;br /&gt;
&lt;br /&gt;
Example 12:&lt;br /&gt;
&lt;br /&gt;
ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors. The diverse habitats allow for enjoyable activities ranging from hiking, canoeing, kayaking, biking, fresh and saltwater fishing, and camping in the ultimate wilderness.''&lt;br /&gt;
&lt;br /&gt;
TT: 个人、团体或家庭都能在这找到适合的户外活动。无论是步行、乘坐独木舟、划皮划艇、骑自行车，还是在淡水或海水钓鱼、在终极荒野地露营，您都可以饱览多样的自然环境、尽享快乐。&lt;br /&gt;
&lt;br /&gt;
Analysis: Coherence in a piece of writing refers to the principle that all paragraphs, sentences or ideas are combined so well that they form a united whole. Coherent translation has smooth structural, grammatical, and logical movement from one sentence or idea to the next and the reader does not have to pause and guess at the meaning caused by gaps in development between ideas, sentences and paragraphs. &lt;br /&gt;
&lt;br /&gt;
In example 12, the last topic of the fist sentence in the original sentence is outdoor activities, while the subject of the second sentence is the diverse habitats. This is a shift in the topic, which may make the readers pause and guess at the logical relation between them. Therefore, in translation, guided by communicative translation, the translator needs to mind the text coherence and to make proper adjustments. Out of this, the translator put the activities in the second sentences as the subject of the second sentence in the target text, so that the first sentence can pass through smoothly to the next one, so does the understanding of readers.&lt;br /&gt;
&lt;br /&gt;
Example 13:&lt;br /&gt;
&lt;br /&gt;
ST: ''Everglades National Park is a popular spot for saltwater and freshwater sport fishing. Boats can be chartered at Flamingo. Be sure to check a visitor center for park fishing regulations and closed areas.''&lt;br /&gt;
&lt;br /&gt;
TT: 大沼泽地国家公园是一个很受欢迎的钓海水鱼和淡水鱼的地方。在弗拉明戈可以租船。在钓鱼之前，一定要阅读游客中心的公园捕鱼规定和封闭区域。&lt;br /&gt;
&lt;br /&gt;
Analysis: Cohesion can be thought of as all the grammatical and lexical links that link one part of a text to another. This includes the use of synonyms, lexical sets, pronouns, verb tenses, time references, grammatical reference, etc. For example, ‘it’, ‘neither’ and ‘this’ all refer to an idea previously mentioned.&lt;br /&gt;
&lt;br /&gt;
In example 13, this paragraph mainly talks about fishing in the Everglades National Park, with a topic sentence and two explanatory sentences: one introducing the place for chartering and the other cautions. There are no grammatical or lexical links within these three sentences, and the logic is connected by semantics. Considering well understanding of readers in the target language, the translator added one lexical link “before fishing” between the last two sentences, to make the reader understand that he or she should read the rules and precautions of fishing before going fishing. Also, with repeating the key word “fishing”, the central idea of this whole paragraph is prominent, and the sentences are logically and smoothly linked to express the intended meaning, thus making this paragraph a cohesive group.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
====Major findings====&lt;br /&gt;
For the text, the tourism text belongs to the vocative text, which focuses on conveying the information and effect, so the communicative translation theory should be adopted to this kind of translation. As for this original text, the first part that introduces the outdoor activities belongs to the tourism advertisements, which are descriptive with vivid words. Tourism advertising is infective, with short and concise words, full of creativity, lively and concise sentence structure, and strong attraction. While the announcement that informs of the operating status of the park is a quite different style. The wording is formal, standard, accurate and stylized. Secondly, the source text involves a wide range of knowledge and large vocabulary. For example, “hardwood hammock” for “硬木吊床” and “Geocaching” for “寻宝”. &lt;br /&gt;
&lt;br /&gt;
Based on the analysis of examples from lexical, syntactic and textual levels, some translation methods can be proposed. On one hand, when translating, some words in the target text can be converted into different parts of speech in the original text to make the language natural and idiomatic. On the other hand, when doing English – Chinese translation, in most cases, passive voice should be changed into active voice, personal subject is favored in Chinese, and subjects can also be omitted sometimes. Lastly, as English and Chinese have lots of differences in sentences, the translator should change the order of the sentences sometimes to make them smooth and fluent, and some words can be added to make the meaning coherent.&lt;br /&gt;
&lt;br /&gt;
====Limitations====&lt;br /&gt;
&lt;br /&gt;
Besides some major findings, there are also many limitations in this translation practice. Firstly, communicative translation focuses on the effect conveyed by the translation rather than the information, which can easily make the translator ignore some original. So, in the translation, other available translation theories should also be taken into account to achieve best translation. &lt;br /&gt;
&lt;br /&gt;
Then, when translating a text, whether it is a tourism text or a literary works, they cannot be translated immediately. Relevant information and background should be collected in advance, and otherwise some mistakes which should be avoided will be made. For example, “Snail Kite (蜗鸢)” might be translated as “蜗牛风筝” if the translator does not look it up in advance.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
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[1] Newmark, Peter. About Translation[M]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
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[2] Newmark. Approaches to translation[M]. Shanghai Foreign Language Education Press, 2001. &lt;br /&gt;
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[3] Newmark, Peter. A New Theory of Translation[J]. Sborník Prací Filozofické Fakulty Brněnské Univerzity, 2007(13)&lt;br /&gt;
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[4] Newmark, Peter. A Textbook of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2001:39-42. &lt;br /&gt;
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[5] 贺学耘.汉英公示语翻译的现状及其交际翻译策略[J].外语与外语教学, 2006(03):57-59.&lt;br /&gt;
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[6] 侯莹莹.凯瑟琳娜·莱斯与彼得·纽马克文本类型翻译理论之比较研究[J].海外英语, 2020(22):49-50+60. &lt;br /&gt;
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[7] 金惠康.跨文化旅游翻译探讨[J].上海翻译, 2007(01):31-34.&lt;br /&gt;
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[8] 兰灵艳.交际翻译理论指导下《家庭生活》（节选）汉译实践报告[D].南昌大学, 2020.&lt;br /&gt;
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[9] 李道胜. 汉英语义对比分析[J]. 语言教育, 2000(4):4-5.&lt;br /&gt;
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[10] 连淑能.《英汉对比研究》[M]. 北京：高等教育出版社, 1993.&lt;br /&gt;
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[11] 刘安洪.跨文化交际视角下的旅游文本翻译策略研究[J].中华文化论坛, 2013(10):160-163. &lt;br /&gt;
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[12] 刘军平，西方翻译理论通史[M]. 武汉：武汉大学出版社, 2009.&lt;br /&gt;
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[13] 马忱.交际翻译策略对汉英旅游翻译的启示[J].郑州航空工业管理学院学报(社会科学版), 2010,29(06):119-121.&lt;br /&gt;
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=3 刘越 Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
[[Trans_Type_EN_3]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
There are many translation practices under the guidance of communicative translation theory, but there are not many translation practices in Korean novels. Through this translation practice, we hope to summarize the translation methods and strategies adopted in the translation of novel subject matter under the guidance of communicative translation theory in terms of vocabulary, sentence and rhetoric. In this paper, under the guidance of communicative translation theory of Korean novels &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; to analyze translation strategies and translation methods, let us hope that through the work of human changes in temperature to realize that the most warm affection and the most simple human feelings, seems to be the fact that more and more far from us, let us together to explore the history of the &amp;quot;family&amp;quot; gradually forgotten by us and meaning, Wake up our sense of affection, cause our emotional resonance.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
Communicative translation theory; Korean novels; Translation methods and strategies&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
===The emergence and development of communicative translation===&lt;br /&gt;
According to the function of language, i.e. the purpose for which it is used, Newmark proposes the following three text types: expressive function, informative function, and evocative function.&lt;br /&gt;
At the heart of the expressive function is the use of words by the speaker or author to express his or her thoughts and feelings. The author's unique form of language is as important as the content.Expressive function texts emphasise the authority of the original author, and translations should follow the principle of &amp;quot;original author first&amp;quot;, faithful to both the content of the ideas expressed by the original author and the language style of the original author, without regard to the reaction of the target reader. The core of the information function is the external context, i.e. all the information about a topic, or the unspeakable reality. At the heart of the information text is the &amp;quot;authenticity&amp;quot; of the content; the author's language is secondary. Translation should be based on the principle of &amp;quot;authenticity first&amp;quot;. The call to action is reader-centred and aims to &amp;quot;call the reader to action, to think, to feel&amp;quot;. The translation should follow the principle of 'reader first', putting the reader of the target language first. The translator can make full use of the advantages of the incoming language, without adhering to the expressions of the original, so that the translated language can achieve the same effect as the original.&lt;br /&gt;
&lt;br /&gt;
On this basis, two translation concepts, communicative translation and semantic translation, are proposed. Newmark believes that the theory of communicative translation focuses on the understanding and reaction of the recipient, the reader of the translation, and more on the effect rather than the content of the translated expression. The translator can give full play to the advantages of the translated language and introduce foreign elements into the culture of the translated language, with the advantages of naturalisation, Italian translation and idiomatic translation. Semantic translation attaches importance to the original text, focuses on its semantic content and strives to preserve the culture of the original text, and has the advantages of word-for-word, word-for-word and faithful translation. Communicative translation is suitable for informative and attractive texts such as autobiographies, personal emotional declarations, important political statements (or other statements), most non-literary texts, news, intellectual articles and books, textbooks, reports, scientific and technical literature, official correspondence, promotional material, advertisements, announcements, popular fiction. ( Yang 1989:68-71)# His communicative and semantic translations have largely enriched the study of translation theory and influenced the field of translation.&lt;br /&gt;
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===The applicability of communicative translation theory to the translation of popular novels===&lt;br /&gt;
First of all, the core content of communicative translation theory is that on the basis of being faithful to the content of the original text, it focuses on the readers' understanding ability and feelings, and pays more attention to the expression effect of the target text than the content. For the translator, the translator can give full play to the advantages of the target language and get rid of the constraints of the language structure of the original text. If the original text is illogical, ambiguous, and there are redundant words and ambiguities in the sentence, as well as dialects, coarse slang and other phenomena in the article, the translator has the right to reorganize the syntax and improve it by using collocation and common sentence patterns in accordance with the habits of the target language, so as to make the language more standardized. Translators also have the right to correct errors and omissions in the original text.( Shuang 1999(05):840）&lt;br /&gt;
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Secondly, according to Newmark's text type, communicative translation theory is applicable to vocative texts, which focus on the inspiring effect and take the target readers as the center. The purpose of translation is to elicit the desired response, including popular books and best-selling novels. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. The novel is mainly composed of characters, plots and descriptions of the environment to reflect the social reality. Novel is a literary genre that conveys thoughts and feelings and arouses readers' resonance. It belongs to appeal text, so communicative translation theory is suitable for novel translation.&lt;br /&gt;
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The most important thing in novel translation is to convey the content of the original text and the author's thoughts and feelings to the readers, and to arouse the readers' deep thinking and empathy. When translating a novel, we should describe the plot of the original text to the readers and try to get close to the literary image described by the author and the literary artistic conception created in the novel.&lt;br /&gt;
If only follow the content style and text structure of the original text, it will violate the original intention of translation, making the translation obscure and unclear. Under the guidance of communicative translation theory, the translator can give full play to the advantages of the target language, modify and polish the original text, adjust the logic of expression, eliminate the differences between the original text and the target text, and get a smooth translation. At the same time, the translator can also pay more attention to the target readers, fully consider the reading habits and thinking mode of the target readers, and use easy to understand language vocabulary to convey the information of the source text and the thoughts and feelings of the source text author to the readers, so that the target text readers and the source text readers get the same effect.&lt;br /&gt;
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=== Case study under the guidance of communicative translation theory===&lt;br /&gt;
Guided by Peter Newmark's communicative translation theory, the author carries out translation practice on two short stories &amp;quot;The Innocent Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. Under the guidance of communicative translation theory, this section adopts the strategies of translation modification and meaning extension to solve the problems of ambiguous and implicit sentences in novels. At the sentence level, the strategy of paraphrase, syntactic and translation is adopted. In the aspect of rhetoric, this paper adopts the translation strategies of addition and repetition, and makes a case study to explore and summarize the translation methods and strategies applicable to novel subject matter under the guidance of communicative translation theory.&lt;br /&gt;
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=== The application of communicative translation theory at lexical level===&lt;br /&gt;
'''Transliteration'''&lt;br /&gt;
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The translation method refers to the conversion of parts of speech in the original text, such as changing nouns into verbs, adjectives into verbs, etc., so as to make the translation conform to the expression habits of the target language. Different languages have different linguistic phenomena and cultural backgrounds. In order to make the translation more in line with the language expression habits of The Chinese people and convey the correct meaning of the original text to The Chinese readers, every word in the Korean sentence cannot be translated dead, and some parts of speech in The Korean language have to be changed in translation.&lt;br /&gt;
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The following is a case study of translating a part of speech in the original text into another part of speech in Chinese.&lt;br /&gt;
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Eg.1 그럴 때의 아이는 이제 노인이 아니라 소년가장 같았다.&lt;br /&gt;
First translation：那一刻我觉得孩子不像老人，而像少年家长。&lt;br /&gt;
Retranslation：那一刻我觉得他不像一个历经沧桑的老人，而像一个饱经世故的孩子。&lt;br /&gt;
&lt;br /&gt;
&amp;quot;소 년 가 장&amp;quot; is a noun, the author looked up Chinese dictionary, found &amp;quot;소 년 가 장&amp;quot; in Korean means &amp;quot;가 정 의 생 계 를 실 질 적 으 로 책 임 지 고, 어 렵 게 생 계 를 유 지 하 는 소 년&amp;quot;, at the beginning of translation, in accordance with the original literal translation is &amp;quot;young parents&amp;quot;, but is not in conformity with the Chinese expression habit, it is not easy to let Chinese readers understand, The author in the guidance of communicative translation theory, through the network search and found the dictionary lookup &amp;quot;소 년 가 장&amp;quot; and Chinese proverb &amp;quot;the poor children early master&amp;quot; has the same effect, but here can make statements impassability, in order not to cause the reader to understand the problems, the author give full play to the advantages of the Chinese, the author by using the method of adaptation, Phrases collocation and considering the Chinese habit, the term &amp;quot;소 년 가 장&amp;quot; divided &amp;quot;소 년&amp;quot; and &amp;quot;가 장&amp;quot; two nouns, and the term &amp;quot;가 장&amp;quot; translated into adjectives &amp;quot;world&amp;quot;, the &amp;quot;소 년&amp;quot; translated into &amp;quot;children&amp;quot;, both to convey the meaning of the original, and can make readers easily understand the content.&lt;br /&gt;
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Eg.2：거기에 아이가 자신을 만나려 하지 않기 때문에 돈을 주지 않는 것이라는 비난의 말이 반복해서 쓰여 있었기 때문이다.&lt;br /&gt;
Translation ：文件上反复指责说孩子不想认他这个父亲，所以不给抚养费。&lt;br /&gt;
In the original text 비 난&amp;quot; is a noun, the author according to the original text in translation translated into &amp;quot;document and is accused of child, father didn't want to see him the accused, so not to support&amp;quot;, at the same time with the two accused, groundwork or at the back of the verb &amp;quot;blame&amp;quot;, also make the repetitive, so the author under the guidance of communicative translation theory, When translated again, the noun &amp;quot;비 project-oriented&amp;quot; is translated into the verb &amp;quot;blame&amp;quot;, so that the translation is easy to understand.&lt;br /&gt;
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'''Extension of meaning'''&lt;br /&gt;
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Extension translation method is refers to according to the specific context of contact and words in the original context, starting from the basic meaning of Korean original words, through the letter of the word or phrase in the sentence, its excellent implied meaning appropriately, use some conforms to the Chinese expression habit of character words, the content of the original essence of accurate expression.&lt;br /&gt;
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Eg.3：①텔레비전을 쳐다보던 아이가 대뜸 내밷었다.&lt;br /&gt;
②동식이 집을 나서자마자 엄마는 휴이히히히, 하는 기괴한 한숨을 길게 내뱉었다.&lt;br /&gt;
Translation：①正在看电视的儿子突然吐槽道：“妈，你快看，电视里那个人真像我爸”。&lt;br /&gt;
②母亲就“唉！”长长地叹了一口气。&lt;br /&gt;
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The author by looking up the dictionary, in the original &amp;quot;내 밷 다&amp;quot; has two meanings: (1) 입 안 에 있 던 것 을 입 밖 으 로 뱉 어 내 보 내 다. (2) 마 음 에 내 키 지 아 니 하 거 나 못 마 땅 한 어 조 로 불 쑥 말 하 다. Chinese meaning is &amp;quot;vomit, and said,&amp;quot; the author under the guidance of communicative translation theory, reader's expressions and words in Chinese habit as the center, contact the original context and context, considering the words collocation, adopt the method of the extension, the &amp;quot;내 밷 다&amp;quot; translated into &amp;quot;fun&amp;quot; and &amp;quot;sigh&amp;quot;, not only conforms to the present context, and in accordance with the Chinese language habits.&lt;br /&gt;
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Eg.4: ①그러니까 엄마는 내가 돈 얘기 할 것을 미리 알고서 지금 차단막을 치는&lt;br /&gt;
것이리라.&lt;br /&gt;
②형이 옆구리를 툭 치며.&lt;br /&gt;
③까지는 살큼 익혀서 찬지름 치고 조선간장으로 조물조물 무쳐노면 고기반찬보다 낫드라.&lt;br /&gt;
Translation：①但母亲好像早已看透了我的心思，先堵住了我的口。&lt;br /&gt;
②大哥用胳膊肘戳了我一下。&lt;br /&gt;
③蒸个七八分熟的时候撒上香油好好拌一下就行了，这样比那些荤食都好吃。&lt;br /&gt;
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The verb &amp;quot;치&amp;quot; would give many different meanings with different words, such as ①&amp;quot;beating, beating, beating, playing&amp;quot;.② take, base, wrap, erect, ③ feed, feed, etc. On the basis of communicative translation theory, and fully understand the original meaning, context, and considering Chinese words collocation is used, depending on the context, the extension method was adopted, will &amp;quot;치 다&amp;quot; translated into &amp;quot;blocking&amp;quot;, &amp;quot;stamp&amp;quot;, &amp;quot;and&amp;quot; verb, such as to conform to the Chinese habits of expression.&lt;br /&gt;
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===The expression of communicative translation theory at the sentence level===&lt;br /&gt;
Communicative translation theory is pointed out that to the readers, the translator should give full play to the advantages of the target language, to make the translation conform to the target language expression of habit, not to leave any arcane to readers, while Korean and Chinese belong to different language families, there are differences in expression habit, this summary is mainly under the guidance of communicative translation theory, This paper analyzes the translation of sentences in The Pure Man and The Goat Family by means of paraphrase, syntactic and combined translation.&lt;br /&gt;
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'''Interpretation method'''&lt;br /&gt;
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Hermeneutic method is also an interpretative translation method. Because Chinese and Korean have different expression habits, in the process of translation, we can use the paraphrase method to explain some ambiguous sentences, which can not only make the translation clear, but also accurately convey the original purpose.&lt;br /&gt;
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Eg.5：어느날, 아이가 눈에 보이는 사물들을 가리켜 얼마짜리냐고 물었을 때, 어떤 행위를 가리켜 얼마 받느냐고 물었을 때, 나는 어린것이 별걸다 궁금해한다고 면박을 줬다. 면박을 주는 것으로 마음에 이는 민망함을 무마시켰다. 아이의 입에서 처음 돈 얘기가 나왔을 때, 그때 나는 이미 알아챘어야 했는지도 모른다.&lt;br /&gt;
First Translation: 当某一天，孩子们指着各种东西问花了多少钱，挣了多少钱时，我当面斥责说“小孩子家家的，真是什么都好奇”。我以这种当面驳斥的方式来掩饰心中的尴尬。当我第一次从孩子嘴里听到关于钱的话题时,我可能就已经觉察到了些什么。&lt;br /&gt;
Retranslation: 当某一天，孩子们指着各种东西问价格时，我当面斥责说‘小孩子家的，问这个做什么’，以此来掩饰我内心的尴尬。当我第一次从孩子嘴里听到关于钱的话题时，我可能已经觉察到时代变了，我那‘不知钱为何物’的时代过去了。&lt;br /&gt;
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The author at the beginning of the translation of &amp;quot;그 때 나 는 이 미 알 아 챘 어 야 했 는 지 도 모 른 다&amp;quot;, literal translation is &amp;quot;I may already have noticed what&amp;quot;, but the specific perceive what is not clear, causing distress to Chinese readers, by contacting the above learned that the &amp;quot;I&amp;quot; as a child is the hairpin, objects such as pottery fragments, But now the child is the &amp;quot;money&amp;quot;, the author under the guidance of communicative translation theory, to the readers, adopting the tactics of interpretation method, interpreted &amp;quot;I perceived that the&amp;quot; content &amp;quot;I might have been aware of The Times have changed, I that 'I don't know the money was the era of the past&amp;quot;, thus the author want to convey the original concept of the era of the change of the clear expression come out.&lt;br /&gt;
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Eg.6：영호야, 명절 때만이라도 꼭 아빠한데 가봐, 가기 싫으면 연락이라도 드리고.아빠가 아무리 네 맘에 안 들더라도 너는 네 할 도리를 해야 떳떳한 사람이 되는 거야,알았지?&lt;br /&gt;
First Translation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。只有做了自已应该做的才能做一个光明磊落的人，知道吗？&lt;br /&gt;
Retranslation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。为人处事和忠孝贤良是亘古不变的，要想做一个光明磊落的人，就要做好自己的分内之事，知道吗？阿姨的话要记住哦。&lt;br /&gt;
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Early in the translation of &amp;quot;너 는 네 할 도 리 를 해 야 떳 떳 한 사 람 이 되 는 거 야&amp;quot;, the corresponding Chinese literal translation is &amp;quot;only do oneself should do can do a aboveboard person&amp;quot;, but &amp;quot;할 도 리&amp;quot; what, did not explain clearly in the original, need the reader to consider, in order not to leave readers obscure place, The author puts the advantage of Chinese into full play and interprets &amp;quot;up 도 wish to be good&amp;quot; into English by means of context and translation theory. At the same time, I also think that this is the advice of adults. It is necessary to tell him this truth in a soft and powerful tone. After this sentence, &amp;quot;Remember what aunt said&amp;quot; is added to make the original meaning clearly conveyed to readers, so that readers can better understand the original content.&lt;br /&gt;
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'''demolition syntax'''&lt;br /&gt;
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Deconstruction is the breaking down of a long sentence into several shorter sentences. As Korean and Chinese belong to different language families, there are many differences in syntax. The word order of Korean sentences is the structure of SOV, and narration is the main body and focus of the sentence, and there are a large number of long sentences, which rely on word endings to express various grammatical meanings. No amount of sentence elements will cause meaning confusion.&lt;br /&gt;
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However, the word order of Chinese sentences is the SVO structure, which depends on vocabulary, function words and word order to distinguish sentence components, so the sentence structure is simple, mainly short sentences. The translation of Korean long sentences into Chinese sentence groups can make the translation logical, smooth and accurate.&lt;br /&gt;
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Eg.7：동식의 이혼에 책임이 없다고 할 수는 없는 형제들이 돈을 모아 동식에게 새집을 지어줬는데 집안 새것이면 뭐 하냐고 동식이 폭력을 휘두를 조짐을 보이자 그 팔아 종류의 폭력을 아버지에게 당해본 엄마는 지레 겁을 먹고 소를 팔아 동식에게 새장가 갈 자금을 쥐여줄 수밖에 없었다.&lt;br /&gt;
First Translation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子。挨过父亲打的母亲因为对东植这种动不动就挥拳头打人的行为心有余悸，并觉得只有新房子没用，就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
Retranslation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子，母亲因为挨过父亲的打，所以对东植这种动不动就挥拳头打人的行为心有余悸，觉得只有新房子无济于事，改不了他的暴力行为，索性就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
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The original text Is a long sentence, &amp;quot;는 데&amp;quot; is a long attributive clause, behind the author under the guidance of communicative translation theory, using the translation, in the resolution of a sentence, adjust the structure of the sentence, but his father mother &amp;quot;dragged&amp;quot; compared to read man translationese is too heavy, have the taste of Korean Chinese, is not in conformity with the Chinese expression habit, the author on the basis of this, The translation has been revised and polished to make it smooth and smooth.&lt;br /&gt;
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'''Cotranslation'''&lt;br /&gt;
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Cotranslation refers to the combined translation of two or more sentences in the original text. Using the combined translation method to translate, will reduce the long winded translation, obtain a smooth and smooth translation.&lt;br /&gt;
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Eg.8 ：나는 큰오빠와 작은오빠가 아버지가 남긴 논을 가져간 것을 알고 있었다. 큰언니, 작은언니가 결혼할 때 밭을 가져 갔다는 것도. 동식은 제 몫이 논도 밭도 아닌 집인 것에 불만을 품고 쓰러져가는 슬레이트집에 불을 질렀다.&lt;br /&gt;
First Translation：我知道大哥和二哥结婚时分走了家里的水田，大姐和二姐结婚时分走了家里的旱地，东植因为分到的不是田和地，而是即将坍塌的的石板屋，一气之下就在屋里放了火。&lt;br /&gt;
Retranslation：哥哥姐姐们结婚时把家里的水田和旱地都分走了。而东植分到的是即将坍塌的的石板屋，他对此很不满，一气之下就放火烧了房子。&lt;br /&gt;
&lt;br /&gt;
Are two sentences in the original, the author first translation, according to the original text translated into two other subject-predicate bin structure of the sentence, but &amp;quot;big sister&amp;quot; &amp;quot;big brother&amp;quot; &amp;quot;sister&amp;quot; &amp;quot;second brother&amp;quot; will be read repetitive, so the author under the guidance of communicative translation theory, adopt the method of r the appellation of original elements became the &amp;quot;brothers and sisters&amp;quot;, and the two sentence elements into a simple sentence, Reduce redundant redundant.&lt;br /&gt;
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===The embodiment of communicative translation at the rhetorical level===&lt;br /&gt;
Communicative translation theory points out that should take the readers as heavy, compared to convey to the readers the article content, pay more attention to the expression effect, good expression effect can cause the resonance of the readers, caused the reader's thinking, and good expression effect depends on the use of rhetoric, this summary is mainly under the guidance of communicative translation theory, adopt different translation strategies, The rhetorical translation in The Innocent Man and The Goat Family is analyzed.&lt;br /&gt;
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'''Addition'''&lt;br /&gt;
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Addition is a translation method that adds content to the target text in order to accurately express the meaning of the source text, meet the needs of the target text readers and make the target text conform to the expression habits of the target language. Since Chinese and Korean have different pragmatic ways and expressive habits, some words or sentences should be added in the translation to make the translation more consistent with the Chinese context, the reader's expressive habits and the exact meaning of the original text.&lt;br /&gt;
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Eg.9：나는 아이 아빠의 돈을 ‘그깟 돈’이라고 표현했다.&lt;br /&gt;
First Translation：我把孩子爸爸的钱称为“那么点儿钱”。&lt;br /&gt;
Retranslation：我把孩子爸爸给的钱称为“塞牙缝的钱”。&lt;br /&gt;
&lt;br /&gt;
&amp;quot;그깟&amp;quot; is a contraction of &amp;quot;그까짓&amp;quot;. It means so little, so little. The amount of money given by the father of the child is very small. The author under the guidance of communicative translation theory, give full play to the advantages of target language, adopt the method of thickening of translation, the use of metaphor, the &amp;quot;그 깟 돈&amp;quot; translated into accord with the readers expression habit &amp;quot;for all of the money&amp;quot;, making it easy to understand, more intuitive said the little amount, so as to impress the reader.&lt;br /&gt;
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'''Repetition'''&lt;br /&gt;
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Repetition refers to the translation technique of appropriately repeating a part of words or sentences in translation. The repetition method can make the meaning of the translation more clear, further strengthen the appeal of the article, highlight the thoughts and feelings of the article, and achieve a good rhetorical effect.&lt;br /&gt;
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Eg.10：아비를 한번도 찾지 않다가 돈 달라고, 그것도 법정에서 애 얼굴을 봐야 하는 아비 된 자의 참담한 심정을 당신들이 아느냐고.&lt;br /&gt;
First Translation：孩子一次也没来看过我这个父亲，却开口要钱？而且只有上了法院，我才好不容易看孩子一眼，你们理解我这个做父亲的心情和处境吗！&lt;br /&gt;
Retranslation：孩子一次也没来看过我就跟我开口要钱，只有上了法院，我才好不容易看孩子一眼，我这个做父亲的苦楚，悲凉的的心情，你们理解吗！理解吗！&lt;br /&gt;
&lt;br /&gt;
The author by contacting the specific context, as a father, no contact for many years but children themselves to court, the state of mind should be both angry and sad, based on the theory of communicative translation, using the skill of verb repetition, to &amp;quot;알 다&amp;quot; repeated translation, to emphasize my angry tone, in order to make the article more vivid and accurate meaning.&lt;br /&gt;
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=== conclusion===&lt;br /&gt;
This paper selected the south Korean writer Kong Shanyu stories &amp;quot;well bead film&amp;quot; in the two novel &amp;quot;pure people&amp;quot; and &amp;quot;the goat family&amp;quot; has carried on the translation practice, the two novels are using the simple nature of language and a small amount of dialect vocabulary, shape lifelike characters, are described by family members of the past, let the past and reality contrast, It reflects the social reality that with the development of society, people have become selfish and indifferent, and the most simple family and human feelings seem to be more and more far away from us, so as to explore the history and significance of the &amp;quot;family&amp;quot; and the simple social atmosphere, which are gradually forgotten by Koreans.&lt;br /&gt;
&lt;br /&gt;
The core of Peter Newmark's communicative translation theory is that on the basis of being faithful to the content of the original text, the translator can give full play to the advantages of the target language, get rid of the constraints of the language structure of the original text, and pay attention to the effect of the expression of the target text. According to Newmark's text type, communicative translation theory applies to appeal texts, which focus on the target reader and aim to elicit the desired response, including popular books, popular novels and so on. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. Under the guidance of Peter Newmark's communicative translation theory, the author analyzes and discusses the translation strategies in the Pure Man and The Goat Family, which are complicated sentences, ambiguous meanings and implicit expressions.&lt;br /&gt;
&lt;br /&gt;
From the lexical level analysis, the author mainly combined with the context, to Chinese readers as the center, to comply with the Chinese expression and language habits, consider the reader's understanding ability, on the basis of Chinese used to translation and translation methods of extension, so as to satisfy the to the original readers and the translation of the original dual need of the readers have the same effect, At the same time, it also ensures the accuracy and flexibility of the translation words, so as to conform to the translator's lexical habits.&lt;br /&gt;
From the statement level analysis, &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; appeared in the text of the long sentence and attributive clause, at the same time, some relatively obscure sentences substance, so the author adopted the method of interpretation, syntax and translation of translation strategies, to explain the sentence, split, reorganization, thus reducing the sentence's mad outages and ideographic unclear, The translation is in line with the habits of Chinese readers and effectively conveys the essence of the original text. From the rhetoric analysis, communicative translation theory points out that compared with the content, should attach great importance to the expression of the translation effect, good expression effect depends on the use of rhetoric, so the author USES the translation strategy of work and repetition, has carried on the modification to the original and polishing, to strengthen the artistic effect and influence of the translation, make readers for the characters vivid impression, Arouse readers' reflection and emotional resonance.&lt;br /&gt;
&lt;br /&gt;
Therefore, the results of this study indicate that the communicative translation theory is of guiding significance to the Chinese translation of Korean novels and can provide a reference for similar translation practices. Communicative translation theory is pointed out that to the reader as the center, the translator can get rid of the original text, giving full play to the advantages of target language to adjust the structure and logic, to make the translation easy to understand, but there may be lack of scattering situation, so the translator should properly our subjective initiative, to insure the effect of readers in at the same time, also used to avoid the above situation. In addition, there are also shortcomings in the translation, but the author still hopes that this translation practice can provide reference for the future Korean-Chinese translation practice. At the same time, through this translation practice, the author has realized his own shortcomings. In the future, the author will continue to learn, accumulate practical experience, and strive to improve his literary accomplishment and language foundation, and improve his translation level.&lt;br /&gt;
&lt;br /&gt;
===Reference===&lt;br /&gt;
&lt;br /&gt;
'''English Literature:'''&lt;br /&gt;
&lt;br /&gt;
[1]. GAO Chang. The Application of Peter Newmark's Communicative Translation Theory to the Translation of Chinese Historical Allusions [J]. Overseas English, 2013(11).&lt;br /&gt;
&lt;br /&gt;
[2]. JIAN Fang. Newmark's Translation Theory and Film Names [J]. Overseas English, 2010(08).&lt;br /&gt;
&lt;br /&gt;
[3]. LI Xin, ZHANG Zhe. On Peter Newmark’s Semanic Translation &amp;amp; Communicative Translation[J]. Overseas English, 2015（03）.&lt;br /&gt;
&lt;br /&gt;
'''Korean literature:'''&lt;br /&gt;
&lt;br /&gt;
[4]. Gong Seon-ok. In the 1980s, my literature Gwangju, and my life's hardship [J]. History of Criticism, 1995 (08).&lt;br /&gt;
&lt;br /&gt;
[5]. Kang Young-mi. Preliminary review of the singing movement in the 1970s and 1980s [J]. Mental Culture Research 41(3), 2018.(09).&lt;br /&gt;
&lt;br /&gt;
[6]. Kim Young Hee. Modern and Alternative Experience and Women--Park Wan-seo, Kim In-sook, and Gong Sun-ok's novel [J]. Creation and Criticism 23(3), 1995(09).&lt;br /&gt;
&lt;br /&gt;
[7]. Osunbang. A study of the translation of novels in modern China and the two-way translation of Sino-Korean novels[J]. Seoul: Sungsil University Press, 2008.&lt;br /&gt;
&lt;br /&gt;
'''Chinese Literature:'''&lt;br /&gt;
&lt;br /&gt;
[8]. Chen Lin. A comparison of Eugene A. Naida and Peter Newmark's translation theories [J]. Journal of Xiangtan University (Social Science Edition), 1994,(08): 87-91.&lt;br /&gt;
&lt;br /&gt;
[9]. Si Jitao and Yan Honglan. The translation of split sentences and combined sentences in English-Chinese translation[J]. Journal of Guangxi Right River Nationalities Teachers College,2005(02):21&lt;br /&gt;
&lt;br /&gt;
[10]. Chen Lin. A comparison of Eugene A. Naida and Peter Newmark's translation theory [J]. Journal of Xiangtan University (Social Science Edition), 1994, (08).&lt;br /&gt;
&lt;br /&gt;
[11]. Yang Shi-Zhuo. A brief analysis of Newmark's theory of semantic and communicative translation[J]. Fujian Foreign Language, 1989:68-71.&lt;br /&gt;
&lt;br /&gt;
=毛雅文On Translation Strategies and Methods in Chinese Translation of English Prose --- Chinese Translation of Robert Lynd’s &amp;quot;Pleasures of Ignorance&amp;quot; as an example=&lt;br /&gt;
[[Trans_Type_EN_4]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Prose, together with poetry, novel and drama, is a kind of literary form. It is not limited to rhythm, plot and characters, flexible in form, real and natural. English prose has a long history and various types, so it becomes an important object in translation practice and research. In China, the most famous English prose writers are Francis Bacon and Charles Lamb, hence, their works can be regarded as the focus of studies on Chinese translation of English prose. In fact, Chinese translation of English prose draws less attention in translation circle of China, compared with that of English poetry and drama. With English prose as the starting point, this paper will introduce the characteristics of English prose and the domestic studies on its Chinese translation, and take the Chinese translation of ''Pleasures of Ignorance'', the representative work of English modern prose writer Robert Lynd, as an example to analyze its translation strategies and methods.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Pleasures of Ignorance&amp;quot;; Chinese translation of English prose; translation strategies; translation methods; translation techniques&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
This chapter will point to the research background and its significance, and briefly set forth the structure of this paper and the methods used.&lt;br /&gt;
&lt;br /&gt;
'''Research Background and Significance'''&lt;br /&gt;
&lt;br /&gt;
In recent years, with the deepening of the reform and opening-up, the channels of international cultural exchange have become increasingly unblocked, and China's translation industry has also flourished. The studies on translation theory, drawing lesson from western translation studies, have yielded fruitful results, and more noteworthily, remarkable achievements have been made in studies on literary translation for all to see.&lt;br /&gt;
&lt;br /&gt;
Prose is a basic literary form in written or spoken language that typically exhibits a natural flow of speech and grammatical structure. A large number of works in philosophy, history, economics, journalism, etc, are examples of works written in prose. It can be seen that prose, which is widely used for creation, occupies an important position in literature. However, there are few researchers majoring in prose translation, still fewer ones who specialize in Chinese translation of English prose. In view of the above, this paper, based on previous studies, will study the Chinese translation of English prose, and take the Chinese translation by Liu Bingshan of ''The Pleasures of Ignorance'' created by the English prose writer Robert Lynd, exploring its characteristics in translation strategies and methods, so as to provide better understanding and some reference for the appreciation and translation of English prose.&lt;br /&gt;
&lt;br /&gt;
'''Methodology and Structure'''&lt;br /&gt;
&lt;br /&gt;
This paper will employ the methods of literature research and case analysis. The paper consists of three parts. The first section is literature review, explicating the distinctive properties and linguistic features of English prose, and the prose translation with its principles, as well as introducing the previous studies on Chinese translation of English prose at home. The second part, the core of this paper, will take Liu Bingshan's Chinese translation version of Robert Lynd's prose work &amp;quot;Pleasures of Ignorance&amp;quot; as an example, carry out the interpretation of this translation in terms of its types, styles as well as strategies and methods employed. Lastly, the conclusion will point to the findings in this study and the weaknesses in the paper.&lt;br /&gt;
&lt;br /&gt;
===Literature Review===&lt;br /&gt;
&lt;br /&gt;
This part will draw into the domestic previous studies on Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
With regard to Chinese translation of English prose, at present, there are few domestic scholars dedicated to its systematic research. According to the different perspectives,  the relevant researches at home can be roughly divided into three categories.&lt;br /&gt;
&lt;br /&gt;
First, concerning research on the theory of Chinese translation of English prose into Chinese, there are relatively small number of studies in this direction. One of the most fruitful works is ''The Study and Translation of British and American Prose'' co-authored by Zhao Xiuming and Zhao Zhangjin (2010), which makes a detailed investigation of the literary characteristics, historical evolution and style evolution of British and American prose. The work also discusses the basic principles of English prose translation in terms of pre-translation text analysis, historical and cultural context, artistic principles, and styles, etc., which can offer a reference for the further study of the theories and practices of English prose translation.&lt;br /&gt;
&lt;br /&gt;
Second, regarding research on the famous translators of English and American prose with their translation styles and skills, Xia Ying explored the style of Professor Cao's translation of Francis Bacon with the essay titled &amp;quot;Research on Professor Cao Minglunss Chinese translation of bacon prose&amp;quot;. (Xia Ying, 2012:165-166) Some others probed into Liu Bingshanss and Li Shicong’s thoughts on prose translation which have guiding significance for prose translation practice.&lt;br /&gt;
&lt;br /&gt;
Third, as regards research on the practice of Chinese translation English prose based on translation theory, Huang Jianling (2021) analyzed the Chinese translation of Bacon's essays from the perspective of translation aesthetics. Hu Hongyun (2013) translates and elaborates on the British prose Farewell in vocabulary, semantics, style and cultural transmission, on the basis of Eugene Nida's Functional Equivalence theory.&lt;br /&gt;
&lt;br /&gt;
===Overview of English Prose===&lt;br /&gt;
&lt;br /&gt;
Prose can be defined in broad sense and in narrow sense. In broad sense, prose refers to all the written and oral works in a loose form free from parallelism; and in narrow sense, it specifically means the writings with certain literary qualities, such as essays, and a literary genre juxtaposed with poetry, novel, drama and movie-television literature.&lt;br /&gt;
&lt;br /&gt;
'''Distinctive Features of English Prose'''&lt;br /&gt;
&lt;br /&gt;
As an independent literary genre, English prose has its own distinctive characteristics.&lt;br /&gt;
&lt;br /&gt;
The first characteristic is its expression of sincere feeling. Prose mostly depicts the real people, things and scenery, and is generated based on record and recollection of life. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. So in this sense, prose can be considered as an earnest conversation between the author and the readers.&lt;br /&gt;
&lt;br /&gt;
Secondly, English prose is characterized by the wide material selection. In English prose, one detail, episode and facet of life can be used to display the author’s specific emotions and circumstances, and all materials related to the theme can also be employed. It places no emphasis on rhythm and rhyme, like poetry, as well as to plot and characters, like drama.&lt;br /&gt;
&lt;br /&gt;
Besides, English prose features the free and loose structure. The structure of prose writings is free and flexible. Prose is elastic and natural and boasts descriptive, argumentative and lyrical qualities, thereof constituting its most distinctive advantage. There are no strict restrictions and fixed patterns in the prose structure, but its flexibility and randomness is not tantamount to disorder and scatter, and its choice of theme and expression of feelings should be closely centered on one main line.&lt;br /&gt;
&lt;br /&gt;
'''Linguistic Features of English Prose'''&lt;br /&gt;
&lt;br /&gt;
Compared with other literary forms, prose has no more skills to resort to. Therefore, as regards the form of artistic expression, English prose mainly has recourse to its own language features.&lt;br /&gt;
&lt;br /&gt;
First and foremost, succinctness and fluency characterize English prose language. The concise prose language not only fully delivers the content that the author intends to convey, but effectively shows the author's emotions and attitude towards persons and things. This is not the result of the author's deliberate elaboration, but the natural overflow of his or her plain and pure emotion. The fluency of prose language refers to both the informal use of words and phrases, and the author's sound expression of feelings.&lt;br /&gt;
&lt;br /&gt;
Meanwhile, colloquial style and literary grace are characteristic of prose language. As prose mainly focuses on description of the author's personal stories and sentiments, thus, he speaks or writes with his own posture, style and tone, as if he is confiding to the readers, so as to highlight the agreeable conversation style and unique colloquial style. Colloquial prose language is natural due to its simplicity, friendly owing to its ease of communication, and true thanks to its individuality.&lt;br /&gt;
&lt;br /&gt;
Furthermore, another linguistic feature of English prose is the smooth rhythm and reading. The rhythmic beauty of prose language is reflected in phonetic respect and in sentence patterns. The prose reading is catchy, with no obstacles and awkwardness, and its rhythm is in line with the natural law of oral breathing pauses as well as with the ups and downs of feelings.&lt;br /&gt;
&lt;br /&gt;
'''Principles of English Prose Translation'''&lt;br /&gt;
&lt;br /&gt;
The beauty of prose lies in its language and artistic conception, the two permeating each other and jointly creating the artistic charm of prose. In prose translation practice, the following principles can be observed to reproduce the artistic appeal.&lt;br /&gt;
&lt;br /&gt;
Keep an eye on sound and rhythm. Despite that the sound and rhythm of prose are often internal, not as obvious, regular and musical as that of poetry, they are not disordered with no aesthetic purpose. On the contrary, they effectively represent the variation of emotion in the prose, and are consistent with its unique aesthetic interest. This illustrates that in prose translation, on the one hand, the translators should recognize the great value and significance of prose sound and rhythm; on the other hand, with the intention of reproducing the linguistic subtleties of the original text, the translators can fully touch its aesthetic interest from the cadence between the lines, and perceive its inner rhythm from sentence length and speech speed.&lt;br /&gt;
&lt;br /&gt;
Pay attention to personalized mode of discourse. Different writers with various discourse modes bring about manifold writing styles. Not only is the personalized mode of discourse reflected in the author's choice of words and sentences as well as layout of the prose, but also in his thoughts and aesthetic interest. As a result, the translators can start with analyzing the original writer's one classic work and then his anthology and even look closely at the literary features of his age, in order to grasping the writer's personalized discourse mode, which is of particular importance to reproduce his artistic personality and the characteristics of his emotional expression in translation practice.&lt;br /&gt;
&lt;br /&gt;
Place a premium on the unity of scene and emotion. The unity of scene and interest in prose is embodied in diverse ways of language expression and structure, as well as the images or settings created by the author. In translation practice, based on the unity of scene and interest in the prose, it is beneficial to preserve and reproduce the overall aesthetic orientation of the original text through aesthetic reconstruction in word selection and layout, so that the translated text can obtain the aesthetic taste similar to the original prose.&lt;br /&gt;
&lt;br /&gt;
===Case Study of Chinese Translation of &amp;quot;Pleasures of Ignorance&amp;quot;===&lt;br /&gt;
&lt;br /&gt;
The selected source text is &amp;quot;The Pleasures of Ignorance&amp;quot;, written by Robert Lynd. &lt;br /&gt;
&lt;br /&gt;
Robert Lynd (1879-1949), born in Belfast, Northern Ireland, was a modern critic and prose writer. He, together with E. V. Lucas, was a pioneer in reviving the tradition of Charles Lamb's prose. And The Pleasures of Ignorance is one of his notable prose works.&lt;br /&gt;
&lt;br /&gt;
This prose points out that it is because ignorance that people are interested in the nature and the world and their pursue knowledge, and the process of seeking knowledge is full of pleasure, by which the author emphasizes the importance of learning more and gaining insight. The article reveals somewhat erudition and aesthetic sensibility, as well as love for nature and and passion for life. From his leisurely writing, the author's maturity of thought and capability in usage of words is unveiled. Though the tone of the original text makes the readers feel that the author is chatting with them, giving people familiarity and closeness, it is not particularly colloquial. On the contrary, there is a kind of exactness and elegance of the learned between the lines, thus it can be seen that the case text is a typical scholar prose.&lt;br /&gt;
&lt;br /&gt;
The translator Professor Liu Bingshan firmly grasps these features of the original text and conveys the original style by carefully choosing words and sentences, with the principles of faithfulness, smoothness and expressiveness. His Chinese translation of ''The Pleasures of Ignorance'' will be analyzed in terms of translation strategies and methods.&lt;br /&gt;
&lt;br /&gt;
There is the natural connection between translation strategies and translation methods, but the two concepts are often confused. It is generally believed that translation strategies (such as foreignization and domestication) are at the cultural level, while the translation methods (such as literal translation and free translation) are at the textual level. According to Xiong Bing, (2014: 83-86) translation methods are the approaches, steps and techniques used to achieve a specific translation purpose based on a certain translation strategy in translation activities, whereas translation strategies are a collection of principles and methods. Consequently, this paper will enunciate the translation text on the basis of translation methods under foreignization strategy and domestication strategy respectively.&lt;br /&gt;
&lt;br /&gt;
====Translation Methods under Foreignizing Strategy====&lt;br /&gt;
&lt;br /&gt;
Foreignization is a strategy in which a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. This strategy is &amp;quot;an ethnodeviant pressure on target-language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad&amp;quot; to have alien reading experience. (Venuti, 1995: 20) The translation methods under foreignization employed in Professor Liu's target text include literal translation, zero-translation and transliteration.&lt;br /&gt;
&lt;br /&gt;
=====Literal Translation=====&lt;br /&gt;
&lt;br /&gt;
Literal translation is in fact looser renditions that replace individual source language words with individual target language wors wherever possible, and cling as closely as possible to the source language word order in the target language. Specifically, in the case translation text, the translator faithfully retains some personal pronouns and demonstrative pronouns in the original text. For example, &lt;br /&gt;
&lt;br /&gt;
(1)It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance.&lt;br /&gt;
&lt;br /&gt;
同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
&lt;br /&gt;
(2)This ignorance, however, is not altogether miserable.&lt;br /&gt;
&lt;br /&gt;
不过，这种无知也并非全然不幸。&lt;br /&gt;
&lt;br /&gt;
(3)But your and my ignorance is not confined to cuckoos.&lt;br /&gt;
&lt;br /&gt;
但是，你我的无知并不仅限于杜鹃这一方面。&lt;br /&gt;
&lt;br /&gt;
(4)A contemporary English novelist was once asked by a foreigner what was the most important crop in England.&lt;br /&gt;
&lt;br /&gt;
一个外国人问一位当代英国小说家，英国最重要的农作物是什么。&lt;br /&gt;
&lt;br /&gt;
The translation of these sentences, though properly altering the word order and voice with the adherence to the target-language syntactic norms, does not adopt the usage of transferred meaning in dealing with lexical sense.&lt;br /&gt;
&lt;br /&gt;
The use of literal translation, especially the retaining of the personal pronouns, like &amp;quot;we&amp;quot; and &amp;quot;you and I&amp;quot;, conveys the style of the original text, showing friendliness and intimacy.&lt;br /&gt;
&lt;br /&gt;
=====Zero-Translation=====&lt;br /&gt;
&lt;br /&gt;
Zero translation refers to the translation in which the translators do not use the ready-made words in the target language to translate the source language words. This translation phenomenon occurs when adjustments must be made due to the differences in the syntactic structures of the two languages. For example, some articles and personal pronouns are not translated in E-C translation. In Professor Liu’s Translation, zero-translation is particularly displayed by omission, a translation technique. For instance,&lt;br /&gt;
&lt;br /&gt;
Omission of the expletives ''It'' and ''There'':&lt;br /&gt;
&lt;br /&gt;
(5)''It'' is impossible to take a walk in the country oneself without being amazed at the vast continent of one's own ignorance.&lt;br /&gt;
&lt;br /&gt;
任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
&lt;br /&gt;
(6)''There'' are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy.&lt;br /&gt;
&lt;br /&gt;
这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。&lt;br /&gt;
&lt;br /&gt;
Omission of English articles:&lt;br /&gt;
&lt;br /&gt;
(7)Thousands of men and women live and die without knowing the difference between ''a'' beech and ''an'' elm, between ''the'' song of ''a'' thrush and ''the'' song of ''a'' blackbird.&lt;br /&gt;
&lt;br /&gt;
成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
&lt;br /&gt;
Omission of pronouns:&lt;br /&gt;
&lt;br /&gt;
(8)... as she (the cuckoo) lays ''her'' egg on the ground and takes it in ''her'' bill to the nest in which it is destined to breed infanticide.&lt;br /&gt;
&lt;br /&gt;
把蛋下到地面上，然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。&lt;br /&gt;
&lt;br /&gt;
The application of zero-translation can render the translation text concise, neat and fluent, and make the rhythm of the prose more natural and flexible, conforming to the principle of prose translation.&lt;br /&gt;
&lt;br /&gt;
=====Transliteration=====&lt;br /&gt;
&lt;br /&gt;
Proper names such as the names of persons and places of foreign countries, are, as a rule, to be transliterated, i.e., to be translated by using Chinese characters to represent the sound in articulating these names.&lt;br /&gt;
&lt;br /&gt;
In transliteration, the translators should follow the original pronunciation of proper names, in Liu's translation, for example,&lt;br /&gt;
&lt;br /&gt;
(9)Hamlet 哈姆雷特 Pickwick 匹克威克 (both transliterated from English)&lt;br /&gt;
&lt;br /&gt;
Besides, in transliteration, the translators sometimes should also use the standard pronunciation of the Chinese characters. One of the difficulties in transliterating a foreign name in Chinese characters lies in the lack of many foreign sounds in Chinese, and the variation in the pronunciation of the Chinese characters causes confusion. The remedy is to fix certain Chinese characters for a certain syllable of foreign names. And many long-standing translated names, though not named after the original sounds, have been recognized by the world and are generally invariable. For example, in the translation in case study. For example, in the translation in case study,&lt;br /&gt;
&lt;br /&gt;
(10)Montaigne 蒙田 (not 蒙泰涅)&lt;br /&gt;
&lt;br /&gt;
Transliteration plays a crucial role in translation of proper nouns and technical terms, which ensures the correct conveyance of information.&lt;br /&gt;
&lt;br /&gt;
The translation methods under foreignization are able to make the translation process more visible, by means of showing how translators are deeply involved in the construction of culture and ideology. The use of these methods can retain the foreignness of the source text and produce on the target-language readers an effect as close as possible to that obtained on the readers of the original, through which the readers can further understand the foreign expressions and cultures, realizing the differences between the two countries.&lt;br /&gt;
&lt;br /&gt;
====Translation Methods under Domesticating Strategy====&lt;br /&gt;
&lt;br /&gt;
Domestication is a strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for target language readers. This strategy is &amp;quot;an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home&amp;quot; (Venuti, 1995: 20). In other words, as regards the use of domesticating strategy, the translators are required to make target-language readers feel familiar and close through conveying the content of the original text with the expressions to which TL readers are accustomed. And in Liu Bingshan's Chinese translation of ''Pleasures of Ignorance'', free translation method and imitation method under domestication are used and displayed in several translation techniques.&lt;br /&gt;
&lt;br /&gt;
=====Free Translation=====&lt;br /&gt;
&lt;br /&gt;
Free translation, also known as sense-for-sense translation, emphasizes transfer of the meaning or &amp;quot;spirit&amp;quot; of a source text over accurate reproduction of the original wording. The purpose of this method is to accommodate the needs of the target-language readers by producing a text which conforms to the linguistic and textual norms of the target language and culture which does not therefore sound 'foreign&amp;quot; (Shuttleworth &amp;amp; Cowie, 1997: 151). Such a method, in this case study, is specifically embodied in the choice of words packed with Chinese characteristics, that is, diction, also a translation technique. For example,&lt;br /&gt;
&lt;br /&gt;
(11)Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is ''the exception''.&lt;br /&gt;
&lt;br /&gt;
在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是''凤毛麟角''。&lt;br /&gt;
&lt;br /&gt;
(12)It is not that we have not seen the birds. It is simply that we ''have not noticed'' them.&lt;br /&gt;
&lt;br /&gt;
所以如此，并不是因为这些鸟我们没有见过，而只是因为我们''习焉不察''。&lt;br /&gt;
&lt;br /&gt;
(13)When in the oak’s green arms the cuckoo ''sings'', &lt;br /&gt;
&lt;br /&gt;
And first delights men in the ''lovely springs''.&lt;br /&gt;
&lt;br /&gt;
杜鹃在橡树的绿色怀抱里''啭啼''，&lt;br /&gt;
&lt;br /&gt;
第一个为人们带来''欢欣、美好的春意''。&lt;br /&gt;
&lt;br /&gt;
In translating these sentences, the translator transfers some words into vocabulary or phrases with conspicuously Chinese features. For instance, the transfer of &amp;quot;the exception&amp;quot; and &amp;quot;have not noticed&amp;quot; to Chinese idioms &amp;quot;凤毛麟角&amp;quot; (that describes rare and precious items) and &amp;quot;习焉不察&amp;quot; (which means that one is too accustomed to something to call it in questions), respectively, exemplifies the typical Chinese four-character structure. Moreover, the verb &amp;quot;sings&amp;quot; is transferred to &amp;quot;啭啼&amp;quot; (that describes birds' melodious chirp), a Chinese term composed of two words with the same left side, which is one of common and special linguistic phenomena in Chinese language. Meanwhile, &amp;quot;the lovely springs&amp;quot; is transferred to &amp;quot;欢欣、美好的春意&amp;quot; (a joyful and wonderful feeling brought by the spring) through abstraction.&lt;br /&gt;
Thus, it can be seen that the application of free translation can reproduce the sense of the original text more smoothly and idiomatically. And the wide adoption of the four-character structures enhance the academic atmosphere of the translation version.&lt;br /&gt;
&lt;br /&gt;
=====Imitation=====&lt;br /&gt;
&lt;br /&gt;
With regard to the use of imitation, the translators do not stick to the meaning details of the original text, let alone its vocabulary and syntactic structure, but take the original text as a reference model, either by deleting and condensing to only translate its gist and key information, or by adding and expanding to deliver more information than that in the original text. For instance,&lt;br /&gt;
&lt;br /&gt;
(14)Thousands of ''men and women'' ''live and die'' ''without knowing'' the difference between a beech and an elm, between the song of a thrush and the song of a blackbird.&lt;br /&gt;
 &lt;br /&gt;
成千上万的''男男女女''，''从生到死''，''一辈子''也''说不出''山毛榉和榆树有什么区别，''听不出''画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
&lt;br /&gt;
In the translation of this sentence, a variety of translation techniques are employed. &lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
The translator uses conversion to alter the syntactic structure of the original sentence. &lt;br /&gt;
&lt;br /&gt;
The predicate &amp;quot;live and die&amp;quot; is converted into the preposition phrase &amp;quot;从生到死&amp;quot; as the adverbial in Chinese.&lt;br /&gt;
&lt;br /&gt;
And the adverbial preposition phrase in the source text &amp;quot;without knowing&amp;quot; is converted into the predicate in Chinese translation.&lt;br /&gt;
&lt;br /&gt;
②　Division:&lt;br /&gt;
&lt;br /&gt;
In accordance with the need of Chinese expression, &amp;quot;without knowing&amp;quot; is divided into two verb phrases &amp;quot;说不出&amp;quot; and &amp;quot;听不出&amp;quot; in Chinese as the predicate.&lt;br /&gt;
&lt;br /&gt;
③　Addition:&lt;br /&gt;
&lt;br /&gt;
With the addition of the expression &amp;quot;一辈子&amp;quot;, the translator highlights the long time between life and death.&lt;br /&gt;
&lt;br /&gt;
④　Repetition:&lt;br /&gt;
&lt;br /&gt;
The plural form &amp;quot;men and women&amp;quot; is translated into the reiterative locution &amp;quot;男男女女&amp;quot; by repetition. &lt;br /&gt;
&lt;br /&gt;
The change of sentence structure via techniques such as conversion and division as well as of vocabulary via repetition and addition render the translation natural and smooth, showing the translator's superb handling of the original text.&lt;br /&gt;
&lt;br /&gt;
(15)...we are all the ''more'' delighted ''at the spectacle of'' its runaway flight as it (the cuckoo) ''hurries'' from wood to wood conscious of its crimes ...&lt;br /&gt;
&lt;br /&gt;
一日''看见''它（杜鹃）因为自己犯了罪而''煌惶不安地''从这个林子飞''逃''向那个林子 ... 我们才会觉得''大大''开心。&lt;br /&gt;
&lt;br /&gt;
In this example, there are also various translation techniques used.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
Firstly, the preposition phrase &amp;quot;at the spectacle of&amp;quot; is converted into the verb &amp;quot;看见&amp;quot; in Chinese. &lt;br /&gt;
&lt;br /&gt;
Secondly, the noun phrase &amp;quot;runaway flight&amp;quot; is converted into Chinese verbs &amp;quot;飞&amp;quot; (fly) and &amp;quot;逃&amp;quot; (escape). &lt;br /&gt;
&lt;br /&gt;
Besides, the verb &amp;quot;hurries&amp;quot; (that means to move quickly in a particular direction) is converted into &amp;quot;惶惶不安地&amp;quot; (which means to feel panic, afraid and utterly uneasy), a Chinese adverb to modify the verbs &amp;quot;飞&amp;quot; and &amp;quot;逃&amp;quot;, which endows the subject cuckoo with somewhat human characteristic.&lt;br /&gt;
&lt;br /&gt;
②　Repetition:&lt;br /&gt;
&lt;br /&gt;
The adjective &amp;quot;more&amp;quot; is translated into the reiterative locution &amp;quot;大大&amp;quot;, a Chinese adverb equivalent to &amp;quot;very&amp;quot; or &amp;quot;extremely&amp;quot; in English to modify the adjective &amp;quot;delighted&amp;quot;.&lt;br /&gt;
 &lt;br /&gt;
In this example, the adjustment of the sentence order and conversion of parts of speech make the translation more consistent with the word sequence in Chinese. Meanwhile, the choice of words such as the Chinese four-character structure &amp;quot;惶惶不安&amp;quot; conveys the romantic charm beyond the original text. And there are also indicators of use of repetition embodied in the typical Chinese reiterative locutions like &amp;quot;惶惶&amp;quot; and &amp;quot;大大&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
(16)I have myself a ''capricious'' and ''leaking'' memory.&lt;br /&gt;
&lt;br /&gt;
我自己的记忆力也是''漏洞百出''、''不听使唤''。&lt;br /&gt;
&lt;br /&gt;
Although this is a short sentence, it still contains the flexible use of translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
At first, the original object &amp;quot;memory&amp;quot; is converted to the subject in the Chinese translation.&lt;br /&gt;
&lt;br /&gt;
And then, the subject &amp;quot;I&amp;quot; with its appositive &amp;quot;myself&amp;quot; is converted into the attribute &amp;quot;我自己的&amp;quot; to modify the subject in the translation &amp;quot;记忆&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
On account of the conversion of the subject and the verb, the original predicate &amp;quot;have&amp;quot; is inappropriate. The addition of &amp;quot;也是&amp;quot; that is equivalent to the verb &amp;quot;be&amp;quot; in English enforces the completeness of sentence structure. And this is a structural addition mainly due to the structural difference between Chinese and English.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The two vivid adjective &amp;quot;capricious&amp;quot; and &amp;quot;leaking&amp;quot; are translated as &amp;quot;不听使唤&amp;quot; and &amp;quot;漏洞百出&amp;quot; respectively which are typical Chinese four-character structures. The Chinese adjective &amp;quot;漏洞百出(的)&amp;quot; means that the loopholes appear one after another, which is often used to describe that one's writing or speech is untenable because of lack of sufficient reasons and grounds. And here, this word shows the author's weak memory with which he forgets things time and again. And the other adjective &amp;quot;不听使唤(的)&amp;quot; generally depicts that someone loses control and is not obedient to the rules or instructions. Here, the word properly demonstrates that the author cannot manipulate his memory well and also cannot preclude it from being weaker. The use of these two words conforms to the choice of affective and stylistic meanings.&lt;br /&gt;
&lt;br /&gt;
In this example, the conversion of the subject and object as well as the change of the predicate enable the translation to be more closely accord with the Chinese sentential structure. Moreover, the two figurative adjectives packed with personified traits not only fully  convey the author's intention, but also enhance literariness of the translation and even display a lively mood beyond the original text.&lt;br /&gt;
&lt;br /&gt;
(17)We know, again, that, the blossom precedes and ''not succeeds'' the fruit of the apple-tree, but ''this does not lessen our amazement at'' the beautiful holiday of a May orchard.&lt;br /&gt;
&lt;br /&gt;
另外，我们知道苹果树''先''开花，''后''结果，可是五月''一旦''到来，果园里一片欢闹的花海。''我们不是仍然惊为奇观吗？''&lt;br /&gt;
&lt;br /&gt;
This is a typical example of the imitation method embodied in the use of diverse translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
Regarding the conversion of word classes, the noun &amp;quot;blossom&amp;quot; is converted into the Chinese verb &amp;quot;开花&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Concerning the conversion of sentence members, the object in the clause &amp;quot;apple-tree&amp;quot; is converted into the subject &amp;quot;苹果树&amp;quot; in the Chinese translation. And the attribute &amp;quot;May&amp;quot; is converted into the adverbial in Chinese as &amp;quot;五月一旦到来&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Considering the conversion of sentence patterns, the negative sentence &amp;quot;this does not lessen our amazement at...&amp;quot; is converted into a interrogative sentence &amp;quot;我们不是仍然惊为奇观吗？&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Negation:&lt;br /&gt;
&lt;br /&gt;
The negative form &amp;quot;not succeeds&amp;quot; in English is translated into the affirmative form &amp;quot;后结果&amp;quot; in Chinese, intensifying a positive tone on which Chinese language often places emphasis.&lt;br /&gt;
&lt;br /&gt;
③　Division:&lt;br /&gt;
&lt;br /&gt;
The original complicated sentence in English is divided into several simplex clauses and phrases in Chinese, which underlines the &amp;quot;chronicle style&amp;quot; of Chinese language with frequent use of shorter or composite structures.&lt;br /&gt;
&lt;br /&gt;
④　Addition:&lt;br /&gt;
&lt;br /&gt;
Now that the original sentence is divided into smaller components, it is necessary to supply connectors for better cohesion. The addition of the logical connectors in Chinese such as &amp;quot;先&amp;quot;, &amp;quot;后&amp;quot;, &amp;quot;一旦&amp;quot; and &amp;quot;仍然&amp;quot; render the translation more smooth and expressive.&lt;br /&gt;
&lt;br /&gt;
In this instance, the translator flexibly takes advantage of the techniques such as conversion, negation and division, not only contributing to the diversity of sentence patterns but also adding sense of warmth and vividness of the translation. Additionally, the semantic addition of logical connectors render the translation more cohesive and coherent.&lt;br /&gt;
&lt;br /&gt;
(18)Once more I shall see the world as a garden through the eyes of a stranger, my breath taken away with surprise by the painted fields.&lt;br /&gt;
&lt;br /&gt;
那时，我像一个陌生者进人大花园，放眼四望，五色缤纷的原野再一次使我''目不暇接''，''心迷神醉''。&lt;br /&gt;
&lt;br /&gt;
As regards this example, the translator enriches the meaning of the original text and creates a more balmy atmosphere by employing various translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Division:&lt;br /&gt;
&lt;br /&gt;
The long complex sentence, composed of two clauses, is divided into several separated clauses in arranged in a certain order, which renders the translation rhythmic and highlights the focus of expression.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
The addition of the Chinese set phrase &amp;quot;目不暇接&amp;quot; (which means that so many wonderful things and so swift change of scenery come into sight that the eyes are kept fully occupied) makes the context more coherent, as it echoes &amp;quot;see&amp;quot; and &amp;quot;the eyes&amp;quot; in the preceding and connects the &amp;quot;painted fields&amp;quot; in the following that greet the author's eyes and take his breath away.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The verb &amp;quot;see&amp;quot; is translated into &amp;quot;放眼四望” (to look around), the noun phrase &amp;quot;breath taken away with surprise&amp;quot; into &amp;quot;心醉神迷&amp;quot; (to be thrown into ecstasies), and the adjective &amp;quot;painted&amp;quot; into &amp;quot;五彩缤纷&amp;quot; (colorful). These recurring four-character structures in translation are loaded with positive meanings, and proper to depict the attractive scenery and to be used in scholar prose.&lt;br /&gt;
&lt;br /&gt;
④　Conversion:&lt;br /&gt;
&lt;br /&gt;
The original clause &amp;quot;my breath taken away with surprise by the painted fields&amp;quot; is in passive voice, and is converted into the active voice in Chinese translation &amp;quot;五色缤纷的原野再一次使我目不暇接，心迷神醉&amp;quot;. This kind of conversion is due to the fact that the Chinese passive form marked by &amp;quot;被&amp;quot; is traditionally felt to be an &amp;quot;inflictive voice&amp;quot;, mainly expressing things unpleasant or undesirable, contrasted with the cheerful aura overflowing the original text. &lt;br /&gt;
&lt;br /&gt;
The translator employs short clauses separated from the original complex sentence to  bestow smoothness and naturalness on the translation and strengthen its artistic appeal. Furthermore, the translator selects the words that tally with the affective, contextual and stylistic meanings of the original. And the opportune addition of words and change of voice also polish the translation.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
This paper makes an analysis of translation strategies and translation methods in English prose, with translator Liu Bingshan's Chinese translation of ''Pleasures of Ignorance'' created by Robert Lynd as an example. With translation strategies and methods as the starting point, this paper considers Chinese translation of English prose as the research subject. The paper first introduces English prose along with its distinctive properties, linguistics features and principles of its translation. And then this paper carries out the interpretation of translation strategies and methods in Liu Bingshan's Chinese translation of ''Pleasures of Ignorance'' in which the application of translation methods as well as techniques under foreignizing and domesticating strategies are elaborated, and the concrete effects they exert are also elucidated.&lt;br /&gt;
&lt;br /&gt;
====Major Findings====&lt;br /&gt;
&lt;br /&gt;
Based on the above study of translation strategies and methods employed in Liu Bingshan's Chinese translation of ''Pleasures of Ignorance'', the features or common ground of Chinese translation of English prose in terms of translation strategies and methods can be generally summarized.&lt;br /&gt;
&lt;br /&gt;
In Chinese translation of English prose, foreignization strategy and domestication strategy are both used in the light of the style, linguistic features, and syntactic structures of the source text.&lt;br /&gt;
&lt;br /&gt;
But, on the whole, the domesticating translation strategy which includes translation methods such as free translation and imitation is applied more frequently compared with foreignization. This is because that prose translation actually falls into literary translation that is special on the grounds of the unique characteristics of the original literary works. In literary works, or specifically, in English prose, some words are not used with their literal meanings but their connotative or extension meanings, so literal translation under foreignization may not correctly convey the real significance of the original text. Meanwhile, in English prose, there are complex syntactic structures whose translation cannot be carried out with no proper conversion and alteration. Additionally, multiple rhetoric devices such as metaphor, metonymy and allusion are used in English literary works, and the literal translation of these figures of speech may elude the target-language readers because of the cultural differences and the obscurity of the translation. However, the appropriate adoption of translation methods under domestication strategy, to some extent, can give the target-language readers a sense of closeness and deliver the aesthetic charm with the premise that the real meaning of the original text can be ensured.&lt;br /&gt;
&lt;br /&gt;
In terms of translation methods under foreignizing strategy, literal translation is used when the lexical meaning of the source text is lucid and the syntactic structures in it are relatively simple and clear, so the translators need not find a new path in the mode of expression in order to be faithful to the source text. And the use of literal translation can convey the information more objectively and avoid the interference of translators' subjective factors. Meanwhile, in Chinese translation of English prose, the use of zero-translation is frequent but imperceptible, with the omission of some words peculiar to English, such as expletives it and there, English articles and pronouns, but sometimes the English pronouns can also be retained to show a sense of closeness and friendliness. Besides, transliteration is used for the translation of proper nouns and technical terms not only in English prose but also in almost all text types, with conforming to the principles of being named after the original sound and of the translated names accepted through common practice. In a word, translation methods under foreignization can ensure the objective conveyance of information of the original text and preserve its foreignness and unique cultural values that can enrich the target-language readers' knowledge and their languages.&lt;br /&gt;
&lt;br /&gt;
With regard to translation methods under domesticating strategy, in Chinese translation English prose, free translation and imitation method are oftentimes employed. English prose, as one of the English literary genres, boasts distinctive features of literature, such as aesthetic value, language with hidden meanings and the usual use of figures of speech as well as culturally loaded images, which may not be shown vividly and be easily understood by target-language readers via literal or word-for-word translation. Thus, translation methods under domestication, with careful choice of words, proper adjustment of syntactic structures and sentence sequence, and appropriate sublimation of the original text, can express the original author's feelings more lively, render the translation more fluent, idiomatic and expressive, and display the aesthetic charm of the source text.&lt;br /&gt;
&lt;br /&gt;
At the lexical level, in Chinese translation of English prose, the translation techniques --- diction, addition, conversion and repetition --- are usually used. The typical Chinese four-character structures appear time from time in Chinese translation, and the translators choose the words in line with the affectionate, contextual and stylistic meanings of the original prose, which intensify literariness and satisfy the characteristics of scholar prose. Moreover, the addition of Chinese conjunctive words and logical connectors by which sentences in translation are connected into a text can create better cohesion. Furthermore, the conversion of word classes in translation is based on the contrastive studies of English and Chinese, viz., English with its nominal style is static whereas Chinese with its verbal style is dynamic. Besides, it is one of the peculiarities of Chinese to reduplicate characters or words in word-formation and to repeat the similar or same word or expression in a discourse for expressiveness and parallelism, which can render translation more appealing to Chinese readers and produce rhetorical and grammatical effect.&lt;br /&gt;
&lt;br /&gt;
At the syntactic level, the translation techniques --- conversion and division--- are often employed in Chinese translation of English prose. To start with, conversion in the syntactic respect involves conversions of sentence members, sentence patterns and the voice. The conversion of word classes often results in the conversion of sentence members, and the alteration of sentences patterns like the inter-conversion between assertive or negative sentences and question sentences can variegate sentence types in translation. The conversion of passive voice in English prose into active voice in Chinese translation is due to the preference for active forms that can produce positive effect in Chinese language. What's more, part of sentences in English prose are longer and complicated because of subordination, a fundamental feature of English, and it may be hard to reproduce the original thought with following the original sentence structure in translation, hence the division of complex English sentences into word-groups, clauses or simplex sentences in Chinese can endow Chinese translation of English prose with more naturalness, fluency and sense of rhythm.&lt;br /&gt;
&lt;br /&gt;
The research on the features of translation strategies and methods in Chinese translation of English prose, theoretically can offer a deeper insight into English prose and its translation, and practically can help to some extent improve the quality of Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
====Limitations and Suggestions====&lt;br /&gt;
&lt;br /&gt;
There are drawbacks in this paper: firstly, the paper takes only one piece of English prose as an example in case study, so it lacks strong persuasiveness; secondly, since there are few researchers on prose translation at home and abroad, especially those specializing in Chinese translation of English prose, this paper resorts to insufficient literature guidance and reference; thirdly, owing to the confined conditions and narrow academic capacity, this paper is devoid of enough depth and breadth as well as favorable insight and acuity, thus the theoretical support and practical assistance it provides are bound to be limited. As a consequence, it is expected that researchers in this field can cooperate well to build up a system to minimize the possible errors and create more thorough and holistic works to enunciate and improve Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
[1] Lawrence Venuti. Rethinking Translation: Discourse, Subjectivity, Ideology [C]. London and New York: Routledge, 1992: 5-20.&lt;br /&gt;
&lt;br /&gt;
[2] Lawrence Venuti. The Translator's Invisibility: A History of Translation [M]. 上海: 上海教育出版社, 2004: 7-25.&lt;br /&gt;
&lt;br /&gt;
[3] Mark Shuttleworth. Moira Cowie. Dictionary of Translation Studies [M]. London and New York: Routledge, 2014: 59-163.&lt;br /&gt;
&lt;br /&gt;
[4] 方梦之. 中国译学大辞典 [M]. 上海: 上海教育出版社, 2011: 96-118.&lt;br /&gt;
&lt;br /&gt;
[5] 侯强. 英语散文汉译策略研究 --- 以“韩素音青年翻译奖”参赛文本为例 [D]. 厦门: 厦门大学, 2014.&lt;br /&gt;
&lt;br /&gt;
[6] 何秀琴. 期待视角下的英语散文汉译研究 --- 以《散文佳作108篇》 为例 [D]. 南昌: 南昌大学, 2018.&lt;br /&gt;
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[7] 连淑能. 英译汉教程 [M]. 北京: 高等教育出版社, 2006: 67-262,&lt;br /&gt;
&lt;br /&gt;
[8] 宋颉. 翻译美学视角下的民国散文英译风格研究 [D]. 上海: 上海外国语大学, 2018.&lt;br /&gt;
&lt;br /&gt;
[9] 熊兵. 翻译研究中的概念混淆 [J]. 中国翻译, 2014(3): 82-88.&lt;br /&gt;
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[10] 张保红. 文学翻译 [M]. 北京: 外语教学与研究出版社, 2011: 28-88.&lt;br /&gt;
&lt;br /&gt;
[11] 朱明炬. 英汉名篇名译 [M]. 南京: 译林出版社, 2007: 319-328.&lt;br /&gt;
&lt;br /&gt;
===Appendix===&lt;br /&gt;
&lt;br /&gt;
(The original text:)&lt;br /&gt;
&lt;br /&gt;
The Pleasures of Ignorance&lt;br /&gt;
&lt;br /&gt;
By Robert Lynd&lt;br /&gt;
&lt;br /&gt;
It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance. It is impossible to take a walk in the country oneself without being amazed at the vast continent of one’s own ignorance. Thousands of men and women live and die without knowing the difference between a beech and an elm, between the song of a thrush and the song of a blackbird. Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is the exception. It is not that we have not seen the birds. It is simply that we have not noticed them. We have been surrounded by birds all our lives, yet so feeble is our observation that many of us could not tell whether or not the chaffinch sings, or the colour of the cuckoo. We argue like small boys as to whether the cuckoo always sings as he flies or sometimes in the branches of a tree-whether Chapman drew on his fancy or his knowledge of nature in the lines:&lt;br /&gt;
&lt;br /&gt;
When in the oak's green arms the cuckoo sings, &lt;br /&gt;
&lt;br /&gt;
And first delights men in the lovely springs.&lt;br /&gt;
&lt;br /&gt;
This ignorance, however, is not altogether miserable. Out of it we get the constant pleasure of discovery. Every fact of nature comes to us each spring, if only we are sufficiently ignorant, with the dew still on it. If we have lived half a lifetime without having ever seen a cuckoo, and know it only as a wandering voice, we are all the more delighted at the spectacle of its runaway flight as it hurries from wood to wood conscious of its crimes and at the way in which it halts hawk-like in the wind, its long tail quivering, before it dares descend on a hillside of fir-trees where avenging presences may lurk. It would be absurd to pretend that the naturalist does not also find pleasure in observing the life of the birds, but his is a steady pleasure, almost a sober and plodding occupation, compared to the morning enthusiasm of the man who sees a cuckoo for the first time, and, behold, the world is made new.&lt;br /&gt;
&lt;br /&gt;
And, as to that, the happiness even of the naturalist depends in some measure upon his ignorance,which still leaves him new worlds of this kind to conquer. He may have reached the very Z of knowledge in the books, but he still feels half ignorant until he has confirmed each bright particular with his eyes. He wishes with his own eyes to see the female cuckoo—rare spectacle!—as she lays her egg on the ground and takes it in her bill to the nest in which it is destined to breed infanticide. He would sit day after day with a field-glass against his eyes in order personally to endorse or refute the evidence suggesting that the cuckoo does lay on the ground and not in a nest.And, if he is so far fortunate as to discover this most secretive of birds in the very act of laying, there still remain for him other fields to conquer in a multitude of such disputed questions as whether the cuckoo’s egg is always of the same colour as the other eggs in the nest in which she abandons it. Assuredly the men of science have no reason as yet to weep over their lost ignorance. If they seem to know everything, it is only because you and I know almost nothing. There will always be a fortune of ignorance waiting for them under every fact they turn up. They will never know what song the Sirens sang to Ulysses any more than Sir Thomas Browne did.&lt;br /&gt;
&lt;br /&gt;
If I have called in the cuckoo to illustrate the ordinary man's ignorance, it is not because I can speak with authority on that bird. It is simply because, passing the spring in a parish that seemed to have been invaded by all the cuckoos of Africa, I realized how exceedingly little I, or anybody else I met, knew about them. But your and my ignorance is not confined to cuckoos. It dabbles in all created things, from the sun and moon down to the names of the flowers. I once heard a clever lady asking whether the new moon always appears on the same day of the week. She added that perhaps it is better not to know, because, if one does not know when or in what part of the sky to expect it,its appearance is always a pleasant surprise. I fancy, however, the new moon always comes as a surprise even to those who are familiar with her time-tables. And it is the same with the coming-in of spring and the waves of the flowers. We are not the less delighted to find an early primrose because we are sufficiently learned in the services of the year to look for it in March or April rather than in October. We know, again, that, the blossom precedes and not succeeds the fruit of the apple-tree, but this does not lessen our amazement at the beautiful holiday of a May orchard.&lt;br /&gt;
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At the same time there is, perhaps, a special pleasure in relearning the names of many of the flowers every spring. It is like rereading a book that one has almost forgotten. Montaigne tells us that he had so bad a memory that he could always read an old book as though he had never read it before. I have myself a capricious and leaking memory. I can read Hamlet itself and The Pickwick Papers as though they were the work of new authors and had come wet from the press, so much of them fades between one reading and another. There are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy. But this is only when life has an object beyond entertainment. In respect of mere luxury, it may be doubted whether there is not as much to be said for a bad memory as for a good one. With a bad memory one can go on reading Plutarch and The Arabian Nights all one's life. Little shreds and tags, it is probable, will stick even in the worst memory, just as a succession of sheep cannot leap through a gap in a hedge without leaving a few wisps of wool on the thorns. But the sheep themselves escape,and the great authors leap in the same way out of an idle memory and leave little enough behind.&lt;br /&gt;
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And, if we can forget books, it is as easy to forget the months and what they showed us, when once they are gone. Just for a moment I tell myself that I know May like the multiplication table and could pass an examination on its flowers, their appearance and their order. Today I can affirm confidently that the buttercup has five petals. (Or is it Six? I knew for certain last week.) But next year I shall probably have forgotten my arithmetic, and may have to learn once more not to confuse the buttercup with the celandine. Once more I shall see the world as a garden through the eyes of a stranger, my breath taken away with surprise by the painted fields. I shall find myself wondering whether it is science or ignorance which affirms that the swift (that black exaggeration of the swallow and yet a kinsman of the humming-bird) never settles even on a nest, but disappears at night into the heights of the air. I shall learn with fresh astonishment that it is the male, and not the female,cuckoo that sings. I may have to learn again not to call the champion a wild geranium, and to rediscover whether the ash comes early or late in the etiquette of the trees. A contemporary English novelist was once asked by a foreigner what was the most important crop in England. He answered without a moment's hesitation: &amp;quot;Rye&amp;quot;. Ignorance so complete as this seems to me to be touched with magnificence; but the ignorance even of illiterate persons is enormous. The average man who uses a telephone could not explain how a telephone works. He takes for granted the telephone, the railway train, the linotype, the aeroplane, as our grandfathers took for granted the miracles of the gospels. He neither questions nor understands them. It is as though each of us investigated and made his own only a tiny circle of facts. Knowledge outside the day's work is regarded by most men as a gewgaw. Still we are constantly in reaction against our ignorance. We rouse ourselves at intervals and speculate. We revel in speculations about anything at all—about life after death or about such questions as that which is said to have puzzled Aristotle, &amp;quot;why sneezing from noon to midnight was good, but from night to noon unlucky.&amp;quot; One of the greatest joys known to man is to take such a flight into ignorance in search of knowledge. The great pleasure of ignorance is, after all, the pleasure of asking questions. The man who has lost this pleasure or exchanged it for the pleasure of dogma, which is the pleasure of answering, is already beginning to stiffen. One envies so inquisitive a man as Jowett, who sat down to the study of physiology in his sixties. Most of us have lost the sense of our ignorance long before that age. We even become vain of our squirrel’s hoard of knowledge and regard increasing age itself as a school of omniscience. We forget that Socrates was famed for wisdom not because he was omniscient but because he realized at the age of seventy that he still knew nothing.&lt;br /&gt;
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(Liu Bingshan's Chinese translation:)&lt;br /&gt;
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无知常乐&lt;br /&gt;
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刘炳善 译&lt;br /&gt;
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同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是凤毛麟角。所以如此，并不是因为这些鸟我们没有见过，而只是因为我们习焉不察。在我们一生中，鸟类始终就在我们周围，然而我们对于它们的观察总是那样马马虎虎，所以我们当中许多人都说不清花鸡到底会不会知，也不知道杜鹃究竟是什么颜色。对于有些问题、我们像小孩子一样争论不休、譬如说，杜鹃在飞着或栖身于树枝间的时候，是否一直不停地鸣，而查普曼下面两行诗的灵感究竟是来自他的想像还是来自他的自然知识∶&lt;br /&gt;
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杜鹃在橡树的绿色怀抱里啭啼，&lt;br /&gt;
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第一个为人们带来欢欣、美好的春意。&lt;br /&gt;
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不过，这种无知也并非全然不幸，因为正是由于它，我们才能不断尝到发现的乐趣。只要我们是的的确确地无知，那么每年大地春回，自然界的每一种事物都会带着它那清新的露珠重新出现在我们面前。如果我们活了半辈子，对于杜鹃除了听过它那飘忽不定的叫声，从来没有见过它是什么模样，那么，一日看见它因为自己犯了罪而煌惶不安地从这个林子飞逃向那个林子。或是看见它顶着风、像老鹰似的停留在半空中，它那长长的尾巴颤动着，不敢落下来，生怕有什么鸟儿藏在那山坡上的枞树林里等着要找它报仇。我们才会觉得大大开心。有人想着，博物学家整天观察鸟类，大概就不会觉得有什么趣儿了吧？其实大谬不然--他那持续不断的乐趣几平已经变成一种安详的职业习惯了，不像有人某天早晨突然第一次看见一只杜鹃，不胜雀跃之至，于是，看哪，天地也为之焕然一新了。&lt;br /&gt;
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说到这儿，甚至连博物学家的快乐在一定程度上也有赖于自己的无知；只有如此。才能给他留出一些新的领域有待他去征服。即使他已经攀登了书本知识的顶峰，他仍会感到自己不过是半通不通，每一个引人注目的细节还必须用自己的亲眼观察来加以一一证实。他盼着能亲眼看到雌杜鹃（这可是个稀罕物儿！）把蛋下到地面上。然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。因此，博物学家就要戴上望远镜，日复一日地坐在那里等待着亲眼证实或者否定那种认为杜鹃确实是在地面上而非在窠里下蛋的说法。而日，即使他很幸运，能够发现杜鹃下蛋实况，这个在鸟类来说算是极大的秘密，其他一大批有争议的问题还依然存在。就像新的领土有待他去开拓，例如，杜鹃的蛋跟它占用的窠里其他鸟的蛋是否总是一样颜色？自然，科学家没有理由为了自己失去无知而哭泣。如果他们看起来似乎是精通一切的话，那也不过因为你我差不多是一无所知罢了。实际上，当他们要把一件事实的盖子揭开的时候，某种命定的无知就在等待着他们。海妖们向尤利塞斯唱的究竟是什么歌儿？——他们永远不可能知道，正像托马斯·勃朗爵士也不知道一样。&lt;br /&gt;
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我请杜鹃来做例子以说明普通人的无知，并不是因为我有什么权威可以对这种鸟儿发发议论。不过，我曾在某个教区暂住，而那年春天从非洲飞来的杜鹃似乎全集合在那个地方，因此我也就有机会了解到我自己以及我所碰见的每一个人对于这种鸟儿的知识是如何地微不足道。但是，你我的无知并不仅限于杜鹃这一方面。它涉及到宇宙万物，从太阳、月亮一直到花卉的名字。有一天，我听见一位聪明伶俐的太太提出了这样一个问题∶新月是不是总在星期几露面？她接着又说：不知道倒好，正因为人不知道在什么时候、在天空的哪一带能看见它，新月一出现才给人带来一场惊喜。然而我想、哪怕入把月亮盈亏时间表记得再熟。看见新月出现还是不免又惊又喜，春回大地，花开花落，也莫不如此。尽管我们对一年四季草本节令了如指掌，知道樱草开花在三月四月而不在十月，不过看见一株早开花的樱草，我们还是照样地高兴。另外，我们知道苹果树先开花，后结果，可是五月一旦到来，果园里一片欢闹的花海。我们不是仍然惊为奇观吗？&lt;br /&gt;
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倘在每年春天，把许多花卉之名重温一遍，还另有一番风味。那就像把一本差不多忘得干干净净的书再重新念一遍。蒙田说过，他的记忆力很坏，所以他随时都能拿起一本旧书，像从未读过的新书一样地念。我自己的记忆力也是漏洞百出、不听使唤。我甚至能拿起《哈姆雷特》和《匹克威克外传》，当作是初登文坛的新作家刚刚印成白纸黑字的作品来念，因为自从上回念过以后，这两部书在我脑子里的印象已经模模糊糊了。这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。不过，在这种时候，人不仅想得到娱乐，还追求着什么目的。如果只讲享受的话，记忆力坏比记忆力好究竟差到哪里去，还真是大可怀疑哩。记忆力坏的人可以一辈子不断地念普卢塔克的《英雄传》和《天方夜谭》，而永远感到新鲜。很可能，最坏的记忆力也难免粘粘连连地留下一星半点的印象，恰如一只只绵羊从篱笆洞里接连通过，总不免在那刺条上留下一丝半缕的羊毛。然而，绵羊终归逃出去了，正像伟大的作家从我们不争气的记忆中消失。所留下的东西简直微不足道。&lt;br /&gt;
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既然读过的书我们可以忘得一干二净，那么一年十二个月以及每个月的风物，一旦时过境迁。我们同样可以轻而易举地把它们忘在脑后。在某个短暂时刻，我可以说自己对于五月就像对于乘法表那样熟悉，关于五月里的花木、开花时间乃至前后次序，我能通过考试。今天，我就敢肯定金凤花有五瓣。（难道是六瓣吗？上个礼拜我还记得清清楚楚来着。）可是，到了明年，我也许连算术也忘个干干净净;我得从头学起，以免把金凤花误认成白屈菜。那时，我像一个陌生者进人大花园，放眼四望，五色缤纷的原野再一次使我目不暇接，心迷神醉。那时，我也许要对这么一个问题拿不定注意，就是; 认为雨燕（那种简直像大号小燕子、又和蜂鸟沾点儿亲戚的黑鸟儿）从来不在窠里歇着，一到夜里就飞向高高的天空，到底是一种科学论断，还是一种无知妄说？当我知道了会唱歌的并不是雌杜鹃，而是雄杜鹃。我还要再次感到惊讶。我得重新学习，以免把剪秋罗当作野大竺葵；还要去重新发现白杨在树木生长的习惯法中究章算是早成材还是晚成材。某天。一个外国人问一位当代英国小说家，英国最重要的农作物是什么。他毫不犹豫地回答：“稞麦。”在我看来，这是一种堂而皇之派头的彻头彻尾的无知；不过，大大无知的也包括那些没有文化的人。普通人只会使用电话，却无法解释电话的工作原理。他把电话、火车、铸造排字机、飞机都看作当然之事，就像我们的祖父一代把福音书里的奇迹故事视为理所当然一样。对于这些事，他既不去怀疑，也不去了解。我们每个人似乎只对很小范围内的某几件事才真正下工夫去了解、弄清楚。大部分人把日常工作以外的一切知识统统当作花哨无用的玩意儿。然面，对于我们的无知，我们还是时时抗拒着，我们}有时振作起来，进行思索。我们随便找一个什么题目，对之思考，甚至入迷——关于死后的生命，或者关于某些据说亚里士多德也感到大惑不解的问题，例如“打喷嚏，从中午到子夜则吉，从夜晚至中午则凶，其故安在？”为求知识而陷入无知，这是人类所欣赏的最大乐事之一。归根结底，无知的极大乐趣即在于提出问题。一个人，如果失去了这种提问的乐趣，或者把它换成了教条的答案，并且以此为乐，那么，他的头脑已经开始僵化了。我们羡慕像裘伊特这样勤学好问之人，他到了六十多岁居然还能坐下来研究生理学。我们多数人不到他这么大的岁数就早已丧失了自己无知的感觉了。我们甚全像松鼠似的对自己小小的知识储存感到沾沾自喜，把与日俱增的年龄看作是培养无所不知的天然学堂。我们忘记了∶苏格拉底之所以以智慧名垂后世，并非因为他无所不知，而是因为他到了七十高龄还能明白自己仍然一无所知。&lt;br /&gt;
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=毛优Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
[[Trans_Type_EN_5]]&lt;br /&gt;
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毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
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=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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[[Trans_Type_EN_6]]&lt;br /&gt;
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彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
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从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。	&lt;br /&gt;
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Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
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Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
翻译风格，巴黎的忧郁，郭宏安，亚丁&lt;br /&gt;
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==Introduction==&lt;br /&gt;
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The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
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Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations. Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
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==Liu Miqing’s theory of translation style==&lt;br /&gt;
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Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
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Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.&lt;br /&gt;
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In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
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==Form Markers==&lt;br /&gt;
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According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
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===Register Markers===&lt;br /&gt;
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“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
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The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
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Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
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Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
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Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
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This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
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===Lexical Markers===&lt;br /&gt;
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Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence, translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
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==Non-formal Markers==&lt;br /&gt;
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The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
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Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
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According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
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Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
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The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
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The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
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Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
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Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.&lt;br /&gt;
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==References==&lt;br /&gt;
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[1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[3] 刘宓庆 Liu Mingqing. 新编当代翻译理论[M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp;amp; Publishing Corporation, 2005.&lt;br /&gt;
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[4] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.&lt;br /&gt;
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[5] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.&lt;br /&gt;
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=秦建安 A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
[[Trans_Type_EN_7]]&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Lu Xun, chief commander of China's modern cultural revolution, is not only a great thinker and political commentator but the founder of modern Chinese literature. Kong I-Chi is one of the masterpieces of Lu Xun's novels. Although the total number of characters is less than 3,000 words, Lu Xun exposes the nature of feudal ethics and its negative influence through his character portrayal, which is loved by many readers home and aboard. The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but so as close as possible to the original text in terms of syntactic structure and wording. Therefore, his translations once became the authoritative version of Lu Xun's novels. From the perspective of Nida’s functional equivalence theory, this thesis conducts translation research on the English translation of the famous writer Yang Xianyi, analyzing whether the translation is functionally equivalent to the original text and construe the English translation of prose from the lexical, syntactic, and semantic level to try to explore the translation strategies, styles and methods of Kong I-Chi which aims to explain the functional equivalents in Lu Xun's short novel translation.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Functional Equivalence Theory; Lu Xun; Kong I-Chi;translation method&lt;br /&gt;
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===Introduction===&lt;br /&gt;
This chapter will be expanded with respect to the research background, its significance and the methodology. The literature review will also be included which describes the previous studies on the Functional Equivalence Theory and previous translation versions of ''Kong I-Chi''.&lt;br /&gt;
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'''Research Background and Significance'''&lt;br /&gt;
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As the most famous writer in modern China, Lu Xun has a decisive bearing on the modern history of Chinese literature. Lu Xun settled in a period of transformation in Chinese literature. His short stories are different from modern short stories in terms of text and expression. ''Kong I-Chi'' was written in 1918 when there was a turmoil in China. At that time, although the imperial examination system had been abolished, the education system had not changed, and many scholars had not shaken off the shackles of feudal tenets. &lt;br /&gt;
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''Kong I-Chi'' enjoys high reputation at home and abroad and has been translated into English, Japanese, French, Russian and other languages. Compared with other language versions, the English versions enjoy a wider spread and have deeper influence. In 1954, the couple Yang and Dai translated it into English and published Selected Stories of Lu Xun in which ''Kong I-Chi'' was included. Yang Xianyi and his wife Gladys Yang are great translator beyond all doubt. They are knowledgeable and familiar with Chinese and Western cultures also have devoted their life to translating excellent Chinese and Western literary works. Through their translation, we can better master the author's own novel intentions.&lt;br /&gt;
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'''Methodology'''&lt;br /&gt;
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In recent years, the translation of traditional Chinese literary works was attached great significance by both Chinese and foreign scholars. As an important part of ancient Chinese culture, though, it is a common genre in Chinese and foreign literature, the short novels cannot be neglected. For translators, how to deal with the modern and balance Chinese and Western cultural differences has become a salient problem. It is not only necessary to understand the characteristics of modern Chinese literature, but also to be very familiar with Chinese and Western cultures for the translator. Functional Equivalence Theory is put forward by American linguists Eugene Nida. According to him, two different languages represent two different cultures which will never be the same, but translation is a kind of communication between the two cultures and translators should try their best to achieve functional equivalence between the two languages rather than seek for rigid correspondence when making translation, which can accurately reproduce the source culture in the target language and eliminate cultural differences. It puts forward a new attitude to treat different languages and cultures, promoting language communication and mutual understandings among people. Thus, taking Nida’s theory as guidance, this research is meaningful not only for translation studies, but also for cultural exchanges.&lt;br /&gt;
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'''Literature Review'''&lt;br /&gt;
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As one of Nida’s major contribution to contemporary translation studies, Functional Equivalence Theory has brought about heated discussion among scholars at home and abroad since its birth. Many momentous works of Nida also have been translated and introduced into China, such as Nida on Translation edited and translated by Tan Zaixi (1999) and Language and Translation translated by Cai Yi (1985) which of them aroused great repercussions in Chinese translation field. As the prototypical member of Functional Equivalence Theory, receptor’s response theory draws scholars’ attention. Zhang Xiujuan (2015) points out that “receptor’s response theory breaks the tradition of Chinese translation that translators pay much attention to the text but may ignore the response of readers, and provides a new perspective for Chinese scholars to make studies on translation theories”.&lt;br /&gt;
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Kong I-Chi, as the most typical character in Lu Xun's novels in the teaching textbooks of Chinese junior high school students, has left an indelible impression in the hearts of Chinese people. The most recognized translators of ''Kong I-Chi'' include Yang and Dai, Lyle William and Edgar Snow. The translation of Lu Xun's novels during the period of Yang and Dai reach its heyday. For a long time, domestic and foreign publishing houses have published works translated by the couple. Since Edgar Snow lived in the same age as Lu Xun, his translation is closer to Lu Xun's life background. It wasn't until 1990 that the American scholar William Lyell's new American translation was published, and the new stage of the English translation of Lu Xun's novels began. The British English version translated by Yang and Dai is elegant and idiomatic, giving readers the good impression of pure British English.&lt;br /&gt;
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=== Theoretical Framework: Nida’s Functional Equivalence Theory ===&lt;br /&gt;
==== Introduction of Functional Equivalence Theory ==== &lt;br /&gt;
===== The Original of Functional Equivalence Theory  =====&lt;br /&gt;
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Nida's main academic activities unfold around the translation of the Bible. In the process of &amp;quot;Bible&amp;quot; translation, Nida started from reality and developed a set of his own translation theory, which eventually became one of the classics in translation studies. In 1964, Nida (1964) put forward “dynamic equivalence” in ''Toward a Science of Translating'', and gave it specific definition in ''The Theory and Practice of Translation'' (1969). In the mid-1980s, “dynamic equivalence” was replaced by “functional equivalence” to avoid misunderstandings on the term “dynamic”, which was the origin of Functional Equivalence Theory.&lt;br /&gt;
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=====The Development of Functional Equivalence Theory  =====&lt;br /&gt;
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The most important and the most intractable part in Functional Equivalence Theory is the disposal of message. The theory requires that the message in receptor’s language must be consistent with the source language. In such a translation, translators should strive to “reproduce as literally and meaningfully as possible the form and content of the original” (Nida 1964:159). Later he successfully applied the research results of modern linguistics to translation theory which also reciprocally pushed his theory forward. There are three stages in the development of Functional Equivalence Theory.&lt;br /&gt;
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The first stage is that starting from the essence of language; he used semantic theory to make an objective and accurate analysis of the referent and associative meaning of words. In Nida's point of view, various language structures have great similarities, and the deep structure is far more common than the surface structure. Therefore, the translation of the deep structure between languages can ensure the fidelity of the translation to the greatest extent. At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensue smoothness of the translation as much as possible. The faithful and fluent translation presupposes conditions for the equivalence of receptor’s response, which makes it possible to realize functional equivalence.&lt;br /&gt;
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The second stage is that the theory was prone to lay its foundation on information theory. Nida held the view that translation is the activity of converting information expressed in one language into information in another language, which is, converting information of one code into information of another code. The translation plays a communicative role in transmitting information. Only when the target reader obtains the same amount of information as the original reader can the relationship between the target language recipient and the target language information be basically the same as the relationship between the original language recipient and the original source information. Nida noticed that there is a receptive gap between the original reader and target reader especially when the original language and the target language belong to different language families and different cultures. Thus, in order to improve the amount of the receptor’s information as much as the original reader’s, Nida emphasizes the translator can moderately change the form of the original text to provide a better understanding for receptors.&lt;br /&gt;
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On third stage, Nida tended to embellish his theory from the perspective of social semiotics. Nida insisted that the translation means translation meaning, and semiotics is the most comprehensive system for analyzing meaning. In the book &amp;quot;''Language, Culture, and Translation''&amp;quot;, Nida pointed out that social semiotics studies all codes and codes of human society, and its focus is on the most comprehensive and complex symbol system used by mankind-Language. Therefore, in terms of decoding and encoding, no translation method is as comprehensive as the social semiotic translation method.&lt;br /&gt;
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Nida also recognized that there would never be complete equivalence and it was just a quaesitum. With further development of Functional Equivalence Theory, he thought that it has different degrees of adequacy and on that basis he put forward two levels of functional equivalence — the maximal level and the minimal level of equivalence. The former refers to “the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did” (Nida 1993:118), but this is just an ideal state which cannot be achieved especially when there are huge cultural and aesthetic differences between the two languages. While the latter means “the readers of a translated text should be able to comprehend it to point that they can conceive of how the original readers of the text must have understood and appreciated it” (Nida 1993: 118), and translation below this level can never be accepted. According to Nida, if a translation is between these two levels, it can be regarded as a good one.&lt;br /&gt;
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==== Basics of Functional Equivalence Theory  ==== &lt;br /&gt;
=====Receptor’s Response  =====&lt;br /&gt;
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In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s responce. When translators are working on translation, they are increasingly unable to ignore the reader's feedback on the translation. From the perspective of reception aesthetics, translation theorist Nida said that only when the reader accepts the translation can the translation be truly completed. Therefore, when translating, the translator cannot ignore the acceptability of the translation. The translator builds a bridge between the original author and the reader of the target language through translation, and it is the translation that can clearly reflect this bridge role.&lt;br /&gt;
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Receptor’s Response Theory draws attention to the reader and the reading process, rather than the author or the text. Pat Mora and James Welch define it as: &amp;quot;The theory emphasizes the importance of the reader's role in text understanding.&amp;quot; The same description also appears in many of Nida’s works in which the importance of “receptor’s response” is emphasized repeatedly. &lt;br /&gt;
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There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which was pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information need to be filled in by the reader himself. Such uncertainty occupies another very important position in this theory. This concept includes those vague factors, such as gaps and blanks. This kind of uncertainty encourages readers to add their own ideas when reading, so there is usually more than one understanding of a literal work. The third point is implicit reader also proposed by Isel, as opposed to the actual reader, which refers to the intended reader set by the writer himself who can concretize the text. Isel points out that the implicit reader is not the actual reader, but a reader that the author expects to design in the creative process, that is, the implicit recipient. It is a certain character that the artist conceives and pre-sets based on his experience or hobbies. The forth part is the identity theme. In other words, the work itself has no fixed objective meaning; only when the reader reshapes the work out of his own identity theme and the reader replicates his own fantasies during the reading process, the work can be given meaning. The last point is the interpretative group which was put forward by Stanley Fish. It refers to people who share the same interpretation strategy as we have. In a known context or reader group, the interpretation of the work meaning is the product from the group.&lt;br /&gt;
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===== Principles for Producing Functional Equivalence  =====&lt;br /&gt;
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To achieve the closest natural equivalence between the source language and target language, Nida put forward six principles as the guidance of different kinds and degrees of adjustments:&lt;br /&gt;
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1.	When the translation that strictly keeps the form of the source text makes receptors misunderstand the designative meaning, changes need to be made in the translated text, or a footnote should be added for further explanation if literal translation is still be selected.&lt;br /&gt;
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2.	When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aim to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.&lt;br /&gt;
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3.	When the translation that strictly keeps the form of the source text is so semantically and syntactically difficult that average readers may give up the attempt to understand it, changes should be made in the translated text and the nature of the changes needs to be indicated in the introduction or footnote.&lt;br /&gt;
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4.	When the translation that strictly keeps the form of the source text causes significant misconceptions on the associative meanings of the source text or huge loss in the appreciation for the stylistic values of the source text, changes should be made to reflect the associative meanings of the source text.&lt;br /&gt;
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5.	The way that a translation is to be used (such as a drama to be read or acted on the stage) is of great significance to the extent to which changes are to be made.&lt;br /&gt;
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6.	A source text that must be translated together with accompanying codes (such as songs and operas) generally requires numerous adjustments in all aspects, including phonology, lexicon, syntax, and discourse. (Nida 1993: 125-128).&lt;br /&gt;
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=== Introduction to Lu Xun and ''Kong I-Ch''i  === &lt;br /&gt;
==== Lu Xun and the values of ''Kong I-Chi'' ====&lt;br /&gt;
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To read and translate Kong I-Chi, you must first understand its author-Lu Xun.&lt;br /&gt;
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Lu Xun is a great writer. Mentioning classical literary works, no matter what innovative methods are adopted, whether realistic, romantic, or magical, the content should be close to life, reflect the reality of times and speak for the people. In terms of form, literary works should conform to the inherent rules of literary creation-forming a unique artistic style and achieving the perfect unity of truth, goodness, and beauty. Lu Xun's works fully meet the above requirements. &lt;br /&gt;
Lu Xun is also a famous thinker. Indeed, Lu Xun did not specifically study thinking or modes of thinking, nor did he have advanced theoretical monographs, but he, like thinkers in ancient and modern times, both at home and abroad, used suspicion and criticism as spiritual swords to explore truth and reveal. He held the view that it was his duty to awaken the sleeping souls of the Chinese people with literary works of various genres. The depth and breadth of his thinking is even higher than that of some contemporary thinkers. This is well reflected in his work Kong I-Chi.&lt;br /&gt;
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Lu Xun, who is a revolutionary, has a precious characteristic, that is, the purity of his revolutionary original intention. Lu Xun leaned towards socialism under the white horror of the low ebb of the Chinese revolution. What's more commendable is that as a sober realist, Lu Xun never conceives any romantic illusions about the revolution. No matter what difficulties the revolution encounters, Lu Xun always has an optimistic belief in the prospects of the revolution.&lt;br /&gt;
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From a general perspective, Lunatic's Diary is more macro and image specific than Kong I-Chi, while Kong I-Chi starts from the micro level, depicting the poor people at the bottom of society who was bullied and oppressed and lost their dignity as human beings. In addition, there are many opinions in the critics. For example, Mr. Lu Xun's Kong I-Chi was written to criticize the feudal imperial examination system, and some people think that it was sent out to criticize the “dark” old society. The famous critic Lin Zhihao believes that this novel is not only to assail at the corruption of the feudal imperial examination system, but also to reveal the persecution of people’s spiritual and ideology by the feudal education system in the dark old society. The social reality was that most scholars had been ruthlessly “eaten” up by the environment. When the shackles of thinking have been broken, we can dig into the deep meaning under the surface of Kong I-Chi, that is, the process of literati's loss of personality and the process of redemption under the background of the dark society of feudalism. Although the tragedy is redemptive, the process is also accompanied by a fall.&lt;br /&gt;
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==== Study on the Translation of ''Kong I-Chi''  ====&lt;br /&gt;
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''Kong I-Chi'' is a masterpiece of Lu Xun. The novel was created in the winter of 1918, published in the sixth volume of &amp;quot;''Italic text''New Youth&amp;quot; in April 1919. (刘家鸣1992: 15). ''Kong I-Chi'' is Lu Xun's most satisfying work (孙伏园等2000: 58), and it is also one of Lu Xun's novels that English translators are vying to translate resulting in an amount of English translation. &lt;br /&gt;
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So far, there are eight translations of ''Kong I-Chi'': 1)A British man E.H.F.Mills translated ''Con Y Ki'' from Jing Yinyu's French translation (Mills 1930: 42-50), included in ''The Tragedy of Ah Q and Other Contemporary Chinese Short Stories'' published by George Rutridge Bookstore in London in 1930; 2) The English translation of ''K’ung I-chi'' by the American Jin Shouzhuo (G.A.Kennedy 1932: 14-15), which was later included in ''Isaacs'' (Isaacs 1974: 25-32) edited by Yi Luosheng; 3) ''K’ung I-chi'' translated by Lin Jijin (Lin 1935:3-4); 4) Unsigned version of The Tragedy of ''K'ung I-Chi'' (Anonymous 1936: 2-3); 5) ''K’ung I-chi'' was co-translated by American journalists Edgar Snow and Yao Xinnong; 6) later comes to Yang Xianyi and Gladys's translation ''K'ung I-chi'' (hereinafter referred to as &amp;quot;Yang Translation&amp;quot;) (Yang &amp;amp; Gladys 1960: 40-46); 7)Then, famous American sinologist William Lyell translated ''Kong Yiji'' (Lyell 1990: 42-48); 8) other translation of ''Kong Yiji'' was produced by British sinologist Lan Shiling ( Lovell 2009: 32-36).&lt;br /&gt;
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This article focuses on Yang's translation, trying to explore Yang and Dai's translation strategies, styles and methods of ''Kong I-Chi'' from the lexical, syntactic and semantic levels, and aims to explain the functional equivalence in the English translation of Lu Xun's short stories.&lt;br /&gt;
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=== Analysis of the Translation of ''Kong I-Chi'' from the Perspective of Functional Equivalence  === &lt;br /&gt;
==== Lexical Analysis ====&lt;br /&gt;
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There are many cultural-loaded words in the original Kong I-Chi text, such as this. Culture-loaded words are deeply imprinted by the region and era of a certain language society which express things and concepts peculiar to a certain culture. Such words as “进学” and “秀才” not only carry rich cultural connotations, but also exist only in a certain culture which may be blank in another culture. It is this characteristic which is “I have and you do not have” that often becomes an obstacle to cross-cultural communication and translation. From the perspective of Functional Equivalence, this thesis will analyze how these words are handled in Yang's translation.&lt;br /&gt;
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In the sentence “幸亏荐头的情面大，辞退不得”, the word “荐头” was translated into “someone influential” by Yang and Dai. “荐头” is the person who introduces works to other people in ancient China. Such person is absolutely influential. But for reader, such influential people may be a nobleman or someone who is very authoritative in the area which may result in discrimination. The job introducers also can be regarded as common people instead of the influential. From the perspective of Functional Equivalence, Yang’s translation explicitly showed the deep meaning with loss of cultural characteristic.&lt;br /&gt;
The phrase “之乎者也” was translated into “archaisms” which stands for the use of an archaic expression. In Chinese, the original meaning of “之乎者也” is four auxiliary words commonly used in classical Chinese. Therefore, the word &amp;quot;之乎&amp;quot; also refers to the basic abilities that a scholar should possess. Later, it is used to ridicule the scholar who only knows how to analyze words while cannot solve practical problems. Functional equivalence theory requires efforts to create translations that not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. The word “archaisms” corresponds exactly to the description of Kong I-Chi in Lu Xun’s story who is a nerd.&lt;br /&gt;
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Other prototypical cultural-loaded word is “进学”. Yang translated it into “pass the official examination”. As a link in the imperial examination system in ancient China, “进学” means that the children of the Qing dynasties who can pass the examination will be admitted to the prefectural and county schools. Such system is unique to China. To achieve functional equivalence, that is, to allow non-native readers to understand this special cultural mark, the translator must explain this cultural phenomenon as much as possible or find a corresponding expression in the foreign language culture. The same in the word “秀才” on this sentence “你怎的连半个秀才也捞不到呢?” “秀才” also belong to the imperial system. “秀才” is a subject for selecting officials in ancient China, and it was once used as a special name for school students. Yang translated it into “passed the lowest official examination”. As the minimum requirement of the ancient imperial examination system, those who passed the selection examination were called  “秀才”. According to Nida’s theory, it perfectly expresses the ancient Chinese imperial examination system, and at the same time allows foreign language readers to understand Kong I-Chi’s knowledge background.&lt;br /&gt;
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==== Syntax Analysis ====&lt;br /&gt;
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In terms of syntax, the differences in sentence patterns between English and Chinese are the most salient. English emphasizes hypothesis while Chinese emphasizes parataxis, which leads to the conversion of sentence patterns in the process of translation. According to Nida's Functional Equivalence Theory, if the change in form is still insufficient to express the meaning and culture of the original text, the translation technique of &amp;quot;reconstruction&amp;quot; can be used to resolve cultural differences and make the source language and the target language equal in meaning. &amp;quot;Reconstruction&amp;quot; refers to the conversion of the deep structure of the source language into the surface structure of the target language (郭建中,2000 , P67), that is, the cultural connotation of the source language article is explained by the vocabulary of the target language.&lt;br /&gt;
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In ''Kong I-Chi'', when Kong I-Chi took our his money and ordered some food, other people started to sneer at his revenue sources and said “你一定又偷了人家东西了!” The exclamatory sentence in the original text showed others' affirmation of Kong I-Chi's theft. Yang translated it into “You must have been stealing again!” Here we can notice the tense of the two sentences. Lu Xun used the past tense in original text, which expresses that Kong I-Chi's stealing is an established fact. However, Yang used the present perfect continuous tense when translating. In English, the present perfect continuous tense manifests that something the subject has done in the past is still being done, and may continue in the future, expressing the continuation of an action. There is no need to add any other additional descriptions, just from this tense, readers can realize everyone's thoughts on Kong I-Chi's theft. Such reconstruction of tense verifies the application of Functional Equivalence Theory in turn.&lt;br /&gt;
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Afterwards, these people who deprecated him refuted Kong I-Chi's maintenance of himself, saying: “什么清白?” In Yang's translation, it is translated as “Pooh, good name indeed!” In the original text, it is originally an interrogative sentence, but Yang transformed it into an exclamation sentence, added English slang “pooh” in it and translated “清白” into good name. If the interrogative sentence in the original text is literally translated into &amp;quot;what’s the innocence&amp;quot;, the comic effect, that is, everyone's disdain for Kong I-Chi in the exclamatory sentence will not be achieved. The sentiment contained in the original text is successfully conveyed through the conversion of sentence patterns.&lt;br /&gt;
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When describing Kong I-Chi’s knowledge background, the original text mentioned: “幸而写得一笔好字，便替人家钞钞书”. In Yang’s translation, he didn’t directly translate it into a verb phrase instead of into a noun phrase which was “Happily, he was a good calligrapher.” Knowing the characteristics of English and Chinese languages, he metonymically recreated dynamic Chinese verb clauses into static noun clauses.&lt;br /&gt;
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==== Semantic Analysis ====&lt;br /&gt;
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How to eliminate cultural differences as much as possible so that the semantics of the original language can be perfectly embodied? From the perspective of Functional Equivalence Theory, the translator needs to transform the deep structure of the source language into the surface structure of the target language which requires translator to use the corresponding vocabulary in the target language to directly explain the connotation of the original text, so that the target readers can accept the translation more easily. For example, in the original text, the sentence “因为他姓孔，别人便从描红纸上的 ‘上大人孔乙己’这半懂不懂的话里，替他取下一个绰号，叫作孔乙己” includes an allusion: 上大人孔乙己 which refers to a character in the card game popular in ancient China. In such card game, the characters always are drawn in a red paper. For children in ancient China, the card game was easy to play and was a childhood memory.&lt;br /&gt;
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In Yang’s translation, he translated it into “As his surname was Kung, he was nicknamed ‘Kung I-chi’, the first three characters in a children's copybook.” Such translation omits a lot of information from the original text, such as “描红纸上” and “半懂不懂”. But Yang gave a substitute for the omission: he explained the game allusion about children which can be regarded as a strategy that helps foreign readers better understand how Kong I-Chi comes. &lt;br /&gt;
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Another illustration is the translation of this sentence: “孔乙己，你当真认识字么？” It seems fairly easy for common people to translate it with “Kong I-Chi, do you really know words?” , while Yang gave a different version: “Kung I-chi, do you really know how to read?” In our cognitive concepts, if a man knows how to read a word, then he must know this word. But if he knows the word, he may not only know how to read it, but even know how to write it. Such special mechanism is called conceptual metonymy. Yang metonymically narrowed the scope of the meaning of the word “认识”and accurately positioned the meaning of this understanding according to the context. The translator abandons the equivalence of form and achieves the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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This article selects Yang’s translation of &amp;quot;''Kong I-Chi''&amp;quot; as the study case, and analyzes the translation effect from three aspects: lexicon, syntax and semantics, combined with Nida’s Functional Equivalence Theory. It is believed that the translator flexibly uses a variety of translation methods to deal with the differences between English and Chinese languages, and the translation has realized functional equivalence as a whole.&lt;br /&gt;
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At the lexical level, the translator adopts the naturalization method when translating the proper nouns of &amp;quot; ''Kong I-Chi'' &amp;quot;, adding notes to individual words. The translation perfectly conveys the meaning of the original vocabulary. &lt;br /&gt;
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At the syntactic level, when there are differences in the expression of English and Chinese sentences, the translator will split the sentence, adjust the subject and object of the sentence, change the sentence structure and the sentence order to make the translation conform to the expression of the target language where the translation is smooth and natural. When translating the allusions of &amp;quot; ''Kong I-Chi'' &amp;quot;, the translator adopts literal translation and annotations. &lt;br /&gt;
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In terms of semantics, the translator uses the mechanism of conceptual metaphors to accurately show the original flavor.&lt;br /&gt;
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This article believes that the success of Yang’s English translation of &amp;quot;''Kong I-Chi''&amp;quot; lies in its fluent, natural language and exotic flavor. The author and translator of &amp;quot; ''Kong I-Chi'' &amp;quot; are both famous artists. The translation case from the English translation of &amp;quot;''Kong I-Chi''&amp;quot; reflects the practical application of the Functional Equivalence Theory in Lu Xun's novels. The writer also hopes that this thesis can provide ideas and inspirations for the English translation of other Lu Xun's novels.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Nida E.A. ''Language and Culture: Contexts in translating''. Shanghai: Shanghai Foreign Language Education Press.2001. &lt;br /&gt;
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[2]Nida, Eugene A.1964. Towardsa ''Science of Translating'', Leiden: E.J.Brill. &lt;br /&gt;
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[3]Nida, Eugene A.&amp;amp;Charles R.Taber, 1969, ''The Theory and Practice of Translation'', Leiden: E.J.Brill&lt;br /&gt;
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[4]鲁迅Lu Xun.鲁迅全集(第一卷)Selected Work of Lu Xun(volume Ⅰ）[M].北京Beijing:人民文学出版社People's Literature Publishing House ,1982.&lt;br /&gt;
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[5]谭载喜Tan Zaixi．新编奈达论翻译New Nida's Translation[M]．北京Beijing：中国对外翻译出版公司China Translation &amp;amp; Publishing Corporation，1999.&lt;br /&gt;
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[6]杨坚定Yang Jianding，孙鸿仁Sun Hongren．鲁迅小说英译版本综述A Summary of the English Versions of Lu Xun's Novels[J]．鲁迅研究月刊Lu Xun Research Monthly，2021(4)．&lt;br /&gt;
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[7]伊塞尔Iser.本文中的读者 Readers in this article[A]．二十世纪西方美学名著选（下）Selected Works of Western Aesthetics in the Twentieth Century (Part 2)[C]．上海Shanghai：复旦大学出版社Fudan University press,1998.&lt;br /&gt;
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[8]杨宪益.Yang Xianyi,戴乃迭 Dai Naidie译.鲁迅选集英文版(一) Selected Works of Lu Xun (1)[M].北京:外文出版社 Beijing: Foreign Languages Press,1980.&lt;br /&gt;
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[9]https://baike.baidu.com/item/%E5%8A%9F%E8%83%BD%E5%AF%B9%E7%AD%89%E7%90%86%E8%AE%BA/3373397?fr=aladdin&lt;br /&gt;
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[10]https://www.zhihu.com/question/29965932&lt;br /&gt;
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=颜子涵 Translation methods and strategies applicable to the style of biographical literature -- Taking Incidents in Life of Slave Girl (excerpt) as an example=&lt;br /&gt;
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[[Trans_Type_EN_8]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
The translated text of this article is a part of the English biography Incidents in Life of Slave Gir. The author of this work is Harriet Jacobs. This translation mainly takes the translation functional equivalence theory of American linguist Eugene A.Nida as the theoretical framework, adopts some translation skills in translation practice, and discusses the translation skills and Strategies of Chinese translation of such texts by analyzing the stylistic characteristics of biographical literature, especially African American autobiography. Through the Chinese translation of this autobiography, we can have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Autobiographical Literature; Black female slaves; Translation methods and Strategies&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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This paper is divided into four parts. The first part is an overview of the translation project, which mainly introduces the relevant situation of the translation project, the author and works of the translated text; The second part is the preliminary preparation of translation, including project text analysis and translation plan formulation; The third part, translation theory and case analysis, including functional equivalence theory, translation strategies and case analysis; The fourth part is the summary of the project, mainly on the problems encountered in translation, the experience and inspiration gained in the process of translation.&lt;br /&gt;
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This work belongs to the category of biographical literature. Biographical literature is a literary genre in which the author reproduces the characters' life stories and experiences, shows the characters' spiritual outlook and values, and depicts the characters' distinct love and hate and vivid personality through documentary writing and a variety of literary and artistic techniques. There are more than 50 characters involved in the biography. In the author's works, these characters are very vivid, such as the forbearance of a strong grandmother to the slave owner, the loyalty of a hard-working aunt to the slave owner, the oppression of female slaves by a crafty and sinister doctor, and the wit of Linda Brent, the heroine who pursues freedom and courage. In particular, the author's description of the heroine's seven years spent in a &amp;quot;cage&amp;quot; like cabin before she fled to the North more ruthlessly castigates the evil of slavery. The heroine's experience deeply moved her relatives and friends, including white slave owners. With the help of her relatives and friends, the heroine was able to escape to the north.&lt;br /&gt;
Taking the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework, this paper adopts the following translation skills in the process of translation: 1. The translation methods of foreignization and domestication are used to achieve partial functional equivalence between the source language and the target language, so as to reduce the lack of culture after translation. 2. According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to make the translation conform to the expression habits of the target language. 3. The methods of addition and subtraction are adopted to make the translation consistent with the original in grammar and language form, as well as in cultural background and word association. 4. The Conversion Transformation is adopted to make the translation more acceptable to the target language readers. By analyzing the stylistic characteristics of biographical literature, especially African American autobiography, the author discusses the translation skills and Strategies of Chinese translation of such texts.&lt;br /&gt;
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=== Text background===&lt;br /&gt;
From the beginning of the British northern colony to the early 20th century, blacks were brutally exploited and oppressed by the slavery system. In particular, female slaves not only had to bear heavy labor, but also suffered the destruction and abuse of supervisors. Since the publication of the first Autobiography of black slaves in 1760, some advanced elements in black slaves denounced and denounced the evils of slavery with their own experience, and made outstanding contributions to the abolition movement. The author of this work is Harriet Jacobs, whose pseudonym is Linda Brent. Born in a slave family, she fought tirelessly because she could not bear the persecution of slave owners on her and her children. After fleeing to the north, the author wrote a biography of his personal experience of being enslaved, exploited, persecuted, fleeing to the north and realizing freedom, which was published in 1861. Through the Chinese translation of this autobiography, more people have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves.&lt;br /&gt;
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===Research Purpose and Significance===&lt;br /&gt;
This autobiography of black women starts from the experience of childhood from the perspectives of black slaves and women. In the process of growing up, the author experienced different masters of good and evil. When she was a child, her hostess let the author learn to read and write. Later, she died of illness. Then the new owner, Dr. flint and his wife tortured and framed her. Later, for the freedom of her children, the author resolutely decided to flee to the north and enjoy the right to freedom with her children. In the process of pursuing freedom, he went through escape, pursuit, hiding until he went north by boat. The author selects simple but typical examples in daily life, through the description of characters' psychology and language, the contradictory struggle between the interests of opposite classes, the criminal complaint of slave trafficking, and the process of slaves fleeing to the north, reveals the slave owner's naked exploitation and fraud of slaves, and reveals the slave's sincerity, courage and longing for freedom. The simple language and narrative techniques of the work fully shape the tenacity, courage, intelligence and clear love and hate of the female slave Linda Brent, and show the readers the misfortune and suffering of many slaves.&lt;br /&gt;
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=== Translation theory and case analysis===&lt;br /&gt;
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3.1 functional equivalence theory&lt;br /&gt;
This translation practice report takes the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework. Eugene Nida is an American linguist and a famous translation theorist. From the perspective of etymology, according to the essence of translation, he put forward the famous dynamic equivalence translation theory, namely &amp;quot;functional equivalence&amp;quot;. In this theory, he pointed out that &amp;quot;translation is to reproduce the information of the source language from semantics to style in the most appropriate, natural and equivalent language&amp;quot;. He believes that translation is not only the equivalence of lexical meaning, but also the equivalence of semantic style and style. The information conveyed by translation includes both surface lexical information and deep cultural information. Equivalence in dynamic equivalence includes lexical equivalence, syntactic equivalence, textual equivalence and stylistic equivalence. Nida pointed out that the translation should be functionally equivalent to the original text. Judging whether the translation is equivalent to the original text should be based on the psychological response of the readers, that is, the translator should not only stay in the equivalence of structure and semantics, but strive to make the target readers produce the functions and effects that the original author wants to achieve through his works, so as to make the target readers after reading the translation, Get the same feelings as the original readers, and make translation really become a converter of thoughts, feelings and cultural information. Therefore, in literary translation, according to Nida's theory, the translator should take the four aspects of dynamic equivalence as the translation principle to accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
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The core of Nida's functional equivalence theory is &amp;quot;content is greater than form&amp;quot;, which emphasizes that when there is a conflict between content and form, content must precede form (Nida, 2004:203). Due to the differences between Chinese and Western ways of thinking and logical habits, in order to make the translation conform to the habits of readers in the target country and make it easier for readers in the target country to accept, the author has adopted different translation methods and strategies. According to the specific content of Nida theory, this paper intends to analyze its application in English-Chinese translation practice from four aspects. 1、 According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to achieve lexical semantic equivalence between the source language and the target language; second, addition and subtraction and part of speech conversion are used to make the translation conform to the expression habits of target slogans in grammar and language form and consistent with the original text in terms of cultural background and word association; third, forward and reverse translation is used to reproduce the original text Fourth, for the long and difficult sentences of the original text, the translation methods such as reorganization, sentence splitting and merging are adopted to make the language expression forms of the translation more rich and diverse, and more easily accepted by the target language readers.&lt;br /&gt;
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3.2 translation skills and case analysis&lt;br /&gt;
When translating vocabulary, the author mostly adopts the literal translation method to convey the information of the original text more accurately. If the meaning of the translation is not accurate enough or does not conform to the Chinese expression habits after the literal translation, the author adopts the free translation method, while for the long and difficult sentences with complex structure, the translational translation method and split method are adopted to make them conform to the Chinese expression habits and more acceptable to the readers.&lt;br /&gt;
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=== Translation skills, methods and case studies===&lt;br /&gt;
Case 1: literal translation and free translation to achieve semantic equivalence in vocabularyIn the process of translation, it is the basic quality of every translator to correctly express the source language in the target language. In order to achieve this goal, the translator must start with the smallest unit of the source language—vocabulary. In project translation, the author follows the functional translation theory and pursues semantic equivalence. First, we must ensure the equivalence of lexical meaning. The author mainly discusses the semantic equivalence of words from two aspects: literal translation and free translation.&lt;br /&gt;
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1. Literal translation  &lt;br /&gt;
Literal translation emphasizes the consistency between the original text and the translation in form and content, which helps to maintain the style of the original text. Literal translation is not a dead translation, a hard translation, or a literal translation. Literal translation emphasizes retaining its form and reaching its meaning.&lt;br /&gt;
The example 1:&lt;br /&gt;
“Nothing could please her better than to see me humbled and trampled upon” is literally translated as ”没有什么比看到我恭顺谦卑、任人践踏更让她快活啦。”&lt;br /&gt;
Analysis: in this sentence, humbled and trampled upon is used to express the due psychology and living state of slaves in the eyes of slave owners. Here, it can be translated into obedience, humility and trampling, which can reflect the coldness of slave owners and the misery of slaves.&lt;br /&gt;
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2. Free translation&lt;br /&gt;
Paraphrase emphasizes divine similarity. When the original text is quite different from the translation in terms of lexical meaning, syntactic structure and style, it can not be confined to the original text. Free translation should be adopted to explain the form of the original language in another language form, so as to correctly express the ideological thrust of the original text. Free translation should conform to the grammatical norms and expression habits of the target language, so as to make the translation more fluent and natural. Free translation is not arbitrary addition and deletion, nor random translation. Free translation emphasizes &amp;quot;preaching its spirit&amp;quot; rather than &amp;quot;retaining its shape&amp;quot;. The work belongs to biographical literature. There are great differences between the source language culture and the target language culture. The translator can not adhere to literal translation from beginning to end, but should carry out free translation according to needs, so as to achieve better translation effect.&lt;br /&gt;
The example 2:&lt;br /&gt;
I resolved to give him no cause to accuse me of being too much of a lady, so far as work was concerned.&lt;br /&gt;
literal translation: 就工作而言，我决心让他找不到口实指责我过分淑女。&lt;br /&gt;
free translation: 就工作而言，我决心让他找不到口实指责我养尊处优。&lt;br /&gt;
Analysis: a lady originally means 女士或优雅的女子. Too much of a lady is often understood as 十分优雅. Because the author could read and write and looked dignified, he had not done heavy work like other slaves before, &amp;quot;I&amp;quot; guessed that the young master was disgusted with it. Here, too much of a lady is translated by free translation, which reflects the inner contempt of the young master for &amp;quot;me&amp;quot;.&lt;br /&gt;
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Case 2: addition, subtraction and part of speech conversion make the translation achieve sentence meaning equivalence, which is in line with the expression habit of the target language.&lt;br /&gt;
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3. Additional translation&lt;br /&gt;
The example 4:&lt;br /&gt;
One day, she sat under the window where I was at work, crying that weary cry which makes a mother's heart bleed. &lt;br /&gt;
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一天，她就坐在我干活的那个房间的窗户外哭，哭得声嘶力竭让任何一个做母亲的心里流血。&lt;br /&gt;
Analysis: A mother literally means &amp;quot;一个母亲&amp;quot;, but the following clause is translated into &amp;quot;哭得声嘶力竭让一个母亲的心里流血&amp;quot;. The emotion of the translation is weak. In this article, &amp;quot;I&amp;quot; as a slave must work and can't take into account children and family affection, because in the slave owner's view, slaves are low animals and don't deserve feelings. Although I heard my daughter crying, I couldn't get over it. Any mother would be distressed to hear her daughter's cry. In order to make up for the lack of emotion in literal translation, the method of additional translation should be adopted here, which is translated as &amp;quot;任何一个母亲&amp;quot;&lt;br /&gt;
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4. Omission &lt;br /&gt;
The example 5:&lt;br /&gt;
The doctor stamped his foot at him in a rage, and exclaimed, &amp;quot;Get out of the way, you little damned rascal! If you don't, I'll cut off your head.&amp;quot;&lt;br /&gt;
translated text：医生愤怒地跺了他一脚，厉声说道：“滚开!他妈的小坏蛋，如果不听话，我把你的头砍下来!”&lt;br /&gt;
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Analysis: Dr. flint twice went to the north to pursue the fugitive slave &amp;quot;I&amp;quot; without success. He spent a lot of money and was full of anger. At this time, my son asked him if he had brought his mother back. Dr. flint stamped his feet angrily, scolded and threatened the child. Through the vivid description of Dr. Flint's body movements and language, his angry image jumped onto the paper,In order to achieve the same effect and achieve the equivalence of language style, the author uses even verbs according to the original &amp;quot;stamped his foot at him in a rage, and exclaimed&amp;quot; and translates it into &amp;quot;stamp his foot angrily and say&amp;quot; you little damned rascal!!! &amp;quot;It is also a typical strong adult's words towards weak children. In order to be concise and powerful, the author omits &amp;quot;you&amp;quot; and translates it into &amp;quot;他妈的小坏蛋&amp;quot;.&lt;br /&gt;
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The example 6:&lt;br /&gt;
But when winter came, the cold penetrated through the thin shingle roof, and I was dreadfully chilled.&lt;br /&gt;
translated text：上次遭遇蛇咬，现在我对蛇更惧怕了，踏上这个藏身的地方，我不由心惊胆颤。&lt;br /&gt;
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Analysis: My fear of snakes is literally translated as &amp;quot;我对蛇的恐惧&amp;quot;, and the subject of the following clause is &amp;quot;我&amp;quot;. In order to give the target readers a unified reading perspective, my fear of snakes had been increased is translated as: 我对蛇更惧怕了. By transforming the noun of fear into a verb, the translation is more concise and more in line with Chinese expression habits than literal translation.&lt;br /&gt;
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Case 3: The stylistic style of the original text is reproduced by positive and negative translation.&lt;br /&gt;
5.The Positive and Negative Translation&lt;br /&gt;
The example 7:Nobody respects a mother who forsakes her children; and if you leave them, you will never have a happy moment.&lt;br /&gt;
translated text 1：没有人尊重抛弃孩子的母亲，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
translated text 2：抛弃孩子的母亲会遭人唾弃，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
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Analysis: This sentence contains a negative indefinite pronoun—nobody. In translation text 1, the first half of the original text (Nobody respects a mother who forsakes her children) is translated into &amp;quot;没有人尊重抛弃孩子的母亲&amp;quot;. Although the meaning is translated, the expression is not authentic. Translation text 2 uses the positive and negative translation method to change negative into positive, and “Nobody respects” into &amp;quot;being despised&amp;quot; can better express the speaker's (my grandmother's) eagerness to oppose &amp;quot;I&amp;quot; to escape.&lt;br /&gt;
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Case 4:The translation methods of reorganization, sentence splitting and merging are adopted to make the translation conform to the expression habits of the target language&lt;br /&gt;
There are great differences between English and Chinese syntactic structures. English is a linear language. Its syntax takes the subject predicate structure as the central axis, while other components form branch lines in the form of branches and connect with the main axis through connectives. The logical relationship between sentences tends to be explicit,; Chinese is more parataxis, and the combination between the components in a sentence or between sentences mostly depends on the connection of semantics and uses fewer connectives. Chinese sentences are arranged under the command of theme, that is, the structure of &amp;quot;topic description&amp;quot; has various forms and free combination. The logical relationship between sentences is more implicit (Yang Lin, 2007: Preface). There are few logical relational words between clauses and between sentences. Therefore, the author adopts the reorganization method, combining syntax and disassembling syntax to realize the semantic equivalence of sentences, and studies the influence of sentence structure on the translation. The significance is to better guide the translation practice.&lt;br /&gt;
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5.Recasting&lt;br /&gt;
The example 7: This was the good old lady who paid fifty dollars for my grandmother, for the purpose of making her free, when she stood on the auction block.&lt;br /&gt;
translated text：这个老太太是个好人，当年外祖母站在拍卖台上，为了让外祖母获得自由她花五十美元买下了我的外祖母。&lt;br /&gt;
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Analysis: The original text contains two compound structures, one is an attributive clause, the other is a time adverbial clause. Because Chinese sentences are constructed according to the law of logical order, the word order is arranged according to the actual sequence and event order, which is divided into sequence in time, and pay attention to the causality in logic. The author adjusts the time adverbial clause to the front, first explain the time, then explain the reason, and finally the result. This reorganized translation plays an important role in shaping the relationship between sentences, which is in line with the characteristics of Chinese sentence structure.&lt;br /&gt;
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6.Sentence-combining&lt;br /&gt;
The example 8: There was joy and there was sadness in the sound. It made my tears flow.&lt;br /&gt;
translated text：无论是哭声还是笑声都会让我泪流满面。&lt;br /&gt;
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Analysis: The original text is two sentences. Considering the close causal relationship between the two sentences, the author adopts the translation method of combined sentence to translate it into one sentence, so that the target language readers can read it more naturally.&lt;br /&gt;
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7.Dismantle the syntactic&lt;br /&gt;
The example 9: My hope was that the doctor would get discouraged, and, for fear of losing my value, and also of subsequently finding my children among the missing, he would consent to sell us; and I knew somebody would buy us.&lt;br /&gt;
translated text：损失一个女奴，再赔上我的两个孩子，这正是弗林特医生所担心的。他会泄气并同意卖掉我们，我知道有人会买下我们，而这正是我所希望的！  &lt;br /&gt;
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Analysis: When dealing with long English sentences, the method of splitting is generally used to divide the original sentence into several parts and combine them according to their internal logical relationship. The adverbial clause after the subject of “My hope” consists of three parallel sentences, the second of which has a more complex cause adverbial. The author first takes apart the subject clause, first translates the clause, and then presents the subject at the end, which is in line with the characteristics of Chinese presentation before topic.&lt;br /&gt;
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Case 5: Stylistic equivalence&lt;br /&gt;
The basic task of translation is to faithfully present the original text, so it is necessary for the translator to pursue the style of the original text. To achieve stylistic equivalence, the translator needs to analyze and identify the stylistic markers in the original. The original text contains national language characteristics, historical allusions and religious beliefs, so it has cultural differences. In translation, it should reflect the style of the original text and optimize it accordingly, so as to realize the re creation of style and adapt to the communication of the target language.&lt;br /&gt;
The original text has strong religious and cultural content, simple and pious faith, and shows their enthusiasm and passion for them. In translation, we should not only show the feeling of religious belief and culture, but also optimize the sentence style and deal with alienation appropriately, so that readers can feel the piety and understand the author's writing intention.&lt;br /&gt;
The key to shaping the problem role lies in its adaptability to the style of the original language. Only by adopting appropriate translation methods, deeply understanding the cultural background of the original text and skillfully changing the style of the original text, can the style meaning of the original text be reproduced in the target language and better reflect its charm and artistic conception.&lt;br /&gt;
In a word, a biographical text should be well expressed first to make it conform to the expression habits of the target language. First, we should deeply understand the creative intention of the original author and think of what we think from the perspective of the original author, so as to realize the central idea of the original text. The premise of translation is that the translator should have profound language and cultural skills and deeply understand the particularity of different background cultures, Have a good command of the target language, and then use it flexibly.&lt;br /&gt;
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The example 10: She hasn't so much feeling for her children as a cow has for its calf. If she had, she would have come back long ago, to get them out of jail, and save all this expense and trouble. &lt;br /&gt;
translated text：她对孩子的感情还不如母牛呢，母牛还知道护犊子。如果她有感情，她很久以前就会回来把他们救出去了，也就没有这些代价和麻烦了。&lt;br /&gt;
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Analysis: This sentence is a complaint made by Dr. Flint's wife—my mistress, about my escape. Considering that cows in Chinese culture also have the image of caring for their cubs, The author translates call “feeling for her children as a cow has for its calf” as：“母牛还知道护犊子”, This not only achieves cultural equivalence, but also sounds colloquial. On the other hand, it is in line with the speaker's identity as a mean slave owner.[He was &amp;quot;a chip of the old block.&amp;quot; If he found any slave out after nine o'clock, he could whip him as much as he liked; and that was a privilege to be coveted.如果他发现任何人九点后（宵禁时刻）跑出去，他就会抓住并鞭打此人，直到他满意为止。这是别人垂涎三尺的特权。]&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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Through the development of this project, the author believes that the translation of biographical works needs to have a full understanding of the differences between Chinese and English languages and cultures, thinking habits and expression methods. Only after having an accurate understanding and grasp of the language characteristics and contents of the original text, can words and sentences be carefully selected and constantly modified and polished in the process of translation, Make it an excellent translation. The author summarizes the following points in the whole translation process:&lt;br /&gt;
The translation method of biographical text. Biographical text has both information function and expression function (Zhang Meifang, 2006). Therefore, in translation, the translator should not only correctly express the information of the original text, but also reflect the literariness of biographical literature. In view of the differences in thinking and logic between Chinese and English, different translation methods should be adopted in the translation process. For example, literal translation can be used in terms of vocabulary, so as to simply, clearly and accurately convey the meaning of the original text. If literal translation is not possible, free translation, addition or subtraction, positive and negative translation, such transformation and other methods should be adopted to strive to achieve literal semantic equivalence. In terms of sentences, according to the respective characteristics of Chinese and English sentence structures, translation skills such as reorganization, disassembly and combination of syntax are adopted in order to meet the reading habits of target language readers. Experience the language style of biographical literature. In this project, the author's narrative language is simple and simple, and do a good job in the analysis of the characteristics of biographical literature materials. For a translator, the types of material translation can be diverse, literary or scientific, so the translator must do a good job in the analysis of text materials when he gets a relatively unfamiliar translated text, Only after analyzing the materials thoroughly and finding out the characteristics can the preparatory work be done adequately. This project adopts biographical text, which is characterized by many names and place names and strong local cultural characteristics. Therefore, in order to improve the accuracy of translation, the author has made a lot of preparations before translation, including finding the author's relevant background information, relevant historical facts, as well as the folk customs at that time. With reference to the new English Chinese dictionary, the names of people and places in the text are translated uniformly. Due to sufficient preparation, these problems encountered in translation have been solved.&lt;br /&gt;
The author has two experiences in maintaining problem awareness in the translation process. &lt;br /&gt;
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First, if you encounter an uncertain word and sentence in the translation process, you should consult the relevant reference books in time or use the Internet. &lt;br /&gt;
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Second, when dealing with cultural problems, I often ask my classmates or experts in this field for advice, so as to solve the problems in time.&lt;br /&gt;
At the same time, there are some problems in the process: My translation experience is still shallow and the cultural knowledge reserve is insufficient. There are some disadvantages in this project.Because my Chinese level needs to be further improved, the translated language is still immature and not concise enough. Second, the lack of relevant knowledge leads to the fact that the unique things of foreign culture can only be translated directly and hard in translation, resulting in the stiff and rigid translation. Such as a box, covered with sheepskin, is called the gumbo box. A dozen beat on this, while other strike triangles and jawbones, to which bands of dancers keep time.&lt;br /&gt;
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Third, in translation, we should not only maintain the meaning of the original text, but also reflect the style of the original text. We can't have both fish and bear's paw—鱼和熊掌不可兼得。Therefore, I believe that only through a lot of translation practice and summing up experience can we improve our translation level.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Beardslee, Karen E. Through Slave Culture's Lens Comes the Abundant Source: Harriet A. Jacobs's Incidents in the Life of a Slave Girl.&amp;quot; MELUS 24 (1999): 37-58.&lt;br /&gt;
&lt;br /&gt;
[2]Jacobs Incidents in the life of a Slave Girl: Written by herself.&amp;quot; Languages &amp;amp;Literature 15(2001):314-336.&lt;br /&gt;
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[3]Incidents in Life of a Slave Girl chapters 16 to 30&lt;br /&gt;
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[4]李小春. (2016). 浅析英语翻译技巧及方法的应用. 读天下(20), 1.&lt;br /&gt;
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[5]李亚云.《一名女奴的人生际遇》之黑人女性身份建构[J].文学教育(上),2015(07):30-31.p&lt;br /&gt;
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[6]李亚云. 《一名女奴的人生际遇》之黑人母性分析[D].中央民族大学,2016.&lt;br /&gt;
&lt;br /&gt;
[7]付娟. 英汉翻译中拆句法和合并法的有机结合探析[J]. 好家长, 2016(38):1.&lt;br /&gt;
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=邝艳丽 On the Translation Strategies of English Version of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hong-Ming and Xu Yuanchong=&lt;br /&gt;
[[Trans_Type_EN_9]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
''Lun Yu'', one of Chinese classics, records behavior and thoughts of Confucius and his disciples. ''Lun Yu'', intensively reflecting Chinese Confucianism, plays a significant role in Chinese culture. Dating from 1809, there are about sixty translations of ''Lun Yu'' during the two hundred years. This paper will study the two English versions of ''Lun Yu'' by Ku Hung-ming and Xu Yuanchong from the the theory of Horizon Fusion proposed by Hans-Georg Gadamer, mainly the core conceptual words in ''Lun Yu''. Besides, the paper will explore the translation strategies adopted by the two translators from different visions such as the horizons of the original text, the translator and the target culture. The better translation of core conceptual words will come to a conclusion through the contrastive analysis.&lt;br /&gt;
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===Keywords===&lt;br /&gt;
Fusion of horizons; Ku Hong-Ming; ''Lun Yu''; Xu Yuanchong&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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''Lun Yu'', as a carrier of Confucianism, has profound influence on the culture all over the world. Confucianism has largely influenced the development of European philosophy, which provide new theoretical basis for European Enlightenment in the eighteenth century (Li Zongzheng 2016: 112-116). In Voltaire’s opinion, the discovery of Chinese culture is important to the process of European society, just as what what has been discovered by Vasco da Dagama and Magellan to the nature (Bao Xiankuo 2001: 62-67). With the continuing development of China in the recent years, China exerts more and more significant influence on the world. In the meanwhile, more and more people would like to learn Chinese language and cultures. When it comes to Chinese culture, all the people, Chinese and foreigners, nearly think of Confucianism, which is generally regarded as the important components of Chinese traditional culture, as well as the mainstream of the spirit of national modern culture. Moreover, Confucianism is intensively embodied in the ancient work called ''Lun Yu'', which records the behaviors and thoughts of Confucius and his disciples mainly in the form of dialogues. ''Lun Yu'' involves so many aspects such as politics, education and so on. The wide and profound influence of Confucianism on the world attributes the success to the development of translations of ''Lun Yu'' by Chinese or foreign translators.&lt;br /&gt;
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''Lun Yu'' is a classic work. The reason why classics remains classics is that it can be translated and re-translated. The language itself of ''Lun Yu'' is difficult to be understood, and what are reflected by ''Lun Yu'' such as history, thoughts, culture and culture is also hard to be understood. Therefore, translators in different times produce different translations of ''Lun Yu'' due to different constrictions of subjective or objective factors. Derrida, holding the point of hermeneutics, considers that the understanding of works is open and that the understanding of text by the readers is always unfinished and uncertain for reading is the process of creation. ''Lun Yu'', acclaimed as one of the leading classics in the course of Chinese literature’s development, is always given new life by the scholars. Therefore, every translation version of classics deserves to be studiedin the different times. Moreover, the employment of fusion of horizons may not only be a reference for English translation of ancient Chinese classics, but also be beneficial foe the spread of traditional culture. &lt;br /&gt;
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This paper chooses two English translation versions of ''Lun Yu'', one by Ku Hung-ming, the other one by Xu Yuanchong. The paper mainly makes a contrastive study of different translation strategies adopted by the two translators from the perspective of fusion of horizons. In order to make an in-depth study, the thesis will focus on the analysis of the translation of core conceptual words of ''Lun Yu'', and aim to present a more appropriate translation to both fully express the content of Chinese culture and make western readers easier to understand.&lt;br /&gt;
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===Overview on the Theory of Fusion of Horizons===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====Fusion of Hrizons====&lt;br /&gt;
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Hans-Georg Gadamer is the greatest thinker in 20th century when his academic work ''Truth and Method'' was published. The publishment brought about widespread attention in the world and helped him reach the immortal status in the field of philosophy. Actually, the theory used in this paper is originated from ''Truth and Method''. “Horizon” was first proposed by Edmund Husserl, a great German philosopher. For the concept of “Horizon”, Husserl believed that “everything worldly giving is given under the horizon. Finally, everything given by the world itself has the horizon of the world, and it is only for this reason that it is realized as the world.” (Wei Fangyuan 2013: 134-136)&lt;br /&gt;
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It can be seen that “Horizon” in Husserl’s eye is related to consciousness. Husserl’s “Horizon” includes two ones, internal horizon and external horizon. Internal horizon refers to what previous knowledge people have grasped or not. External horizon refers to grasp or experience of another open horizon when people have internal horizon. Martin Heidegger, from the respective of Ontology, believed that “Horizon” is something real which has been known by human and exists previously. This becomes precondition of our understanding. Inspired by Martin Heidegger and Edmund Husserl, Hans-Georg Gadamer affirmed the importance of “Horizon”. In his Hermeneutic, “Horizon” refers to the process of understanding from a specific standpoint. And “Fusion of Horizons” means that the process of understanding in nature is open without fixed pattern and answer. “Fusion of Horizon is not onlly diachronic, but also synchronic. History and present, object and subject, self and other, all form an infinite unified entirety. (Wei Fangyuan 2013: 134-136 ) &lt;br /&gt;
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Gadamer thinks that, both the translator and the object which is explained by the translator have their own horizons. The object-- history, classics, personal life, philosophy or work of art—has its own historical horizons. When we understand historical classical works, philosophy or certain culture with the horizons given by the history, the conflict of two different horizons and historical background will inevitably happen. Translation neither demands the translator to totally give up his own horizon in order to get into the text’s horizons, nor allows the interpreter simply includes the text into his own horizons. Translator, starting from his original horizons, ceaselessly test his own “prejudice” and open his own horizons, in the contact with the object which is interpreted by the interpreter, then two different horizons forming a new horizon. This process is called “fusion of horizons”. The reason why it is possible to interpret historical text is the fusion of horizons of the readers and writers of the original text.&lt;br /&gt;
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====Fusion of Horizons in translation study====&lt;br /&gt;
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In the view of Hans-Georg Gadamer, any understandings is carried out in the stream of history for any interpreter and reader lives in the history in his or her own way. Historicity is the basic fact of human existence. People’s historical particularity and limitations cannot be eliminated and avoided. Both subject and object exist in historicity. History determines that people cannot get rid of historicity. Such question faced by Hermeneutics is not what we carry out but what caused on us by something beyond our willing and behavior. In the research of translation Gadamer’s “Fusion of Horizons” can be borrowed and reformed into views or perspective available to the translation study. (Li Ge 2020:50-63)&lt;br /&gt;
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To achieve such a horizon, means that we learn to see something beyond its restricted horizon. However, the reason why we do this is for watching the things in a more correct angle and in a bigger unity, rather than for avoid seeing it.(Gadamer, H. G. 2004: 304) We need to study translation from a higher point and in a more overall angle. Only in this way can we “full see” the parts of the integrity, which is the enlightenment brought by “fusion of horizons”. The precondition of translation is that the translator and the original text have the common horizons. If the translator does not know medicine, he cannot interpret some books about medicine, and vice versa. The translator need to understand the original text’s meanings at first, which means that he will get into the horizon of the original text, and overcome the difference to form a new horizon. This is the first fusion of horizons. The second one is that the translator gets into the horizons of the target readers. Then the third fusion of horizons, the final interpretation of the translator, is the fusion of the two texts after the first two fusions. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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During the process of translation, the horizons are produced in the history rather than in isolation. In the fusion of horizons, the past and the present, the subject and the object, form a unity. Everything exists in the point of history, and all the interpretation cannot be finished for good. The original text itself is historical. The language, content, thoughts and etc. in it are marked by characteristics of the times. The translator is also historical. He will be influenced by his identity, status and tradition. There does not exist “perfectness” and “standard” in the translation. It will vary with different historical period. So the study of translation also goes on. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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===Overview on the Translations of ''Lun Yu''===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====The history of translations of ''Lun Yu====&lt;br /&gt;
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''Lun Yu'' is as important to Chinese is the Bible is to Westerners. So ''Lun Yu''’s translation is hot in western countries. ''Lun Yu'', whose translation can be traced back as early as the end of 16th century, has been translated by lots of missionary, sinologist, philosopher, litterateur and other scholars. There have been more than 40 translation versions of ''Lun Yu'' so far. Its English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. In 1861 James Legge’s The Confucian Analects became the mark of the English translation of ''Lun Yu''. A Companion for Chinese Translators makes comments on the translation version that James Legge can roughly understand the meaning of the original text and that his enormous notes can show his serious and careful attitude to the translation of our Chinese classics. (Wang Hui 2003: 39-43) &lt;br /&gt;
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In 1898, Ku Hong-ming’s translation of Lun Yu was published in Shanghai. The reason why he retranslated Lun Yu is that he was not content with James Legge’s. Ku Hong-ming use the strategy of foreignization, trying to translate Lun Yu in the same way an educated British express his thoughts. And Ku thought the Chinese proper nouns should be omitted and some European writers’ saying in order to remove the feeling of strangeness of British readers. In 1938, Arthur Waley’s version of Lun Yu was published. Waley wrote long-winded introduction for the translation, which was accompanied by detailed notes for readers and was followed by the footnotes for in-depth discussion on the text. Cui Yonglu thought that Waley’s translation, retaining the original text’s meaning and culture and paying attention to the detail, is beneficial to scholars. In 1998, Roger Ames’ translation of Lun Yu was published. His retranslation, which is based on a philosophical perspective, exerted great influence in the world of translation at home and abroad. In 2005, Xu Yuanchong’s Thus Spoke the Master was published. The book’s title borrowed the name of well-known philosophical translation called Thus Spoke Zarathustra, which shows Chinese translators’ creative spirits. In addition, there are still so many translators, such as Ezra Pound, James Ware, Din Cheuk Lau, Lin Yu tang and so on. (Wang Hui 2003: 39-43) &lt;br /&gt;
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====Different angles of the study on the translations of ''Lun Yu''====&lt;br /&gt;
In the nearly 30 years, the study of ''Lun Yu''’s translation has become hot in the translation studies. Scholars have made lot of studies of ''Lun Yu''’s translation from different angles and theories. From the linguistic point of view, scholars focus on the equivalence of lexicon, syntax, text and style. Professor Liu Chongde wrote “A research into Waley’s English version of The Analects—And some comments on its English versions by Legge and D. C. Lau”. Professor Liu summarized the language features and style of the two translations by Waley and Legge. Besides, he compared James Legge’s version and D. C. Lau’s, and made a conclusion that the former one preferred the written English, complicated sentences and archaic words which were quite similar to the style of the original, while the latter one preferred using spoken English and simple sentences.(Liu Chongde 2001:15-17) &lt;br /&gt;
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From the cultural point of view, Yao Shun in Southwest Jiaotong University did “On English translation of Confucius notions from the perspective of Skopos theory—A case study on Legge’s and Waley’s Translation of ''Lun Yu''”. Yao concluded that translation cannot be measured only by the equivalence with the source text, other elements such as translators’ purposes and expectation of target readers should be taken allowance for and that amongst these factors, the intention of the target text ranks the first.(Yao Shun 2014: 42-43)&lt;br /&gt;
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From the sociological point of view, Zhang Xin in Jiangnan University did “A study on Xu Yuanchong’s English Translation of ''Lun Yu'' from the Sociological Perspective of Bourdieu”.   Zhang draw some tentative conclusions. Firstly, the original text must be valuable and unique with an international reputation to facilitate its dissemination in the world. Secondly, translators should pay full attention to the readability and acceptability of target readers to meet their anticipation. Thirdly, the success of a work is the combination of various social factors.(Zhang Xi 2020:80-89)&lt;br /&gt;
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=== The Translation of ''Lun Yu'' from Fusion of Horizons===&lt;br /&gt;
''Lun Yu'' has always been translated or retranslated into many languages. Before interpretation, interpreters are supposed to try to totally understand ''Lun Yu'' in the first step. However, in the matter of fact, the language of a text is really hard for translators to totally understand. Different cultural background and different translators may produce different translation version.&lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》） [8]”. In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. &lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
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Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》）”.In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. (Yao Sshun 2014:42-43) &lt;br /&gt;
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====Horizon of the translator====&lt;br /&gt;
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Ku Hung-ming (1857-1928) is not only a famous literary figure in modern China, but also a great translator. He became an influential scholar at the turn of the 20th century because of his works that advocated Confucianism. Ku’s traslated works, including Lun Yu and Zhong Yong, played a significant role in spreading traditional Chinese culture to the western world. Ku, well-versed in both Chinese and Western cultures, has a good command of nine languages such as English, French, Germany and so on. He is the first one was proficient in Western science and language in the late Qing Dynasty. Special background of growth and education makes his thoughts combine advantages between Chinese and Western cultures. He tried to translate Lun Yu as a work written by a educated English man in order to promote Chinese traditional culture to spread in Western countries. At the meanwhile, he added his thinking and understanding of Confucianism in order to express the truth and spirit of Confucian classics and Chinese belief system. In order to make Western readers accept to the most extent the Confucian culture, Ku adopted some special methods, such as using extreme translation strategy of Domestication to translate Chinese special expression; borrowing the expression in Western literature to translate some words; applying the strategy of combination of omission and addition.(Niu Xiyu 2021: 89-90)&lt;br /&gt;
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When translating Lun Yu, Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. Western readers are not familiar with Confucian core words whose total equivalence can not be found in the Wesern culture. Ku did not translate the core words according to the literal meaning, but according to his deep understanding of Confucian classics he adopted flexible methods to translate the words in different situation. Besides, in order to make the translation of Lun Yu more readable to Western readers, Ku adopted the stratedy of domestication to interprete Confucian thoughts in Western way of mind. On the one hand, Ku used Western terms to translate those Confucian concept words which is difficult to Western readers. For example, he translates “天” as “God”. On the other hand, he quoted those well-known writers and thinkers who are familiar to Western readers, such as Johann Wolfgang von Goethe, Ralph Waldo Emersonand so on. Ku tries to make the content and form of the translation to accord with the way of thinking and cognitive structure of Western people. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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Xu Yuanchong, professor in Peking University, has been devoting himself in Literature translation study. He accomplished numerous classical translations and proposed many translation theories. He makes contribution to the development of Chinese traditional career.In 1921, Xu Yuanchong was born in Jiangxi Province in China. Since he was a child, Xu Yuanchong had been deeply influenced by his families. His mother was well educated and his uncle worked as a translator. All of these inspired his passion of enjoying literature and going after beauty, as we can see the three-beauty-concept-concept proposed in his later books. His uncle succeeded in translating the play called Wang Baochuan into English, which caused a sensation when it was performed in England. Later on the British dramatist George Bernard Shaw interviewed his uncle, which inspired the great interests of Xu Yuanchong in learning English well. In 1938, he was admitted to the Foreign Languages Department of National Southwest United University with the seventh place. In 1939, he translated the book “别丢掉” written by Lin Huiyin at the first time in order to express his love for a girl. Then he fell in love with translation ever after. Although suffering a lot, he still insisted to be himself. Xu made a great contribution to the development of Chinese translation. Xu introduces the three-beauty-concept to translation theory. The theory of three beauty advocates that a translation should be as beautiful as the original in sense, in sound and in font. These three aspects call also be respectively called Beauty of Sense, Beauty of Sound, and Beauty of Form. Beauty of Sense, emphasizing the deeper meaning, is of the first-rate importance. Beauty of Sound, emphasizing rhyme and rhythm, is of the second-importance. Beauty of Form, emphasizing length, is of the third-rate importance. All of these have great influence on his translation. (Li Mi 2004: 83-84)&lt;br /&gt;
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====Horizon of the target language culture====&lt;br /&gt;
The purpose of translation is to be read by the target readers. However, the target individual is different. They differ from historical background, education, knowledge, and so on. Some foreign readers read Lun Yu just for broaden his vision and know Chinese culture, some study the translation just for doing academic researches. The ages of target readers also influence the translation. Some young readers with less knowledge need translation which can be easily understood. For those aged readers the sophisticated translations are needed. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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===Contrastive Analysis===&lt;br /&gt;
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As Confucian classics recording the words and deeds between Confucius and his disciples, Lun Yu deeply influences generations of Chinese people. Lun Yu combines Chinese rich culture from thousands of years and gathers immortal spirit of Eastern philosophy. Therefore, a number of scholars at home or abroad want to translate Lun Yu. Especially, the various academic conference that has taken place in the recent years attract many scholars to absorb Confucian wisdom and explore Chinese wisdom from the old classics.&lt;br /&gt;
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====Description of key conceptual words====&lt;br /&gt;
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''Lun Yu''’s English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. Since that many other scholars have thrown themselves in the wave of translation of ''Lun Yu''. The scholars at home and abroad attempt to know more about the Chinese society, language, and Chinese culture through ''Lun Yu''. However, in order to really understand and interpret ''Lun Yu'', we must be clear about the meaning of the core conceptual words in ''Lun Yu''. Whether the translation of the core conceptual words is right or not has something to do with whether the readers abroad can understand the real meaning of the classics ''Lun Yu''. The translation of core conceptual words is so critical that has drawn many scholars’ attention. However, in the present situation of translation, one core conceptual word has so many Chinese translation, and some translation is not very accurate, which will cause trouble for foreigner readers to understand the original meaning and its cultural meaning. For those core words concerning Chinese culture, if wrongly translated, will not cause foreigners’ misunderstanding Chinese traditional culture, but also influence the improvement of national cultural soft power. Thus, the discussion of the translation of ''Lun Yu'', especially that of the core words, is very important to the circles of translation and culture. There are lots of core conceptual words in Lun Yu, but This thesis will mainly discuss the five core words: “''ren''”, “''li''”, and “''junzi''”. &lt;br /&gt;
“''Ren''” is the supreme state of moral ideal advocated by Confucius, and the spirit and centre of Confucian theory. Xu Shen in the Eastern Han Dynasty made an explanation of the word “''ren''” in “Shuo-wen chieh-tzu”. He thought “''ren''” is combined by “''ren''”(man) and “er”(number 2), and that “''ren''” does not express the quantitative relation but the interpersonal relationship, more accurately the interpersonal relationship close to friendship. (Xu Shen 2013: 1458) According to The Notes of ''Lun Yu'' by Yang Bojun, “''ren''” appears 109 times in ''Lun Yu'' . (Yang Bojun, 2009)&lt;br /&gt;
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“''Li''” is another important concept in ''Lun Yu'' after “''ren''”. According to The Notes of ''Lun Yu'' by Yang Bojun, “''li''” appears 74 times. Obviously, “''li''” is one of main ideas repeated by Confucius. Its connotation has become one of the objects the scholars of every dynasty attempt to study and understand since the ''Lun Yu'' came out. Both “''ren''” and “''li''” work as the centre of Confucianism. They complement and perfect each other. Just as the saying in Lun Yu, “To Subdue Oneself and Return to the Proprieties is Perfect Virtue”. “Li” refers to external behavior, while “ren” refers to internal morality. “''Li''” is a general term the rules and regulation according to the moral demanding. “''Li''” can restrict personal behavior, improve interpersonal relationship and help building a harmony and orderly society. However, Confucius does not give an accurate explanation of “''li''”, but its meanings can be analyzed from the concrete sentences concerning “''li''”. (Yang Bojun 2009: 23)&lt;br /&gt;
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“''Junzi''”, first found in The Book of Songs, was roughly referred to noble man. Thereafter, “''junzi''” was widely used in many ancient classics such as The Book of Changes, Shangshu and so on. Based on the original meaning “the noble man”, “''junzi''”’s meaning was extended and expanded. In Lun Yu, the word “''junzi''” got extended meaning of morality. The core conceptual word “''junzi''” mainly placed emphasis on moral deeds, then developed into the important cultural icon in Confucianism. According to The Notes of ''Lun Yu'' by Yang Bojun, “''junzi''” appears 107 times in ''Lun Yu'' .(Yang Bojun 2009: 11)&lt;br /&gt;
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====Different translations of key conceptual words====&lt;br /&gt;
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Different translators will have different translation. &lt;br /&gt;
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“Ren” has rich meanings. Its translation will to the certain degree influence the understanding of Lun Yu and Chinese traditional culture. For example:&lt;br /&gt;
子曰：“巧言令色，鲜矣仁！”《学而》&lt;br /&gt;
Ku: Confucius remarked, “With plausible speech and fine manners will seldom be found moral character.” &lt;br /&gt;
Xu: A good man, said the Master, would rarely say what he does not believe, or pretend to appear better than he is.&lt;br /&gt;
From the translation above, it is seen that Ku adopts free translation, and the English sentence is in formal grammer and syntax which accords with Western readers’ language habits. While Xu’s translation is not in the form of direct speech and he changes the order of the target text and use the parenthesis so as to conform to the habits of target language readers. It can be easily seen that Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. And Xu employs free translation to make target readers better understand the meanings. For the translation of “ren”, Ku translated it into “moral character”. He thought “ren” is refers to all the morality, and that “ren” is the highest realm of life. The translation “moral character” is more in line with Western language habits. While Xu interpreted it into “a good person”, of which “good” has broad meanings just like “ren” which is a kind of moral category of extremely broad meanings in ancient China. By comparison, “mental character” is better translation for “ren”. (Yang Bojun 2009: 23) (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Li” is generally thought to have three main meanings. The first one is worshiping the God. The second one refers to a ceremony held to show respect or solemnity. The third one refers to the social and moral norms of the aristocratic hierarchy in slave society of feudal society. For example, &lt;br /&gt;
道之以道，齐之以礼，有耻且格 。（《为政》）&lt;br /&gt;
Ku: If, on the other hand, in government you depend upon the moral sentiment, and maintain order by encouragung education and good manners, the people will have a sense of shame for wrong – doing and, moreover, wil emulate what is good. &lt;br /&gt;
Xu: If they are led by virtue and order is kept by the rites, they would be conscientious and act in agreement with what is right. &lt;br /&gt;
Generally, “li” is rendered as “rites,” “customs,” “propriety,” “ritual,” “moral,” “rules of proper behavior,” and “worship.” However, Ku did not literally translated “li” but to fully understand its original meaning in such concrete situation to translated it into “education and good manners”. While Xu translated it into “rites”. In the Oxford dictionary, “rite” means a ceremony performed by a particular group, often for religious purpose. In Spring and Autumn and Warring States periods of China, the social order was in chaos. Actually, “rite” is a proper word full of Chinese speciality, which is really hard for Western readers to understand. Therefore, Ku’s translation “education and good manners” is better one. It not only convey Confucian thoughts but also make it readable to Western readers. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Junzi” is Confucian ideal character standard. Then what is “junzi”? In Confucian point of view, “junzi” should be erudite, which is an important standard of being “junzi”. First and the most, “junzi” should be a benevolent man. In addition, “junzi” and “xiaoren” form contrast. For example,&lt;br /&gt;
人不知，而不愠，不亦君子乎？（《学而》）&lt;br /&gt;
Ku: But he is truly a wise and good man who fees no discomposure even when he is not noticed of men.&lt;br /&gt;
Xu: Is he not an intelligentleman, who is careless alike of being known or unknown?&lt;br /&gt;
According to Oxford dictionary, the term “exemplary” refers to providing a good example for people to copy. Ku adopted free translation to interprete one word “junzi” into several words “wide and good man”, which is easy for Western peple to understand what “junzi” is. It can be seen that Ku had a thoroungh understanding of Confucian thoughts as well as well-versed in English. While, Xu translated it into “intelligentleman”, which cannot be found in dictionaries. It is a new word created by Xu. “Interlligentleman” is combined by “intelligent” and “gentleman”. In the Oxford dictionary, the term “intelligent” means good at learning, understanding and thinking in a logical way about things. “gentleman” refers to a man who is polite and well educated and who has excellent manners and always behaves well. “Intelligentlemen” seemly attempt to achieve formal equivalence with “junzi”. However, it is unfamiliar to Wetern readers. So Ku’s translation “a wise and goood man”. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
In this paper, we have talked over two translation versions of ''Lun Yu'' written by Ku Hung-ming and Xu Yuanchong, especially the core conceptual words in ''Lun Y''u. In the matter of fact, both of them had good command of Chinese and western cultures. But their interpretation of Lun Yu were quite different from each other. Here we use Gadamer’s “fusion of horizons” to explain why they had different understandings of Lun Yu. Understanding is regarded as the fusion of horizons between translator and the text in the hermeneutics, however, besides, the target readers should also be taken into consideration. Thus, in the paper, the horizons of the original text, two translators and target readers are expounded in detail. Under the contrast between the two translation versions, we could find out that Ku Hung-ming’s translation is better one which can more convey the meaning of original text and can be easier for the readers of the target culture from the perspective of the fusion of horizons. &lt;br /&gt;
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However, this paper could not give an in-depth research on the transaltion of ''Lun Yu'' because of the author’s limited knowledge and not thorough understanding of the theory of “fusion of horizons”. In addition, Confucianism has got more and more important influence on the world in the recent years. However, the study of translation of ''Lun Yu'' has not gone far enough. Though lots of scholars have achieved a lot in the field, there is still much work to do in the future. Written by --[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 03:41, 9 December 2021 (UTC)&lt;br /&gt;
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Li Zongzheng, Ma Haidong 李宗政,马海东. (2016)《论语》英译的当代价值研究[J] [A study on the contemporary value of the ''Analects of Confucius''] 112-116.&lt;br /&gt;
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Wei Yuanfang 韦芳元. (2020) 浅析伽达默尔的视域融合理论[J].[On the Gadamer’s Theory Fusion of Horizons] 2013(12):134-136.&lt;br /&gt;
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Gadamer, H. G. Truth and Method[M]. New York: Continuum, 2004: 304.&lt;br /&gt;
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Wang Hui 王辉. (2003) 理雅各与《中国经典》[J]. [James Legge and Chinese Classics] 2003: 39-43.&lt;br /&gt;
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Lieu Chongde 刘重德. (2003)《论语》韦利英译本之研究—兼议里雅各、刘殿爵英译本[J]. [A Study of Lun Yu by Whaley—Discussion on contrastive analysis between James Legge and D.C.Lau)  2001: 15-17.&lt;br /&gt;
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Yao Shun 姚舜. (2014) 目的论视角下的儒家思想核心概念英译研究—以理雅各和韦利《论语》英译对比分析为例[D]. [A Study of Lun Yu Translated by Xu Yuanchong in the perspective of Skopostheory] 2014: 42-43.&lt;br /&gt;
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Niu Xiyu 牛汐语. (2021) 辜鸿铭《论语》译本中译者主体性的体现[J]. [The Presentation of Translator’s Subjectivity in Ku Hung-ming’s Lun Yu’s Translation] 2021:89-90.&lt;br /&gt;
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Li Mi 李谧. (2004) 许渊冲的诗译“三美”之说[J]. [Three Beauty in Poetic Translation of Xu Yuanchong] 2004: 83-84.&lt;br /&gt;
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Xu Shen 许慎. (2013)《说文解字》[Z]. [Shut-wen chieh-tzu] 2013: 1458&lt;br /&gt;
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Yang Bojun 杨伯峻. (2009)《论语释注》[Z]. [Annotation Analects] 2009: 213, 214, 215,2, 11, 23,&lt;br /&gt;
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Ku Hungming 辜鸿铭.(2011)《辜鸿铭英译&amp;lt;论语&amp;gt;》[M]. [The Discourses And Sayings of Confucius] 2011&lt;br /&gt;
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Yuanchong, Xu. (2013) Thus Spoke the Master[M]. Beijing: Dolphin Books, 2013: 12, 18.&lt;br /&gt;
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=杨柳青 Bian Zhilin's Literary Translation Theories and Practice  ——Take His Translation of Romantic Poems as examples=&lt;br /&gt;
[[Trans_Type_EN_10]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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Bian Zhilin is a famous Chinese translator and poet. He absorbed traditional translation theories dialectically and created translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; from the perspective of literary translation. Specifically, &amp;quot;Replacing foot with dun&amp;quot; is his poetry translation strategy. This paper will analyze Bian Zhilin translations of some romantic poems and shows some critical thinking about his literary translation theories.&lt;br /&gt;
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===Key words===&lt;br /&gt;
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&amp;quot;Faithfulness, Similarity and Translation&amp;quot;; &amp;quot;Replacing Foot with Dun&amp;quot;; Romantic Poetry&lt;br /&gt;
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===题目===&lt;br /&gt;
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卞之琳文学翻译理论和实践 ——以其浪漫主义诗歌译作为例&lt;br /&gt;
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===摘要===&lt;br /&gt;
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卞之林是著名的中国翻译家、诗人。他辩证地吸收传统翻译理论，从文学翻译的角度创立了“信、似、译”的翻译理论。 具体而言，“以顿代步”是他的诗歌翻译策略。本文将对卞之琳的浪漫主义诗歌译作进行分析，并对其文学翻译理论提出一些批判性性思考。&lt;br /&gt;
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===关键词===&lt;br /&gt;
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“信、似、译”；“以顿代步”；浪漫主义诗歌&lt;br /&gt;
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===Chapter 1 Introduction of Bian Zhilin and Romanticism===&lt;br /&gt;
====Introduction of Bian Zhilin====&lt;br /&gt;
Bian Zhilin is a representative of Chinese modernist poetry, a famous literary critic and literary translator. He translated foreign literature especially poetry and Shakespeare's plays. He has devoted his whole life to the literature and cultural exchanges between China and foreign countries. He is known as &amp;quot;the master of Poetry and the leading scholar in translation in China&amp;quot;. He dialectically absorbed previous translation theories and formed his unique translation thoughts. His famous works include ''Leaves of Three Autumns'' which is his first volume of Poetry and contains verses filled with the melancholy and despair, ''Fish Eyes Collection'', ''The Han Garden Collection'' and ''Poems of a Decade'' and so on.&lt;br /&gt;
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====Introduction of Romanticism====&lt;br /&gt;
Romanticism is a reaction against the Enlightenment and rationalism in 18th century, and a rejection of the precepts of order, calm, harmony, balance, idealization, and rationality that typified in classicism and neoclassicism. English Romanticism is generally defined to begin in 1798 with the publication of William Wordsworth and Samuel Taylor Coleridge's Lyrical Ballads and end in 1832 with Walter Scott's death. Romanticists place the individual at the center of art and make literature most valuable as an expression of his or her unique feelings and particular attitudes and make its accuracy a portraying the individual's experience. &lt;br /&gt;
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Romanticism is a period of poetry. During this period, many poets created plenty of wonderful poems which vividly show the beauty of nature and humanistic thoughts. English romantic poets contain the elder generation and the younger generation. The elder generation, also called &amp;quot;lake poets&amp;quot; includes William Wordsworth, Samuel Taylor Coleridge and Robert Southey and so on. The younger generation includes George Gordon Byron, Percy Bysshe Shelley and John Keats and so on. Besides, William Blake also deserves attention. He is a pre-romanticist and a forerunner of the romantic poetry of the 19th century. In this paper, I will analyze poems of William Blake, William Wordsworth and Percy Bysshe Shelly to show Bian Zhilin's translation theories.&lt;br /&gt;
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===Chapter 2 Bian Zhilin's Literary Translation Theories===&lt;br /&gt;
====&amp;quot;Faithfulness, Similarity and Translation&amp;quot;====&lt;br /&gt;
Bian Zhilin is a famous poet, translator and literary researcher in China. For decades, he not only made remarkable achievements in the field of poetry and Chinese and foreign literature studies, but also left a valuable fortune in literary translation, especially in poetry translation. Bian Zhilin has formed clear and instructive translation thoughts and theoretical views through her long-term translation practice. These translation thoughts and theoretical views influenced his translation behavior and effect, formed his exquisite translation art, and also had a great influence in the field of translation. He broke through the traditional translation theories and put forward the translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot; which is based on dialectically absorbing and reasonably sublating the traditional translation theories.&lt;br /&gt;
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=====Faithfulness=====&lt;br /&gt;
It is well-known that &amp;quot;faithfulness, expressiveness and elegance&amp;quot; created by a modern Chinese translator Yan Fu has become the most widely spread and popular translation standards in history of modern Chinese translation. And it has always been in the mainstream in the field of translation in China. There has been a long debate in Chinese translation field around &amp;quot;faithfulness, expressive and elegance&amp;quot;. However, &amp;quot;faithfulness&amp;quot; put forward by Bian Zhilin has achieved the transcendence and unification of this debate. &lt;br /&gt;
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======Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
According to Yan Fu, &amp;quot;faithfulness&amp;quot; means a translation should be faithful to the content of the original which is the first requirement of translation. &amp;quot;Expressiveness&amp;quot; means a translation should be fluent and articulate. &amp;quot;Elegance&amp;quot; means a translation should use elegant words so as to make the translation literary (Luo Xinzhang 136). Yan Fu believed that only elegant words can express the essence of original text. And he advocated translator used classical Chinese before Han Dynasty, namely, pre-Qin period. In fact, Yan Fu translated a lot of works in accordance with this criterion. &lt;br /&gt;
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======Debates around Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
Many speakers thought highly of Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, and this criterion once became the only standard for evaluating the quality of translation. Many literary translators like Liang Qichao, Lu Xun praised this criterion.&lt;br /&gt;
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Though &amp;quot;Faithfulness, expressiveness and elegance&amp;quot; has been widely accepted, there were still many doubts about this criterion. Most translators acknowledged Yan Fu's &amp;quot;faithfulness,expressiveness and elegance&amp;quot;, but they doubted &amp;quot;elegance&amp;quot;. For example, Chen Xiying, a famous Chinese female translator, opposed &amp;quot;elegance&amp;quot; because she thought &amp;quot;faithfulness and expressiveness&amp;quot; is quite enough for non-literary works and &amp;quot;elegance&amp;quot; is not necessary. Even for literary works, &amp;quot;elegance&amp;quot; is not necessary since some characters in literary works are from countryside and their speeches apparently couldn't be elegant (Luo Xinzhang 401-402). &lt;br /&gt;
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However, though these opinions are different they have one thing in common: all these opinions divide &amp;quot;faithfulness, expressiveness and elegance&amp;quot; up and judge them separately. &lt;br /&gt;
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======Bian Zhilin's &amp;quot;faithfulness&amp;quot;======&lt;br /&gt;
Unlike most translators, Bian Zhilin has his own unique view. Bian Zhilin believes there is only one advisable standard in &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, that is &amp;quot;faithfulness&amp;quot;. According to Bian Zhilin, &amp;quot;faithfulness&amp;quot; means being loyal to the original text comprehensively, not only to the content of the original text, but also to the form (Bian Zhilin 503). It seems that there is no apparent difference between Yan Fu's faithfulness and Bian Zhilin's faithfulness. But that's not the case. &lt;br /&gt;
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Firstly, Bian Zhilin doesn't totally deny the value of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. His faithfulness is mainly for literary translation which aims to highlight the artistic features of literary translation. Bian Zhilin believes that literary translation is an artistic and creative activity which not only includes language conversion but also involves the knowledge of literature, aesthetics, literature and art. He thinks &amp;quot;faithfulness, expressiveness and elegance&amp;quot; lays too much emphasis on the content and form of language which is not suitable for literary translation. &lt;br /&gt;
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Secondly, Bian Zhilin opposed the artificial separation of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. He thinks this separation is a kind of false perception which may cause the emphasis of one aspect and the neglect of the others. He thinks that artistic translation standard, strictly speaking, is only &amp;quot;faithfulness&amp;quot; which means the full fidelity to content and form. Actually, Bian Zhilin doesn't deny the existence value of expressiveness and elegance; instead, he seems &amp;quot;faithfulness, expressiveness and elegance&amp;quot; as a whole and &amp;quot;faithfulness&amp;quot; includes &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot;. Therefore, his faithfulness is comprehensive: both &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot; are internalized in &amp;quot;faithfulness&amp;quot;.&lt;br /&gt;
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Thirdly, Bian Zhilin believes &amp;quot;faithfulness&amp;quot; in literary translation means translation should be loyal to original text both in content and form. In others words, it's not desirable that translation be better or worse than the original. Besides, he holds that &amp;quot;faithfulness&amp;quot; in translation is not absolute but relative and it needs artistic creation of translators(Li Changshuan 57). What's more, literary translators should have the confidence in translating the &amp;quot;spirit&amp;quot; of the original so as to make translation vivid and expressive.&lt;br /&gt;
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All in all, Bian Zhilin believes the content and form of literary works are unified and indivisible, so is &amp;quot;faithfulness, expressiveness and elegance&amp;quot;.  At the same time, he admits &amp;quot;faithfulness&amp;quot; is relative rather than absolute considering difference between language and culture. Therefore, Bian Zhilin's faithfulness is inheritance and innovation of traditional translation theory and has important theoretical value.&lt;br /&gt;
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=====Similarity=====&lt;br /&gt;
======Formal Similarity and Spiritual Similarity======&lt;br /&gt;
Formal similarity means translation preserves the linguistic form of the original which includes words, grammar, sentence structure, figures of speech and types or forms of literature and so on. Any two languages have something both common and different. Those common features are the bases of formal similarity of translation. &lt;br /&gt;
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Spiritual similarity, on the contrary to formal similarity, means getting rid of the bondage of language form such as words, grammar when it is necessary. And translators should use authentic translation to convey the artistic features of the original. Spiritual similarity was first put forward by Mao Dun and was further advocated and practiced by Fu Lei. It has become one of the dominant theories in Chinese translation theories.&lt;br /&gt;
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======Debates around Formal Similarity and Spiritual Similarity======&lt;br /&gt;
In the field of Chinese translation, translators debated a lot around formal translation and spiritual translation. Many translators believe formal translation is more advisable than spirit translation. But others think differently. For instance, Chen Xiying believed there were three kinds of &amp;quot;faithfulness&amp;quot;, namely spiritual similarity, meaning similarity and formal similarity, among which spiritual similarity is superior, meaning similarity is the second and formal similarity is inferior. Chen Xiying held that formal similarity ignores the writing style of the original though it conveys the meaning of the original completely. Meaning translation is better than formal translation because it focuses on not only what the original writer says but also how he says it. But meaning translation is much more like imitation which cannot grasp the &amp;quot;spirit&amp;quot; of the original. Spirit translation, however, is the exact way to convey the &amp;quot;spirit&amp;quot; of the original. Besides, Yan Fu is another representative who pays more attention to spirit similarity than to formal similarity (Luo Xinzhang 694).&lt;br /&gt;
======Bian Zhilin's &amp;quot;Similarity&amp;quot;======&lt;br /&gt;
Bian Zhilin took a stand against the long-standing debate around formal similarity and spiritual similarity. In his opinion, there is only one word between formal similarity and spiritual similarity that is advisable——&amp;quot;Similarity&amp;quot;. Bian Zhilin holds that literary work is a unity of content and form; &amp;quot;form&amp;quot; and &amp;quot;spirit&amp;quot; in literary translation is complementary. On the one hand, &amp;quot;form&amp;quot; is the basis of &amp;quot;spirit&amp;quot; which means without concrete form, the spirit and artistic value of literary works can only be empty talk. On the other hand, &amp;quot;spirit&amp;quot; is the life of &amp;quot;form&amp;quot; which means literary works without &amp;quot;spirit&amp;quot; likes people without soul, which can only be empty body and meaningless form (Bian Zhilin 551).&lt;br /&gt;
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&amp;quot;Similarity&amp;quot; which was put forward by Bian Zhilin, actually contains the similarity both in formal similarity and spiritual similarity. In other words, ideal literary translation should achieve the unity of form and spirit. Bian Zhilin thinks literary translation can only achieve similarity with the original but not sameness (Bian Zhilin 8-9), which not only recognizes the difference between the original and the translation, but also acknowledges translators' creative efforts.&lt;br /&gt;
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=====Translation=====&lt;br /&gt;
======Literal Translation and Free Translation======&lt;br /&gt;
Literal Translation means expression forms and syntactic structure of the translated text should be as consistent as possible with the original when translators convey the meaning of the original text. Free translation, however, means translators should break the linguistic form of the original text and express the meaning of the original by using the customary expressions of the target language.&lt;br /&gt;
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======Debates around Literal Translation and Free Translation======&lt;br /&gt;
The debates between literal translation and free translation in the history of western translation can be date back to Cicero (106BC-43BC). Cicero opposed &amp;quot;word for word translation&amp;quot; (literal translation) which was deemed as &amp;quot;interpreter's translation&amp;quot; and advocated &amp;quot;sense for sense translation&amp;quot; (free translation) which was deemed as &amp;quot;orator's translation&amp;quot;(Tan Zaixi 24). Cicero's distinction about translation paved the way for following translators. For example, John Dryden published his views on literal translation and free translation. Dryden made distinction between metaphrase, phrase and imitation which was an extension of literal translation and free translation. What's more, Newmark thinks literal translation is preferred when the effect is the same (Newmark 39). And Nabokov holds that literal translation is true translation because it can convey the exact contextual meaning of the text as accurately as possible (Nabokov viii).&lt;br /&gt;
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======Bian Zhilin's Translation======&lt;br /&gt;
Bian Zhilin thinks only &amp;quot;translation&amp;quot; is advisable over the long-standing dispute over literal translation and free translation. Translation contains following meanings (Bian Zhilin 8).&lt;br /&gt;
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Firstly, literal translation and free translation are not contradictory but complementary. Too much emphasis on either side will only have a bad effect on literary translation. Bian Zhilin also criticizes translations that put too much emphasis on the source language or the target language.&lt;br /&gt;
&lt;br /&gt;
Secondly, translation cannot be creation. Translation should be based on the original text, not personal creation. But Bian Zhilin doesn't deny the creativity in translation and thinks the creativity is the life of translation as long as it is based on the original.&lt;br /&gt;
&lt;br /&gt;
====Bian Zhilin's Poetry Translation Strategies====&lt;br /&gt;
Absorbed thoughts from former and contemporary poets, Bian Zhilin created his poetry translation strategies. That is to translate English poetry in a poetical and metrical way and replace foot with dun. These strategies not only consider the western poetry patterns, but also considers the characteristics of Chinese, which has strong feasibility. Bian Zhilin's poetry translation strategies are closely related with his literary translation theory of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
=====Translating Poetry in A Poetical and Metrical Way=====&lt;br /&gt;
Bian Zhilin thinks that poetry is more a unity of content and form than other literary forms. Therefore, poetry translation includes both translation of poetry content and form. Bian Zhilin thinks poetry translation should be loyal to the original poem not only in content but also in form. Poems should be translated into the form of poem rather than prose. If the original poem is free verse, then translated version also should be free verse. If the original poem is metrical poem, then translation also should be a metrical one. (Bian Zhilin, 319) The coincidence between form and content in poetry translation is an embodiment of translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Meter is an important feature of poetry, including rhythm, rhythm and arrangement of words and stanzas. There are many differences in meter among poetry of different languages. And different poets and works use different meters. These become major factors of difficulties in poetry translation. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin thinks translators should preserve the metrical features of the original poems. In other words, translators should translate poetry in a metrical way. Therefore, poems should be translated by using equivalent meter. To be more specific, translators should translate foreign poems by using commonalities between Chinese traditional metrical basis and foreign metrical basis. It's not just simple application of foreign poetry patterns nor of Chinese traditional poetry patterns. Instead, it's the crossover of the two poetry patterns.&lt;br /&gt;
&lt;br /&gt;
=====Replacing Foot with Dun=====&lt;br /&gt;
The key to the metrical problem of poetry translation is what is the metrical unit of the line, &amp;quot;word&amp;quot; (a syllable) as a unit or &amp;quot;dun&amp;quot; (syllables) as a unit. Bian Zhilin believes metrical poems should be translated in equivalent &amp;quot;duns&amp;quot; which can replace meters and this kind of translation is without the limit of word numbers. This theory is well thought out and based on rhythmic characteristics of Chinese. As Bian Zhilin analyzed that when we speak Chinese, we usually say two or three Chinese characters as a &amp;quot;dun&amp;quot; in most cases, one character at least as a &amp;quot;dun&amp;quot; and four characters at most as a &amp;quot;dun&amp;quot;. This is the internal rules of Chinese. Chinese poems constitute stanzas, stanzas constitute lines and lines constitutes &amp;quot;duns&amp;quot;. Therefore, &amp;quot;dun&amp;quot; is the natural rhythmic units of Chinese poetry and reveals poems' &amp;quot;inherent music-like rhythm and beat&amp;quot;.&lt;br /&gt;
 &lt;br /&gt;
However, that &amp;quot;dun&amp;quot; is the basic metrical unit of the Chinese poetry doesn't mean the number of duns in each line is exactly the same. Bian Zhilin advocates dun of two characters and dun of three characters should be arranged alternately and adjusted mutually to meet the needs of poetic expression and produce an effect similar to feet in western poetry.&lt;br /&gt;
&lt;br /&gt;
===Chapter 3 Analyses of Bian Zhilin's Translation Practice===&lt;br /&gt;
Bian Zhilin put his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and poetry translation strategies of &amp;quot;replacing foot with dun&amp;quot; into practice. Here are three poem excerpts of romantic poets and Bian Zhilin's translation of them.&lt;br /&gt;
&lt;br /&gt;
====William Blake's ''The Tiger'' in ''Songs of Experience''====&lt;br /&gt;
William Blake is a representative of English romantic literature. He was hailed by 20th century critics as &amp;quot;the great prophet&amp;quot; who was a pioneer of romanticism. He broke neoclassical traditions in the 18th century and emphasized instinct, passion and imagination. Besides, Blake is a revolutionary poet and expressed strong revolutionary passion and rebellious spirit in his poem. The Tiger is one of his earliest lyrical poems. It eulogizes the shape and strength of the tiger. Here is an excerpt of it:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Tiger! Tiger! Burning bright&lt;br /&gt;
&lt;br /&gt;
In the forests of the night,&lt;br /&gt;
&lt;br /&gt;
What immortal hand or eye&lt;br /&gt;
&lt;br /&gt;
Could frame thy fearful symmetry?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
老虎！|老虎！|火一样的辉煌，&lt;br /&gt;
&lt;br /&gt;
烧穿了|黑夜的|森林和|草莽，&lt;br /&gt;
&lt;br /&gt;
什么样|非凡的|手和|眼睛&lt;br /&gt;
&lt;br /&gt;
能塑造|你一身|惊人的|匀称？&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of dun.)&lt;br /&gt;
&lt;br /&gt;
The excerpt shows the praise for the tiger. In the poem, Blake uses symbolization and compares the tiger to a fire that destroys everything. Bian Zhilin represents the perfect creation of the creator with the symmetry of the tiger. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem on the guidance of his theory of &amp;quot;faithfulness, similarity and translation&amp;quot;. In the first line of the excerpt, the use of &amp;quot;Tiger&amp;quot; with exclamation marks is a kind of call of the tiger——the king of the forest. Bian Zhilin translates them faithfully into &amp;quot;老虎！老虎！&amp;quot;. The third line is a rhetorical sentence that asks without answering, which reminds readers of the Creator——God, thus making the poetry profound. Bian Zhilin follows the rhythmic characteristics of the original poem and translates it artistically.  &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin also makes his translation according to his theory of &amp;quot;replacing foot with dun”. The above stanza consists of four lines of trochaic tetrameter. Therefore, there are four feet in each line. And in translated version, there are four lines of four duns. Each duns contains two or three characters, thus make the structure of the translated poem neat and have a strong rhythm.&lt;br /&gt;
&lt;br /&gt;
====William Wordsworth's ''The“Lucy”Series''====&lt;br /&gt;
William Wordsworth is also an important poet in English romanticism. He was made poet laureate and he strongly promoted the innovation of English poetry and the development of the Romantic movement. He believes &amp;quot;Poetry is the spontaneous overflow of powerful feelings&amp;quot;. The following excerpt is taken from his &amp;quot;Lucy&amp;quot; series:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
A slumber did my spirit seal&lt;br /&gt;
&lt;br /&gt;
I had no human fears&lt;br /&gt;
&lt;br /&gt;
She seemed a thing that could not feel&lt;br /&gt;
&lt;br /&gt;
The touch of earthly years &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
No motion has she now, no force&lt;br /&gt;
&lt;br /&gt;
She neither hears nor sees&lt;br /&gt;
&lt;br /&gt;
Rolled round in earth's diurnal course&lt;br /&gt;
&lt;br /&gt;
With rocks, and stones, and trees.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
迷糊|封住了|我的|精神；&lt;br /&gt;
&lt;br /&gt;
我没有|人世的|忧惶：&lt;br /&gt;
&lt;br /&gt;
她似乎|超然|物外，|不可能&lt;br /&gt;
&lt;br /&gt;
感觉到|岁月的|影响。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
现在|她无力了，|也不能|动弹；&lt;br /&gt;
&lt;br /&gt;
她不再|耳闻|目睹；&lt;br /&gt;
&lt;br /&gt;
卷在|地球的|日程里|滚转，&lt;br /&gt;
&lt;br /&gt;
混同了|岩石、|树木。&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
The above poem was written when Wordsworth went and stayed in Germany with his sister Dorothy in 1798 and 1799. It uses simple words and the meaning of the poems is quite clear. And Bian Zhilin's translation of the poem is quite faithful and vivid. &amp;quot;Slumber&amp;quot; in the first line of the original is translated into &amp;quot;迷糊&amp;quot; rather than &amp;quot;沉睡&amp;quot;, which gives readers a sense of &amp;quot;lazy charm&amp;quot;. And &amp;quot;fears&amp;quot; in the second line was translated into &amp;quot;忧惶&amp;quot;；it’s quite vivid and pertinent. Besides, the original poem consists of two stanzas with four lines of iambus. In each stanza, the first and the third line have four feet and the second and the fourth line have three feet. The whole poem follows the rhyme scheme of &amp;quot;a-b-a-b, c-d-c-d&amp;quot;. Bian Zhilin replaces feet in the poem with duns. There are fours duns in the first and the third lines and three duns in the second and fourth lines in translation. And the translated version follows the same rhyme scheme with the original. The whole poem is translated and expressed in quite appropriate way.&lt;br /&gt;
&lt;br /&gt;
====Percy Bysshe Shelley's ''Song to the Men of England''====&lt;br /&gt;
Percy Bysshe Shelley, as one of the famous romantic poets, pursued freedom and resisted violence in his short life. He encouraged people to stand and fight for a better life and was branded a &amp;quot;complete revolutionary&amp;quot; by Marx. And Song to the Men of England was written by Shelley after &amp;quot;Peterloo incident&amp;quot; in Manchester in 1819 to reveal the cruel nature of reactionary rulers and call on people to revolt bravely. Here is an excerpt of Song to the Men of England:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Men of England, wherefore plough&lt;br /&gt;
&lt;br /&gt;
For the lords who lay ye low?&lt;br /&gt;
&lt;br /&gt;
Wherefore weave with toil and care&lt;br /&gt;
&lt;br /&gt;
The rich robes your tyrants wear?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Wherefore feed and clothe and save&lt;br /&gt;
&lt;br /&gt;
From the cradle to the grave&lt;br /&gt;
&lt;br /&gt;
Those ungrateful drones who would&lt;br /&gt;
&lt;br /&gt;
Drain your sweat——nay, drink your blood?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
英国的|人民，|为什么|犁地&lt;br /&gt;
&lt;br /&gt;
报答|老爷们|踩你们|成泥？&lt;br /&gt;
&lt;br /&gt;
为什么|辛勤|劳苦|去织布，&lt;br /&gt;
&lt;br /&gt;
让那些|恶霸|穿华丽|衣服？&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
为什么|你们|从摇篮|到坟冢&lt;br /&gt;
&lt;br /&gt;
尽供给|和保养|那许多|雄峰？&lt;br /&gt;
&lt;br /&gt;
他们|不感激，|还非常|坚决，&lt;br /&gt;
&lt;br /&gt;
要喝干|你们的汗|——再加|血；&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
This excerpt is about the clash between two classes of society, the poor working class and the rich nobles. The major theme of this poem is exploitation. People plow for the sake of the lords, who are like drone bees that do no work but live off of the works of others. The narrator is urging the workers to make a stand as they are being treated unfairly. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin practices his poetry translation strategies of &amp;quot;translating poetry in metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; in this poem. In the original poem, each of two stanzas consists of four lines of iambic tetrameter, rhyming &amp;quot;a-a-b-b, a-a-b-b&amp;quot;. In the translated version, there are also two stanzas composed of four lines. And in each line, there are four duns which replaces the four feet in the original poem. The rhyme scheme in translated version is the same as that in the original.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translate the poem faithfully and vividly. For example, he translates &amp;quot;lay ye low&amp;quot; into &amp;quot;踩你们成泥&amp;quot; which well preserves the images of the original work. And &amp;quot;tyrants&amp;quot; in the fourth line of the first stanza is translated into &amp;quot;恶霸&amp;quot; which is concise and accurate. In the second stanza, &amp;quot;From the cradle to the grave&amp;quot; modifies &amp;quot;the men of England&amp;quot; rather than those &amp;quot;ungrateful drones&amp;quot;, Bian Zhilin understands the linguistic structure of the poem and translates it into &amp;quot;你们从摇篮到坟冢&amp;quot;. &amp;quot;坟冢&amp;quot; is more formal than &amp;quot;坟墓&amp;quot; and it's suitable for poetry, from which we can see the precision of Bian Zhilin's choose of words. In the last line, Bian Zhilin uses a dash and the words &amp;quot;再加&amp;quot; to highlight the brutal nature of the rulers. Actually, this translation is a good practice of his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===Chapter 4 Critical Thinking of Bian Zhilin's Translation Theories===&lt;br /&gt;
There is no doubt that Bian Zhilin's translation theories greatly promoted the development of English poetry translation in China. His &amp;quot;faithfulness, similarity and translation&amp;quot; is the inheritance and innovation of Chinese traditional translation theories. And it indeed provides a new way for poetry translation. Besides, Bian Zhilin thinks poetry should be translated into poetry rather than prose. In other words, translators should translate poetry in a poetical and metrical way. He stresses the importance of the unity between form and content and thinks high quality translation should be a unity of content and artistic style of the original text.&lt;br /&gt;
&lt;br /&gt;
Despite Bian Zhilin's great contribution to literary translation theories, I think there are still some problems existing in Bian Zhilin's translation strategies. In Bian Zhilin's opinion, translators can replace foot with dun thus achieving similar rhythmical effect in Chinese version with the English original. It seems that it is a quite advisable and feasible method. Bur actually, it cannot be practiced widely. In English poetry, each foot consists of two syllables, which is fixed and regular. But things are changed in Chinese. The character numbers in each dun in Chinese are not fixed. There may be one or two or three or four characters in each dun, so different people may have different divisions of duns based on their different understanding of context. Therefore, the division of duns may be disordered and random, which makes &amp;quot;replacing foot with dun&amp;quot; not advisable in many cases.&lt;br /&gt;
&lt;br /&gt;
Another problem in Bian Zhilin's translation theories is the ignorance of metrical patterns of foot. In English poetry, there are different metrical patterns like iambus, trochee, spondee and pyrrhic and so on. But there are no such meters in Chinese. &amp;quot;Replacing foot with dun&amp;quot; only considers the correspondence of foot but ignores the correspondence of metrical patterns of foot, so Bian Zhilin's &amp;quot;translating poetry in metrical way&amp;quot; actually is not adequate. We know Chinese is a kind of tone language which has four tones. We can use four tones to correspond the metrical patterns of foot in English. But it's quite difficult in so far and still needs more exploration.&lt;br /&gt;
&lt;br /&gt;
===Chapter 5 Conclusion===&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. His literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and &amp;quot;translating poems in a poetical and metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; give us a lot of enlightenment in the translation of poems. This paper analyzes Bian Zhilin's translation of romantic poems to show his translation strategies. However, there are still some problems in his theories, for example, the division of duns are disordered and random which are based on the understanding of translators and there is no correspondence in metrical patterns of foot. These are the problems that are needed to be considered and solved.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Blake, William. Songs of Experience[M]. New York: Dover Publications, Inc., 1971.&lt;br /&gt;
&lt;br /&gt;
Durrant, Geoffrey. William Wordsworth [M]. Cambridge: Cambridge University Press, 1979.&lt;br /&gt;
&lt;br /&gt;
Nabokov, Vladimir. &amp;quot;Forward&amp;quot;, A.S.Pushkin, Eugene Onegin, Nabokov, V.trans. London: Routledge &amp;amp; Kegan Paul, 1964/1975, p.viii.&lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. Approaches to Translation. Oxford: Pergamon, 1981, p39.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2002).《卞之琳文集》（中卷）. 安徽教育出版社, p503.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2000).《卞之琳文集》（上卷）. 安徽教育出版社, p8.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(1994).《从&amp;lt;西窗集&amp;gt;到&amp;lt;西窗小书&amp;gt;》.[英] 克里斯托弗·衣修伍德《紫罗兰姑娘》, 卞之琳译. 中国工人出版社, p8-9.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2007).《人与诗：忆旧说新》（增订本）. 安徽教育出版社, p319.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2005). 《英国诗选》. 商务印书馆, p156.&lt;br /&gt;
&lt;br /&gt;
Chen Xiying陈西滢(1984).《论翻译》. 罗新璋编《翻译论集》. 商务印书馆, p401-402.&lt;br /&gt;
&lt;br /&gt;
Fu Lei傅雷(1984).《论文学翻译书》. 罗新璋编《翻译论集》. 商务印书馆, p694.&lt;br /&gt;
&lt;br /&gt;
Li Changshuan李长栓(2004). 《非文学翻译理论与实践》. 中国对外翻译出版公司, p57.&lt;br /&gt;
&lt;br /&gt;
Shen Suru沈苏儒(1998).《论信达雅：严复翻译理论研究》. 商务印书馆, p8.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜(1991).《西方翻译简史》.商务印书馆, p24.&lt;br /&gt;
&lt;br /&gt;
Yan Fu严复(1984).《&amp;lt;天演论&amp;gt;译例言》.罗新璋编《翻译论集》. 商务印书馆, p136.&lt;br /&gt;
&lt;br /&gt;
=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday, 2012) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær, 2015; von Flotow, 2010). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh (2015) argues that translation is one of the traditional communicating methods between communities all around the world. Jothiraj (2004) states that “translation plays an important role in the inter-lingual process of communication” (p. 1). Translation is essential for cultures and languages to exchange information. Newmark (1988) defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects. Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
&lt;br /&gt;
Nida (1964) indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style. Larson (1998) has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context. &lt;br /&gt;
&lt;br /&gt;
Culture plays a considerable role, Snell-Hornby (1988, p. 33) assumed that “Culture refers to all socially conditioned aspects of human life”. Another definition of culture is formulated by Goodenough (1957, p. 167). For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term. By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
&lt;br /&gt;
The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline (2003, p.16) thought that “religion is an important institutional network that binds people to one another.” But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
&lt;br /&gt;
This study is aimed to probe Newmark's (1988) translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion (1988, p. 81), seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL. &lt;br /&gt;
&lt;br /&gt;
===Translation and Culture===&lt;br /&gt;
&lt;br /&gt;
2. Translation and Culture &lt;br /&gt;
&lt;br /&gt;
Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.  &lt;br /&gt;
The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988, 7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988, 5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988, 7).  &lt;br /&gt;
&lt;br /&gt;
In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford (1965) defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language” (Catford 1965, 20). According to Venuti’s translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader” (Venuti 1995, 18). Schjoldager stated that “a translation is a text that expresses what another text has expressed in another language” (Schjoldager 2008, 19). Culture is a complex whole which includes knowledge, belief, art, law, morals, customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan (2014), claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014, 2). Hermanns (1999) contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures. Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014, 2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark (2001), illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001, 328). &lt;br /&gt;
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Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
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2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
&lt;br /&gt;
Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora, fauna, food, clothes, housing, work, leisure, politics, law, and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988, 327) Christine Nord names them “culturemes” (Nord 1997, 9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012, 1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Aixela, 1997; Davies, 2003), others choose cultural words (Newmark, 2003) or culture-bound phenomena/concepts (Baker, 1992, Newmark, 2003, Robinson, 2003). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker, 1992, 21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988, 94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988, 95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988, 95).&lt;br /&gt;
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2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
&lt;br /&gt;
The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85, P. 22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003, 16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.&lt;br /&gt;
&lt;br /&gt;
===Types of Translation ===&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
Newmark (1988) determines 8 types of translation which are: &lt;br /&gt;
 &lt;br /&gt;
3.1 Word-for-Word Translation &lt;br /&gt;
&lt;br /&gt;
This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
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3.2 Literal translation &lt;br /&gt;
&lt;br /&gt;
In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
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3.4 Semantic Translation &lt;br /&gt;
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Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
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3.5 Adaptation &lt;br /&gt;
&lt;br /&gt;
This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015, 15). &lt;br /&gt;
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3.6 Free Translation &lt;br /&gt;
&lt;br /&gt;
The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
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3.7 Idiomatic Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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3.8 Communicative Translation &lt;br /&gt;
&lt;br /&gt;
This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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===Translation Strategies  ===&lt;br /&gt;
&lt;br /&gt;
4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
&lt;br /&gt;
4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela (1996), translators need to choose several strategies based on the source language culture and target culture.  He distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, he tries to command by the level of their intercultural intervention. He divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies). &lt;br /&gt;
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4.1.1. Conservation: &lt;br /&gt;
In conservation, the less compelling process includes repetition, orthographic adaptation, linguistic translation, extratextual gloss and intratextual gloss. &lt;br /&gt;
&lt;br /&gt;
4.1.1.1 Repetition: In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus, the translator keeps as much as possible the original reference (Aixela, 1996, p. 61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
&lt;br /&gt;
4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
&lt;br /&gt;
4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
&lt;br /&gt;
4.1.1.4 Extra-textual Gloss: Here, the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes, endings, words, ideas, translators in dictionaries, italics and so on. &lt;br /&gt;
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4.1.1.5 Intra-textual Gloss: It's like the past but the translator feels that he/she can include the globe as an indirect part of the text, not to distract the reader. &lt;br /&gt;
&lt;br /&gt;
4.2.1 Substitution &lt;br /&gt;
In substitution, According (Aixela, 1996) “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here”. &lt;br /&gt;
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4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
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4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
&lt;br /&gt;
4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela, 1997, p.63). &lt;br /&gt;
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4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Shokri, Ketabi, 2015, p.8). &lt;br /&gt;
&lt;br /&gt;
4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela, 1996, p. 64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
&lt;br /&gt;
4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela, 1997). &lt;br /&gt;
&lt;br /&gt;
4.3 Mona Baker’s Translation Strategies &lt;br /&gt;
Baker’s strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation. (Baker, 1992). He suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies, which are the following: &lt;br /&gt;
&lt;br /&gt;
4.3.1 Translation by a more general word: According to Baker, this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
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4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
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4.3.3 Translation by cultural substitution: This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
&lt;br /&gt;
4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
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4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
&lt;br /&gt;
4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
&lt;br /&gt;
4.3.7 Translation by omission: Losing phrases or words that are not vital to text development. &lt;br /&gt;
&lt;br /&gt;
4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view, however, Baker's (1992) translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
&lt;br /&gt;
===Cultural Categories  ===&lt;br /&gt;
5. Cultural categories &lt;br /&gt;
 &lt;br /&gt;
5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
5.1.2 Material culture &lt;br /&gt;
Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.” &lt;br /&gt;
5.1.3 Social culture &lt;br /&gt;
The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
5.1.4 Organisation &lt;br /&gt;
Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
 &lt;br /&gt;
5.2 Newmark Classification CSIs &lt;br /&gt;
Newmark (1988) established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items.&lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
 &lt;br /&gt;
Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
&lt;br /&gt;
2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
&lt;br /&gt;
3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
&lt;br /&gt;
4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
&lt;br /&gt;
5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
&lt;br /&gt;
6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
&lt;br /&gt;
7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
&lt;br /&gt;
8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
&lt;br /&gt;
9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
&lt;br /&gt;
10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
&lt;br /&gt;
11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
&lt;br /&gt;
12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
&lt;br /&gt;
13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
&lt;br /&gt;
14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
&lt;br /&gt;
16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
&lt;br /&gt;
17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
&lt;br /&gt;
18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
&lt;br /&gt;
19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
&lt;br /&gt;
20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
&lt;br /&gt;
21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
&lt;br /&gt;
22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
&lt;br /&gt;
23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
&lt;br /&gt;
24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996, 31), “translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by (Newmark 1988, 81), “translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.” &lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation, then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions. &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity, as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts, the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term, and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part, but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark (1988) has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9. &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark’s strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                           	 قرُۡءٰنًا	Quran &lt;br /&gt;
 	                         ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference               	 يعَۡقوُۡب	Yaqub &lt;br /&gt;
 	                            اِسۡحٰق	Ishaq &lt;br /&gt;
 	                         يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
===8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
===      This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
===8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
===8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
===The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark (1988) were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
===This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However, the translator must be competent in using the translation procedures to provide an accurate translation. &lt;br /&gt;
&lt;br /&gt;
===8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
===The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abdi, H. (2019). Translating culture-specific items (CSIs) as a conundrum for Iranian MA translation students: Considering the level of study. Journal of new advances in English Language Teaching and Applied Linguistics, 1(1), 88-109. &lt;br /&gt;
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Aguado-Gimenez, P., &amp;amp; Pérez-Paredes, P. F. (2005). Translation-strategies use: A classroombased examination of Baker’s taxonomy. Meta: journal des traducteurs/Meta: &lt;br /&gt;
Translators' Journal, 50(1), 294-311. &lt;br /&gt;
&lt;br /&gt;
Ahmadi, M. R.S and Nosrati, Fatemah. (2012). Domestication and Foreignization Strategies in Translation of Culture-Specific Items. Translations of English-Persian Children’s Literature. San Francisco: Grin Publishing. Google Books. &lt;br /&gt;
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Al Saleh, R. A. (2019). An Application of Newmark's Procedures to Muhammad Abul Quasem's Alleman, J. C. Bee. W. Ulitkin, I. Files, F., Zetzsche, J., Chatonnet-Marton, P. &amp;amp; y del Árbol, E. V. Translation Strategies. &lt;br /&gt;
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Al-Sofi, B. B. M. A., &amp;amp; Abouabdulqader, H. (2020). Bridging the gap between translation and culture: towards a cultural dimension of translation. International journal of linguistics, literature and culture, 6(1), 1-13. &lt;br /&gt;
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Baker, M., 1992. In Other Words: A Coursebook on Translation. London: Routledge, p.20–42. &lt;br /&gt;
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Blažytė, D., &amp;amp; Liubinienė, V. (2016). Culture-specific items (CSI) and their translation strategies in Martin Lindstrom’s&amp;quot; Brand sense&amp;quot;. Kalbų studijos, (29), 42-57. &lt;br /&gt;
&lt;br /&gt;
Bush, P. (1998) &amp;quot;Literary Translation.&amp;quot; In: M. Baker, ed. Routledge Encyclopedia of Translation Studies, London: Routledge, pp.127-130. &lt;br /&gt;
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Catford. J. C. (1965). A linguistic theory of translation. Oxford: Oxford University Press. &lt;br /&gt;
English Translation of Mohammad Al-Ghazali's Islamic Guidance.Literature and Culture, 6(1), 1-13. &lt;br /&gt;
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Gečaitė, L. (2020). Culture-Specific Items and Their Translation Strategies in Victoria Hislop's Novel The Sunrise.” (2020). &lt;br /&gt;
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Hassan, B. E. A. (2014). Between English and Arabic: A practical course in translation. &lt;br /&gt;
Cambridge Scholars Publishing. &lt;br /&gt;
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Hermans, T. (1999). Translation in systems. Manchester: St. Jerome Publication  House, J. (Ed.). (2014). Translation: a multidisciplinary approach. Springer. &lt;br /&gt;
Issa, A. L. S. M., &amp;amp; Hammood, L. H. R.- Quranic-Specific Phrases under the Study of Translation; Significance and Applications. &lt;br /&gt;
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Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. (33), p. 83-87). &lt;br /&gt;
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Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. 33, p. 83-87). &lt;br /&gt;
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Lambert, J. (1998) Literary Translation. In: M. Baker, ed. Routledge Encyclopedia of Translation Studies. London: Routledge, 130-134. &lt;br /&gt;
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Landers, Clifford E. (2001) Literary Translation: A practical guide. New Jersey University Press: Multilingual Maters. &lt;br /&gt;
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Lustig, Myron, W. and Koeser, Joline  (2003), Intercultural Competence: Interpersonal Communication Across Cultures, Boston: Allyn and Bacon. &lt;br /&gt;
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Malmkjær, K. (1993). Who Can Make Nice A Better Word Than Pretty? Collocation, Translation, and Psycholoinguistics. In: Baker, M., Francis, G. and Tognini-Bonelli, E. &lt;br /&gt;
eds. Text and Technology. Philadelphia/Amsterdam: John Benjamins Publishing Company. pp.213-32. &lt;br /&gt;
&lt;br /&gt;
Mosavat, S., &amp;amp; Rahimpour, S. (2016). The Most and Least Used Translation Strategies for &lt;br /&gt;
Conveying Culture-Specific-Items in Young Adult Literature from English into Persian. International Journal of Humanities and Cultural Studies (IJHCS) ISSN 23565926, 1853-1873. &lt;br /&gt;
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Munday, J. (1997). Systems in Translation: A computer-assisted systemic approach to the analysis of translation of García Márquez. Ph.D thesis, University of Bradford. &lt;br /&gt;
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Newmark, P. (2001). A Textbook of Translation. Shanghai: Shanghai Foreign Language &lt;br /&gt;
Education Press &lt;br /&gt;
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Newmark, Peter. (1988). A Textbook of Translation. New Jersey: Prentice-Halls &lt;br /&gt;
&lt;br /&gt;
Nord, Christiane. (1997). Translating as a Purposeful Activity: Functionalist Approaches &lt;br /&gt;
Explained. Manchester: St. Jerome. Accessed 10 November. 2018. Google Books Schjoldager, A. (2008). Understanding translation. Academica: Århus. &lt;br /&gt;
&lt;br /&gt;
Silalahi, M., &amp;amp; Lubis, S. (2013). Translation Procedures of Cultural Terms Found In Sejarah Bilingual For Students of Senior High School. &lt;br /&gt;
Valipoor, K., &amp;amp; andAzizeh Chalak, H. H. T. (2019). Cultural-specific items in translation of the Holy Quran by Irving: 43-51. &lt;br /&gt;
&lt;br /&gt;
Venuti, L. (1995). The translator’s invisibility: A history of translation. London and New York: &lt;br /&gt;
Routledge &lt;br /&gt;
&lt;br /&gt;
Widiarto, O. V. V. (2016). The translation procedures of cultural expressions applied in a game of thrones translated into Perebutan Tahta novel by Barokah Ruziati (Doctoral dissertation, Dian Nuswantoro University).&lt;br /&gt;
&lt;br /&gt;
=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
===An Overview on Translation Studies  ===&lt;br /&gt;
&lt;br /&gt;
===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
&lt;br /&gt;
=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the researcher wants to highlight the different concepts about the fundamental question &amp;quot;what is idiomatic expression&amp;quot; of different critics, theorists and linguistic experts, and prominent scholars of translation studies. Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
&lt;br /&gt;
Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda Corelli 2006, 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984, 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992, 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to (Newmark 1981, 11), “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”&lt;br /&gt;
.	The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to (Corelli 2006, 53), English has a sizeable idiomatic base.&lt;br /&gt;
About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.&lt;br /&gt;
The main issue that idiomatic and fixed expressions pose for translators, according to (Baker 1992, 65), is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.&lt;br /&gt;
&lt;br /&gt;
Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.&lt;br /&gt;
&lt;br /&gt;
===Literature Review ===&lt;br /&gt;
In this chapter, the author/researcher defines the strategy and its different definitions from the perspective of different subjects and fields. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented. Krings defines it as the content of the project, while Seguinet divided the term into three steps. However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. &lt;br /&gt;
&lt;br /&gt;
The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward.&lt;br /&gt;
Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint.&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to (Seguinot 1989, 27) (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.&lt;br /&gt;
 Furthermore, (Loescher 1991, 8) defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot; As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998, 4) claim moreover, (Bell 1998, 188) distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.&lt;br /&gt;
 According to (Venuti 1998, 240), &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot; He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to (Jaaskelainen 2005, 15), product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.&lt;br /&gt;
&lt;br /&gt;
Furthermore, (Jaaskelainen 2005, 16) distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making. (Newmark 1988, 221) distinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016, 13).&lt;br /&gt;
The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010, 15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017, 54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985, 9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female.&lt;br /&gt;
Several research articles are found on translated work (license and khol do) of Urdu famous short stories writer Sadat Hassan Manto's from a different perspective like psychoanalysis, postcolonial, feminist approaches but to explore the problem of translations strategies face by translator Aatish Taseer during the process of translation has not been mention till date. To summarize this, the research includes a critical, in-depth, comprehensive analysis of issues that previously did not address.&lt;br /&gt;
&lt;br /&gt;
=== Theoritical Framework ===&lt;br /&gt;
&lt;br /&gt;
Different strategies have been used, like using an idiom of similar meaning and similar form, the idiom of similar meaning and different form, translation by Paraphrasing, translation by omission. The approach of employing idioms of similar meaning and form, according to Mona Baker, entails using an idiom in the target language that can express about the same meaning as the source language idiom, as well as having lexical similarity. On the other hand, this type of matching happens periodically as well as regularly.&lt;br /&gt;
&lt;br /&gt;
Similarly, employing idioms with similar meanings but different forms means that it is possible to locate an idiom or fixed expression in the target text language that has a similar meaning to the source idiom or expression but is made up of distinct lexical elements. Consider the case of English and French, both of which use the idiom mentioned above. In English, one good deed is rewarded with another, whereas in French, handsome deeds are rewarded with handsome deeds.&lt;br /&gt;
&lt;br /&gt;
Furthermore, we did not come across any idioms in the category mentioned above during translating idioms. To deal with this issue, the translators used the most popular approach, known as a translation by paraphrase, which is short, straightforward, and time-saving. When a match cannot be identified in the target language or when it appears improper to employ idiomatic language in target material due to aesthetic differences between the source and target languages, this is the most typical approach for translating an idiom from source to target language. However, one thing to keep in mind is that a perfect translation is not required is necessary or possible.&lt;br /&gt;
&lt;br /&gt;
Last but not least, to overcome the problem of idiom translation, the translator employs the strategy of translation by omission. This can be defined as an idiom being omitted entirely in the target text with a single word. This is done because the idiom has no close match in the target language; its meaning cannot be easily paraphrased or due to stylistic reasons. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
3.4 Data analysis Techniques:&lt;br /&gt;
Textual analysis is the method of data analysis in qualitative research that brings forth the hidden and potent message, structure, and function of research in giving text, Alan Mckee (defines textual analysis as whenever we perform textual analysis on the text, we make an educated guess at some time of the most likely interpretations that might be made of that text (Alan Mckee 2001, 3)&lt;br /&gt;
Analysis of the translation of short stories in light of Mona baker's theory &amp;quot;khol do and license&amp;quot; are short stories written by Sadat Hassan Manto and translated by many translators from Urdu into English. During translation, the translator adopted many strategies for translating idiomatic expression, sometimes by Paraphrasing, sometimes by omission, sometimes using similar idioms of form and meaning while sometimes using different words and the same form, the whole.&lt;br /&gt;
&lt;br /&gt;
===Discussion and Analysis===&lt;br /&gt;
The chapter analyzes and discusses all the data collected by the author/researcher from different sources. All the examples of idioms are first identified, then translated into the target text, and back-translated for the sole purpose of exploring the strategies being used by the translator. A separate section is given to every strategy with its related example. Moreover, the idiomatic expression, the target work for finding, is highlighted through the bold letter.&lt;br /&gt;
&lt;br /&gt;
4.1	Translation by Paraphrasing:&lt;br /&gt;
Based on our findings, the most often used strategy was &amp;quot;translation by paraphrasing.&amp;quot; An inspection also reveals that Aatish Taseer preferred this strategy. Here are some examples applied by the translators, and in the following section, the logic behind their preference towards this strategy is elaborate. The following are examples from two short stories of Sadat Husain Manto's &amp;quot;khol do&amp;quot; and &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 1: &lt;br /&gt;
ST: Sirajuddin ne subah das baji anki kholi to logo ka ail mutalatam samandar deka.&lt;br /&gt;
TT: Ten a.m., Siraj Uddin opens his eyes on the cold floor of the camp, seeing the swelling sea of men.&lt;br /&gt;
BT: sub ke das baji jab Sirajuddin ne apni anki koli to logo ka aik ublaha howa samandar ka nizara dekni laga.&lt;br /&gt;
So, the above idioms are literal idioms being translated with the help of Paraphrasing because there is no perfect equivalent of mutalatam words in English languages. A similar look at another idiom from short stories &amp;quot;khol do.&amp;quot;&lt;br /&gt;
Example 2:&lt;br /&gt;
ST: Khuda tomahra bala kari.&lt;br /&gt;
TT: Your God will reward&lt;br /&gt;
BT: Is ka badla khoda tomahi di.&lt;br /&gt;
Here, the word reward is being used for Bala Kari, an example of transitional by Paraphrasing.&lt;br /&gt;
Let  take another example from &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
ST: unkho nai Jan khateli pa rak kar sakena ko donda.&lt;br /&gt;
TT: even putting their lives online, they search sakina &lt;br /&gt;
BT: apni zindagio ko khatri me dal kar unkho nai sakina ko dond nekala.&lt;br /&gt;
The above idioms are examples of pure idiom translated from Urdu into English with the help of paraphrases strategies. However, under the same strategies, the idioms of another short story of Manto,s &amp;quot;license,&amp;quot; are translated by Aatish Taseer. Some of the examples are given below.&lt;br /&gt;
Example 4:&lt;br /&gt;
ST: Abu kochwan bara cheel jabela ta. It is the binomial type of idioms taken from the first sentence of the short story &amp;quot;license&amp;quot; by Sadat Hasan Manto &lt;br /&gt;
TT: Abu kochwan is stylish man.&lt;br /&gt;
BT: Abu kochwan aik wazahdar admi ta.&lt;br /&gt;
From the above idiom, it is clear that there is no perfect equivalence of cheela chabela idiom in English; that is, the translator goes through paraphrasing strategies. Look at another example from &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 5:&lt;br /&gt;
ST: Lein har waqat bank bani rekhi ka usi be had showk ta&lt;br /&gt;
TT: He had a weakness for style and fashion.&lt;br /&gt;
BT: Dan saj ke rekhna uski kamzori me sai ik ta.&lt;br /&gt;
So all of the above examples, which are analyzed one by one, are examples of idioms being translated through paraphrasing strategies. (De Beaugrande and Dressler 1981, 50) define paraphrases as &amp;quot;approximate conceptual equivalence among outwardly different material.&amp;quot; Similarly, in this regard, Hirst defines paraphrases as &amp;quot;talk(ing) about the same situation in a different way.&amp;quot; Munday declared that &amp;quot;equivalence is particularly useful in translating idioms and proverbs” For instance, if the English idiom like a bear with a sore head is rendered into Persian as (mesle borje zahremar), meaning like a tower of snake venom, the strategy of equivalence has been applied. &lt;br /&gt;
According to Leonardi, &amp;quot;Equivalence can be said to be the central issue in translation.&amp;quot; In this regard, house believes that &amp;quot;a translation text should match not only its source text in function but also employ equivalent situational-dimensional means to achieve that function&amp;quot; (Baker 2002, 49).  who shares this approach, states that equivalence is used &amp;quot;for the sake of convenience—because most translators are used to it rather than because it has any theoretical status&amp;quot; (Kenny 1998, 77). &lt;br /&gt;
Despite different attitudes to the concept of equivalence, most specialists pay much attention to its meaning in the theory of translation. The translation is a form of communication, and that is why it is vital to establish equivalence between the source text and the target text. Although Vinay and Darbelnet believe that equivalence is used differently than in modern translation theory, it is evident that equivalence is one of the basic concepts of translation that cannot be neglected. Consequently, based on the Above mentioned studies using Paraphrasing in translation stands as the core concept in the process of translation, and still, most of the translators cling to it for producing a more comprehensible and explicable text. These language ideas and translation models are ideal constructs, presented abstractly in order to be differentiated precisely. They may exist in an uneasy combination in actual theories and practices, resulting in logical tensions or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation. Theories and actions must be contextualized in historical settings. They've been utilized as analytical tools to describe various topics in section introductions. Theoretical writings and current events these language notions and translation models are ideal constructs expressed in an abstract manner in order to be distinguished precisely in real-life hypotheses they may exist in an uncomfortable mix, resulting in logical conflicts or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
4.2	Using an idiom of Similar Meaning and Form &lt;br /&gt;
As mentioned earlier, this strategy type is being used by Aatish Taseer during their translated work of Manto's short stories &amp;quot;khol do&amp;quot; and&amp;quot; license&amp;quot; on an occasional basis. Some examples are mention below.&lt;br /&gt;
From khol do.&lt;br /&gt;
Example 6:&lt;br /&gt;
ST: Larki ka rang zard hogaya.&lt;br /&gt;
TT: The girl's face became fail&lt;br /&gt;
BT: larki ka rang zar hogya.&lt;br /&gt;
Similarly, another example from the license is&lt;br /&gt;
Example 7:&lt;br /&gt;
ST: Abu our us ke mat beer hogaie&lt;br /&gt;
TT: They fall in love with each other.&lt;br /&gt;
BT: WO ik dosri ke mokhbat me geriftar hogaie&lt;br /&gt;
The above idioms are pure ones and are being translated with the help of similar meanings and similar forms.&lt;br /&gt;
	 The procedures: transposition, modulation, equivalence, and adaptation, and when it comes to defining the term Equivalence, (Vinay and Darbelnet 2000, 90) propose that it consists in rendering &amp;quot;the same situation … by two texts using completely different stylistic and structural methods&amp;quot;, and when it comes to translating idiomatic expressions like &amp;quot;Il pleut à seaux&amp;quot; it can be translated as &amp;quot;It is raining cats and dogs&amp;quot; using the idiom of similar form and meaning in the target language.&lt;br /&gt;
As (Baker 1992, 12) states, this strategy involves using an idiom in the TL which conveys roughly the same meaning as that of the source language idiom and, in addition, consists of identical lexical items. The salient point is that this kind of match can only occasionally be achieved, which cannot be picked up more often by translators. Accordingly, both translators mentioned in the current study had quite a slim chance of using this strategy type. &lt;br /&gt;
&lt;br /&gt;
4.3 Using an idiom of similar meaning but different form:&lt;br /&gt;
During translating Manto short stories, &amp;quot;khol do&amp;quot; and &amp;quot;license,&amp;quot; some of the idioms are translated with the help of this strategy. Some of the examples are given below from two different short stories.&lt;br /&gt;
Example number one is from the short story &amp;quot;khol do&amp;quot;&lt;br /&gt;
Example 8:&lt;br /&gt;
ST: Aur bolwai gos ayai thee?&lt;br /&gt;
TT: The roitors come abroad.&lt;br /&gt;
BT: pasadi bahar agai hai.&lt;br /&gt;
The above idiom is a pure type of idiom being translated with the help of above mention strategy. The word rioter is being used for bolwai, which is not a perfect word for bolwai. In Urdu bolwai, people believe in violence when minorities or the low population of any country want some rights. These people stop them by using violence, burn down their properties, rapes women, and do things like that. Another example from the license is below.&lt;br /&gt;
Example 9:&lt;br /&gt;
ST: Dosri kotwal abu ko dek kar jal ban ho jati.&lt;br /&gt;
TT: The other coachman burn with envy.&lt;br /&gt;
BT: Abu ke kamyabi dek kar aur kotwal abu sai khasad karni lagi’&lt;br /&gt;
The above idioms are a pure idiom that reflects the effect of jealousy between competitors to achieve equivalency. Aatish Taseer uses envy word for jal ban instead of other which have similar meaning but different form. Look at the other example from &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 10:&lt;br /&gt;
ST: Dino lat vo lagal se kam karni laga.&lt;br /&gt;
TT: Dino came with an excuse.&lt;br /&gt;
BT: Dino abb bahi tarashni laga.&lt;br /&gt;
	&lt;br /&gt;
The above idioms are types of binomial idioms translated with the help of idioms with similar meanings and different forms. (Newmark 1988, 81) mentions the difference between translation methods and translation procedures. He writes that &amp;quot;[w]hile translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language&amp;quot; (Newmark 1988, 81). Idiomatic translation in his definition reproduces the 'message' of the original. However, it distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original, leading to using an idiom of similar meaning but a different form. Besides, it is often possible to find an idiom or fixed expression in the target language with a meaning similar to that of the source idiom or expression but which consists of different lexical items (Baker 1992, 12). Therefore, translators discover idiomatic expressions in the target language with different forms than in the source language. In the current study, the translators approached this strategy merely for 9% of the total times, which means the frequency of Iranian and English idioms with the same meaning and different forms is not considered high. &lt;br /&gt;
&lt;br /&gt;
4.4 Translation by omission:&lt;br /&gt;
A translator is less using these strategies, and we did not find any clue on this type of strategy in an area under consideration.&lt;br /&gt;
&lt;br /&gt;
=== Findings===&lt;br /&gt;
&lt;br /&gt;
(Mandelbit 1995) believed that idioms with different cognitive mapping in the target language would be more challenging to translate. After conducting study and data analysis of collected data, the result revealed that the translator frequently used three out of four strategies of the Mona Baker model during the translation process, which is a translation by Paraphrasing, translation by similar meaning and similar form, translation by similar meaning and different form. In contrast, translation by omission does not found in his work.&lt;br /&gt;
After detail and careful analysis of data, more than half of idioms like &amp;quot;swelling sea of man,” my lord break his arrogance, “weakness for style and fashion.&amp;quot; As I mentioned earlier, many more are translated under the umbrella of Paraphrasing, which is considered the most common method used for translating idioms.&lt;br /&gt;
&lt;br /&gt;
Similarly, we also reflect strategies like similar meaning and different form and similar meaning and similar form. The idiom &amp;quot;rioter came abroad,” burn with envy,” The girl's face became pale, &amp;quot; They fall in love with each other&amp;quot; are translated with the help of two mention strategies, respectively.&lt;br /&gt;
&lt;br /&gt;
Although translation by omission is a strategy used on rare occasions because of its meaning, its meaning cannot be easily paraphrased or stylistic reason. Here, the researcher also did not find any idiom translated with the help of the omission strategy.&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
Go through detailed discussion and analysis of data collected from my source. We finally concluded that the idioms present in two short stories, &amp;quot;khol do&amp;quot; and &amp;quot;License,&amp;quot; are translated under the frame of Mona Baker's idiomatic model. Translation by Paraphrasing is mainly used while idioms of similar meaning and form and idioms of similar meaning and different forms are used occasionally. The researcher discusses all the strategies with related examples in the order of maximum used to minimum used. The strategy by omission did not find it works. All the data are collected from different sources and analyzed with the help of different researcher tools, and the result is written in light of the finding. Different from previous studies, the writer presents the strategies to translate idioms by each type of idiomatic expression found in the story. From the result, it is considered the translation of idiomatic expressions in the story is quite accurate. As the number of accurate data is more the data which is not related to the translation. We take conclusion from the translation through idiomatic expression and paraphrasing is the best way to translate a novel or a story however it is very difficult job to do because it needs more accurate and precise knowledge about the source language and an inspiring method to express ideas in the target language. However, translation is thing through which we can connect the world with each other and also we can study and observe diverse cultures.            &lt;br /&gt;
 &lt;br /&gt;
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=== References ===&lt;br /&gt;
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= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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===Key words ===&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
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===Ambiguity===&lt;br /&gt;
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===Lexical and Structural Mismatches===&lt;br /&gt;
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===Multiword units: Idioms and Collocations===&lt;br /&gt;
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===Summary===&lt;br /&gt;
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===Further Reading===&lt;/div&gt;</summary>
		<author><name>Atta Ur Rahman</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=130881</id>
		<title>Translation types, strategies, styles, methods</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=130881"/>
		<updated>2021-12-10T15:10:06Z</updated>

		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* Findings */&lt;/p&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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==Abstract==&lt;br /&gt;
''Legend of Zhen Huan'', as an excellent Chinese TV series, has successfully entered the American market. However, the American version of Legend of Zhen Huan still has some shortcomings in translation. By comparing and analyzing the subtitle texts of the ''Legend of Zhen Huan'' in China and the United States, this paper aims to discuss the problems existing in the overseas translation of the ''legend of Zhen Huan'' and the translation strategies and methods adopted in the subtitle translation of the American version, so as to provide some enlightenment for Chinese costume dramas to reach the world in the future.&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
Translation strategy and translation methods; ''Legend of Zhen Huan''; Subtitle translation&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
The TV series ''Legend of Zhen Huan'' is Imperial-harem competing play produced by the Beijing Television Arts Center in 2011. This play is adapted from a novel of the same name written by Liu Lianzi, which mainly tells the story of the young girl Zhen Huan growing up from an unsophisticated young girl to an empress dowager who is good at politics. Since its debut in China in 2012, ''the Legend of Zhen Huan'' has been a hit among Chinese audiences, with its ratings rising and even forming “Zhen Huan craze” for a time. The reason why the play has received so much praise, on the one hand, is that the film and television script is well-produced; on the other hand, it is because the plots and dialogues of the characters in the play cover a wealth of historical and cultural knowledge, embodying the profundity of Chinese culture.&lt;br /&gt;
Due to its great success in the domestic market, the series finally attracted the attention of foreign producers: the American team adapted the original ''Legend of Zhen Huan'', cutting the 76-episode original drama into six episodes,which was officially launched on Netflix’s paid website in the United States on March 15, 2015. It is the first Chinese TV series to be broadcast on mainstream TV stations in the United States. &lt;br /&gt;
However, the American version of the ''Legend of Zhen Huan'' failed to be sought after by audiences in the US, with most viewers abandoning the show after only one or two episodes.The English lines of the ''Legend of Zhen Huan''’s have ever been criticized by some Chinese audiences. After a deep study of the reason, in addition to the lack of content caused by a large amount of deletion and cutting, another important reason is the insufficiency of subtitle translation. This paper attempts to explore the translation strategies of the subtitle of ''Legend of Zhen Huan'', hoping to provide some inspiration for the subtitle translation of domestic film and television works of the same type.&lt;br /&gt;
&lt;br /&gt;
==Literature Review==&lt;br /&gt;
&lt;br /&gt;
===Previous studies in Subtitle Tranlation abroad===&lt;br /&gt;
In the early 1970s, Doller Up (1974) published a paper entitled “On Subtitle in TV Programs” on Babel, an authoritative journal of the International Association of Translators, which was the first time that scholars paid special attention to subtitle translation. In addition, he creatively pointed out the great value of TV subtitles to foreign language teaching, and then made contributions to the cause of education.&lt;br /&gt;
&lt;br /&gt;
In 1976, Istvan Fodor published a book called Film Dubbing: Aspects of Phonology, Semiotic Aesthetics, and Psychology, which centered on film dubbing from an acoustic perspective. Fodor argues that because each country’s language and culture are unique and irreplaceable, it is almost impossible to achieve perfect “synchronization” in all aspects of the translation of film(Fodor 1976:82).&lt;br /&gt;
&lt;br /&gt;
In 1982, Christopher Titford first proposed the concept of “restricted translation” in his article “Subtitling: Restricted Translation”. He believes that the limitations of film and television as a medium themselves are the main cause of problems encountered by translators in practice (Titford 1982:113).&lt;br /&gt;
&lt;br /&gt;
In 1992, Ivarsson, a Swedish subtitling translation scholar, published his book Subtitling for Media: A Handout of Art, which can be said to be the first comprehensive study of subtitling translation works in Europe. In this book, Ivarsson introduces the development of subtitle translation technology in detail. The most representative subtitle translation scholars are Gambill and Gottlieb, who are two translation theorists. Yves Gambill, a Finnish translator, is a very important expert in the field of film and television translation. Gambill has a wide range of research fields, he has compiled a large number of academic monographs, such as language transfer and Audiovisual Communication: bibliography, which discusses the classification of translation patterns, translation strategies, translation audience and so on (Gambill 1997).&lt;br /&gt;
&lt;br /&gt;
===Previous studies on Subtitle translation at home===&lt;br /&gt;
The research on subtitle translation in China mainly focuses on the English translation of Chinese films, and a large number of such papers and articles have been published, which are also the most representative research results of subtitle translation in China. In addition, with more and more domestic films moving toward the international stage, some attention has been paid to the study of Chinese subtitles.&lt;br /&gt;
&lt;br /&gt;
The study on Chinese and English subtitle translation can be divided into several fields, including film and television language characteristics, subtitle translation methods, subtitle translation history and so on.&lt;br /&gt;
&lt;br /&gt;
Subtitle translation methods can be broadly divided into two categories. One category refers to some practical translation methods and skills summed up by translators based on their years of translation experience, such as the seven kinds of experiences of film and television translation proposed by Qian Shaochang (2000), which stresses the importance of “translation” in the output of films and TV plays. The other is related to domestic MA papers. They usually start with some translation theories, such as German functional translation theory, Eugene Nida’s functional equivalence theory, relevance theory, and Susan Basnett’s cultural translation theory, and finally conclude translation methods such as domestication, foreignization, literal translation, free translation, omission and so on.&lt;br /&gt;
&lt;br /&gt;
In recent years, with the increasing popularity of American TV series in China, the phenomenon of online subtitle translation has begun to attract attention from all sides. As time went by, subtitle translation goes beyond the simple purpose of satisfying the entertainment needs of movie fans, and begin to be applied to teaching practice and students’ self-learning process. This phenomenon is bound to attract academic attention. For example, Wang Hui (2005) discussed this issue in his article “The Impact of Subtitling on Vocabulary Acquisition”. This paper draws some conclusions which are beneficial to foreign language teaching.&lt;br /&gt;
&lt;br /&gt;
However, there are still many deficiencies in the study on subtitle translation. The only literature we can refer to is few books on the translation of film and television subtitle. In other words, subtitle translation is not discussed in detail.&lt;br /&gt;
&lt;br /&gt;
==Subtitle translation features==&lt;br /&gt;
&lt;br /&gt;
===Subtitle translation needs to be brief and comprehensive===&lt;br /&gt;
Subtitle translation should not be lengthy for two reasons: First, because the screen keeps switching, each screen stay can not be very long, the scene with the character’s dialogue switches over more quickly, in a matter of seconds, which is fleeting. Second, whether it is the large screen in the cinema or the small screen in the home, due to space constraints, if the subtitle translation is not simple enough, it will lead to an increase in the number of words in the target language, not to mention the English words that take up more space than Chinese phrases. English words take up more space than Chinese phrases.&lt;br /&gt;
&lt;br /&gt;
Take the Chinese phrase “Computer”for example, the English equivalent word is computer. The Chinese verb “来”corresponds to the English word “Come”. In general, English words have more characters than their Chinese counterparts, except in rare cases. Since the length of the word can not be artificially controlled, subtitle translation will put a higher demand on the number of words. In a typical presentation, Chinese and English subtitles are displayed simultaneously at the bottom of the screen, up to two lines of Chinese and two lines of English.&lt;br /&gt;
&lt;br /&gt;
If there are too many words, the limited space can not accommodate in a few seconds, the audience will have a dazzling feeling as well. Therefore, one of the distinctive features of subtitle translation is its concise use of words.&lt;br /&gt;
&lt;br /&gt;
===Subtitling translation requires natural equivalence===&lt;br /&gt;
The subtitling of the target language should be as natural as the subtitling of the source language. The subtitle translation discussed in this paper is mainly about the dialogue of the characters in the play. On the one hand, the style of dialogue is colloquial, in this sense,It is important   for the translator to pay attention to whether the subtitle translation that the target language audience can hear and see is in line with their daily speaking style.If the original spoken language is translated formally and rigidly, the audience of the target language will feel less natural and fluent, and their movie-watching experience can not be comparable with that of the source language audience. On the other hand, the spoken language features of the characters can clearly shape the characters in the play. If the translator does not grasp the spoken features of the characters, the target audience can not understand the character’s connotation as well as the source audience.&lt;br /&gt;
&lt;br /&gt;
Therefore,if a character needs to say something filthy, or even taboo, to make the character stand out, the subtitle translator must also translate the same filthy and taboo.These taboos should inevitably appear in the subtitle translation, and we should not mince words about them. The same is true of English to Chinese subtitle translation and Chinese to English translation. Because these taboo words are the extension of the role connotation, improper handling will affect the target audience's understanding of the connotation of the role.&lt;br /&gt;
&lt;br /&gt;
===Subtitle translation needs to be easy to understand===&lt;br /&gt;
The film and Television Play is the Popular Entertainment Program, so subtitle translation should be clear at a glance. There are thousands of people watching TV dramas, and their knowledge and cultural level vary widely, and their appreciation level is naturally mixed.Film and TV series have such a wide audience, which requires subtitle translation to take care of the needs of the majority of the audience whether from the perspective of box office and Audience Rating, or from the perspective of cultural communication.&lt;br /&gt;
&lt;br /&gt;
==Theory of Domestication and Foreignization==&lt;br /&gt;
In the process of translation, the translator should determine the general direction of translation, cultivate a good sense of culture, and fully understand that translation is an important feature of information exchange across different languages and cultures. But how to achieve that? There are two opposite strategies in translation: foreignization and domestication. The terms of domestication and foreignization were put forward by Laurence Venutti in his book Translators’ invisibility in 1995:&lt;br /&gt;
&lt;br /&gt;
===Domestication===&lt;br /&gt;
The domestication strategy is to localize the source language, take the target language or target readers as the destination, and convey the content of the original text in the way that the target language readers are accustomed to.Domestication requires the translator to be closer to the target language reader, and the translator must speak like the native author.This translation strategy will often make the translation transparent, smooth, relaxed and natural, close to the reader to the greatest extent, so as to dilute the strangeness brought by the original text.In film and television subtitle translation, domestication is often used in order to make the audience understand the film smoothly.&lt;br /&gt;
&lt;br /&gt;
===Foreignization===&lt;br /&gt;
The foreignization strategy is completely opposite to the domestication strategy, which is oriented by the source language culture and that &amp;quot;the translator should not disturb the author as much as possible to make the reader close to the author&amp;quot;.Foreignization advocates believe that the main purpose of translation is cultural communication, so the translation should try its best to preserve the language and cultural information contained in the source language.Only in this way can the exchange and fusion of source and target cultures be achieved through translation. In addition, they believe that the translator should believe the reader’s imagination and intelligence to the utmost, and believe that when reading the translated version, the reader should not only understand the simple words, but also understand the foreign culture through the words, and they have the capacity to understand the culture. &lt;br /&gt;
&lt;br /&gt;
Of course, as two translation strategies, domestication and foreignization are the unity of opposites and they complement each other. Absolute domestication and absolute foreignization do not exist.&lt;br /&gt;
&lt;br /&gt;
==Case Study==&lt;br /&gt;
&lt;br /&gt;
===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
The essence of “foreignization”is “the tendency toward the original author”, that is, the translator tries to be close to the original author in his translation (Xiong Bing, 2014). In the words of the Friedrich Schleiermacher, this means that the translator“Tries not to disturb the original author, but to take the reader to the original author”(Robinson, 2006:229) . Specifically in Translation, the translator tries to retain the original language, literariness, cultural characteristics and exotic customs (Xiong Bing, 2014) . Therefore, the nature of foreignization strategy is mainly in favor of the original author, and its defects are mainly reflected in the readability of the translation. In other words, the translation may be blunt and not well received and understood by the audience. Therefore, the translation effect is not ideal for the target audience.&lt;br /&gt;
&lt;br /&gt;
====Literal Translation====&lt;br /&gt;
Literal translation means keeping both the content and the form of the original text in the translation when the language conditions permit, especially the metaphor, image, national and local color of the original text.The vast majority of subtitle translation of the Us version of ''Legend of Zhen Huan'' adopts literal translation. Look at the following example:&lt;br /&gt;
&lt;br /&gt;
Example 1&lt;br /&gt;
&lt;br /&gt;
Chinese version：嬛嬛一袅楚宫腰。&lt;br /&gt;
&lt;br /&gt;
American version：the slim waist of the concubines of the Chu palace.&lt;br /&gt;
&lt;br /&gt;
For the word “Huan”in the name of Zhen Huan, the American version uses the Foreignization method, which is translated literally as the slim waist of the concubines of the Chu palace.Western audiences may be confused by the subtitles,Western audiences may be confused by the subtitles, because Zhen Huan is clearly a woman from the Qing Dynasty, how come another Chu Palace? In terms of accuracy and the conveying of cultural context, this translation is well-done, but it creates a barrier for the audience to understand. Therefore, the translation can throw out on its real meaning, such as translated into As my name, Huan, means graceful women with slim waist, &amp;quot;Chu palace&amp;quot; here means can be omitted.&lt;br /&gt;
&lt;br /&gt;
Example 2&lt;br /&gt;
&lt;br /&gt;
Chinese version：一片冰心在玉壶&lt;br /&gt;
&lt;br /&gt;
American version：A jade vessel is the symbol of a pure heart.&lt;br /&gt;
&lt;br /&gt;
“Jade Vessel”in Chinese has a unique associative meaning, while the meaning of these words in English is vacant. Western audiences just think that Dr. Wen is evaluating his character, but they can’t hear his pure love for Zhen Huan, so on the basis of foreignization, it’s better to add some domestication translation to make it easier for the audience to understand.&lt;br /&gt;
&lt;br /&gt;
The American versions of examples 1 and 2 are very literal and concise translations, because the original subtitles have no hidden meaning.However, due to the wrong choice of translation methods, a small number of translated subtitles are just like translation cavities.If the cultural significance of the original text is lost, the translation may be regarded as a failure.In a sense, actors’ performances and lines are the &amp;quot;booster&amp;quot; of the plot development of the TV series.However, if the audience can not understand the original meaning, the story will be much less attractive in the eyes of the audience.For example:&lt;br /&gt;
&lt;br /&gt;
Example 3&lt;br /&gt;
&lt;br /&gt;
Chinese version：“赏你一丈红”&lt;br /&gt;
&lt;br /&gt;
American version：Then I will award Attendant Xia the Scarlet Red.&lt;br /&gt;
&lt;br /&gt;
In the original subtitle of example 3, “一丈红” (yi zhang hong,  literally “two-meter-long red”) is used to punish a palace maid or a  concubine who had done something wrong in China’s ancient imperial palace. The specific content of the penalty goes as follows: a two-meter-long and two-inch-thick board was used by the performer to give the guilty palace maid or concubine a good beating on their waist or the place below it until their bones were broken and the blood gushed out.   Looking from the distance, you will see that the blood covered a long distance. Thus, it is called “一丈红”. &lt;br /&gt;
&lt;br /&gt;
In the American version of Legend of Zhen Huan, it is translated into “the Scarlet Red”. the word Scarlet itself means “Lewd and sinful,”as in the Scarlet letter. It is very appropriate to translate &amp;quot;red&amp;quot; with scarlet. However, this partial literal translation runs counter to the American audience’s way of thinking, which they think it as nothing more than a horror show. In this way, the specific penalty content will be lost, and the target audience can't feel that the harem struggle is everywhere in the court, and can't get the equal effect for them.&lt;br /&gt;
&lt;br /&gt;
In this way, the specific content of the penalty will be lost, the target audience can not feel the Harem struggle existed everywhere in the imperial court and the equivalent effects cannot be obtained for them.&lt;br /&gt;
&lt;br /&gt;
====Zero Translation====&lt;br /&gt;
The so-called &amp;quot;zero translation&amp;quot; means that some elements of the source language are directly introduced into the target language without the ready-made words in the target language (Xiong Bing, 2014). This translation method is mainly used to translate the names of people and officials in the English version of the ''Legend of Zhen Huan''. That’s because in ancient China, there was a very strict patriarchal system with the ideas of three cardinal guides and the five constant virtues.&lt;br /&gt;
&lt;br /&gt;
In the eyes of the Chinese people, the distinction between the titles of concubines and concubines is clear at a glance, but it is difficult for foreigners to see these things, because medieval European monarchs were nominally allowed only one wife, there is no such complicated hierarchy of appellation among women. Therefore, such titles as &amp;quot;贵妃&amp;quot;, &amp;quot;妃&amp;quot;, &amp;quot;嫔&amp;quot;, &amp;quot;贵人&amp;quot;, &amp;quot;常在&amp;quot; and &amp;quot;答应&amp;quot; are presented in a dynamic equivalent way (words with similar functions in the source language), for example:&lt;br /&gt;
&lt;br /&gt;
Example 4&lt;br /&gt;
&lt;br /&gt;
熹贵妃——Noble Consort Xi    华妃——Consort Hua&lt;br /&gt;
&lt;br /&gt;
莞嫔 ——Concubine Huan       沈贵人——Lady Shen&lt;br /&gt;
&lt;br /&gt;
夏常在——Attendant Xia       小主——Young Mistress&lt;br /&gt;
&lt;br /&gt;
敦亲王：Prince Dun            舒太妃：Consort Dowager Shu&lt;br /&gt;
&lt;br /&gt;
Example 4 only shows a few official titles of the characters in the ''Legend of Zhen Huan''. However, the translation subtitles in this example reveal a subtitle rule that the American version of the ''Legend of Zhen Huan'' Uses Zero Translation for personal names and free translation for official titles. And we can clearly see the efforts of translators to represent this hierarchical culture in ancient China. However, this method of translation can not meet the needs of the current audience, because the ancient Chinese culture is broad and profound, and the official titles of emperors and concubines in the play conform to the traditional Chinese culture&lt;br /&gt;
&lt;br /&gt;
However, the cultural ideologies of the American people and the Chinese people are very different. Traditional translation can not convey the characteristics of the characters and the intensification of their contradictions. The American people have not experienced the five thousand years of slavery and feudalism in China, nor do English dictionaries or translation related books have Chinese cultural vocabulary. In addition, the current subtitle translation does not advocate the use of a large number of notes, which will have a negative impact on the effect of watching the drama.&lt;br /&gt;
&lt;br /&gt;
Therefore, notes are usually used only for the first appearance of a character, in order to provide the necessary introduction in enough subtitling space.When they appear a second time, the introduction will be omitted.As for the conflicts between the characters and the progress of the plot, it is difficult for the target audience unfamiliar with Chinese History to adapt to the culture and conflict in the play. Therefore, it is hard to arouse their interest in watching this drama.&lt;br /&gt;
&lt;br /&gt;
===Translation Methods under Domesticating Strategy===&lt;br /&gt;
Opposite to the foreignizing strategy, domestication is characterized by the “tendency toward the target recipients” (Xiong Bing, 2014). In other words, the translator tries to be as close to the target recipients in the translation as possible. In Schleiermacher’s words, it means that translators “try not to disturb the reader, but to bring the original author to the reader” (Robinson, 2006: 229). Specifically speaking, in the translation, the translator uses the language, literary devices, cultural elements that the target language readers love to replace the language, literary devices and cultural elements of the original language as much as possible, and abides by the language, literary devices and cultural norms of the original language (Xiong Bing, 2014). &lt;br /&gt;
&lt;br /&gt;
The domesticating strategy is a translation strategy just opposite to the foreignizing strategy. Its advantage is that the translation can be fluent, easy to understand, and easily accepted by the target recipients; or it tries to meet the specific needs of the target audience. However, the domesticating strategy also has some shortcomings. The first weakness of it is the loss of the language, literariness, culture and other important elements of the source text, so that the target audience cannot appreciate the exotic authentic language and cultural practices. This cannot help the cultural exchange and dissemination between different ethnic groups. The second weakness is that the domesticating strategy of the translated text may lead to semantic loss and semantic ambiguity in translated texts.&lt;br /&gt;
&lt;br /&gt;
====Omission====&lt;br /&gt;
Omission is a very important method in domestication strategy.The Syntactic structure of English emphasizes &amp;quot;hypotaxis&amp;quot;, and there are appropriate connecting elements between each component of a sentence to express their mutual relations, which emphasizes the consistency and coordination of grammatical relations.The structure of Chinese sentences is &amp;quot;parataxis&amp;quot;, and the relationship between each component of the sentence depends more on the intention, and less on the linking component. The structure form is relatively relaxed, and the words and sentences are relatively simple.Therefore, Omission is one of the most common methods in Chinese text translation.Word reduction means that in translation, the translator must grasp the differences between Chinese and English, omit the unnecessary linking elements in Chinese, make the translation smooth, avoid stiff and cumbersome, and eliminate unnecessary words and words as far as possible.There are many examples of reducing words in the translation of Legend of Zhen Huan.&lt;br /&gt;
&lt;br /&gt;
Example 1&lt;br /&gt;
&lt;br /&gt;
Chinese version:“先敬罗衣后敬人。” &lt;br /&gt;
&lt;br /&gt;
American version: “The clothing completes the person.”&lt;br /&gt;
&lt;br /&gt;
This Chinese idiom means that people will first look at the clothes they are wearing and judge their social status according to the clothes. There is a derogatory element in it.However, in the translation of this sentence, the translator adopted the word reduction method and did not translate every word.The word &amp;quot;complete&amp;quot; expresses the idea that &amp;quot;clothes make the man&amp;quot;, but fails to express the meaning intended in the original text.Therefore, the author thinks that can continue to use the Omission here, will change its translated into “According to clothing to estimate people’s status.”&lt;br /&gt;
&lt;br /&gt;
Example 2&lt;br /&gt;
&lt;br /&gt;
Chinese version: “花开堪折直须折，莫待无花空折枝。” &lt;br /&gt;
&lt;br /&gt;
American version: One must pick a flower at the prime of its bloom, Do not wait until the blossom fade and falls.&lt;br /&gt;
&lt;br /&gt;
There are three Chinese characters for &amp;quot;折&amp;quot; in this sentence, but the translator did not show any of them in the Process of English translation.Shall we say that he did not translate the Chinese meaning?Of course not. The translator must have noticed these three &amp;quot;fold&amp;quot; characters in the process of translation. If one of them is translated out, the sentence will appear too long-winded and not in line with the characteristics of subtitle translation.Therefore, the translator starts from the meaning of the original text to persuade people to cherish, and cleverly leaves out the word &amp;quot;折&amp;quot;, which not only avoids repetition, but also conveys the meaning of the original text.This reflects the three principles of Skopos theory: &amp;quot;Based on the source language, pay attention to the culture in the target language, the intention of translation activities and the acceptance state of the American audience&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
====Addition====&lt;br /&gt;
Addition is also an important translation method in domestication strategy.Augmentation refers to the use of structural and semantic augmentation to compensate for linguistic and cultural deficiencies in the target text.Structural supplement refers to the addition of omitted words or replaced words to make the content of translation more complete.Semantic supplement refers to the translator's addition of nouns, verbs, summative words, explanatory words and conjunctions to compensate for the lack of language and culture in the target text so that readers can understand the original text.&lt;br /&gt;
&lt;br /&gt;
Example 1&lt;br /&gt;
&lt;br /&gt;
Chinese version:“他不忍叫你明珠暗投。”  &lt;br /&gt;
&lt;br /&gt;
American version:&amp;quot;You will not be granted an ordinary life when you can live an extraordinary one.&lt;br /&gt;
&lt;br /&gt;
In this example, the translator adopted Addition method to make a explanatory translation for &amp;quot;明珠暗投&amp;quot; , the translation of &amp;quot;be granted an ordinary life when you can live an extraordinary one.&amp;quot;As we know, Chinese idioms are one of the wonders of The Han culture, and they often show rich implicit meanings in condensed four-character sentences.In the translation of this sentence, it is easy for us to understand the meaning of &amp;quot; 明珠暗投&amp;quot;&amp;quot;, but how to make the American audience understand, the translator needs to make an explanation, so that the American audience can understand the implicit meaning of the original text, so as to reduce the cultural burden.&lt;br /&gt;
&lt;br /&gt;
Example 2&lt;br /&gt;
&lt;br /&gt;
Chinese version：“臣妾一与社稷无功，二与龙脉无助。” &lt;br /&gt;
&lt;br /&gt;
American version:“Firstly, I have made no contribution to the nation. Secondly, I have begotten no heirs.&lt;br /&gt;
&lt;br /&gt;
In example 2, the translator interprets &amp;quot;社稷&amp;quot; as &amp;quot;nation&amp;quot; for readers to understand.&amp;quot;社稷&amp;quot; has always been a synonym for &amp;quot;nation&amp;quot; in Chinese, just as &amp;quot;White House&amp;quot; is a synonym for &amp;quot;America&amp;quot;. In addition, there is no English equivalent for &amp;quot;nation&amp;quot;, so it is appropriate for the translator to use &amp;quot;nation&amp;quot;.Heirs to dragon vein, a Feng shui concept meaning undulating mountains, succeed.Later, the royal family regarded it as the lifeblood of the country, so they would call the royal blood &amp;quot;dragon vein&amp;quot;.Heirs to dragon Vein, which in this case means heirs to the emperor's children, succeed in translating it into Heirs to the emperor.It's less common and more advanced than the word &amp;quot;children&amp;quot;, which is often thrown around.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
The subtitle translation strategy of Legend of Zhen Huan generally focuses on domestication, and tends to transform implicit meaning into explicit meaning.When the meaning of the source language is complex and difficult to be understood by the target language audience, the translation strategy of domestication is usually adopted, and the expressions used in the target language are adopted.If there is an equivalent or similar expression between the target language and the source language, alienation should be considered, and a concise explanation should be added if conditions permit, so that the cultural essence of the source language can be preserved and the audience can experience the charm and national characteristics of traditional Chinese culture.&lt;br /&gt;
&lt;br /&gt;
As a translation strategy, absolute domestication and absolute foreignization do not exist in translation practice.The task of the translator is to make the best use of the two strategies in practice according to the specific language characteristics, the purpose, the language characteristics of the source language and the target language, and the national culture, so as to bridge the cultural differences between the two countries.&lt;br /&gt;
&lt;br /&gt;
==Reference==&lt;br /&gt;
[１]Dollerup, Cay. On Subtitles in Television Programs[J]. Babel, 1974, (20): 197-202. &lt;br /&gt;
&lt;br /&gt;
[２]Ivstor, Fordor. Film Dubbing: Phonetic Semiotic, Esthetic and Psychological Aspects[C]. John Benjamins, 1976. &lt;br /&gt;
&lt;br /&gt;
[３]Schleiermacher, F. On the Different Methods of Translation[A]. In Robinson, D.(ed.). Western Translation Theory: From Herodotus to Nietzsche[C]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
&lt;br /&gt;
[４]Titford, Christopher.Subtitling: Constrained Translation[J]. Lebende Sprachen, 1982, 27(3):113-116.  &lt;br /&gt;
&lt;br /&gt;
[５]钱绍昌. 影视翻译──翻译园地中愈来愈重要的领域[J]. 中国翻译, 2000(1):61-65.&lt;br /&gt;
&lt;br /&gt;
[６]汪徽.字幕对伴随性词汇习得的影响[J].外语电化教学,2005(2):47-52. &lt;br /&gt;
&lt;br /&gt;
[７]熊兵. 翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J]. 中国翻译, 2014(3):82-88.&lt;br /&gt;
&lt;br /&gt;
=2 刘晓 The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
[[Trans_Type_EN_2]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
With the rapid growth of economy, people's pursuit of life quality is gradually increasing. Travelling abroad has become a hot topic nowadays. The rapid development of overseas travel has increased the market demand for tourism translation, and more stringent requirements for tourism translators. How to deal with the translation problems caused by the cultural differences between Chinese and English during the translation process is of great importance to improve the quality of tourism translation. The communicative translation strategy in Newmark's translation theory focuses on the effect that the translation brings to the target language readers, which is of certain guiding significance to the E-C translation of tourism texts. Therefore, this paper takes ''Everglades National Park, Florida (Excerpt)'' as an example to analyze the specific translation strategies and methods in the application of Newmark's translation theory in tourism texts, so as to provide reference for other translators.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Translation strategy and translation methods; Peter Newmark; Tourism texts&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
This paper is based on the English-Chinese translation of ''Everglades National Park, Florida (Excerpt)''. By analyzing the application of Peter Newmark's communicative transaltion in the translation, the author proposes some translation methods, which can be provided for future references.  This chapter mainly introduces the background information and significance of the report, and the domestic research status.&lt;br /&gt;
&lt;br /&gt;
====Research background====&lt;br /&gt;
&lt;br /&gt;
With the development of the world, various kinds of tourism appear in people’s life, and has unprecedentedly, extremely widely spread a variety of culture and lifestyle. Tourism has become a rising sunrise industry in modern society (Jin Huikang, 2007). To a foreign country to enjoy the beautiful scenery can make people know the colorful world and further know what they want. And this activity also has made tourism translation a reality and a thriving discipline.&lt;br /&gt;
&lt;br /&gt;
However, due to the different geographical environments, cultural differences and historical backgrounds in different countries, many translators often ignore the disadvantages brought by differences in language and cultural habits in the process of translation, so that the original meaning of the original text will be lost in the process of transmission, which may cause confusion for tourists and cannot achieve the purpose of offering them accurate information and stimulating their interest.&lt;br /&gt;
&lt;br /&gt;
Therefore, in order to make it more convenient for domestic citizens to travel abroad, translators should choose appropriate translation strategies and methods according to the cultural differences between China and foreign countries in the process of tourism English translation, so that tourists can form an objective and correct understanding of scenic spots. The semantic translation and communicative translation strategies in Peter Newmark’s Theories respectively focus on whether the meaning of the original text is exactly reproduced and the effect and influence that the translation brings to the target language readers, which are of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
&lt;br /&gt;
====Research significance====&lt;br /&gt;
&lt;br /&gt;
In theory, based on Peter Newmark’s translation theories, this paper chooses the semantic translation strategy and puts forward appropriate translation methods for the English-Chinese translation of tourist text -- the ''Everglades National Park, Florida (Excerpt)'', which is of certain guiding significance for English - Chinese translation of tourist texts.&lt;br /&gt;
Based on the practice of the ''Everglades National Park, Florida (Excerpt)'' English - Chinese translation and the analysis of Newmark’s communicative translation strategy’s application, this paper sums up some translation methods, such as voice change, objective and personal subject changing, adding conjunctions, etc. And these methods can be provided for future references in the translation study and practice of others, which has a certain practical significance.&lt;br /&gt;
&lt;br /&gt;
====Literature review====&lt;br /&gt;
&lt;br /&gt;
Through the analysis of Newmark’s communicative translation in recent years, it can be found that there are many references for the guidance of communicative translation on tourism translation texts. He Xueyun (2005) proposes that the public notices and signs should belong to the vocative functional text and focus on the reader-centered communicative translation, which can give foreigners a better environment for travel, study and work in China. For such a style, the communicative translation theory should be chosen, the target readers put in the first place and always in mind, and their culture and receptivity taken into account. Jin Huikang (2006) believes that tour guide words must have a specific expected function, which are a kind of texts that integrate informative, expressive and vocative functions. Therefore, tourism translation should aim at effective attraction for overseas tourists, and the translator should grasp the group characteristics of overseas tourists and audiences when carrying out tourism propaganda or translating tourism materials. Ma Chen (2010) points out that the tourism text is a kind of article mainly based on vocative function, and the core of which is to accurately convey information for readers. Liu Anhong (2013) proposes tourism text as a kind of publicity material, aiming to stimulate tourists’ interest in visiting. According to the division of Newmark, the tourism text should belong to the text with the vocative function as its main function and the informative function as its secondary function. Therefore, the translation of tourism text should effectively achieve the effects similar to the original text.&lt;br /&gt;
&lt;br /&gt;
From the combing of previous literatures, it can be found that there are many studies on the translation of tourism texts guided by Newmark’s communicative translation strategy. However, at present, there are few studies on the translation of tourism texts from English to Chinese, and more studies focus on the Chinese- English translation. For this reason, this paper is based on the translation practice of ''Everglades National Park, Florida (Excerpt)'' to provide some reference for future English – Chinese translation of tourism.&lt;br /&gt;
&lt;br /&gt;
===Tourism Texts===&lt;br /&gt;
&lt;br /&gt;
====General Introduction====&lt;br /&gt;
&lt;br /&gt;
Tourism text is an important carrier for readers to obtain scenic spot information, and Tourism text is to stimulate readers' desire to travel by introducing tourist attractions and resources, and its ultimate purpose is to meet readers' expectations and arouse readers' enthusiasm by delivering tourism information. In other words, the dominant function of tourism text is vocative function. At the same time, tourism texts also provide readers with information they like, from which people can acquire relevant knowledge such as culture and customs, natural geography, etc. Therefore, informative function is also its important feature. It can be seen that the two most important functions of tourism texts are respectively informative and vocative one, whose premise is to provide information and purpose is to attract tourists. &lt;br /&gt;
&lt;br /&gt;
In addition, we should realize that translation of tourism texts is a professional translation of tourist attractions and resources for target readers, and its essence is a communicative behavior. If the translator fails to properly deal with the differences between cultures, it will often fail to achieve the expected results. Therefore, during the translation process, more attention should be paid to the accuracy and effectiveness of the information, so as to make the translation conform to the target readers’ reading habits and aesthetic expectation (Li Daosheng, 2000). This requires the translator to put the reader's acceptance first in the process of translation. That is, tourism text translation should not only realize the conversion from one language to another, but also take language barriers and cultural differences into account. Therefore, in order to achieve the goal of successful communication, translators should flexibly apply various translation strategies and adopt appropriate translation methods according to the text types of tourism texts.&lt;br /&gt;
&lt;br /&gt;
====Introduction to the ''Everglades National Park, Florida (Excerpt)''====&lt;br /&gt;
&lt;br /&gt;
Established in 1974, Everglades National Park covers 2,354 square miles, or 6,097 square kilometers (1.4 million acres). Located at the tip of southern Florida, it is the largest subtropical wildlife sanctuary in the continental United States. Everglades National Park protects an unparalleled landscape which provides important habitat for numerous rare and endangered species such as the manatee, American crocodile, and the elusive Florida panther.&lt;br /&gt;
&lt;br /&gt;
''Everglades National Park, Florida (Excerpt)'' is excerpted from a notice from U.S. National Park Service about the phased reopening of the park, including alerts of the reopening, activities, safety and accessibility. It can also be regarded as a travel guide, which describes the journey towards people and offers help to the tourists who want to go there, and which often includes the description of the best travel time, transportation, accommodation, scenic spots and matters needing attention. As a practical text, its main purpose is to introduce and promote tourist scenic spots, that is the Everglades National Park in Florida. Its vocative and informative function are very prominent, and it has the characteristics of reader-orientation, the effectiveness of information transmission and timeliness.&lt;br /&gt;
&lt;br /&gt;
===Newmark's Translation Theory===&lt;br /&gt;
&lt;br /&gt;
====General introduction of Peter Newmark's translation theories====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark, a well-known translation theorist, is one of the main figures in the founding of translation studies in the English-speaking world in 20th century. Newmark devoted himself to studying the past and present of Western translation, and put forward his own views on this basis. Newmark’s translation theories mainly include three parts, that is, the classification of text types, translation approaches, and the lately correlative theory of translation.&lt;br /&gt;
&lt;br /&gt;
According to Karl Buhler’s knowledge of language features and Jacobson’s classification of them, Newmark proposed six functions of language informative function, expressive function, vocative function, phatic function, aesthetic function, and lastly metalingual function. (Hou Yingying, 2020) Then Newmark divided text types into three: expressive-functional texts, informative-functional texts, vocative-functional texts.&lt;br /&gt;
&lt;br /&gt;
After putting forward these three text types, Peter Newmark suggested eight translation approaches or strategies. Firstly, from the perspective of focusing on the source language, he suggested word-for-word translation, literal translation, faithful translation and semantic translation; Secondly, from the perspective of focusing on the target language, he suggested adaptation, free translation, idiomatic translation and communicative translation (Newmark, 2001:45).&lt;br /&gt;
&lt;br /&gt;
In 2007, Newmark came up with a new theory, that is, correlative theory of translation, which means that “The more serious and important the language of the original or source text, the more closely it should be translated.” (Newmark, 2007)&lt;br /&gt;
&lt;br /&gt;
In conclusion, Peter Newmark has proposed many significant theories and made extensive discussion on those concepts, which will have a great influence on the translation practice.&lt;br /&gt;
&lt;br /&gt;
====Semantic translation and communicative translation====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark divided text genres into “expressive text”, “informative text” and “vocative text” in his classic work ''Approaches to Translation''. Imaginative literary works, such as poems, songs, novels and dramas, authoritative statements, autobiographies, essays and personal correspondence, etc. are expressive texts. All the formatted texts with science and technology, industry and commerce, and economy as themes belong to informative texts. And vocative text refers to all texts that can infect readers and make them “get information”.&lt;br /&gt;
&lt;br /&gt;
With reference to these three kinds of texts, Newmark further creatively proposed the concepts of semantic translation and communicative translation: “communicative translation” means that the effect of the target text on the reader of the target language is as much as the effect of the original text on the reader of the source language; “semantic translation” refers to the reproduction of the context of the source text as accurately as possible under the premise of the semantic and syntactic structure of the target language. He believed that only communicative translation and semantic translation can achieve the two major goals of translation: being accurate, and being economic (effective).&lt;br /&gt;
&lt;br /&gt;
In ''About Translation'', Newmark made a detailed comparison of the characteristics of semantic translation and communicative translation from different aspects, and pointed out that the fundamental difference between them lies in that when the information and the effect are in conflict, communicative translation lays more emphasis on effect than content, while semantic translation lays more emphasis on content than effect. Communicative translation can give the translator full freedom, the translator can reorganize the syntax, eliminate the original obscure places in the source language, and make the language conform to the standard of the target language. However, semantic translation emphasizes the content of the information itself, tries to make the form of the target text similar to the form of the original text, and retains the language characteristics and expressive style of the original author. Therefore, compared with semantic translation, communicative translation is more subjective and can better reflect the translator’s creativity and it attaches great importance to the communicative effect of translation, the key to which is to convey information, make readers of the target language think, act and feel, and play an inductive role in making the translation natural and smooth, and more readable. &lt;br /&gt;
&lt;br /&gt;
Newmark pointed out that the translation of expressive texts should employ semantic translation, while informative and vocative texts communicative translation which is reader-centered. The most direct purpose of tourism texts translation is to convey information to readers on the premise of attracting readers’ attention and leaving readers with deep memories, so that readers can take actions -- to visit tourist attractions and pay attention to matters that should be paid attention to. Thus, it can be seen that the tourism text belongs to the vocative text and the communicative translation should be applied. &lt;br /&gt;
&lt;br /&gt;
To sum up, Newmark’s communicative translation focus on the effect that the translation brings to the target language readers, which is of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
&lt;br /&gt;
===Case Study===&lt;br /&gt;
&lt;br /&gt;
The purpose of communicative translation is to try to make the translation have the same effect on the target reader as the original does on the source reader. That is to say, the key point of communicative translation is to be loyal to the target language and the target text reader, that is, the source language is required to obey the target language and culture, leaving no doubt or obscurity to the reader, and eliminating difficulties and obstacles in reading or communication for the reader as far as possible.&lt;br /&gt;
&lt;br /&gt;
Because the translator wants to achieve a certain communicative purpose, emphasizes the effect and has a specific target audience, the translation has inevitably broken the restrictions of the original text, pursuing smoothness, clarity, directness and conformity with conventions. In this part, the author analyzes the specific application of communicative translation in the translation practice of the ''Everglades National Park, Florida (Excerpt)'' from three aspects: lexical, syntactic and textual analysis.&lt;br /&gt;
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====At Lexical Level====&lt;br /&gt;
&lt;br /&gt;
Generally speaking, there is partial equivalence between English and Chinese, that is, similar expressions in Chinese can replace the meaning of English words or phrases (Liu Junping, 2009). In the following, two translation methods used in lexical translation will be introduced: conversion of part of speech and the translation of public signs.&lt;br /&gt;
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1)Conversion of part of speech&lt;br /&gt;
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Example 1:&lt;br /&gt;
&lt;br /&gt;
ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors.''&lt;br /&gt;
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TT: 个人、团体或家庭都能在这找到适合的户外活动。&lt;br /&gt;
&lt;br /&gt;
Analysis: As we all know, English belongs to the Indo-European language family, while Chinese the Sino-Tibetan language family. Many differences exist between English and Chinese in terms of vocabulary and grammatical structure. Therefore, in the process of translating English into Chinese, due to the different ways of expression between English and Chinese some sentences can be translated word by word, while most sentences cannot. In order to make the Chinese translation smooth and natural, some words in the original text need to be converted into different parts of speech in the target text without sticking to the surface structure of the original text. In other words, some words in the original text can be converted into other parts of speech in Chinese on the premise of being faithful to the original meaning and retaining the original effect. &lt;br /&gt;
&lt;br /&gt;
The original sentence uses a nominal phrase “no shortage of” to express the meaning that no matter how many people come together for outdoor activities, there are always options. The translator translates it into a verbal phrase, that is, everyone can find a suitable outdoor activity here, so that the meaning gets across and the whole sentence flows naturally.&lt;br /&gt;
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Example 2:&lt;br /&gt;
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ST: ''Accessibility: No immediate trails.''&lt;br /&gt;
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TT: 如何前往：没有路径可直接到达。&lt;br /&gt;
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Analysis: As English tends to use more nouns with static narratives, while Chinese tends to use more verbs with dynamic ones. The static tendency of English mainly comes from nominalization, a common phenomenon in English. Nominalization mainly refers to the use of nouns (phrases) to express the information originally expressed by verbs (phrases), such as the use of abstract nouns to express actions, behaviors, changes, states, etc (Lian Shuneng, 1993). For example, “accessibility” in Example 2 is an abstract noun, which is used to show the way to one place. Chinese, on the other hand, tends to use verbs. So, in order to better convey the effect and let the reader read without any doubt or discomfort, the translator converted the noun into a verb phrase, that is “如何前往”. Likewise, in the noun phrase “no immediate trails”, the author wants to say that there is no direct way (to arrive at the destination). When translating, if it is directly translated into a noun phrase “没有直达路”, the reader may feel difficult to read. So, if it is translated into “there is no direct path can reach that place”, the sentence will be more smoothly and convey the original information and the effect is also retained.&lt;br /&gt;
&lt;br /&gt;
2)Public signs&lt;br /&gt;
&lt;br /&gt;
Example 3 &amp;amp; 4:&lt;br /&gt;
&lt;br /&gt;
ST: ''Things To Do'' &lt;br /&gt;
&lt;br /&gt;
TT: 活动介绍&lt;br /&gt;
&lt;br /&gt;
ST: ''What you can do''&lt;br /&gt;
&lt;br /&gt;
TT: 解决措施&lt;br /&gt;
&lt;br /&gt;
Analysis: As mentioned in the theoretical framework above, tourism text belongs to vocative text. As a kind of tourism text, public signs are a special style for specific people to achieve a certain communicative purpose. Its application scope is very wide, almost involved in every aspect of our daily life, such as street signs, billboards, road signs, shop signs, warnings, propaganda, travel briefs and so on. As a communicative tool, it conveys necessary and useful information to the public by means of a few words, simple and easy to understand icons or the combination of both (He Xueyun, 2006). Therefore, it can be seen that public signs feature lots of nouns, verbs, phrases and abbreviations and more often, fixed expression, which means in translation, only concise and idiomatic expression can fully convey the effect of the original text.&lt;br /&gt;
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Just as the example 3, once the original text is translated literally, that is “要做的事情”, it sounds rather awkward, which not only does not convey the meaning of the source text that was intended as an introduction to the activities that can be done, but also may lead the reader to believe that this section is about what is required. However, if it is translated into “活动介绍”, readers can clearly know the main content of this part and can find out the activities they are interested in. This expression is very concise and also in line with the Chinese language habits. The same is true of example 4.&lt;br /&gt;
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Example 5 &amp;amp; 6:&lt;br /&gt;
&lt;br /&gt;
ST: ''Alligators and crocodiles - Crocodilians are one of the reasons people visit the park, however, these are wild animals that can be dangerous to humans.''&lt;br /&gt;
&lt;br /&gt;
TT: 小心短吻鳄和鳄鱼——鳄鱼是人们参观公园的原因之一，然而，这些野生动物对人类会很危险。&lt;br /&gt;
&lt;br /&gt;
ST: ''Poisonous plants - The park’s ecosystems support a variety of plant life including some that cause reactions to human skin.''&lt;br /&gt;
&lt;br /&gt;
TT: 警惕有毒植物——公园的生态系统支持多种植物的生长，包括一些会对是人类皮肤过敏的植物。&lt;br /&gt;
&lt;br /&gt;
Analysis: Tourist texts belong to the vocative text, emphasizing the transfer of the effect of the information and the empathy of the reader. This requires the translator to pay attention to the internal logic of the text, modify the translated text to make it clear in the process of tourism translation without sticking to the original form and give full consideration to the core position of readers. &lt;br /&gt;
Examples 5 and 6 are in the same sentence structure -- firstly species are given, and then that the species could be in some danger is pointed out. If it is translated in accordance with the original text word by word, then the front part is just posing out that species. However, if such warning words as “小心” or “警惕” are added, it can let the reader know before he continues reading that this species may be dangerous when visiting, and then with reading below, the reader will know why it is dangerous. This will prepare the reader mentally, and the reading will be smoother.&lt;br /&gt;
&lt;br /&gt;
====At Syntactical Level====&lt;br /&gt;
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Two aspects are included in syntactic analysis, which are change of subjects and passive voice, and the punctuation.&lt;br /&gt;
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1)Change of subjects and passive voice&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: ''Wading birds, cormorants, Purple Gallinules, and nesting Anhingas may be found along the path anytime of the day during the winter (dry) season.''&lt;br /&gt;
&lt;br /&gt;
TT: 在冬季（旱季），任何时候您都可以在沿路发现涉水鸟类、鸬鹚、紫雀和筑巢的美洲蛇鸟。&lt;br /&gt;
&lt;br /&gt;
Analysis: English tends to use more impersonal subjects, which means it rarely uses the personal subject to describe but expresses how objective things act on people’s perception to things appear in an objective tone. So, the structure is often like this: inanimate subject + animate subject (Lian Shuneng, 2010). Chinese pays more attention to subjective thinking, and often describes objective things from the point of view of oneself, or tends to describe people and their behavior or state, so the personal subject is often used. When the personal subject is clear, Chinese often implies or omits it.&lt;br /&gt;
Passive voice is a common grammatical phenomenon in English. In some styles, the use of passive sentences has almost become a habit of expression. Passive sentences give rise to the tendency of using impersonal subjects, and vice versa. Chinese uses fewer passive forms. The main reason for this difference is that the use of passive forms in Chinese is limited, and the mark of the passive voice, such as “让”, “给”, “受”, mostly expresses displeasure.&lt;br /&gt;
&lt;br /&gt;
Therefore, in example 7, the translator transformed the passive voice into the active voice and the impersonal subjects “Wading birds, cormorants, Purple Gallinules, and nesting Anhingas” into the personal subjects “您”. What’s more, as this tourism text is written for readers, the use of the second person subject can shorten the distance. &lt;br /&gt;
&lt;br /&gt;
Example 8 &amp;amp; 9: &lt;br /&gt;
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ST: ''Wading birds, American Coots, Osprey, White-crowned Pigeons, warblers, Red-shouldered Hawks, Anhingas, rails, Painted Buntings and other transients are best viewed here in the morning.''&lt;br /&gt;
&lt;br /&gt;
TT: 早晨在这里观赏涉禽、美洲骨顶鸡、鱼鹰、白头鸽、莺、赤肩鹫、美洲蛇鸟、秧鸡、彩绘鹀和其他过路的鸟类的效果最好。&lt;br /&gt;
&lt;br /&gt;
ST: ''In the summer, fewer programs are offered.''&lt;br /&gt;
&lt;br /&gt;
TT: 夏季提供的项目较少。&lt;br /&gt;
&lt;br /&gt;
Analysis: Just as what has been said above, English has a tendency to use impersonal subjects and passive voice, while Chinese is exactly the opposite. And when the subject is clear, Chinese often implies or omits it, which is just like example 8 the personal subject “you” is omitted. &lt;br /&gt;
In example 9, the omitted subject is the national park, and the temporal adverbial phrase “in the summer” becomes the subject in form, which is a common expression in Chinese. That is because subjects in Chinese are not only in various forms, but also dispensable: it can denote giving, receiving, time, place.&lt;br /&gt;
 &lt;br /&gt;
2)Punctuation&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: ''Connecting trails through the Pinelands run 7 miles (11 km) west from the Long Pine Key campground to Pine Glades Lake along the main park road.''&lt;br /&gt;
&lt;br /&gt;
TT: 这些小道从长松岛营地向西延伸7英里（11公里），穿过一片松林地，连通公园主路边松林湖。&lt;br /&gt;
&lt;br /&gt;
Analysis: English sentences are complicated, and subordination is one of the most important characteristics of modern English, which features right-branching, sentences long and complex, made in “architecture style”. Conversely, Chinese sentences are relatively short, and commonly use scattered sentences, loose sentences, tight sentences or composite sentences with parallel structure. Chinese features left-branching, and sentences are made in “chronicle style”, using clauses to streamline the thoughts. &lt;br /&gt;
&lt;br /&gt;
So, when there are many prepositional phrases in the original English sentence, the translator can divide the long sentence into several short sentences and recognize those by adding comma, which can help readers to sort out the logic of the original text and get the main information. By using communicative translation, the translator divided the original sentence into three sentences. The logical sequence is that “The trails run seven miles (11 kilometers) west from the Long Pine Key campground. Passing through the Pinelands, they lead to Pine Glades Lake along the main park road.”, which shows the location of both the Long Pine Key campground, the Pinelands and Pine Glades Lake correctly, leaving no doubt to readers of the target language.&lt;br /&gt;
&lt;br /&gt;
Example 11:&lt;br /&gt;
&lt;br /&gt;
ST: ''In keeping with Monroe County’s closure order for beaches, North Nest Key and all waters within 100 yards from the shore will be closed for protection of park resources during the holiday weekend. The closure will begin on Friday, July 3 at 6 a.m.''&lt;br /&gt;
&lt;br /&gt;
TT: 根据门罗县对海滩的关闭安排，为保护公园资源，北巢岛和离海岸100码以内的所有水域将自7月3日星期五早上6点起暂停对外开放。&lt;br /&gt;
&lt;br /&gt;
Analysis: In the original text there are two sentences, which can be combined to make the meaning complete and language pithy in the target language. And it can be taken into consideration to reconstruct them by replacing full stop with comma. By considering communicative translation, the translator put two prepositional phrases in advance as adverbials, which are “in keeping with Monroe County’s closure order for beaches” and “for protection of park resources during the holiday weekend”, and then turned the second sentence into a temporal adverbial phrase and put it in the main clause as an adverbial. So, the whole structure is “In keeping with Monroe County’s closure order for beaches and for protection of park resources during the holiday weekend, North Nest Key and all waters within 100 yards from the shore will be closed from Friday, July 3 at 6 a.m.” By doing so, the information is concisely conveyed, and Chinese readers can well understand it.&lt;br /&gt;
&lt;br /&gt;
====At Textual Level====&lt;br /&gt;
&lt;br /&gt;
Discourse refers to the actual language unit used and is the whole language constituted by a series of consecutive paragraphs or sentences in the communication process. In general, a text consists of words, phrases, sentences and sentence cluster (Lan Lingyan, 2020), among which the components were cohesion in form and coherence in semantics.&lt;br /&gt;
&lt;br /&gt;
Example 12:&lt;br /&gt;
&lt;br /&gt;
ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors. The diverse habitats allow for enjoyable activities ranging from hiking, canoeing, kayaking, biking, fresh and saltwater fishing, and camping in the ultimate wilderness.''&lt;br /&gt;
&lt;br /&gt;
TT: 个人、团体或家庭都能在这找到适合的户外活动。无论是步行、乘坐独木舟、划皮划艇、骑自行车，还是在淡水或海水钓鱼、在终极荒野地露营，您都可以饱览多样的自然环境、尽享快乐。&lt;br /&gt;
&lt;br /&gt;
Analysis: Coherence in a piece of writing refers to the principle that all paragraphs, sentences or ideas are combined so well that they form a united whole. Coherent translation has smooth structural, grammatical, and logical movement from one sentence or idea to the next and the reader does not have to pause and guess at the meaning caused by gaps in development between ideas, sentences and paragraphs. &lt;br /&gt;
&lt;br /&gt;
In example 12, the last topic of the fist sentence in the original sentence is outdoor activities, while the subject of the second sentence is the diverse habitats. This is a shift in the topic, which may make the readers pause and guess at the logical relation between them. Therefore, in translation, guided by communicative translation, the translator needs to mind the text coherence and to make proper adjustments. Out of this, the translator put the activities in the second sentences as the subject of the second sentence in the target text, so that the first sentence can pass through smoothly to the next one, so does the understanding of readers.&lt;br /&gt;
&lt;br /&gt;
Example 13:&lt;br /&gt;
&lt;br /&gt;
ST: ''Everglades National Park is a popular spot for saltwater and freshwater sport fishing. Boats can be chartered at Flamingo. Be sure to check a visitor center for park fishing regulations and closed areas.''&lt;br /&gt;
&lt;br /&gt;
TT: 大沼泽地国家公园是一个很受欢迎的钓海水鱼和淡水鱼的地方。在弗拉明戈可以租船。在钓鱼之前，一定要阅读游客中心的公园捕鱼规定和封闭区域。&lt;br /&gt;
&lt;br /&gt;
Analysis: Cohesion can be thought of as all the grammatical and lexical links that link one part of a text to another. This includes the use of synonyms, lexical sets, pronouns, verb tenses, time references, grammatical reference, etc. For example, ‘it’, ‘neither’ and ‘this’ all refer to an idea previously mentioned.&lt;br /&gt;
&lt;br /&gt;
In example 13, this paragraph mainly talks about fishing in the Everglades National Park, with a topic sentence and two explanatory sentences: one introducing the place for chartering and the other cautions. There are no grammatical or lexical links within these three sentences, and the logic is connected by semantics. Considering well understanding of readers in the target language, the translator added one lexical link “before fishing” between the last two sentences, to make the reader understand that he or she should read the rules and precautions of fishing before going fishing. Also, with repeating the key word “fishing”, the central idea of this whole paragraph is prominent, and the sentences are logically and smoothly linked to express the intended meaning, thus making this paragraph a cohesive group.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
====Major findings====&lt;br /&gt;
For the text, the tourism text belongs to the vocative text, which focuses on conveying the information and effect, so the communicative translation theory should be adopted to this kind of translation. As for this original text, the first part that introduces the outdoor activities belongs to the tourism advertisements, which are descriptive with vivid words. Tourism advertising is infective, with short and concise words, full of creativity, lively and concise sentence structure, and strong attraction. While the announcement that informs of the operating status of the park is a quite different style. The wording is formal, standard, accurate and stylized. Secondly, the source text involves a wide range of knowledge and large vocabulary. For example, “hardwood hammock” for “硬木吊床” and “Geocaching” for “寻宝”. &lt;br /&gt;
&lt;br /&gt;
Based on the analysis of examples from lexical, syntactic and textual levels, some translation methods can be proposed. On one hand, when translating, some words in the target text can be converted into different parts of speech in the original text to make the language natural and idiomatic. On the other hand, when doing English – Chinese translation, in most cases, passive voice should be changed into active voice, personal subject is favored in Chinese, and subjects can also be omitted sometimes. Lastly, as English and Chinese have lots of differences in sentences, the translator should change the order of the sentences sometimes to make them smooth and fluent, and some words can be added to make the meaning coherent.&lt;br /&gt;
&lt;br /&gt;
====Limitations====&lt;br /&gt;
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Besides some major findings, there are also many limitations in this translation practice. Firstly, communicative translation focuses on the effect conveyed by the translation rather than the information, which can easily make the translator ignore some original. So, in the translation, other available translation theories should also be taken into account to achieve best translation. &lt;br /&gt;
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Then, when translating a text, whether it is a tourism text or a literary works, they cannot be translated immediately. Relevant information and background should be collected in advance, and otherwise some mistakes which should be avoided will be made. For example, “Snail Kite (蜗鸢)” might be translated as “蜗牛风筝” if the translator does not look it up in advance.&lt;br /&gt;
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===References===&lt;br /&gt;
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[1] Newmark, Peter. About Translation[M]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
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[2] Newmark. Approaches to translation[M]. Shanghai Foreign Language Education Press, 2001. &lt;br /&gt;
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[3] Newmark, Peter. A New Theory of Translation[J]. Sborník Prací Filozofické Fakulty Brněnské Univerzity, 2007(13)&lt;br /&gt;
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[4] Newmark, Peter. A Textbook of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2001:39-42. &lt;br /&gt;
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[5] 贺学耘.汉英公示语翻译的现状及其交际翻译策略[J].外语与外语教学, 2006(03):57-59.&lt;br /&gt;
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[6] 侯莹莹.凯瑟琳娜·莱斯与彼得·纽马克文本类型翻译理论之比较研究[J].海外英语, 2020(22):49-50+60. &lt;br /&gt;
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[7] 金惠康.跨文化旅游翻译探讨[J].上海翻译, 2007(01):31-34.&lt;br /&gt;
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[8] 兰灵艳.交际翻译理论指导下《家庭生活》（节选）汉译实践报告[D].南昌大学, 2020.&lt;br /&gt;
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[9] 李道胜. 汉英语义对比分析[J]. 语言教育, 2000(4):4-5.&lt;br /&gt;
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[10] 连淑能.《英汉对比研究》[M]. 北京：高等教育出版社, 1993.&lt;br /&gt;
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[11] 刘安洪.跨文化交际视角下的旅游文本翻译策略研究[J].中华文化论坛, 2013(10):160-163. &lt;br /&gt;
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[12] 刘军平，西方翻译理论通史[M]. 武汉：武汉大学出版社, 2009.&lt;br /&gt;
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[13] 马忱.交际翻译策略对汉英旅游翻译的启示[J].郑州航空工业管理学院学报(社会科学版), 2010,29(06):119-121.&lt;br /&gt;
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=3 刘越 Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
[[Trans_Type_EN_3]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
There are many translation practices under the guidance of communicative translation theory, but there are not many translation practices in Korean novels. Through this translation practice, we hope to summarize the translation methods and strategies adopted in the translation of novel subject matter under the guidance of communicative translation theory in terms of vocabulary, sentence and rhetoric. In this paper, under the guidance of communicative translation theory of Korean novels &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; to analyze translation strategies and translation methods, let us hope that through the work of human changes in temperature to realize that the most warm affection and the most simple human feelings, seems to be the fact that more and more far from us, let us together to explore the history of the &amp;quot;family&amp;quot; gradually forgotten by us and meaning, Wake up our sense of affection, cause our emotional resonance.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
Communicative translation theory; Korean novels; Translation methods and strategies&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
===The emergence and development of communicative translation===&lt;br /&gt;
According to the function of language, i.e. the purpose for which it is used, Newmark proposes the following three text types: expressive function, informative function, and evocative function.&lt;br /&gt;
At the heart of the expressive function is the use of words by the speaker or author to express his or her thoughts and feelings. The author's unique form of language is as important as the content.Expressive function texts emphasise the authority of the original author, and translations should follow the principle of &amp;quot;original author first&amp;quot;, faithful to both the content of the ideas expressed by the original author and the language style of the original author, without regard to the reaction of the target reader. The core of the information function is the external context, i.e. all the information about a topic, or the unspeakable reality. At the heart of the information text is the &amp;quot;authenticity&amp;quot; of the content; the author's language is secondary. Translation should be based on the principle of &amp;quot;authenticity first&amp;quot;. The call to action is reader-centred and aims to &amp;quot;call the reader to action, to think, to feel&amp;quot;. The translation should follow the principle of 'reader first', putting the reader of the target language first. The translator can make full use of the advantages of the incoming language, without adhering to the expressions of the original, so that the translated language can achieve the same effect as the original.&lt;br /&gt;
&lt;br /&gt;
On this basis, two translation concepts, communicative translation and semantic translation, are proposed. Newmark believes that the theory of communicative translation focuses on the understanding and reaction of the recipient, the reader of the translation, and more on the effect rather than the content of the translated expression. The translator can give full play to the advantages of the translated language and introduce foreign elements into the culture of the translated language, with the advantages of naturalisation, Italian translation and idiomatic translation. Semantic translation attaches importance to the original text, focuses on its semantic content and strives to preserve the culture of the original text, and has the advantages of word-for-word, word-for-word and faithful translation. Communicative translation is suitable for informative and attractive texts such as autobiographies, personal emotional declarations, important political statements (or other statements), most non-literary texts, news, intellectual articles and books, textbooks, reports, scientific and technical literature, official correspondence, promotional material, advertisements, announcements, popular fiction. ( Yang 1989:68-71)# His communicative and semantic translations have largely enriched the study of translation theory and influenced the field of translation.&lt;br /&gt;
&lt;br /&gt;
===The applicability of communicative translation theory to the translation of popular novels===&lt;br /&gt;
First of all, the core content of communicative translation theory is that on the basis of being faithful to the content of the original text, it focuses on the readers' understanding ability and feelings, and pays more attention to the expression effect of the target text than the content. For the translator, the translator can give full play to the advantages of the target language and get rid of the constraints of the language structure of the original text. If the original text is illogical, ambiguous, and there are redundant words and ambiguities in the sentence, as well as dialects, coarse slang and other phenomena in the article, the translator has the right to reorganize the syntax and improve it by using collocation and common sentence patterns in accordance with the habits of the target language, so as to make the language more standardized. Translators also have the right to correct errors and omissions in the original text.( Shuang 1999(05):840）&lt;br /&gt;
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Secondly, according to Newmark's text type, communicative translation theory is applicable to vocative texts, which focus on the inspiring effect and take the target readers as the center. The purpose of translation is to elicit the desired response, including popular books and best-selling novels. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. The novel is mainly composed of characters, plots and descriptions of the environment to reflect the social reality. Novel is a literary genre that conveys thoughts and feelings and arouses readers' resonance. It belongs to appeal text, so communicative translation theory is suitable for novel translation.&lt;br /&gt;
&lt;br /&gt;
The most important thing in novel translation is to convey the content of the original text and the author's thoughts and feelings to the readers, and to arouse the readers' deep thinking and empathy. When translating a novel, we should describe the plot of the original text to the readers and try to get close to the literary image described by the author and the literary artistic conception created in the novel.&lt;br /&gt;
If only follow the content style and text structure of the original text, it will violate the original intention of translation, making the translation obscure and unclear. Under the guidance of communicative translation theory, the translator can give full play to the advantages of the target language, modify and polish the original text, adjust the logic of expression, eliminate the differences between the original text and the target text, and get a smooth translation. At the same time, the translator can also pay more attention to the target readers, fully consider the reading habits and thinking mode of the target readers, and use easy to understand language vocabulary to convey the information of the source text and the thoughts and feelings of the source text author to the readers, so that the target text readers and the source text readers get the same effect.&lt;br /&gt;
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=== Case study under the guidance of communicative translation theory===&lt;br /&gt;
Guided by Peter Newmark's communicative translation theory, the author carries out translation practice on two short stories &amp;quot;The Innocent Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. Under the guidance of communicative translation theory, this section adopts the strategies of translation modification and meaning extension to solve the problems of ambiguous and implicit sentences in novels. At the sentence level, the strategy of paraphrase, syntactic and translation is adopted. In the aspect of rhetoric, this paper adopts the translation strategies of addition and repetition, and makes a case study to explore and summarize the translation methods and strategies applicable to novel subject matter under the guidance of communicative translation theory.&lt;br /&gt;
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=== The application of communicative translation theory at lexical level===&lt;br /&gt;
'''Transliteration'''&lt;br /&gt;
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The translation method refers to the conversion of parts of speech in the original text, such as changing nouns into verbs, adjectives into verbs, etc., so as to make the translation conform to the expression habits of the target language. Different languages have different linguistic phenomena and cultural backgrounds. In order to make the translation more in line with the language expression habits of The Chinese people and convey the correct meaning of the original text to The Chinese readers, every word in the Korean sentence cannot be translated dead, and some parts of speech in The Korean language have to be changed in translation.&lt;br /&gt;
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The following is a case study of translating a part of speech in the original text into another part of speech in Chinese.&lt;br /&gt;
&lt;br /&gt;
Eg.1 그럴 때의 아이는 이제 노인이 아니라 소년가장 같았다.&lt;br /&gt;
First translation：那一刻我觉得孩子不像老人，而像少年家长。&lt;br /&gt;
Retranslation：那一刻我觉得他不像一个历经沧桑的老人，而像一个饱经世故的孩子。&lt;br /&gt;
&lt;br /&gt;
&amp;quot;소 년 가 장&amp;quot; is a noun, the author looked up Chinese dictionary, found &amp;quot;소 년 가 장&amp;quot; in Korean means &amp;quot;가 정 의 생 계 를 실 질 적 으 로 책 임 지 고, 어 렵 게 생 계 를 유 지 하 는 소 년&amp;quot;, at the beginning of translation, in accordance with the original literal translation is &amp;quot;young parents&amp;quot;, but is not in conformity with the Chinese expression habit, it is not easy to let Chinese readers understand, The author in the guidance of communicative translation theory, through the network search and found the dictionary lookup &amp;quot;소 년 가 장&amp;quot; and Chinese proverb &amp;quot;the poor children early master&amp;quot; has the same effect, but here can make statements impassability, in order not to cause the reader to understand the problems, the author give full play to the advantages of the Chinese, the author by using the method of adaptation, Phrases collocation and considering the Chinese habit, the term &amp;quot;소 년 가 장&amp;quot; divided &amp;quot;소 년&amp;quot; and &amp;quot;가 장&amp;quot; two nouns, and the term &amp;quot;가 장&amp;quot; translated into adjectives &amp;quot;world&amp;quot;, the &amp;quot;소 년&amp;quot; translated into &amp;quot;children&amp;quot;, both to convey the meaning of the original, and can make readers easily understand the content.&lt;br /&gt;
&lt;br /&gt;
Eg.2：거기에 아이가 자신을 만나려 하지 않기 때문에 돈을 주지 않는 것이라는 비난의 말이 반복해서 쓰여 있었기 때문이다.&lt;br /&gt;
Translation ：文件上反复指责说孩子不想认他这个父亲，所以不给抚养费。&lt;br /&gt;
In the original text 비 난&amp;quot; is a noun, the author according to the original text in translation translated into &amp;quot;document and is accused of child, father didn't want to see him the accused, so not to support&amp;quot;, at the same time with the two accused, groundwork or at the back of the verb &amp;quot;blame&amp;quot;, also make the repetitive, so the author under the guidance of communicative translation theory, When translated again, the noun &amp;quot;비 project-oriented&amp;quot; is translated into the verb &amp;quot;blame&amp;quot;, so that the translation is easy to understand.&lt;br /&gt;
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'''Extension of meaning'''&lt;br /&gt;
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Extension translation method is refers to according to the specific context of contact and words in the original context, starting from the basic meaning of Korean original words, through the letter of the word or phrase in the sentence, its excellent implied meaning appropriately, use some conforms to the Chinese expression habit of character words, the content of the original essence of accurate expression.&lt;br /&gt;
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Eg.3：①텔레비전을 쳐다보던 아이가 대뜸 내밷었다.&lt;br /&gt;
②동식이 집을 나서자마자 엄마는 휴이히히히, 하는 기괴한 한숨을 길게 내뱉었다.&lt;br /&gt;
Translation：①正在看电视的儿子突然吐槽道：“妈，你快看，电视里那个人真像我爸”。&lt;br /&gt;
②母亲就“唉！”长长地叹了一口气。&lt;br /&gt;
&lt;br /&gt;
The author by looking up the dictionary, in the original &amp;quot;내 밷 다&amp;quot; has two meanings: (1) 입 안 에 있 던 것 을 입 밖 으 로 뱉 어 내 보 내 다. (2) 마 음 에 내 키 지 아 니 하 거 나 못 마 땅 한 어 조 로 불 쑥 말 하 다. Chinese meaning is &amp;quot;vomit, and said,&amp;quot; the author under the guidance of communicative translation theory, reader's expressions and words in Chinese habit as the center, contact the original context and context, considering the words collocation, adopt the method of the extension, the &amp;quot;내 밷 다&amp;quot; translated into &amp;quot;fun&amp;quot; and &amp;quot;sigh&amp;quot;, not only conforms to the present context, and in accordance with the Chinese language habits.&lt;br /&gt;
&lt;br /&gt;
Eg.4: ①그러니까 엄마는 내가 돈 얘기 할 것을 미리 알고서 지금 차단막을 치는&lt;br /&gt;
것이리라.&lt;br /&gt;
②형이 옆구리를 툭 치며.&lt;br /&gt;
③까지는 살큼 익혀서 찬지름 치고 조선간장으로 조물조물 무쳐노면 고기반찬보다 낫드라.&lt;br /&gt;
Translation：①但母亲好像早已看透了我的心思，先堵住了我的口。&lt;br /&gt;
②大哥用胳膊肘戳了我一下。&lt;br /&gt;
③蒸个七八分熟的时候撒上香油好好拌一下就行了，这样比那些荤食都好吃。&lt;br /&gt;
&lt;br /&gt;
The verb &amp;quot;치&amp;quot; would give many different meanings with different words, such as ①&amp;quot;beating, beating, beating, playing&amp;quot;.② take, base, wrap, erect, ③ feed, feed, etc. On the basis of communicative translation theory, and fully understand the original meaning, context, and considering Chinese words collocation is used, depending on the context, the extension method was adopted, will &amp;quot;치 다&amp;quot; translated into &amp;quot;blocking&amp;quot;, &amp;quot;stamp&amp;quot;, &amp;quot;and&amp;quot; verb, such as to conform to the Chinese habits of expression.&lt;br /&gt;
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===The expression of communicative translation theory at the sentence level===&lt;br /&gt;
Communicative translation theory is pointed out that to the readers, the translator should give full play to the advantages of the target language, to make the translation conform to the target language expression of habit, not to leave any arcane to readers, while Korean and Chinese belong to different language families, there are differences in expression habit, this summary is mainly under the guidance of communicative translation theory, This paper analyzes the translation of sentences in The Pure Man and The Goat Family by means of paraphrase, syntactic and combined translation.&lt;br /&gt;
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'''Interpretation method'''&lt;br /&gt;
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Hermeneutic method is also an interpretative translation method. Because Chinese and Korean have different expression habits, in the process of translation, we can use the paraphrase method to explain some ambiguous sentences, which can not only make the translation clear, but also accurately convey the original purpose.&lt;br /&gt;
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Eg.5：어느날, 아이가 눈에 보이는 사물들을 가리켜 얼마짜리냐고 물었을 때, 어떤 행위를 가리켜 얼마 받느냐고 물었을 때, 나는 어린것이 별걸다 궁금해한다고 면박을 줬다. 면박을 주는 것으로 마음에 이는 민망함을 무마시켰다. 아이의 입에서 처음 돈 얘기가 나왔을 때, 그때 나는 이미 알아챘어야 했는지도 모른다.&lt;br /&gt;
First Translation: 当某一天，孩子们指着各种东西问花了多少钱，挣了多少钱时，我当面斥责说“小孩子家家的，真是什么都好奇”。我以这种当面驳斥的方式来掩饰心中的尴尬。当我第一次从孩子嘴里听到关于钱的话题时,我可能就已经觉察到了些什么。&lt;br /&gt;
Retranslation: 当某一天，孩子们指着各种东西问价格时，我当面斥责说‘小孩子家的，问这个做什么’，以此来掩饰我内心的尴尬。当我第一次从孩子嘴里听到关于钱的话题时，我可能已经觉察到时代变了，我那‘不知钱为何物’的时代过去了。&lt;br /&gt;
&lt;br /&gt;
The author at the beginning of the translation of &amp;quot;그 때 나 는 이 미 알 아 챘 어 야 했 는 지 도 모 른 다&amp;quot;, literal translation is &amp;quot;I may already have noticed what&amp;quot;, but the specific perceive what is not clear, causing distress to Chinese readers, by contacting the above learned that the &amp;quot;I&amp;quot; as a child is the hairpin, objects such as pottery fragments, But now the child is the &amp;quot;money&amp;quot;, the author under the guidance of communicative translation theory, to the readers, adopting the tactics of interpretation method, interpreted &amp;quot;I perceived that the&amp;quot; content &amp;quot;I might have been aware of The Times have changed, I that 'I don't know the money was the era of the past&amp;quot;, thus the author want to convey the original concept of the era of the change of the clear expression come out.&lt;br /&gt;
&lt;br /&gt;
Eg.6：영호야, 명절 때만이라도 꼭 아빠한데 가봐, 가기 싫으면 연락이라도 드리고.아빠가 아무리 네 맘에 안 들더라도 너는 네 할 도리를 해야 떳떳한 사람이 되는 거야,알았지?&lt;br /&gt;
First Translation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。只有做了自已应该做的才能做一个光明磊落的人，知道吗？&lt;br /&gt;
Retranslation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。为人处事和忠孝贤良是亘古不变的，要想做一个光明磊落的人，就要做好自己的分内之事，知道吗？阿姨的话要记住哦。&lt;br /&gt;
&lt;br /&gt;
Early in the translation of &amp;quot;너 는 네 할 도 리 를 해 야 떳 떳 한 사 람 이 되 는 거 야&amp;quot;, the corresponding Chinese literal translation is &amp;quot;only do oneself should do can do a aboveboard person&amp;quot;, but &amp;quot;할 도 리&amp;quot; what, did not explain clearly in the original, need the reader to consider, in order not to leave readers obscure place, The author puts the advantage of Chinese into full play and interprets &amp;quot;up 도 wish to be good&amp;quot; into English by means of context and translation theory. At the same time, I also think that this is the advice of adults. It is necessary to tell him this truth in a soft and powerful tone. After this sentence, &amp;quot;Remember what aunt said&amp;quot; is added to make the original meaning clearly conveyed to readers, so that readers can better understand the original content.&lt;br /&gt;
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'''demolition syntax'''&lt;br /&gt;
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Deconstruction is the breaking down of a long sentence into several shorter sentences. As Korean and Chinese belong to different language families, there are many differences in syntax. The word order of Korean sentences is the structure of SOV, and narration is the main body and focus of the sentence, and there are a large number of long sentences, which rely on word endings to express various grammatical meanings. No amount of sentence elements will cause meaning confusion.&lt;br /&gt;
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However, the word order of Chinese sentences is the SVO structure, which depends on vocabulary, function words and word order to distinguish sentence components, so the sentence structure is simple, mainly short sentences. The translation of Korean long sentences into Chinese sentence groups can make the translation logical, smooth and accurate.&lt;br /&gt;
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Eg.7：동식의 이혼에 책임이 없다고 할 수는 없는 형제들이 돈을 모아 동식에게 새집을 지어줬는데 집안 새것이면 뭐 하냐고 동식이 폭력을 휘두를 조짐을 보이자 그 팔아 종류의 폭력을 아버지에게 당해본 엄마는 지레 겁을 먹고 소를 팔아 동식에게 새장가 갈 자금을 쥐여줄 수밖에 없었다.&lt;br /&gt;
First Translation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子。挨过父亲打的母亲因为对东植这种动不动就挥拳头打人的行为心有余悸，并觉得只有新房子没用，就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
Retranslation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子，母亲因为挨过父亲的打，所以对东植这种动不动就挥拳头打人的行为心有余悸，觉得只有新房子无济于事，改不了他的暴力行为，索性就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
&lt;br /&gt;
The original text Is a long sentence, &amp;quot;는 데&amp;quot; is a long attributive clause, behind the author under the guidance of communicative translation theory, using the translation, in the resolution of a sentence, adjust the structure of the sentence, but his father mother &amp;quot;dragged&amp;quot; compared to read man translationese is too heavy, have the taste of Korean Chinese, is not in conformity with the Chinese expression habit, the author on the basis of this, The translation has been revised and polished to make it smooth and smooth.&lt;br /&gt;
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'''Cotranslation'''&lt;br /&gt;
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Cotranslation refers to the combined translation of two or more sentences in the original text. Using the combined translation method to translate, will reduce the long winded translation, obtain a smooth and smooth translation.&lt;br /&gt;
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Eg.8 ：나는 큰오빠와 작은오빠가 아버지가 남긴 논을 가져간 것을 알고 있었다. 큰언니, 작은언니가 결혼할 때 밭을 가져 갔다는 것도. 동식은 제 몫이 논도 밭도 아닌 집인 것에 불만을 품고 쓰러져가는 슬레이트집에 불을 질렀다.&lt;br /&gt;
First Translation：我知道大哥和二哥结婚时分走了家里的水田，大姐和二姐结婚时分走了家里的旱地，东植因为分到的不是田和地，而是即将坍塌的的石板屋，一气之下就在屋里放了火。&lt;br /&gt;
Retranslation：哥哥姐姐们结婚时把家里的水田和旱地都分走了。而东植分到的是即将坍塌的的石板屋，他对此很不满，一气之下就放火烧了房子。&lt;br /&gt;
&lt;br /&gt;
Are two sentences in the original, the author first translation, according to the original text translated into two other subject-predicate bin structure of the sentence, but &amp;quot;big sister&amp;quot; &amp;quot;big brother&amp;quot; &amp;quot;sister&amp;quot; &amp;quot;second brother&amp;quot; will be read repetitive, so the author under the guidance of communicative translation theory, adopt the method of r the appellation of original elements became the &amp;quot;brothers and sisters&amp;quot;, and the two sentence elements into a simple sentence, Reduce redundant redundant.&lt;br /&gt;
&lt;br /&gt;
===The embodiment of communicative translation at the rhetorical level===&lt;br /&gt;
Communicative translation theory points out that should take the readers as heavy, compared to convey to the readers the article content, pay more attention to the expression effect, good expression effect can cause the resonance of the readers, caused the reader's thinking, and good expression effect depends on the use of rhetoric, this summary is mainly under the guidance of communicative translation theory, adopt different translation strategies, The rhetorical translation in The Innocent Man and The Goat Family is analyzed.&lt;br /&gt;
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'''Addition'''&lt;br /&gt;
&lt;br /&gt;
Addition is a translation method that adds content to the target text in order to accurately express the meaning of the source text, meet the needs of the target text readers and make the target text conform to the expression habits of the target language. Since Chinese and Korean have different pragmatic ways and expressive habits, some words or sentences should be added in the translation to make the translation more consistent with the Chinese context, the reader's expressive habits and the exact meaning of the original text.&lt;br /&gt;
&lt;br /&gt;
Eg.9：나는 아이 아빠의 돈을 ‘그깟 돈’이라고 표현했다.&lt;br /&gt;
First Translation：我把孩子爸爸的钱称为“那么点儿钱”。&lt;br /&gt;
Retranslation：我把孩子爸爸给的钱称为“塞牙缝的钱”。&lt;br /&gt;
&lt;br /&gt;
&amp;quot;그깟&amp;quot; is a contraction of &amp;quot;그까짓&amp;quot;. It means so little, so little. The amount of money given by the father of the child is very small. The author under the guidance of communicative translation theory, give full play to the advantages of target language, adopt the method of thickening of translation, the use of metaphor, the &amp;quot;그 깟 돈&amp;quot; translated into accord with the readers expression habit &amp;quot;for all of the money&amp;quot;, making it easy to understand, more intuitive said the little amount, so as to impress the reader.&lt;br /&gt;
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'''Repetition'''&lt;br /&gt;
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Repetition refers to the translation technique of appropriately repeating a part of words or sentences in translation. The repetition method can make the meaning of the translation more clear, further strengthen the appeal of the article, highlight the thoughts and feelings of the article, and achieve a good rhetorical effect.&lt;br /&gt;
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Eg.10：아비를 한번도 찾지 않다가 돈 달라고, 그것도 법정에서 애 얼굴을 봐야 하는 아비 된 자의 참담한 심정을 당신들이 아느냐고.&lt;br /&gt;
First Translation：孩子一次也没来看过我这个父亲，却开口要钱？而且只有上了法院，我才好不容易看孩子一眼，你们理解我这个做父亲的心情和处境吗！&lt;br /&gt;
Retranslation：孩子一次也没来看过我就跟我开口要钱，只有上了法院，我才好不容易看孩子一眼，我这个做父亲的苦楚，悲凉的的心情，你们理解吗！理解吗！&lt;br /&gt;
&lt;br /&gt;
The author by contacting the specific context, as a father, no contact for many years but children themselves to court, the state of mind should be both angry and sad, based on the theory of communicative translation, using the skill of verb repetition, to &amp;quot;알 다&amp;quot; repeated translation, to emphasize my angry tone, in order to make the article more vivid and accurate meaning.&lt;br /&gt;
&lt;br /&gt;
=== conclusion===&lt;br /&gt;
This paper selected the south Korean writer Kong Shanyu stories &amp;quot;well bead film&amp;quot; in the two novel &amp;quot;pure people&amp;quot; and &amp;quot;the goat family&amp;quot; has carried on the translation practice, the two novels are using the simple nature of language and a small amount of dialect vocabulary, shape lifelike characters, are described by family members of the past, let the past and reality contrast, It reflects the social reality that with the development of society, people have become selfish and indifferent, and the most simple family and human feelings seem to be more and more far away from us, so as to explore the history and significance of the &amp;quot;family&amp;quot; and the simple social atmosphere, which are gradually forgotten by Koreans.&lt;br /&gt;
&lt;br /&gt;
The core of Peter Newmark's communicative translation theory is that on the basis of being faithful to the content of the original text, the translator can give full play to the advantages of the target language, get rid of the constraints of the language structure of the original text, and pay attention to the effect of the expression of the target text. According to Newmark's text type, communicative translation theory applies to appeal texts, which focus on the target reader and aim to elicit the desired response, including popular books, popular novels and so on. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. Under the guidance of Peter Newmark's communicative translation theory, the author analyzes and discusses the translation strategies in the Pure Man and The Goat Family, which are complicated sentences, ambiguous meanings and implicit expressions.&lt;br /&gt;
&lt;br /&gt;
From the lexical level analysis, the author mainly combined with the context, to Chinese readers as the center, to comply with the Chinese expression and language habits, consider the reader's understanding ability, on the basis of Chinese used to translation and translation methods of extension, so as to satisfy the to the original readers and the translation of the original dual need of the readers have the same effect, At the same time, it also ensures the accuracy and flexibility of the translation words, so as to conform to the translator's lexical habits.&lt;br /&gt;
From the statement level analysis, &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; appeared in the text of the long sentence and attributive clause, at the same time, some relatively obscure sentences substance, so the author adopted the method of interpretation, syntax and translation of translation strategies, to explain the sentence, split, reorganization, thus reducing the sentence's mad outages and ideographic unclear, The translation is in line with the habits of Chinese readers and effectively conveys the essence of the original text. From the rhetoric analysis, communicative translation theory points out that compared with the content, should attach great importance to the expression of the translation effect, good expression effect depends on the use of rhetoric, so the author USES the translation strategy of work and repetition, has carried on the modification to the original and polishing, to strengthen the artistic effect and influence of the translation, make readers for the characters vivid impression, Arouse readers' reflection and emotional resonance.&lt;br /&gt;
&lt;br /&gt;
Therefore, the results of this study indicate that the communicative translation theory is of guiding significance to the Chinese translation of Korean novels and can provide a reference for similar translation practices. Communicative translation theory is pointed out that to the reader as the center, the translator can get rid of the original text, giving full play to the advantages of target language to adjust the structure and logic, to make the translation easy to understand, but there may be lack of scattering situation, so the translator should properly our subjective initiative, to insure the effect of readers in at the same time, also used to avoid the above situation. In addition, there are also shortcomings in the translation, but the author still hopes that this translation practice can provide reference for the future Korean-Chinese translation practice. At the same time, through this translation practice, the author has realized his own shortcomings. In the future, the author will continue to learn, accumulate practical experience, and strive to improve his literary accomplishment and language foundation, and improve his translation level.&lt;br /&gt;
&lt;br /&gt;
===Reference===&lt;br /&gt;
&lt;br /&gt;
'''English Literature:'''&lt;br /&gt;
&lt;br /&gt;
[1]. GAO Chang. The Application of Peter Newmark's Communicative Translation Theory to the Translation of Chinese Historical Allusions [J]. Overseas English, 2013(11).&lt;br /&gt;
&lt;br /&gt;
[2]. JIAN Fang. Newmark's Translation Theory and Film Names [J]. Overseas English, 2010(08).&lt;br /&gt;
&lt;br /&gt;
[3]. LI Xin, ZHANG Zhe. On Peter Newmark’s Semanic Translation &amp;amp; Communicative Translation[J]. Overseas English, 2015（03）.&lt;br /&gt;
&lt;br /&gt;
'''Korean literature:'''&lt;br /&gt;
&lt;br /&gt;
[4]. Gong Seon-ok. In the 1980s, my literature Gwangju, and my life's hardship [J]. History of Criticism, 1995 (08).&lt;br /&gt;
&lt;br /&gt;
[5]. Kang Young-mi. Preliminary review of the singing movement in the 1970s and 1980s [J]. Mental Culture Research 41(3), 2018.(09).&lt;br /&gt;
&lt;br /&gt;
[6]. Kim Young Hee. Modern and Alternative Experience and Women--Park Wan-seo, Kim In-sook, and Gong Sun-ok's novel [J]. Creation and Criticism 23(3), 1995(09).&lt;br /&gt;
&lt;br /&gt;
[7]. Osunbang. A study of the translation of novels in modern China and the two-way translation of Sino-Korean novels[J]. Seoul: Sungsil University Press, 2008.&lt;br /&gt;
&lt;br /&gt;
'''Chinese Literature:'''&lt;br /&gt;
&lt;br /&gt;
[8]. Chen Lin. A comparison of Eugene A. Naida and Peter Newmark's translation theories [J]. Journal of Xiangtan University (Social Science Edition), 1994,(08): 87-91.&lt;br /&gt;
&lt;br /&gt;
[9]. Si Jitao and Yan Honglan. The translation of split sentences and combined sentences in English-Chinese translation[J]. Journal of Guangxi Right River Nationalities Teachers College,2005(02):21&lt;br /&gt;
&lt;br /&gt;
[10]. Chen Lin. A comparison of Eugene A. Naida and Peter Newmark's translation theory [J]. Journal of Xiangtan University (Social Science Edition), 1994, (08).&lt;br /&gt;
&lt;br /&gt;
[11]. Yang Shi-Zhuo. A brief analysis of Newmark's theory of semantic and communicative translation[J]. Fujian Foreign Language, 1989:68-71.&lt;br /&gt;
&lt;br /&gt;
=毛雅文On Translation Strategies and Methods in Chinese Translation of English Prose --- Chinese Translation of Robert Lynd’s &amp;quot;Pleasures of Ignorance&amp;quot; as an example=&lt;br /&gt;
[[Trans_Type_EN_4]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Prose, together with poetry, novel and drama, is a kind of literary form. It is not limited to rhythm, plot and characters, flexible in form, real and natural. English prose has a long history and various types, so it becomes an important object in translation practice and research. In China, the most famous English prose writers are Francis Bacon and Charles Lamb, hence, their works can be regarded as the focus of studies on Chinese translation of English prose. In fact, Chinese translation of English prose draws less attention in translation circle of China, compared with that of English poetry and drama. With English prose as the starting point, this paper will introduce the characteristics of English prose and the domestic studies on its Chinese translation, and take the Chinese translation of ''Pleasures of Ignorance'', the representative work of English modern prose writer Robert Lynd, as an example to analyze its translation strategies and methods.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Pleasures of Ignorance&amp;quot;; Chinese translation of English prose; translation strategies; translation methods; translation techniques&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
This chapter will point to the research background and its significance, and briefly set forth the structure of this paper and the methods used.&lt;br /&gt;
&lt;br /&gt;
'''Research Background and Significance'''&lt;br /&gt;
&lt;br /&gt;
In recent years, with the deepening of the reform and opening-up, the channels of international cultural exchange have become increasingly unblocked, and China's translation industry has also flourished. The studies on translation theory, drawing lesson from western translation studies, have yielded fruitful results, and more noteworthily, remarkable achievements have been made in studies on literary translation for all to see.&lt;br /&gt;
&lt;br /&gt;
Prose is a basic literary form in written or spoken language that typically exhibits a natural flow of speech and grammatical structure. A large number of works in philosophy, history, economics, journalism, etc, are examples of works written in prose. It can be seen that prose, which is widely used for creation, occupies an important position in literature. However, there are few researchers majoring in prose translation, still fewer ones who specialize in Chinese translation of English prose. In view of the above, this paper, based on previous studies, will study the Chinese translation of English prose, and take the Chinese translation by Liu Bingshan of ''The Pleasures of Ignorance'' created by the English prose writer Robert Lynd, exploring its characteristics in translation strategies and methods, so as to provide better understanding and some reference for the appreciation and translation of English prose.&lt;br /&gt;
&lt;br /&gt;
'''Methodology and Structure'''&lt;br /&gt;
&lt;br /&gt;
This paper will employ the methods of literature research and case analysis. The paper consists of three parts. The first section is literature review, explicating the distinctive properties and linguistic features of English prose, and the prose translation with its principles, as well as introducing the previous studies on Chinese translation of English prose at home. The second part, the core of this paper, will take Liu Bingshan's Chinese translation version of Robert Lynd's prose work &amp;quot;Pleasures of Ignorance&amp;quot; as an example, carry out the interpretation of this translation in terms of its types, styles as well as strategies and methods employed. Lastly, the conclusion will point to the findings in this study and the weaknesses in the paper.&lt;br /&gt;
&lt;br /&gt;
===Literature Review===&lt;br /&gt;
&lt;br /&gt;
This part will draw into the domestic previous studies on Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
With regard to Chinese translation of English prose, at present, there are few domestic scholars dedicated to its systematic research. According to the different perspectives,  the relevant researches at home can be roughly divided into three categories.&lt;br /&gt;
&lt;br /&gt;
First, concerning research on the theory of Chinese translation of English prose into Chinese, there are relatively small number of studies in this direction. One of the most fruitful works is ''The Study and Translation of British and American Prose'' co-authored by Zhao Xiuming and Zhao Zhangjin (2010), which makes a detailed investigation of the literary characteristics, historical evolution and style evolution of British and American prose. The work also discusses the basic principles of English prose translation in terms of pre-translation text analysis, historical and cultural context, artistic principles, and styles, etc., which can offer a reference for the further study of the theories and practices of English prose translation.&lt;br /&gt;
&lt;br /&gt;
Second, regarding research on the famous translators of English and American prose with their translation styles and skills, Xia Ying explored the style of Professor Cao's translation of Francis Bacon with the essay titled &amp;quot;Research on Professor Cao Minglunss Chinese translation of bacon prose&amp;quot;. (Xia Ying, 2012:165-166) Some others probed into Liu Bingshanss and Li Shicong’s thoughts on prose translation which have guiding significance for prose translation practice.&lt;br /&gt;
&lt;br /&gt;
Third, as regards research on the practice of Chinese translation English prose based on translation theory, Huang Jianling (2021) analyzed the Chinese translation of Bacon's essays from the perspective of translation aesthetics. Hu Hongyun (2013) translates and elaborates on the British prose Farewell in vocabulary, semantics, style and cultural transmission, on the basis of Eugene Nida's Functional Equivalence theory.&lt;br /&gt;
&lt;br /&gt;
===Overview of English Prose===&lt;br /&gt;
&lt;br /&gt;
Prose can be defined in broad sense and in narrow sense. In broad sense, prose refers to all the written and oral works in a loose form free from parallelism; and in narrow sense, it specifically means the writings with certain literary qualities, such as essays, and a literary genre juxtaposed with poetry, novel, drama and movie-television literature.&lt;br /&gt;
&lt;br /&gt;
'''Distinctive Features of English Prose'''&lt;br /&gt;
&lt;br /&gt;
As an independent literary genre, English prose has its own distinctive characteristics.&lt;br /&gt;
&lt;br /&gt;
The first characteristic is its expression of sincere feeling. Prose mostly depicts the real people, things and scenery, and is generated based on record and recollection of life. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. So in this sense, prose can be considered as an earnest conversation between the author and the readers.&lt;br /&gt;
&lt;br /&gt;
Secondly, English prose is characterized by the wide material selection. In English prose, one detail, episode and facet of life can be used to display the author’s specific emotions and circumstances, and all materials related to the theme can also be employed. It places no emphasis on rhythm and rhyme, like poetry, as well as to plot and characters, like drama.&lt;br /&gt;
&lt;br /&gt;
Besides, English prose features the free and loose structure. The structure of prose writings is free and flexible. Prose is elastic and natural and boasts descriptive, argumentative and lyrical qualities, thereof constituting its most distinctive advantage. There are no strict restrictions and fixed patterns in the prose structure, but its flexibility and randomness is not tantamount to disorder and scatter, and its choice of theme and expression of feelings should be closely centered on one main line.&lt;br /&gt;
&lt;br /&gt;
'''Linguistic Features of English Prose'''&lt;br /&gt;
&lt;br /&gt;
Compared with other literary forms, prose has no more skills to resort to. Therefore, as regards the form of artistic expression, English prose mainly has recourse to its own language features.&lt;br /&gt;
&lt;br /&gt;
First and foremost, succinctness and fluency characterize English prose language. The concise prose language not only fully delivers the content that the author intends to convey, but effectively shows the author's emotions and attitude towards persons and things. This is not the result of the author's deliberate elaboration, but the natural overflow of his or her plain and pure emotion. The fluency of prose language refers to both the informal use of words and phrases, and the author's sound expression of feelings.&lt;br /&gt;
&lt;br /&gt;
Meanwhile, colloquial style and literary grace are characteristic of prose language. As prose mainly focuses on description of the author's personal stories and sentiments, thus, he speaks or writes with his own posture, style and tone, as if he is confiding to the readers, so as to highlight the agreeable conversation style and unique colloquial style. Colloquial prose language is natural due to its simplicity, friendly owing to its ease of communication, and true thanks to its individuality.&lt;br /&gt;
&lt;br /&gt;
Furthermore, another linguistic feature of English prose is the smooth rhythm and reading. The rhythmic beauty of prose language is reflected in phonetic respect and in sentence patterns. The prose reading is catchy, with no obstacles and awkwardness, and its rhythm is in line with the natural law of oral breathing pauses as well as with the ups and downs of feelings.&lt;br /&gt;
&lt;br /&gt;
'''Principles of English Prose Translation'''&lt;br /&gt;
&lt;br /&gt;
The beauty of prose lies in its language and artistic conception, the two permeating each other and jointly creating the artistic charm of prose. In prose translation practice, the following principles can be observed to reproduce the artistic appeal.&lt;br /&gt;
&lt;br /&gt;
Keep an eye on sound and rhythm. Despite that the sound and rhythm of prose are often internal, not as obvious, regular and musical as that of poetry, they are not disordered with no aesthetic purpose. On the contrary, they effectively represent the variation of emotion in the prose, and are consistent with its unique aesthetic interest. This illustrates that in prose translation, on the one hand, the translators should recognize the great value and significance of prose sound and rhythm; on the other hand, with the intention of reproducing the linguistic subtleties of the original text, the translators can fully touch its aesthetic interest from the cadence between the lines, and perceive its inner rhythm from sentence length and speech speed.&lt;br /&gt;
&lt;br /&gt;
Pay attention to personalized mode of discourse. Different writers with various discourse modes bring about manifold writing styles. Not only is the personalized mode of discourse reflected in the author's choice of words and sentences as well as layout of the prose, but also in his thoughts and aesthetic interest. As a result, the translators can start with analyzing the original writer's one classic work and then his anthology and even look closely at the literary features of his age, in order to grasping the writer's personalized discourse mode, which is of particular importance to reproduce his artistic personality and the characteristics of his emotional expression in translation practice.&lt;br /&gt;
&lt;br /&gt;
Place a premium on the unity of scene and emotion. The unity of scene and interest in prose is embodied in diverse ways of language expression and structure, as well as the images or settings created by the author. In translation practice, based on the unity of scene and interest in the prose, it is beneficial to preserve and reproduce the overall aesthetic orientation of the original text through aesthetic reconstruction in word selection and layout, so that the translated text can obtain the aesthetic taste similar to the original prose.&lt;br /&gt;
&lt;br /&gt;
===Case Study of Chinese Translation of &amp;quot;Pleasures of Ignorance&amp;quot;===&lt;br /&gt;
&lt;br /&gt;
The selected source text is &amp;quot;The Pleasures of Ignorance&amp;quot;, written by Robert Lynd. &lt;br /&gt;
&lt;br /&gt;
Robert Lynd (1879-1949), born in Belfast, Northern Ireland, was a modern critic and prose writer. He, together with E. V. Lucas, was a pioneer in reviving the tradition of Charles Lamb's prose. And The Pleasures of Ignorance is one of his notable prose works.&lt;br /&gt;
&lt;br /&gt;
This prose points out that it is because ignorance that people are interested in the nature and the world and their pursue knowledge, and the process of seeking knowledge is full of pleasure, by which the author emphasizes the importance of learning more and gaining insight. The article reveals somewhat erudition and aesthetic sensibility, as well as love for nature and and passion for life. From his leisurely writing, the author's maturity of thought and capability in usage of words is unveiled. Though the tone of the original text makes the readers feel that the author is chatting with them, giving people familiarity and closeness, it is not particularly colloquial. On the contrary, there is a kind of exactness and elegance of the learned between the lines, thus it can be seen that the case text is a typical scholar prose.&lt;br /&gt;
&lt;br /&gt;
The translator Professor Liu Bingshan firmly grasps these features of the original text and conveys the original style by carefully choosing words and sentences, with the principles of faithfulness, smoothness and expressiveness. His Chinese translation of ''The Pleasures of Ignorance'' will be analyzed in terms of translation strategies and methods.&lt;br /&gt;
&lt;br /&gt;
There is the natural connection between translation strategies and translation methods, but the two concepts are often confused. It is generally believed that translation strategies (such as foreignization and domestication) are at the cultural level, while the translation methods (such as literal translation and free translation) are at the textual level. According to Xiong Bing, (2014: 83-86) translation methods are the approaches, steps and techniques used to achieve a specific translation purpose based on a certain translation strategy in translation activities, whereas translation strategies are a collection of principles and methods. Consequently, this paper will enunciate the translation text on the basis of translation methods under foreignization strategy and domestication strategy respectively.&lt;br /&gt;
&lt;br /&gt;
====Translation Methods under Foreignizing Strategy====&lt;br /&gt;
&lt;br /&gt;
Foreignization is a strategy in which a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. This strategy is &amp;quot;an ethnodeviant pressure on target-language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad&amp;quot; to have alien reading experience. (Venuti, 1995: 20) The translation methods under foreignization employed in Professor Liu's target text include literal translation, zero-translation and transliteration.&lt;br /&gt;
&lt;br /&gt;
=====Literal Translation=====&lt;br /&gt;
&lt;br /&gt;
Literal translation is in fact looser renditions that replace individual source language words with individual target language wors wherever possible, and cling as closely as possible to the source language word order in the target language. Specifically, in the case translation text, the translator faithfully retains some personal pronouns and demonstrative pronouns in the original text. For example, &lt;br /&gt;
&lt;br /&gt;
(1)It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance.&lt;br /&gt;
&lt;br /&gt;
同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
&lt;br /&gt;
(2)This ignorance, however, is not altogether miserable.&lt;br /&gt;
&lt;br /&gt;
不过，这种无知也并非全然不幸。&lt;br /&gt;
&lt;br /&gt;
(3)But your and my ignorance is not confined to cuckoos.&lt;br /&gt;
&lt;br /&gt;
但是，你我的无知并不仅限于杜鹃这一方面。&lt;br /&gt;
&lt;br /&gt;
(4)A contemporary English novelist was once asked by a foreigner what was the most important crop in England.&lt;br /&gt;
&lt;br /&gt;
一个外国人问一位当代英国小说家，英国最重要的农作物是什么。&lt;br /&gt;
&lt;br /&gt;
The translation of these sentences, though properly altering the word order and voice with the adherence to the target-language syntactic norms, does not adopt the usage of transferred meaning in dealing with lexical sense.&lt;br /&gt;
&lt;br /&gt;
The use of literal translation, especially the retaining of the personal pronouns, like &amp;quot;we&amp;quot; and &amp;quot;you and I&amp;quot;, conveys the style of the original text, showing friendliness and intimacy.&lt;br /&gt;
&lt;br /&gt;
=====Zero-Translation=====&lt;br /&gt;
&lt;br /&gt;
Zero translation refers to the translation in which the translators do not use the ready-made words in the target language to translate the source language words. This translation phenomenon occurs when adjustments must be made due to the differences in the syntactic structures of the two languages. For example, some articles and personal pronouns are not translated in E-C translation. In Professor Liu’s Translation, zero-translation is particularly displayed by omission, a translation technique. For instance,&lt;br /&gt;
&lt;br /&gt;
Omission of the expletives ''It'' and ''There'':&lt;br /&gt;
&lt;br /&gt;
(5)''It'' is impossible to take a walk in the country oneself without being amazed at the vast continent of one's own ignorance.&lt;br /&gt;
&lt;br /&gt;
任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
&lt;br /&gt;
(6)''There'' are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy.&lt;br /&gt;
&lt;br /&gt;
这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。&lt;br /&gt;
&lt;br /&gt;
Omission of English articles:&lt;br /&gt;
&lt;br /&gt;
(7)Thousands of men and women live and die without knowing the difference between ''a'' beech and ''an'' elm, between ''the'' song of ''a'' thrush and ''the'' song of ''a'' blackbird.&lt;br /&gt;
&lt;br /&gt;
成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
&lt;br /&gt;
Omission of pronouns:&lt;br /&gt;
&lt;br /&gt;
(8)... as she (the cuckoo) lays ''her'' egg on the ground and takes it in ''her'' bill to the nest in which it is destined to breed infanticide.&lt;br /&gt;
&lt;br /&gt;
把蛋下到地面上，然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。&lt;br /&gt;
&lt;br /&gt;
The application of zero-translation can render the translation text concise, neat and fluent, and make the rhythm of the prose more natural and flexible, conforming to the principle of prose translation.&lt;br /&gt;
&lt;br /&gt;
=====Transliteration=====&lt;br /&gt;
&lt;br /&gt;
Proper names such as the names of persons and places of foreign countries, are, as a rule, to be transliterated, i.e., to be translated by using Chinese characters to represent the sound in articulating these names.&lt;br /&gt;
&lt;br /&gt;
In transliteration, the translators should follow the original pronunciation of proper names, in Liu's translation, for example,&lt;br /&gt;
&lt;br /&gt;
(9)Hamlet 哈姆雷特 Pickwick 匹克威克 (both transliterated from English)&lt;br /&gt;
&lt;br /&gt;
Besides, in transliteration, the translators sometimes should also use the standard pronunciation of the Chinese characters. One of the difficulties in transliterating a foreign name in Chinese characters lies in the lack of many foreign sounds in Chinese, and the variation in the pronunciation of the Chinese characters causes confusion. The remedy is to fix certain Chinese characters for a certain syllable of foreign names. And many long-standing translated names, though not named after the original sounds, have been recognized by the world and are generally invariable. For example, in the translation in case study. For example, in the translation in case study,&lt;br /&gt;
&lt;br /&gt;
(10)Montaigne 蒙田 (not 蒙泰涅)&lt;br /&gt;
&lt;br /&gt;
Transliteration plays a crucial role in translation of proper nouns and technical terms, which ensures the correct conveyance of information.&lt;br /&gt;
&lt;br /&gt;
The translation methods under foreignization are able to make the translation process more visible, by means of showing how translators are deeply involved in the construction of culture and ideology. The use of these methods can retain the foreignness of the source text and produce on the target-language readers an effect as close as possible to that obtained on the readers of the original, through which the readers can further understand the foreign expressions and cultures, realizing the differences between the two countries.&lt;br /&gt;
&lt;br /&gt;
====Translation Methods under Domesticating Strategy====&lt;br /&gt;
&lt;br /&gt;
Domestication is a strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for target language readers. This strategy is &amp;quot;an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home&amp;quot; (Venuti, 1995: 20). In other words, as regards the use of domesticating strategy, the translators are required to make target-language readers feel familiar and close through conveying the content of the original text with the expressions to which TL readers are accustomed. And in Liu Bingshan's Chinese translation of ''Pleasures of Ignorance'', free translation method and imitation method under domestication are used and displayed in several translation techniques.&lt;br /&gt;
&lt;br /&gt;
=====Free Translation=====&lt;br /&gt;
&lt;br /&gt;
Free translation, also known as sense-for-sense translation, emphasizes transfer of the meaning or &amp;quot;spirit&amp;quot; of a source text over accurate reproduction of the original wording. The purpose of this method is to accommodate the needs of the target-language readers by producing a text which conforms to the linguistic and textual norms of the target language and culture which does not therefore sound 'foreign&amp;quot; (Shuttleworth &amp;amp; Cowie, 1997: 151). Such a method, in this case study, is specifically embodied in the choice of words packed with Chinese characteristics, that is, diction, also a translation technique. For example,&lt;br /&gt;
&lt;br /&gt;
(11)Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is ''the exception''.&lt;br /&gt;
&lt;br /&gt;
在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是''凤毛麟角''。&lt;br /&gt;
&lt;br /&gt;
(12)It is not that we have not seen the birds. It is simply that we ''have not noticed'' them.&lt;br /&gt;
&lt;br /&gt;
所以如此，并不是因为这些鸟我们没有见过，而只是因为我们''习焉不察''。&lt;br /&gt;
&lt;br /&gt;
(13)When in the oak’s green arms the cuckoo ''sings'', &lt;br /&gt;
&lt;br /&gt;
And first delights men in the ''lovely springs''.&lt;br /&gt;
&lt;br /&gt;
杜鹃在橡树的绿色怀抱里''啭啼''，&lt;br /&gt;
&lt;br /&gt;
第一个为人们带来''欢欣、美好的春意''。&lt;br /&gt;
&lt;br /&gt;
In translating these sentences, the translator transfers some words into vocabulary or phrases with conspicuously Chinese features. For instance, the transfer of &amp;quot;the exception&amp;quot; and &amp;quot;have not noticed&amp;quot; to Chinese idioms &amp;quot;凤毛麟角&amp;quot; (that describes rare and precious items) and &amp;quot;习焉不察&amp;quot; (which means that one is too accustomed to something to call it in questions), respectively, exemplifies the typical Chinese four-character structure. Moreover, the verb &amp;quot;sings&amp;quot; is transferred to &amp;quot;啭啼&amp;quot; (that describes birds' melodious chirp), a Chinese term composed of two words with the same left side, which is one of common and special linguistic phenomena in Chinese language. Meanwhile, &amp;quot;the lovely springs&amp;quot; is transferred to &amp;quot;欢欣、美好的春意&amp;quot; (a joyful and wonderful feeling brought by the spring) through abstraction.&lt;br /&gt;
Thus, it can be seen that the application of free translation can reproduce the sense of the original text more smoothly and idiomatically. And the wide adoption of the four-character structures enhance the academic atmosphere of the translation version.&lt;br /&gt;
&lt;br /&gt;
=====Imitation=====&lt;br /&gt;
&lt;br /&gt;
With regard to the use of imitation, the translators do not stick to the meaning details of the original text, let alone its vocabulary and syntactic structure, but take the original text as a reference model, either by deleting and condensing to only translate its gist and key information, or by adding and expanding to deliver more information than that in the original text. For instance,&lt;br /&gt;
&lt;br /&gt;
(14)Thousands of ''men and women'' ''live and die'' ''without knowing'' the difference between a beech and an elm, between the song of a thrush and the song of a blackbird.&lt;br /&gt;
 &lt;br /&gt;
成千上万的''男男女女''，''从生到死''，''一辈子''也''说不出''山毛榉和榆树有什么区别，''听不出''画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
&lt;br /&gt;
In the translation of this sentence, a variety of translation techniques are employed. &lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
The translator uses conversion to alter the syntactic structure of the original sentence. &lt;br /&gt;
&lt;br /&gt;
The predicate &amp;quot;live and die&amp;quot; is converted into the preposition phrase &amp;quot;从生到死&amp;quot; as the adverbial in Chinese.&lt;br /&gt;
&lt;br /&gt;
And the adverbial preposition phrase in the source text &amp;quot;without knowing&amp;quot; is converted into the predicate in Chinese translation.&lt;br /&gt;
&lt;br /&gt;
②　Division:&lt;br /&gt;
&lt;br /&gt;
In accordance with the need of Chinese expression, &amp;quot;without knowing&amp;quot; is divided into two verb phrases &amp;quot;说不出&amp;quot; and &amp;quot;听不出&amp;quot; in Chinese as the predicate.&lt;br /&gt;
&lt;br /&gt;
③　Addition:&lt;br /&gt;
&lt;br /&gt;
With the addition of the expression &amp;quot;一辈子&amp;quot;, the translator highlights the long time between life and death.&lt;br /&gt;
&lt;br /&gt;
④　Repetition:&lt;br /&gt;
&lt;br /&gt;
The plural form &amp;quot;men and women&amp;quot; is translated into the reiterative locution &amp;quot;男男女女&amp;quot; by repetition. &lt;br /&gt;
&lt;br /&gt;
The change of sentence structure via techniques such as conversion and division as well as of vocabulary via repetition and addition render the translation natural and smooth, showing the translator's superb handling of the original text.&lt;br /&gt;
&lt;br /&gt;
(15)...we are all the ''more'' delighted ''at the spectacle of'' its runaway flight as it (the cuckoo) ''hurries'' from wood to wood conscious of its crimes ...&lt;br /&gt;
&lt;br /&gt;
一日''看见''它（杜鹃）因为自己犯了罪而''煌惶不安地''从这个林子飞''逃''向那个林子 ... 我们才会觉得''大大''开心。&lt;br /&gt;
&lt;br /&gt;
In this example, there are also various translation techniques used.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
Firstly, the preposition phrase &amp;quot;at the spectacle of&amp;quot; is converted into the verb &amp;quot;看见&amp;quot; in Chinese. &lt;br /&gt;
&lt;br /&gt;
Secondly, the noun phrase &amp;quot;runaway flight&amp;quot; is converted into Chinese verbs &amp;quot;飞&amp;quot; (fly) and &amp;quot;逃&amp;quot; (escape). &lt;br /&gt;
&lt;br /&gt;
Besides, the verb &amp;quot;hurries&amp;quot; (that means to move quickly in a particular direction) is converted into &amp;quot;惶惶不安地&amp;quot; (which means to feel panic, afraid and utterly uneasy), a Chinese adverb to modify the verbs &amp;quot;飞&amp;quot; and &amp;quot;逃&amp;quot;, which endows the subject cuckoo with somewhat human characteristic.&lt;br /&gt;
&lt;br /&gt;
②　Repetition:&lt;br /&gt;
&lt;br /&gt;
The adjective &amp;quot;more&amp;quot; is translated into the reiterative locution &amp;quot;大大&amp;quot;, a Chinese adverb equivalent to &amp;quot;very&amp;quot; or &amp;quot;extremely&amp;quot; in English to modify the adjective &amp;quot;delighted&amp;quot;.&lt;br /&gt;
 &lt;br /&gt;
In this example, the adjustment of the sentence order and conversion of parts of speech make the translation more consistent with the word sequence in Chinese. Meanwhile, the choice of words such as the Chinese four-character structure &amp;quot;惶惶不安&amp;quot; conveys the romantic charm beyond the original text. And there are also indicators of use of repetition embodied in the typical Chinese reiterative locutions like &amp;quot;惶惶&amp;quot; and &amp;quot;大大&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
(16)I have myself a ''capricious'' and ''leaking'' memory.&lt;br /&gt;
&lt;br /&gt;
我自己的记忆力也是''漏洞百出''、''不听使唤''。&lt;br /&gt;
&lt;br /&gt;
Although this is a short sentence, it still contains the flexible use of translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
At first, the original object &amp;quot;memory&amp;quot; is converted to the subject in the Chinese translation.&lt;br /&gt;
&lt;br /&gt;
And then, the subject &amp;quot;I&amp;quot; with its appositive &amp;quot;myself&amp;quot; is converted into the attribute &amp;quot;我自己的&amp;quot; to modify the subject in the translation &amp;quot;记忆&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
On account of the conversion of the subject and the verb, the original predicate &amp;quot;have&amp;quot; is inappropriate. The addition of &amp;quot;也是&amp;quot; that is equivalent to the verb &amp;quot;be&amp;quot; in English enforces the completeness of sentence structure. And this is a structural addition mainly due to the structural difference between Chinese and English.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The two vivid adjective &amp;quot;capricious&amp;quot; and &amp;quot;leaking&amp;quot; are translated as &amp;quot;不听使唤&amp;quot; and &amp;quot;漏洞百出&amp;quot; respectively which are typical Chinese four-character structures. The Chinese adjective &amp;quot;漏洞百出(的)&amp;quot; means that the loopholes appear one after another, which is often used to describe that one's writing or speech is untenable because of lack of sufficient reasons and grounds. And here, this word shows the author's weak memory with which he forgets things time and again. And the other adjective &amp;quot;不听使唤(的)&amp;quot; generally depicts that someone loses control and is not obedient to the rules or instructions. Here, the word properly demonstrates that the author cannot manipulate his memory well and also cannot preclude it from being weaker. The use of these two words conforms to the choice of affective and stylistic meanings.&lt;br /&gt;
&lt;br /&gt;
In this example, the conversion of the subject and object as well as the change of the predicate enable the translation to be more closely accord with the Chinese sentential structure. Moreover, the two figurative adjectives packed with personified traits not only fully  convey the author's intention, but also enhance literariness of the translation and even display a lively mood beyond the original text.&lt;br /&gt;
&lt;br /&gt;
(17)We know, again, that, the blossom precedes and ''not succeeds'' the fruit of the apple-tree, but ''this does not lessen our amazement at'' the beautiful holiday of a May orchard.&lt;br /&gt;
&lt;br /&gt;
另外，我们知道苹果树''先''开花，''后''结果，可是五月''一旦''到来，果园里一片欢闹的花海。''我们不是仍然惊为奇观吗？''&lt;br /&gt;
&lt;br /&gt;
This is a typical example of the imitation method embodied in the use of diverse translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
Regarding the conversion of word classes, the noun &amp;quot;blossom&amp;quot; is converted into the Chinese verb &amp;quot;开花&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Concerning the conversion of sentence members, the object in the clause &amp;quot;apple-tree&amp;quot; is converted into the subject &amp;quot;苹果树&amp;quot; in the Chinese translation. And the attribute &amp;quot;May&amp;quot; is converted into the adverbial in Chinese as &amp;quot;五月一旦到来&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Considering the conversion of sentence patterns, the negative sentence &amp;quot;this does not lessen our amazement at...&amp;quot; is converted into a interrogative sentence &amp;quot;我们不是仍然惊为奇观吗？&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Negation:&lt;br /&gt;
&lt;br /&gt;
The negative form &amp;quot;not succeeds&amp;quot; in English is translated into the affirmative form &amp;quot;后结果&amp;quot; in Chinese, intensifying a positive tone on which Chinese language often places emphasis.&lt;br /&gt;
&lt;br /&gt;
③　Division:&lt;br /&gt;
&lt;br /&gt;
The original complicated sentence in English is divided into several simplex clauses and phrases in Chinese, which underlines the &amp;quot;chronicle style&amp;quot; of Chinese language with frequent use of shorter or composite structures.&lt;br /&gt;
&lt;br /&gt;
④　Addition:&lt;br /&gt;
&lt;br /&gt;
Now that the original sentence is divided into smaller components, it is necessary to supply connectors for better cohesion. The addition of the logical connectors in Chinese such as &amp;quot;先&amp;quot;, &amp;quot;后&amp;quot;, &amp;quot;一旦&amp;quot; and &amp;quot;仍然&amp;quot; render the translation more smooth and expressive.&lt;br /&gt;
&lt;br /&gt;
In this instance, the translator flexibly takes advantage of the techniques such as conversion, negation and division, not only contributing to the diversity of sentence patterns but also adding sense of warmth and vividness of the translation. Additionally, the semantic addition of logical connectors render the translation more cohesive and coherent.&lt;br /&gt;
&lt;br /&gt;
(18)Once more I shall see the world as a garden through the eyes of a stranger, my breath taken away with surprise by the painted fields.&lt;br /&gt;
&lt;br /&gt;
那时，我像一个陌生者进人大花园，放眼四望，五色缤纷的原野再一次使我''目不暇接''，''心迷神醉''。&lt;br /&gt;
&lt;br /&gt;
As regards this example, the translator enriches the meaning of the original text and creates a more balmy atmosphere by employing various translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Division:&lt;br /&gt;
&lt;br /&gt;
The long complex sentence, composed of two clauses, is divided into several separated clauses in arranged in a certain order, which renders the translation rhythmic and highlights the focus of expression.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
The addition of the Chinese set phrase &amp;quot;目不暇接&amp;quot; (which means that so many wonderful things and so swift change of scenery come into sight that the eyes are kept fully occupied) makes the context more coherent, as it echoes &amp;quot;see&amp;quot; and &amp;quot;the eyes&amp;quot; in the preceding and connects the &amp;quot;painted fields&amp;quot; in the following that greet the author's eyes and take his breath away.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The verb &amp;quot;see&amp;quot; is translated into &amp;quot;放眼四望” (to look around), the noun phrase &amp;quot;breath taken away with surprise&amp;quot; into &amp;quot;心醉神迷&amp;quot; (to be thrown into ecstasies), and the adjective &amp;quot;painted&amp;quot; into &amp;quot;五彩缤纷&amp;quot; (colorful). These recurring four-character structures in translation are loaded with positive meanings, and proper to depict the attractive scenery and to be used in scholar prose.&lt;br /&gt;
&lt;br /&gt;
④　Conversion:&lt;br /&gt;
&lt;br /&gt;
The original clause &amp;quot;my breath taken away with surprise by the painted fields&amp;quot; is in passive voice, and is converted into the active voice in Chinese translation &amp;quot;五色缤纷的原野再一次使我目不暇接，心迷神醉&amp;quot;. This kind of conversion is due to the fact that the Chinese passive form marked by &amp;quot;被&amp;quot; is traditionally felt to be an &amp;quot;inflictive voice&amp;quot;, mainly expressing things unpleasant or undesirable, contrasted with the cheerful aura overflowing the original text. &lt;br /&gt;
&lt;br /&gt;
The translator employs short clauses separated from the original complex sentence to  bestow smoothness and naturalness on the translation and strengthen its artistic appeal. Furthermore, the translator selects the words that tally with the affective, contextual and stylistic meanings of the original. And the opportune addition of words and change of voice also polish the translation.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
This paper makes an analysis of translation strategies and translation methods in English prose, with translator Liu Bingshan's Chinese translation of ''Pleasures of Ignorance'' created by Robert Lynd as an example. With translation strategies and methods as the starting point, this paper considers Chinese translation of English prose as the research subject. The paper first introduces English prose along with its distinctive properties, linguistics features and principles of its translation. And then this paper carries out the interpretation of translation strategies and methods in Liu Bingshan's Chinese translation of ''Pleasures of Ignorance'' in which the application of translation methods as well as techniques under foreignizing and domesticating strategies are elaborated, and the concrete effects they exert are also elucidated.&lt;br /&gt;
&lt;br /&gt;
====Major Findings====&lt;br /&gt;
&lt;br /&gt;
Based on the above study of translation strategies and methods employed in Liu Bingshan's Chinese translation of ''Pleasures of Ignorance'', the features or common ground of Chinese translation of English prose in terms of translation strategies and methods can be generally summarized.&lt;br /&gt;
&lt;br /&gt;
In Chinese translation of English prose, foreignization strategy and domestication strategy are both used in the light of the style, linguistic features, and syntactic structures of the source text.&lt;br /&gt;
&lt;br /&gt;
But, on the whole, the domesticating translation strategy which includes translation methods such as free translation and imitation is applied more frequently compared with foreignization. This is because that prose translation actually falls into literary translation that is special on the grounds of the unique characteristics of the original literary works. In literary works, or specifically, in English prose, some words are not used with their literal meanings but their connotative or extension meanings, so literal translation under foreignization may not correctly convey the real significance of the original text. Meanwhile, in English prose, there are complex syntactic structures whose translation cannot be carried out with no proper conversion and alteration. Additionally, multiple rhetoric devices such as metaphor, metonymy and allusion are used in English literary works, and the literal translation of these figures of speech may elude the target-language readers because of the cultural differences and the obscurity of the translation. However, the appropriate adoption of translation methods under domestication strategy, to some extent, can give the target-language readers a sense of closeness and deliver the aesthetic charm with the premise that the real meaning of the original text can be ensured.&lt;br /&gt;
&lt;br /&gt;
In terms of translation methods under foreignizing strategy, literal translation is used when the lexical meaning of the source text is lucid and the syntactic structures in it are relatively simple and clear, so the translators need not find a new path in the mode of expression in order to be faithful to the source text. And the use of literal translation can convey the information more objectively and avoid the interference of translators' subjective factors. Meanwhile, in Chinese translation of English prose, the use of zero-translation is frequent but imperceptible, with the omission of some words peculiar to English, such as expletives it and there, English articles and pronouns, but sometimes the English pronouns can also be retained to show a sense of closeness and friendliness. Besides, transliteration is used for the translation of proper nouns and technical terms not only in English prose but also in almost all text types, with conforming to the principles of being named after the original sound and of the translated names accepted through common practice. In a word, translation methods under foreignization can ensure the objective conveyance of information of the original text and preserve its foreignness and unique cultural values that can enrich the target-language readers' knowledge and their languages.&lt;br /&gt;
&lt;br /&gt;
With regard to translation methods under domesticating strategy, in Chinese translation English prose, free translation and imitation method are oftentimes employed. English prose, as one of the English literary genres, boasts distinctive features of literature, such as aesthetic value, language with hidden meanings and the usual use of figures of speech as well as culturally loaded images, which may not be shown vividly and be easily understood by target-language readers via literal or word-for-word translation. Thus, translation methods under domestication, with careful choice of words, proper adjustment of syntactic structures and sentence sequence, and appropriate sublimation of the original text, can express the original author's feelings more lively, render the translation more fluent, idiomatic and expressive, and display the aesthetic charm of the source text.&lt;br /&gt;
&lt;br /&gt;
At the lexical level, in Chinese translation of English prose, the translation techniques --- diction, addition, conversion and repetition --- are usually used. The typical Chinese four-character structures appear time from time in Chinese translation, and the translators choose the words in line with the affectionate, contextual and stylistic meanings of the original prose, which intensify literariness and satisfy the characteristics of scholar prose. Moreover, the addition of Chinese conjunctive words and logical connectors by which sentences in translation are connected into a text can create better cohesion. Furthermore, the conversion of word classes in translation is based on the contrastive studies of English and Chinese, viz., English with its nominal style is static whereas Chinese with its verbal style is dynamic. Besides, it is one of the peculiarities of Chinese to reduplicate characters or words in word-formation and to repeat the similar or same word or expression in a discourse for expressiveness and parallelism, which can render translation more appealing to Chinese readers and produce rhetorical and grammatical effect.&lt;br /&gt;
&lt;br /&gt;
At the syntactic level, the translation techniques --- conversion and division--- are often employed in Chinese translation of English prose. To start with, conversion in the syntactic respect involves conversions of sentence members, sentence patterns and the voice. The conversion of word classes often results in the conversion of sentence members, and the alteration of sentences patterns like the inter-conversion between assertive or negative sentences and question sentences can variegate sentence types in translation. The conversion of passive voice in English prose into active voice in Chinese translation is due to the preference for active forms that can produce positive effect in Chinese language. What's more, part of sentences in English prose are longer and complicated because of subordination, a fundamental feature of English, and it may be hard to reproduce the original thought with following the original sentence structure in translation, hence the division of complex English sentences into word-groups, clauses or simplex sentences in Chinese can endow Chinese translation of English prose with more naturalness, fluency and sense of rhythm.&lt;br /&gt;
&lt;br /&gt;
The research on the features of translation strategies and methods in Chinese translation of English prose, theoretically can offer a deeper insight into English prose and its translation, and practically can help to some extent improve the quality of Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
====Limitations and Suggestions====&lt;br /&gt;
&lt;br /&gt;
There are drawbacks in this paper: firstly, the paper takes only one piece of English prose as an example in case study, so it lacks strong persuasiveness; secondly, since there are few researchers on prose translation at home and abroad, especially those specializing in Chinese translation of English prose, this paper resorts to insufficient literature guidance and reference; thirdly, owing to the confined conditions and narrow academic capacity, this paper is devoid of enough depth and breadth as well as favorable insight and acuity, thus the theoretical support and practical assistance it provides are bound to be limited. As a consequence, it is expected that researchers in this field can cooperate well to build up a system to minimize the possible errors and create more thorough and holistic works to enunciate and improve Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
[1] Lawrence Venuti. Rethinking Translation: Discourse, Subjectivity, Ideology [C]. London and New York: Routledge, 1992: 5-20.&lt;br /&gt;
&lt;br /&gt;
[2] Lawrence Venuti. The Translator's Invisibility: A History of Translation [M]. 上海: 上海教育出版社, 2004: 7-25.&lt;br /&gt;
&lt;br /&gt;
[3] Mark Shuttleworth. Moira Cowie. Dictionary of Translation Studies [M]. London and New York: Routledge, 2014: 59-163.&lt;br /&gt;
&lt;br /&gt;
[4] 方梦之. 中国译学大辞典 [M]. 上海: 上海教育出版社, 2011: 96-118.&lt;br /&gt;
&lt;br /&gt;
[5] 侯强. 英语散文汉译策略研究 --- 以“韩素音青年翻译奖”参赛文本为例 [D]. 厦门: 厦门大学, 2014.&lt;br /&gt;
&lt;br /&gt;
[6] 何秀琴. 期待视角下的英语散文汉译研究 --- 以《散文佳作108篇》 为例 [D]. 南昌: 南昌大学, 2018.&lt;br /&gt;
&lt;br /&gt;
[7] 连淑能. 英译汉教程 [M]. 北京: 高等教育出版社, 2006: 67-262,&lt;br /&gt;
&lt;br /&gt;
[8] 宋颉. 翻译美学视角下的民国散文英译风格研究 [D]. 上海: 上海外国语大学, 2018.&lt;br /&gt;
&lt;br /&gt;
[9] 熊兵. 翻译研究中的概念混淆 [J]. 中国翻译, 2014(3): 82-88.&lt;br /&gt;
&lt;br /&gt;
[10] 张保红. 文学翻译 [M]. 北京: 外语教学与研究出版社, 2011: 28-88.&lt;br /&gt;
&lt;br /&gt;
[11] 朱明炬. 英汉名篇名译 [M]. 南京: 译林出版社, 2007: 319-328.&lt;br /&gt;
&lt;br /&gt;
===Appendix===&lt;br /&gt;
&lt;br /&gt;
(The original text:)&lt;br /&gt;
&lt;br /&gt;
The Pleasures of Ignorance&lt;br /&gt;
&lt;br /&gt;
By Robert Lynd&lt;br /&gt;
&lt;br /&gt;
It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance. It is impossible to take a walk in the country oneself without being amazed at the vast continent of one’s own ignorance. Thousands of men and women live and die without knowing the difference between a beech and an elm, between the song of a thrush and the song of a blackbird. Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is the exception. It is not that we have not seen the birds. It is simply that we have not noticed them. We have been surrounded by birds all our lives, yet so feeble is our observation that many of us could not tell whether or not the chaffinch sings, or the colour of the cuckoo. We argue like small boys as to whether the cuckoo always sings as he flies or sometimes in the branches of a tree-whether Chapman drew on his fancy or his knowledge of nature in the lines:&lt;br /&gt;
&lt;br /&gt;
When in the oak's green arms the cuckoo sings, &lt;br /&gt;
&lt;br /&gt;
And first delights men in the lovely springs.&lt;br /&gt;
&lt;br /&gt;
This ignorance, however, is not altogether miserable. Out of it we get the constant pleasure of discovery. Every fact of nature comes to us each spring, if only we are sufficiently ignorant, with the dew still on it. If we have lived half a lifetime without having ever seen a cuckoo, and know it only as a wandering voice, we are all the more delighted at the spectacle of its runaway flight as it hurries from wood to wood conscious of its crimes and at the way in which it halts hawk-like in the wind, its long tail quivering, before it dares descend on a hillside of fir-trees where avenging presences may lurk. It would be absurd to pretend that the naturalist does not also find pleasure in observing the life of the birds, but his is a steady pleasure, almost a sober and plodding occupation, compared to the morning enthusiasm of the man who sees a cuckoo for the first time, and, behold, the world is made new.&lt;br /&gt;
&lt;br /&gt;
And, as to that, the happiness even of the naturalist depends in some measure upon his ignorance,which still leaves him new worlds of this kind to conquer. He may have reached the very Z of knowledge in the books, but he still feels half ignorant until he has confirmed each bright particular with his eyes. He wishes with his own eyes to see the female cuckoo—rare spectacle!—as she lays her egg on the ground and takes it in her bill to the nest in which it is destined to breed infanticide. He would sit day after day with a field-glass against his eyes in order personally to endorse or refute the evidence suggesting that the cuckoo does lay on the ground and not in a nest.And, if he is so far fortunate as to discover this most secretive of birds in the very act of laying, there still remain for him other fields to conquer in a multitude of such disputed questions as whether the cuckoo’s egg is always of the same colour as the other eggs in the nest in which she abandons it. Assuredly the men of science have no reason as yet to weep over their lost ignorance. If they seem to know everything, it is only because you and I know almost nothing. There will always be a fortune of ignorance waiting for them under every fact they turn up. They will never know what song the Sirens sang to Ulysses any more than Sir Thomas Browne did.&lt;br /&gt;
&lt;br /&gt;
If I have called in the cuckoo to illustrate the ordinary man's ignorance, it is not because I can speak with authority on that bird. It is simply because, passing the spring in a parish that seemed to have been invaded by all the cuckoos of Africa, I realized how exceedingly little I, or anybody else I met, knew about them. But your and my ignorance is not confined to cuckoos. It dabbles in all created things, from the sun and moon down to the names of the flowers. I once heard a clever lady asking whether the new moon always appears on the same day of the week. She added that perhaps it is better not to know, because, if one does not know when or in what part of the sky to expect it,its appearance is always a pleasant surprise. I fancy, however, the new moon always comes as a surprise even to those who are familiar with her time-tables. And it is the same with the coming-in of spring and the waves of the flowers. We are not the less delighted to find an early primrose because we are sufficiently learned in the services of the year to look for it in March or April rather than in October. We know, again, that, the blossom precedes and not succeeds the fruit of the apple-tree, but this does not lessen our amazement at the beautiful holiday of a May orchard.&lt;br /&gt;
&lt;br /&gt;
At the same time there is, perhaps, a special pleasure in relearning the names of many of the flowers every spring. It is like rereading a book that one has almost forgotten. Montaigne tells us that he had so bad a memory that he could always read an old book as though he had never read it before. I have myself a capricious and leaking memory. I can read Hamlet itself and The Pickwick Papers as though they were the work of new authors and had come wet from the press, so much of them fades between one reading and another. There are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy. But this is only when life has an object beyond entertainment. In respect of mere luxury, it may be doubted whether there is not as much to be said for a bad memory as for a good one. With a bad memory one can go on reading Plutarch and The Arabian Nights all one's life. Little shreds and tags, it is probable, will stick even in the worst memory, just as a succession of sheep cannot leap through a gap in a hedge without leaving a few wisps of wool on the thorns. But the sheep themselves escape,and the great authors leap in the same way out of an idle memory and leave little enough behind.&lt;br /&gt;
&lt;br /&gt;
And, if we can forget books, it is as easy to forget the months and what they showed us, when once they are gone. Just for a moment I tell myself that I know May like the multiplication table and could pass an examination on its flowers, their appearance and their order. Today I can affirm confidently that the buttercup has five petals. (Or is it Six? I knew for certain last week.) But next year I shall probably have forgotten my arithmetic, and may have to learn once more not to confuse the buttercup with the celandine. Once more I shall see the world as a garden through the eyes of a stranger, my breath taken away with surprise by the painted fields. I shall find myself wondering whether it is science or ignorance which affirms that the swift (that black exaggeration of the swallow and yet a kinsman of the humming-bird) never settles even on a nest, but disappears at night into the heights of the air. I shall learn with fresh astonishment that it is the male, and not the female,cuckoo that sings. I may have to learn again not to call the champion a wild geranium, and to rediscover whether the ash comes early or late in the etiquette of the trees. A contemporary English novelist was once asked by a foreigner what was the most important crop in England. He answered without a moment's hesitation: &amp;quot;Rye&amp;quot;. Ignorance so complete as this seems to me to be touched with magnificence; but the ignorance even of illiterate persons is enormous. The average man who uses a telephone could not explain how a telephone works. He takes for granted the telephone, the railway train, the linotype, the aeroplane, as our grandfathers took for granted the miracles of the gospels. He neither questions nor understands them. It is as though each of us investigated and made his own only a tiny circle of facts. Knowledge outside the day's work is regarded by most men as a gewgaw. Still we are constantly in reaction against our ignorance. We rouse ourselves at intervals and speculate. We revel in speculations about anything at all—about life after death or about such questions as that which is said to have puzzled Aristotle, &amp;quot;why sneezing from noon to midnight was good, but from night to noon unlucky.&amp;quot; One of the greatest joys known to man is to take such a flight into ignorance in search of knowledge. The great pleasure of ignorance is, after all, the pleasure of asking questions. The man who has lost this pleasure or exchanged it for the pleasure of dogma, which is the pleasure of answering, is already beginning to stiffen. One envies so inquisitive a man as Jowett, who sat down to the study of physiology in his sixties. Most of us have lost the sense of our ignorance long before that age. We even become vain of our squirrel’s hoard of knowledge and regard increasing age itself as a school of omniscience. We forget that Socrates was famed for wisdom not because he was omniscient but because he realized at the age of seventy that he still knew nothing.&lt;br /&gt;
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(Liu Bingshan's Chinese translation:)&lt;br /&gt;
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无知常乐&lt;br /&gt;
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刘炳善 译&lt;br /&gt;
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同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是凤毛麟角。所以如此，并不是因为这些鸟我们没有见过，而只是因为我们习焉不察。在我们一生中，鸟类始终就在我们周围，然而我们对于它们的观察总是那样马马虎虎，所以我们当中许多人都说不清花鸡到底会不会知，也不知道杜鹃究竟是什么颜色。对于有些问题、我们像小孩子一样争论不休、譬如说，杜鹃在飞着或栖身于树枝间的时候，是否一直不停地鸣，而查普曼下面两行诗的灵感究竟是来自他的想像还是来自他的自然知识∶&lt;br /&gt;
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杜鹃在橡树的绿色怀抱里啭啼，&lt;br /&gt;
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第一个为人们带来欢欣、美好的春意。&lt;br /&gt;
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不过，这种无知也并非全然不幸，因为正是由于它，我们才能不断尝到发现的乐趣。只要我们是的的确确地无知，那么每年大地春回，自然界的每一种事物都会带着它那清新的露珠重新出现在我们面前。如果我们活了半辈子，对于杜鹃除了听过它那飘忽不定的叫声，从来没有见过它是什么模样，那么，一日看见它因为自己犯了罪而煌惶不安地从这个林子飞逃向那个林子。或是看见它顶着风、像老鹰似的停留在半空中，它那长长的尾巴颤动着，不敢落下来，生怕有什么鸟儿藏在那山坡上的枞树林里等着要找它报仇。我们才会觉得大大开心。有人想着，博物学家整天观察鸟类，大概就不会觉得有什么趣儿了吧？其实大谬不然--他那持续不断的乐趣几平已经变成一种安详的职业习惯了，不像有人某天早晨突然第一次看见一只杜鹃，不胜雀跃之至，于是，看哪，天地也为之焕然一新了。&lt;br /&gt;
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说到这儿，甚至连博物学家的快乐在一定程度上也有赖于自己的无知；只有如此。才能给他留出一些新的领域有待他去征服。即使他已经攀登了书本知识的顶峰，他仍会感到自己不过是半通不通，每一个引人注目的细节还必须用自己的亲眼观察来加以一一证实。他盼着能亲眼看到雌杜鹃（这可是个稀罕物儿！）把蛋下到地面上。然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。因此，博物学家就要戴上望远镜，日复一日地坐在那里等待着亲眼证实或者否定那种认为杜鹃确实是在地面上而非在窠里下蛋的说法。而日，即使他很幸运，能够发现杜鹃下蛋实况，这个在鸟类来说算是极大的秘密，其他一大批有争议的问题还依然存在。就像新的领土有待他去开拓，例如，杜鹃的蛋跟它占用的窠里其他鸟的蛋是否总是一样颜色？自然，科学家没有理由为了自己失去无知而哭泣。如果他们看起来似乎是精通一切的话，那也不过因为你我差不多是一无所知罢了。实际上，当他们要把一件事实的盖子揭开的时候，某种命定的无知就在等待着他们。海妖们向尤利塞斯唱的究竟是什么歌儿？——他们永远不可能知道，正像托马斯·勃朗爵士也不知道一样。&lt;br /&gt;
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我请杜鹃来做例子以说明普通人的无知，并不是因为我有什么权威可以对这种鸟儿发发议论。不过，我曾在某个教区暂住，而那年春天从非洲飞来的杜鹃似乎全集合在那个地方，因此我也就有机会了解到我自己以及我所碰见的每一个人对于这种鸟儿的知识是如何地微不足道。但是，你我的无知并不仅限于杜鹃这一方面。它涉及到宇宙万物，从太阳、月亮一直到花卉的名字。有一天，我听见一位聪明伶俐的太太提出了这样一个问题∶新月是不是总在星期几露面？她接着又说：不知道倒好，正因为人不知道在什么时候、在天空的哪一带能看见它，新月一出现才给人带来一场惊喜。然而我想、哪怕入把月亮盈亏时间表记得再熟。看见新月出现还是不免又惊又喜，春回大地，花开花落，也莫不如此。尽管我们对一年四季草本节令了如指掌，知道樱草开花在三月四月而不在十月，不过看见一株早开花的樱草，我们还是照样地高兴。另外，我们知道苹果树先开花，后结果，可是五月一旦到来，果园里一片欢闹的花海。我们不是仍然惊为奇观吗？&lt;br /&gt;
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倘在每年春天，把许多花卉之名重温一遍，还另有一番风味。那就像把一本差不多忘得干干净净的书再重新念一遍。蒙田说过，他的记忆力很坏，所以他随时都能拿起一本旧书，像从未读过的新书一样地念。我自己的记忆力也是漏洞百出、不听使唤。我甚至能拿起《哈姆雷特》和《匹克威克外传》，当作是初登文坛的新作家刚刚印成白纸黑字的作品来念，因为自从上回念过以后，这两部书在我脑子里的印象已经模模糊糊了。这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。不过，在这种时候，人不仅想得到娱乐，还追求着什么目的。如果只讲享受的话，记忆力坏比记忆力好究竟差到哪里去，还真是大可怀疑哩。记忆力坏的人可以一辈子不断地念普卢塔克的《英雄传》和《天方夜谭》，而永远感到新鲜。很可能，最坏的记忆力也难免粘粘连连地留下一星半点的印象，恰如一只只绵羊从篱笆洞里接连通过，总不免在那刺条上留下一丝半缕的羊毛。然而，绵羊终归逃出去了，正像伟大的作家从我们不争气的记忆中消失。所留下的东西简直微不足道。&lt;br /&gt;
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既然读过的书我们可以忘得一干二净，那么一年十二个月以及每个月的风物，一旦时过境迁。我们同样可以轻而易举地把它们忘在脑后。在某个短暂时刻，我可以说自己对于五月就像对于乘法表那样熟悉，关于五月里的花木、开花时间乃至前后次序，我能通过考试。今天，我就敢肯定金凤花有五瓣。（难道是六瓣吗？上个礼拜我还记得清清楚楚来着。）可是，到了明年，我也许连算术也忘个干干净净;我得从头学起，以免把金凤花误认成白屈菜。那时，我像一个陌生者进人大花园，放眼四望，五色缤纷的原野再一次使我目不暇接，心迷神醉。那时，我也许要对这么一个问题拿不定注意，就是; 认为雨燕（那种简直像大号小燕子、又和蜂鸟沾点儿亲戚的黑鸟儿）从来不在窠里歇着，一到夜里就飞向高高的天空，到底是一种科学论断，还是一种无知妄说？当我知道了会唱歌的并不是雌杜鹃，而是雄杜鹃。我还要再次感到惊讶。我得重新学习，以免把剪秋罗当作野大竺葵；还要去重新发现白杨在树木生长的习惯法中究章算是早成材还是晚成材。某天。一个外国人问一位当代英国小说家，英国最重要的农作物是什么。他毫不犹豫地回答：“稞麦。”在我看来，这是一种堂而皇之派头的彻头彻尾的无知；不过，大大无知的也包括那些没有文化的人。普通人只会使用电话，却无法解释电话的工作原理。他把电话、火车、铸造排字机、飞机都看作当然之事，就像我们的祖父一代把福音书里的奇迹故事视为理所当然一样。对于这些事，他既不去怀疑，也不去了解。我们每个人似乎只对很小范围内的某几件事才真正下工夫去了解、弄清楚。大部分人把日常工作以外的一切知识统统当作花哨无用的玩意儿。然面，对于我们的无知，我们还是时时抗拒着，我们}有时振作起来，进行思索。我们随便找一个什么题目，对之思考，甚至入迷——关于死后的生命，或者关于某些据说亚里士多德也感到大惑不解的问题，例如“打喷嚏，从中午到子夜则吉，从夜晚至中午则凶，其故安在？”为求知识而陷入无知，这是人类所欣赏的最大乐事之一。归根结底，无知的极大乐趣即在于提出问题。一个人，如果失去了这种提问的乐趣，或者把它换成了教条的答案，并且以此为乐，那么，他的头脑已经开始僵化了。我们羡慕像裘伊特这样勤学好问之人，他到了六十多岁居然还能坐下来研究生理学。我们多数人不到他这么大的岁数就早已丧失了自己无知的感觉了。我们甚全像松鼠似的对自己小小的知识储存感到沾沾自喜，把与日俱增的年龄看作是培养无所不知的天然学堂。我们忘记了∶苏格拉底之所以以智慧名垂后世，并非因为他无所不知，而是因为他到了七十高龄还能明白自己仍然一无所知。&lt;br /&gt;
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=毛优Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
[[Trans_Type_EN_5]]&lt;br /&gt;
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毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
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=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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[[Trans_Type_EN_6]]&lt;br /&gt;
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彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
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从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。	&lt;br /&gt;
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Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
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Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
翻译风格，巴黎的忧郁，郭宏安，亚丁&lt;br /&gt;
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==Introduction==&lt;br /&gt;
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The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
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Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations. Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
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==Liu Miqing’s theory of translation style==&lt;br /&gt;
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Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
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Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.&lt;br /&gt;
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In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
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==Form Markers==&lt;br /&gt;
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According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
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===Register Markers===&lt;br /&gt;
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“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
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The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
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Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
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Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
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Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
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This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
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===Lexical Markers===&lt;br /&gt;
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Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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'''Eg. (b)'''&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence, translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
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==Non-formal Markers==&lt;br /&gt;
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The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
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Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
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According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
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Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
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The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
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The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
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Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
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Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.&lt;br /&gt;
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==References==&lt;br /&gt;
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[1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[3] 刘宓庆 Liu Mingqing. 新编当代翻译理论[M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp;amp; Publishing Corporation, 2005.&lt;br /&gt;
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[4] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.&lt;br /&gt;
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[5] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.&lt;br /&gt;
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=秦建安 A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
[[Trans_Type_EN_7]]&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Lu Xun, chief commander of China's modern cultural revolution, is not only a great thinker and political commentator but the founder of modern Chinese literature. Kong I-Chi is one of the masterpieces of Lu Xun's novels. Although the total number of characters is less than 3,000 words, Lu Xun exposes the nature of feudal ethics and its negative influence through his character portrayal, which is loved by many readers home and aboard. The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but so as close as possible to the original text in terms of syntactic structure and wording. Therefore, his translations once became the authoritative version of Lu Xun's novels. From the perspective of Nida’s functional equivalence theory, this thesis conducts translation research on the English translation of the famous writer Yang Xianyi, analyzing whether the translation is functionally equivalent to the original text and construe the English translation of prose from the lexical, syntactic, and semantic level to try to explore the translation strategies, styles and methods of Kong I-Chi which aims to explain the functional equivalents in Lu Xun's short novel translation.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Functional Equivalence Theory; Lu Xun; Kong I-Chi;translation method&lt;br /&gt;
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===Introduction===&lt;br /&gt;
This chapter will be expanded with respect to the research background, its significance and the methodology. The literature review will also be included which describes the previous studies on the Functional Equivalence Theory and previous translation versions of ''Kong I-Chi''.&lt;br /&gt;
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'''Research Background and Significance'''&lt;br /&gt;
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As the most famous writer in modern China, Lu Xun has a decisive bearing on the modern history of Chinese literature. Lu Xun settled in a period of transformation in Chinese literature. His short stories are different from modern short stories in terms of text and expression. ''Kong I-Chi'' was written in 1918 when there was a turmoil in China. At that time, although the imperial examination system had been abolished, the education system had not changed, and many scholars had not shaken off the shackles of feudal tenets. &lt;br /&gt;
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''Kong I-Chi'' enjoys high reputation at home and abroad and has been translated into English, Japanese, French, Russian and other languages. Compared with other language versions, the English versions enjoy a wider spread and have deeper influence. In 1954, the couple Yang and Dai translated it into English and published Selected Stories of Lu Xun in which ''Kong I-Chi'' was included. Yang Xianyi and his wife Gladys Yang are great translator beyond all doubt. They are knowledgeable and familiar with Chinese and Western cultures also have devoted their life to translating excellent Chinese and Western literary works. Through their translation, we can better master the author's own novel intentions.&lt;br /&gt;
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'''Methodology'''&lt;br /&gt;
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In recent years, the translation of traditional Chinese literary works was attached great significance by both Chinese and foreign scholars. As an important part of ancient Chinese culture, though, it is a common genre in Chinese and foreign literature, the short novels cannot be neglected. For translators, how to deal with the modern and balance Chinese and Western cultural differences has become a salient problem. It is not only necessary to understand the characteristics of modern Chinese literature, but also to be very familiar with Chinese and Western cultures for the translator. Functional Equivalence Theory is put forward by American linguists Eugene Nida. According to him, two different languages represent two different cultures which will never be the same, but translation is a kind of communication between the two cultures and translators should try their best to achieve functional equivalence between the two languages rather than seek for rigid correspondence when making translation, which can accurately reproduce the source culture in the target language and eliminate cultural differences. It puts forward a new attitude to treat different languages and cultures, promoting language communication and mutual understandings among people. Thus, taking Nida’s theory as guidance, this research is meaningful not only for translation studies, but also for cultural exchanges.&lt;br /&gt;
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'''Literature Review'''&lt;br /&gt;
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As one of Nida’s major contribution to contemporary translation studies, Functional Equivalence Theory has brought about heated discussion among scholars at home and abroad since its birth. Many momentous works of Nida also have been translated and introduced into China, such as Nida on Translation edited and translated by Tan Zaixi (1999) and Language and Translation translated by Cai Yi (1985) which of them aroused great repercussions in Chinese translation field. As the prototypical member of Functional Equivalence Theory, receptor’s response theory draws scholars’ attention. Zhang Xiujuan (2015) points out that “receptor’s response theory breaks the tradition of Chinese translation that translators pay much attention to the text but may ignore the response of readers, and provides a new perspective for Chinese scholars to make studies on translation theories”.&lt;br /&gt;
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Kong I-Chi, as the most typical character in Lu Xun's novels in the teaching textbooks of Chinese junior high school students, has left an indelible impression in the hearts of Chinese people. The most recognized translators of ''Kong I-Chi'' include Yang and Dai, Lyle William and Edgar Snow. The translation of Lu Xun's novels during the period of Yang and Dai reach its heyday. For a long time, domestic and foreign publishing houses have published works translated by the couple. Since Edgar Snow lived in the same age as Lu Xun, his translation is closer to Lu Xun's life background. It wasn't until 1990 that the American scholar William Lyell's new American translation was published, and the new stage of the English translation of Lu Xun's novels began. The British English version translated by Yang and Dai is elegant and idiomatic, giving readers the good impression of pure British English.&lt;br /&gt;
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=== Theoretical Framework: Nida’s Functional Equivalence Theory ===&lt;br /&gt;
==== Introduction of Functional Equivalence Theory ==== &lt;br /&gt;
===== The Original of Functional Equivalence Theory  =====&lt;br /&gt;
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Nida's main academic activities unfold around the translation of the Bible. In the process of &amp;quot;Bible&amp;quot; translation, Nida started from reality and developed a set of his own translation theory, which eventually became one of the classics in translation studies. In 1964, Nida (1964) put forward “dynamic equivalence” in ''Toward a Science of Translating'', and gave it specific definition in ''The Theory and Practice of Translation'' (1969). In the mid-1980s, “dynamic equivalence” was replaced by “functional equivalence” to avoid misunderstandings on the term “dynamic”, which was the origin of Functional Equivalence Theory.&lt;br /&gt;
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=====The Development of Functional Equivalence Theory  =====&lt;br /&gt;
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The most important and the most intractable part in Functional Equivalence Theory is the disposal of message. The theory requires that the message in receptor’s language must be consistent with the source language. In such a translation, translators should strive to “reproduce as literally and meaningfully as possible the form and content of the original” (Nida 1964:159). Later he successfully applied the research results of modern linguistics to translation theory which also reciprocally pushed his theory forward. There are three stages in the development of Functional Equivalence Theory.&lt;br /&gt;
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The first stage is that starting from the essence of language; he used semantic theory to make an objective and accurate analysis of the referent and associative meaning of words. In Nida's point of view, various language structures have great similarities, and the deep structure is far more common than the surface structure. Therefore, the translation of the deep structure between languages can ensure the fidelity of the translation to the greatest extent. At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensue smoothness of the translation as much as possible. The faithful and fluent translation presupposes conditions for the equivalence of receptor’s response, which makes it possible to realize functional equivalence.&lt;br /&gt;
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The second stage is that the theory was prone to lay its foundation on information theory. Nida held the view that translation is the activity of converting information expressed in one language into information in another language, which is, converting information of one code into information of another code. The translation plays a communicative role in transmitting information. Only when the target reader obtains the same amount of information as the original reader can the relationship between the target language recipient and the target language information be basically the same as the relationship between the original language recipient and the original source information. Nida noticed that there is a receptive gap between the original reader and target reader especially when the original language and the target language belong to different language families and different cultures. Thus, in order to improve the amount of the receptor’s information as much as the original reader’s, Nida emphasizes the translator can moderately change the form of the original text to provide a better understanding for receptors.&lt;br /&gt;
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On third stage, Nida tended to embellish his theory from the perspective of social semiotics. Nida insisted that the translation means translation meaning, and semiotics is the most comprehensive system for analyzing meaning. In the book &amp;quot;''Language, Culture, and Translation''&amp;quot;, Nida pointed out that social semiotics studies all codes and codes of human society, and its focus is on the most comprehensive and complex symbol system used by mankind-Language. Therefore, in terms of decoding and encoding, no translation method is as comprehensive as the social semiotic translation method.&lt;br /&gt;
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Nida also recognized that there would never be complete equivalence and it was just a quaesitum. With further development of Functional Equivalence Theory, he thought that it has different degrees of adequacy and on that basis he put forward two levels of functional equivalence — the maximal level and the minimal level of equivalence. The former refers to “the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did” (Nida 1993:118), but this is just an ideal state which cannot be achieved especially when there are huge cultural and aesthetic differences between the two languages. While the latter means “the readers of a translated text should be able to comprehend it to point that they can conceive of how the original readers of the text must have understood and appreciated it” (Nida 1993: 118), and translation below this level can never be accepted. According to Nida, if a translation is between these two levels, it can be regarded as a good one.&lt;br /&gt;
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==== Basics of Functional Equivalence Theory  ==== &lt;br /&gt;
=====Receptor’s Response  =====&lt;br /&gt;
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In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s responce. When translators are working on translation, they are increasingly unable to ignore the reader's feedback on the translation. From the perspective of reception aesthetics, translation theorist Nida said that only when the reader accepts the translation can the translation be truly completed. Therefore, when translating, the translator cannot ignore the acceptability of the translation. The translator builds a bridge between the original author and the reader of the target language through translation, and it is the translation that can clearly reflect this bridge role.&lt;br /&gt;
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Receptor’s Response Theory draws attention to the reader and the reading process, rather than the author or the text. Pat Mora and James Welch define it as: &amp;quot;The theory emphasizes the importance of the reader's role in text understanding.&amp;quot; The same description also appears in many of Nida’s works in which the importance of “receptor’s response” is emphasized repeatedly. &lt;br /&gt;
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There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which was pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information need to be filled in by the reader himself. Such uncertainty occupies another very important position in this theory. This concept includes those vague factors, such as gaps and blanks. This kind of uncertainty encourages readers to add their own ideas when reading, so there is usually more than one understanding of a literal work. The third point is implicit reader also proposed by Isel, as opposed to the actual reader, which refers to the intended reader set by the writer himself who can concretize the text. Isel points out that the implicit reader is not the actual reader, but a reader that the author expects to design in the creative process, that is, the implicit recipient. It is a certain character that the artist conceives and pre-sets based on his experience or hobbies. The forth part is the identity theme. In other words, the work itself has no fixed objective meaning; only when the reader reshapes the work out of his own identity theme and the reader replicates his own fantasies during the reading process, the work can be given meaning. The last point is the interpretative group which was put forward by Stanley Fish. It refers to people who share the same interpretation strategy as we have. In a known context or reader group, the interpretation of the work meaning is the product from the group.&lt;br /&gt;
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===== Principles for Producing Functional Equivalence  =====&lt;br /&gt;
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To achieve the closest natural equivalence between the source language and target language, Nida put forward six principles as the guidance of different kinds and degrees of adjustments:&lt;br /&gt;
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1.	When the translation that strictly keeps the form of the source text makes receptors misunderstand the designative meaning, changes need to be made in the translated text, or a footnote should be added for further explanation if literal translation is still be selected.&lt;br /&gt;
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2.	When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aim to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.&lt;br /&gt;
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3.	When the translation that strictly keeps the form of the source text is so semantically and syntactically difficult that average readers may give up the attempt to understand it, changes should be made in the translated text and the nature of the changes needs to be indicated in the introduction or footnote.&lt;br /&gt;
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4.	When the translation that strictly keeps the form of the source text causes significant misconceptions on the associative meanings of the source text or huge loss in the appreciation for the stylistic values of the source text, changes should be made to reflect the associative meanings of the source text.&lt;br /&gt;
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5.	The way that a translation is to be used (such as a drama to be read or acted on the stage) is of great significance to the extent to which changes are to be made.&lt;br /&gt;
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6.	A source text that must be translated together with accompanying codes (such as songs and operas) generally requires numerous adjustments in all aspects, including phonology, lexicon, syntax, and discourse. (Nida 1993: 125-128).&lt;br /&gt;
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=== Introduction to Lu Xun and ''Kong I-Ch''i  === &lt;br /&gt;
==== Lu Xun and the values of ''Kong I-Chi'' ====&lt;br /&gt;
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To read and translate Kong I-Chi, you must first understand its author-Lu Xun.&lt;br /&gt;
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Lu Xun is a great writer. Mentioning classical literary works, no matter what innovative methods are adopted, whether realistic, romantic, or magical, the content should be close to life, reflect the reality of times and speak for the people. In terms of form, literary works should conform to the inherent rules of literary creation-forming a unique artistic style and achieving the perfect unity of truth, goodness, and beauty. Lu Xun's works fully meet the above requirements. &lt;br /&gt;
Lu Xun is also a famous thinker. Indeed, Lu Xun did not specifically study thinking or modes of thinking, nor did he have advanced theoretical monographs, but he, like thinkers in ancient and modern times, both at home and abroad, used suspicion and criticism as spiritual swords to explore truth and reveal. He held the view that it was his duty to awaken the sleeping souls of the Chinese people with literary works of various genres. The depth and breadth of his thinking is even higher than that of some contemporary thinkers. This is well reflected in his work Kong I-Chi.&lt;br /&gt;
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Lu Xun, who is a revolutionary, has a precious characteristic, that is, the purity of his revolutionary original intention. Lu Xun leaned towards socialism under the white horror of the low ebb of the Chinese revolution. What's more commendable is that as a sober realist, Lu Xun never conceives any romantic illusions about the revolution. No matter what difficulties the revolution encounters, Lu Xun always has an optimistic belief in the prospects of the revolution.&lt;br /&gt;
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From a general perspective, Lunatic's Diary is more macro and image specific than Kong I-Chi, while Kong I-Chi starts from the micro level, depicting the poor people at the bottom of society who was bullied and oppressed and lost their dignity as human beings. In addition, there are many opinions in the critics. For example, Mr. Lu Xun's Kong I-Chi was written to criticize the feudal imperial examination system, and some people think that it was sent out to criticize the “dark” old society. The famous critic Lin Zhihao believes that this novel is not only to assail at the corruption of the feudal imperial examination system, but also to reveal the persecution of people’s spiritual and ideology by the feudal education system in the dark old society. The social reality was that most scholars had been ruthlessly “eaten” up by the environment. When the shackles of thinking have been broken, we can dig into the deep meaning under the surface of Kong I-Chi, that is, the process of literati's loss of personality and the process of redemption under the background of the dark society of feudalism. Although the tragedy is redemptive, the process is also accompanied by a fall.&lt;br /&gt;
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==== Study on the Translation of ''Kong I-Chi''  ====&lt;br /&gt;
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''Kong I-Chi'' is a masterpiece of Lu Xun. The novel was created in the winter of 1918, published in the sixth volume of &amp;quot;''Italic text''New Youth&amp;quot; in April 1919. (刘家鸣1992: 15). ''Kong I-Chi'' is Lu Xun's most satisfying work (孙伏园等2000: 58), and it is also one of Lu Xun's novels that English translators are vying to translate resulting in an amount of English translation. &lt;br /&gt;
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So far, there are eight translations of ''Kong I-Chi'': 1)A British man E.H.F.Mills translated ''Con Y Ki'' from Jing Yinyu's French translation (Mills 1930: 42-50), included in ''The Tragedy of Ah Q and Other Contemporary Chinese Short Stories'' published by George Rutridge Bookstore in London in 1930; 2) The English translation of ''K’ung I-chi'' by the American Jin Shouzhuo (G.A.Kennedy 1932: 14-15), which was later included in ''Isaacs'' (Isaacs 1974: 25-32) edited by Yi Luosheng; 3) ''K’ung I-chi'' translated by Lin Jijin (Lin 1935:3-4); 4) Unsigned version of The Tragedy of ''K'ung I-Chi'' (Anonymous 1936: 2-3); 5) ''K’ung I-chi'' was co-translated by American journalists Edgar Snow and Yao Xinnong; 6) later comes to Yang Xianyi and Gladys's translation ''K'ung I-chi'' (hereinafter referred to as &amp;quot;Yang Translation&amp;quot;) (Yang &amp;amp; Gladys 1960: 40-46); 7)Then, famous American sinologist William Lyell translated ''Kong Yiji'' (Lyell 1990: 42-48); 8) other translation of ''Kong Yiji'' was produced by British sinologist Lan Shiling ( Lovell 2009: 32-36).&lt;br /&gt;
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This article focuses on Yang's translation, trying to explore Yang and Dai's translation strategies, styles and methods of ''Kong I-Chi'' from the lexical, syntactic and semantic levels, and aims to explain the functional equivalence in the English translation of Lu Xun's short stories.&lt;br /&gt;
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=== Analysis of the Translation of ''Kong I-Chi'' from the Perspective of Functional Equivalence  === &lt;br /&gt;
==== Lexical Analysis ====&lt;br /&gt;
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There are many cultural-loaded words in the original Kong I-Chi text, such as this. Culture-loaded words are deeply imprinted by the region and era of a certain language society which express things and concepts peculiar to a certain culture. Such words as “进学” and “秀才” not only carry rich cultural connotations, but also exist only in a certain culture which may be blank in another culture. It is this characteristic which is “I have and you do not have” that often becomes an obstacle to cross-cultural communication and translation. From the perspective of Functional Equivalence, this thesis will analyze how these words are handled in Yang's translation.&lt;br /&gt;
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In the sentence “幸亏荐头的情面大，辞退不得”, the word “荐头” was translated into “someone influential” by Yang and Dai. “荐头” is the person who introduces works to other people in ancient China. Such person is absolutely influential. But for reader, such influential people may be a nobleman or someone who is very authoritative in the area which may result in discrimination. The job introducers also can be regarded as common people instead of the influential. From the perspective of Functional Equivalence, Yang’s translation explicitly showed the deep meaning with loss of cultural characteristic.&lt;br /&gt;
The phrase “之乎者也” was translated into “archaisms” which stands for the use of an archaic expression. In Chinese, the original meaning of “之乎者也” is four auxiliary words commonly used in classical Chinese. Therefore, the word &amp;quot;之乎&amp;quot; also refers to the basic abilities that a scholar should possess. Later, it is used to ridicule the scholar who only knows how to analyze words while cannot solve practical problems. Functional equivalence theory requires efforts to create translations that not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. The word “archaisms” corresponds exactly to the description of Kong I-Chi in Lu Xun’s story who is a nerd.&lt;br /&gt;
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Other prototypical cultural-loaded word is “进学”. Yang translated it into “pass the official examination”. As a link in the imperial examination system in ancient China, “进学” means that the children of the Qing dynasties who can pass the examination will be admitted to the prefectural and county schools. Such system is unique to China. To achieve functional equivalence, that is, to allow non-native readers to understand this special cultural mark, the translator must explain this cultural phenomenon as much as possible or find a corresponding expression in the foreign language culture. The same in the word “秀才” on this sentence “你怎的连半个秀才也捞不到呢?” “秀才” also belong to the imperial system. “秀才” is a subject for selecting officials in ancient China, and it was once used as a special name for school students. Yang translated it into “passed the lowest official examination”. As the minimum requirement of the ancient imperial examination system, those who passed the selection examination were called  “秀才”. According to Nida’s theory, it perfectly expresses the ancient Chinese imperial examination system, and at the same time allows foreign language readers to understand Kong I-Chi’s knowledge background.&lt;br /&gt;
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==== Syntax Analysis ====&lt;br /&gt;
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In terms of syntax, the differences in sentence patterns between English and Chinese are the most salient. English emphasizes hypothesis while Chinese emphasizes parataxis, which leads to the conversion of sentence patterns in the process of translation. According to Nida's Functional Equivalence Theory, if the change in form is still insufficient to express the meaning and culture of the original text, the translation technique of &amp;quot;reconstruction&amp;quot; can be used to resolve cultural differences and make the source language and the target language equal in meaning. &amp;quot;Reconstruction&amp;quot; refers to the conversion of the deep structure of the source language into the surface structure of the target language (郭建中,2000 , P67), that is, the cultural connotation of the source language article is explained by the vocabulary of the target language.&lt;br /&gt;
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In ''Kong I-Chi'', when Kong I-Chi took our his money and ordered some food, other people started to sneer at his revenue sources and said “你一定又偷了人家东西了!” The exclamatory sentence in the original text showed others' affirmation of Kong I-Chi's theft. Yang translated it into “You must have been stealing again!” Here we can notice the tense of the two sentences. Lu Xun used the past tense in original text, which expresses that Kong I-Chi's stealing is an established fact. However, Yang used the present perfect continuous tense when translating. In English, the present perfect continuous tense manifests that something the subject has done in the past is still being done, and may continue in the future, expressing the continuation of an action. There is no need to add any other additional descriptions, just from this tense, readers can realize everyone's thoughts on Kong I-Chi's theft. Such reconstruction of tense verifies the application of Functional Equivalence Theory in turn.&lt;br /&gt;
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Afterwards, these people who deprecated him refuted Kong I-Chi's maintenance of himself, saying: “什么清白?” In Yang's translation, it is translated as “Pooh, good name indeed!” In the original text, it is originally an interrogative sentence, but Yang transformed it into an exclamation sentence, added English slang “pooh” in it and translated “清白” into good name. If the interrogative sentence in the original text is literally translated into &amp;quot;what’s the innocence&amp;quot;, the comic effect, that is, everyone's disdain for Kong I-Chi in the exclamatory sentence will not be achieved. The sentiment contained in the original text is successfully conveyed through the conversion of sentence patterns.&lt;br /&gt;
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When describing Kong I-Chi’s knowledge background, the original text mentioned: “幸而写得一笔好字，便替人家钞钞书”. In Yang’s translation, he didn’t directly translate it into a verb phrase instead of into a noun phrase which was “Happily, he was a good calligrapher.” Knowing the characteristics of English and Chinese languages, he metonymically recreated dynamic Chinese verb clauses into static noun clauses.&lt;br /&gt;
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==== Semantic Analysis ====&lt;br /&gt;
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How to eliminate cultural differences as much as possible so that the semantics of the original language can be perfectly embodied? From the perspective of Functional Equivalence Theory, the translator needs to transform the deep structure of the source language into the surface structure of the target language which requires translator to use the corresponding vocabulary in the target language to directly explain the connotation of the original text, so that the target readers can accept the translation more easily. For example, in the original text, the sentence “因为他姓孔，别人便从描红纸上的 ‘上大人孔乙己’这半懂不懂的话里，替他取下一个绰号，叫作孔乙己” includes an allusion: 上大人孔乙己 which refers to a character in the card game popular in ancient China. In such card game, the characters always are drawn in a red paper. For children in ancient China, the card game was easy to play and was a childhood memory.&lt;br /&gt;
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In Yang’s translation, he translated it into “As his surname was Kung, he was nicknamed ‘Kung I-chi’, the first three characters in a children's copybook.” Such translation omits a lot of information from the original text, such as “描红纸上” and “半懂不懂”. But Yang gave a substitute for the omission: he explained the game allusion about children which can be regarded as a strategy that helps foreign readers better understand how Kong I-Chi comes. &lt;br /&gt;
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Another illustration is the translation of this sentence: “孔乙己，你当真认识字么？” It seems fairly easy for common people to translate it with “Kong I-Chi, do you really know words?” , while Yang gave a different version: “Kung I-chi, do you really know how to read?” In our cognitive concepts, if a man knows how to read a word, then he must know this word. But if he knows the word, he may not only know how to read it, but even know how to write it. Such special mechanism is called conceptual metonymy. Yang metonymically narrowed the scope of the meaning of the word “认识”and accurately positioned the meaning of this understanding according to the context. The translator abandons the equivalence of form and achieves the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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This article selects Yang’s translation of &amp;quot;''Kong I-Chi''&amp;quot; as the study case, and analyzes the translation effect from three aspects: lexicon, syntax and semantics, combined with Nida’s Functional Equivalence Theory. It is believed that the translator flexibly uses a variety of translation methods to deal with the differences between English and Chinese languages, and the translation has realized functional equivalence as a whole.&lt;br /&gt;
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At the lexical level, the translator adopts the naturalization method when translating the proper nouns of &amp;quot; ''Kong I-Chi'' &amp;quot;, adding notes to individual words. The translation perfectly conveys the meaning of the original vocabulary. &lt;br /&gt;
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At the syntactic level, when there are differences in the expression of English and Chinese sentences, the translator will split the sentence, adjust the subject and object of the sentence, change the sentence structure and the sentence order to make the translation conform to the expression of the target language where the translation is smooth and natural. When translating the allusions of &amp;quot; ''Kong I-Chi'' &amp;quot;, the translator adopts literal translation and annotations. &lt;br /&gt;
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In terms of semantics, the translator uses the mechanism of conceptual metaphors to accurately show the original flavor.&lt;br /&gt;
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This article believes that the success of Yang’s English translation of &amp;quot;''Kong I-Chi''&amp;quot; lies in its fluent, natural language and exotic flavor. The author and translator of &amp;quot; ''Kong I-Chi'' &amp;quot; are both famous artists. The translation case from the English translation of &amp;quot;''Kong I-Chi''&amp;quot; reflects the practical application of the Functional Equivalence Theory in Lu Xun's novels. The writer also hopes that this thesis can provide ideas and inspirations for the English translation of other Lu Xun's novels.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Nida E.A. ''Language and Culture: Contexts in translating''. Shanghai: Shanghai Foreign Language Education Press.2001. &lt;br /&gt;
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[2]Nida, Eugene A.1964. Towardsa ''Science of Translating'', Leiden: E.J.Brill. &lt;br /&gt;
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[3]Nida, Eugene A.&amp;amp;Charles R.Taber, 1969, ''The Theory and Practice of Translation'', Leiden: E.J.Brill&lt;br /&gt;
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[4]鲁迅Lu Xun.鲁迅全集(第一卷)Selected Work of Lu Xun(volume Ⅰ）[M].北京Beijing:人民文学出版社People's Literature Publishing House ,1982.&lt;br /&gt;
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[5]谭载喜Tan Zaixi．新编奈达论翻译New Nida's Translation[M]．北京Beijing：中国对外翻译出版公司China Translation &amp;amp; Publishing Corporation，1999.&lt;br /&gt;
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[6]杨坚定Yang Jianding，孙鸿仁Sun Hongren．鲁迅小说英译版本综述A Summary of the English Versions of Lu Xun's Novels[J]．鲁迅研究月刊Lu Xun Research Monthly，2021(4)．&lt;br /&gt;
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[7]伊塞尔Iser.本文中的读者 Readers in this article[A]．二十世纪西方美学名著选（下）Selected Works of Western Aesthetics in the Twentieth Century (Part 2)[C]．上海Shanghai：复旦大学出版社Fudan University press,1998.&lt;br /&gt;
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[8]杨宪益.Yang Xianyi,戴乃迭 Dai Naidie译.鲁迅选集英文版(一) Selected Works of Lu Xun (1)[M].北京:外文出版社 Beijing: Foreign Languages Press,1980.&lt;br /&gt;
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[9]https://baike.baidu.com/item/%E5%8A%9F%E8%83%BD%E5%AF%B9%E7%AD%89%E7%90%86%E8%AE%BA/3373397?fr=aladdin&lt;br /&gt;
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[10]https://www.zhihu.com/question/29965932&lt;br /&gt;
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=颜子涵 Translation methods and strategies applicable to the style of biographical literature -- Taking Incidents in Life of Slave Girl (excerpt) as an example=&lt;br /&gt;
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[[Trans_Type_EN_8]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
The translated text of this article is a part of the English biography Incidents in Life of Slave Gir. The author of this work is Harriet Jacobs. This translation mainly takes the translation functional equivalence theory of American linguist Eugene A.Nida as the theoretical framework, adopts some translation skills in translation practice, and discusses the translation skills and Strategies of Chinese translation of such texts by analyzing the stylistic characteristics of biographical literature, especially African American autobiography. Through the Chinese translation of this autobiography, we can have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Autobiographical Literature; Black female slaves; Translation methods and Strategies&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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This paper is divided into four parts. The first part is an overview of the translation project, which mainly introduces the relevant situation of the translation project, the author and works of the translated text; The second part is the preliminary preparation of translation, including project text analysis and translation plan formulation; The third part, translation theory and case analysis, including functional equivalence theory, translation strategies and case analysis; The fourth part is the summary of the project, mainly on the problems encountered in translation, the experience and inspiration gained in the process of translation.&lt;br /&gt;
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This work belongs to the category of biographical literature. Biographical literature is a literary genre in which the author reproduces the characters' life stories and experiences, shows the characters' spiritual outlook and values, and depicts the characters' distinct love and hate and vivid personality through documentary writing and a variety of literary and artistic techniques. There are more than 50 characters involved in the biography. In the author's works, these characters are very vivid, such as the forbearance of a strong grandmother to the slave owner, the loyalty of a hard-working aunt to the slave owner, the oppression of female slaves by a crafty and sinister doctor, and the wit of Linda Brent, the heroine who pursues freedom and courage. In particular, the author's description of the heroine's seven years spent in a &amp;quot;cage&amp;quot; like cabin before she fled to the North more ruthlessly castigates the evil of slavery. The heroine's experience deeply moved her relatives and friends, including white slave owners. With the help of her relatives and friends, the heroine was able to escape to the north.&lt;br /&gt;
Taking the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework, this paper adopts the following translation skills in the process of translation: 1. The translation methods of foreignization and domestication are used to achieve partial functional equivalence between the source language and the target language, so as to reduce the lack of culture after translation. 2. According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to make the translation conform to the expression habits of the target language. 3. The methods of addition and subtraction are adopted to make the translation consistent with the original in grammar and language form, as well as in cultural background and word association. 4. The Conversion Transformation is adopted to make the translation more acceptable to the target language readers. By analyzing the stylistic characteristics of biographical literature, especially African American autobiography, the author discusses the translation skills and Strategies of Chinese translation of such texts.&lt;br /&gt;
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=== Text background===&lt;br /&gt;
From the beginning of the British northern colony to the early 20th century, blacks were brutally exploited and oppressed by the slavery system. In particular, female slaves not only had to bear heavy labor, but also suffered the destruction and abuse of supervisors. Since the publication of the first Autobiography of black slaves in 1760, some advanced elements in black slaves denounced and denounced the evils of slavery with their own experience, and made outstanding contributions to the abolition movement. The author of this work is Harriet Jacobs, whose pseudonym is Linda Brent. Born in a slave family, she fought tirelessly because she could not bear the persecution of slave owners on her and her children. After fleeing to the north, the author wrote a biography of his personal experience of being enslaved, exploited, persecuted, fleeing to the north and realizing freedom, which was published in 1861. Through the Chinese translation of this autobiography, more people have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves.&lt;br /&gt;
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===Research Purpose and Significance===&lt;br /&gt;
This autobiography of black women starts from the experience of childhood from the perspectives of black slaves and women. In the process of growing up, the author experienced different masters of good and evil. When she was a child, her hostess let the author learn to read and write. Later, she died of illness. Then the new owner, Dr. flint and his wife tortured and framed her. Later, for the freedom of her children, the author resolutely decided to flee to the north and enjoy the right to freedom with her children. In the process of pursuing freedom, he went through escape, pursuit, hiding until he went north by boat. The author selects simple but typical examples in daily life, through the description of characters' psychology and language, the contradictory struggle between the interests of opposite classes, the criminal complaint of slave trafficking, and the process of slaves fleeing to the north, reveals the slave owner's naked exploitation and fraud of slaves, and reveals the slave's sincerity, courage and longing for freedom. The simple language and narrative techniques of the work fully shape the tenacity, courage, intelligence and clear love and hate of the female slave Linda Brent, and show the readers the misfortune and suffering of many slaves.&lt;br /&gt;
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=== Translation theory and case analysis===&lt;br /&gt;
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3.1 functional equivalence theory&lt;br /&gt;
This translation practice report takes the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework. Eugene Nida is an American linguist and a famous translation theorist. From the perspective of etymology, according to the essence of translation, he put forward the famous dynamic equivalence translation theory, namely &amp;quot;functional equivalence&amp;quot;. In this theory, he pointed out that &amp;quot;translation is to reproduce the information of the source language from semantics to style in the most appropriate, natural and equivalent language&amp;quot;. He believes that translation is not only the equivalence of lexical meaning, but also the equivalence of semantic style and style. The information conveyed by translation includes both surface lexical information and deep cultural information. Equivalence in dynamic equivalence includes lexical equivalence, syntactic equivalence, textual equivalence and stylistic equivalence. Nida pointed out that the translation should be functionally equivalent to the original text. Judging whether the translation is equivalent to the original text should be based on the psychological response of the readers, that is, the translator should not only stay in the equivalence of structure and semantics, but strive to make the target readers produce the functions and effects that the original author wants to achieve through his works, so as to make the target readers after reading the translation, Get the same feelings as the original readers, and make translation really become a converter of thoughts, feelings and cultural information. Therefore, in literary translation, according to Nida's theory, the translator should take the four aspects of dynamic equivalence as the translation principle to accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
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The core of Nida's functional equivalence theory is &amp;quot;content is greater than form&amp;quot;, which emphasizes that when there is a conflict between content and form, content must precede form (Nida, 2004:203). Due to the differences between Chinese and Western ways of thinking and logical habits, in order to make the translation conform to the habits of readers in the target country and make it easier for readers in the target country to accept, the author has adopted different translation methods and strategies. According to the specific content of Nida theory, this paper intends to analyze its application in English-Chinese translation practice from four aspects. 1、 According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to achieve lexical semantic equivalence between the source language and the target language; second, addition and subtraction and part of speech conversion are used to make the translation conform to the expression habits of target slogans in grammar and language form and consistent with the original text in terms of cultural background and word association; third, forward and reverse translation is used to reproduce the original text Fourth, for the long and difficult sentences of the original text, the translation methods such as reorganization, sentence splitting and merging are adopted to make the language expression forms of the translation more rich and diverse, and more easily accepted by the target language readers.&lt;br /&gt;
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3.2 translation skills and case analysis&lt;br /&gt;
When translating vocabulary, the author mostly adopts the literal translation method to convey the information of the original text more accurately. If the meaning of the translation is not accurate enough or does not conform to the Chinese expression habits after the literal translation, the author adopts the free translation method, while for the long and difficult sentences with complex structure, the translational translation method and split method are adopted to make them conform to the Chinese expression habits and more acceptable to the readers.&lt;br /&gt;
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=== Translation skills, methods and case studies===&lt;br /&gt;
Case 1: literal translation and free translation to achieve semantic equivalence in vocabularyIn the process of translation, it is the basic quality of every translator to correctly express the source language in the target language. In order to achieve this goal, the translator must start with the smallest unit of the source language—vocabulary. In project translation, the author follows the functional translation theory and pursues semantic equivalence. First, we must ensure the equivalence of lexical meaning. The author mainly discusses the semantic equivalence of words from two aspects: literal translation and free translation.&lt;br /&gt;
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1. Literal translation  &lt;br /&gt;
Literal translation emphasizes the consistency between the original text and the translation in form and content, which helps to maintain the style of the original text. Literal translation is not a dead translation, a hard translation, or a literal translation. Literal translation emphasizes retaining its form and reaching its meaning.&lt;br /&gt;
The example 1:&lt;br /&gt;
“Nothing could please her better than to see me humbled and trampled upon” is literally translated as ”没有什么比看到我恭顺谦卑、任人践踏更让她快活啦。”&lt;br /&gt;
Analysis: in this sentence, humbled and trampled upon is used to express the due psychology and living state of slaves in the eyes of slave owners. Here, it can be translated into obedience, humility and trampling, which can reflect the coldness of slave owners and the misery of slaves.&lt;br /&gt;
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2. Free translation&lt;br /&gt;
Paraphrase emphasizes divine similarity. When the original text is quite different from the translation in terms of lexical meaning, syntactic structure and style, it can not be confined to the original text. Free translation should be adopted to explain the form of the original language in another language form, so as to correctly express the ideological thrust of the original text. Free translation should conform to the grammatical norms and expression habits of the target language, so as to make the translation more fluent and natural. Free translation is not arbitrary addition and deletion, nor random translation. Free translation emphasizes &amp;quot;preaching its spirit&amp;quot; rather than &amp;quot;retaining its shape&amp;quot;. The work belongs to biographical literature. There are great differences between the source language culture and the target language culture. The translator can not adhere to literal translation from beginning to end, but should carry out free translation according to needs, so as to achieve better translation effect.&lt;br /&gt;
The example 2:&lt;br /&gt;
I resolved to give him no cause to accuse me of being too much of a lady, so far as work was concerned.&lt;br /&gt;
literal translation: 就工作而言，我决心让他找不到口实指责我过分淑女。&lt;br /&gt;
free translation: 就工作而言，我决心让他找不到口实指责我养尊处优。&lt;br /&gt;
Analysis: a lady originally means 女士或优雅的女子. Too much of a lady is often understood as 十分优雅. Because the author could read and write and looked dignified, he had not done heavy work like other slaves before, &amp;quot;I&amp;quot; guessed that the young master was disgusted with it. Here, too much of a lady is translated by free translation, which reflects the inner contempt of the young master for &amp;quot;me&amp;quot;.&lt;br /&gt;
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Case 2: addition, subtraction and part of speech conversion make the translation achieve sentence meaning equivalence, which is in line with the expression habit of the target language.&lt;br /&gt;
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3. Additional translation&lt;br /&gt;
The example 4:&lt;br /&gt;
One day, she sat under the window where I was at work, crying that weary cry which makes a mother's heart bleed. &lt;br /&gt;
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一天，她就坐在我干活的那个房间的窗户外哭，哭得声嘶力竭让任何一个做母亲的心里流血。&lt;br /&gt;
Analysis: A mother literally means &amp;quot;一个母亲&amp;quot;, but the following clause is translated into &amp;quot;哭得声嘶力竭让一个母亲的心里流血&amp;quot;. The emotion of the translation is weak. In this article, &amp;quot;I&amp;quot; as a slave must work and can't take into account children and family affection, because in the slave owner's view, slaves are low animals and don't deserve feelings. Although I heard my daughter crying, I couldn't get over it. Any mother would be distressed to hear her daughter's cry. In order to make up for the lack of emotion in literal translation, the method of additional translation should be adopted here, which is translated as &amp;quot;任何一个母亲&amp;quot;&lt;br /&gt;
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4. Omission &lt;br /&gt;
The example 5:&lt;br /&gt;
The doctor stamped his foot at him in a rage, and exclaimed, &amp;quot;Get out of the way, you little damned rascal! If you don't, I'll cut off your head.&amp;quot;&lt;br /&gt;
translated text：医生愤怒地跺了他一脚，厉声说道：“滚开!他妈的小坏蛋，如果不听话，我把你的头砍下来!”&lt;br /&gt;
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Analysis: Dr. flint twice went to the north to pursue the fugitive slave &amp;quot;I&amp;quot; without success. He spent a lot of money and was full of anger. At this time, my son asked him if he had brought his mother back. Dr. flint stamped his feet angrily, scolded and threatened the child. Through the vivid description of Dr. Flint's body movements and language, his angry image jumped onto the paper,In order to achieve the same effect and achieve the equivalence of language style, the author uses even verbs according to the original &amp;quot;stamped his foot at him in a rage, and exclaimed&amp;quot; and translates it into &amp;quot;stamp his foot angrily and say&amp;quot; you little damned rascal!!! &amp;quot;It is also a typical strong adult's words towards weak children. In order to be concise and powerful, the author omits &amp;quot;you&amp;quot; and translates it into &amp;quot;他妈的小坏蛋&amp;quot;.&lt;br /&gt;
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The example 6:&lt;br /&gt;
But when winter came, the cold penetrated through the thin shingle roof, and I was dreadfully chilled.&lt;br /&gt;
translated text：上次遭遇蛇咬，现在我对蛇更惧怕了，踏上这个藏身的地方，我不由心惊胆颤。&lt;br /&gt;
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Analysis: My fear of snakes is literally translated as &amp;quot;我对蛇的恐惧&amp;quot;, and the subject of the following clause is &amp;quot;我&amp;quot;. In order to give the target readers a unified reading perspective, my fear of snakes had been increased is translated as: 我对蛇更惧怕了. By transforming the noun of fear into a verb, the translation is more concise and more in line with Chinese expression habits than literal translation.&lt;br /&gt;
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Case 3: The stylistic style of the original text is reproduced by positive and negative translation.&lt;br /&gt;
5.The Positive and Negative Translation&lt;br /&gt;
The example 7:Nobody respects a mother who forsakes her children; and if you leave them, you will never have a happy moment.&lt;br /&gt;
translated text 1：没有人尊重抛弃孩子的母亲，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
translated text 2：抛弃孩子的母亲会遭人唾弃，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
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Analysis: This sentence contains a negative indefinite pronoun—nobody. In translation text 1, the first half of the original text (Nobody respects a mother who forsakes her children) is translated into &amp;quot;没有人尊重抛弃孩子的母亲&amp;quot;. Although the meaning is translated, the expression is not authentic. Translation text 2 uses the positive and negative translation method to change negative into positive, and “Nobody respects” into &amp;quot;being despised&amp;quot; can better express the speaker's (my grandmother's) eagerness to oppose &amp;quot;I&amp;quot; to escape.&lt;br /&gt;
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Case 4:The translation methods of reorganization, sentence splitting and merging are adopted to make the translation conform to the expression habits of the target language&lt;br /&gt;
There are great differences between English and Chinese syntactic structures. English is a linear language. Its syntax takes the subject predicate structure as the central axis, while other components form branch lines in the form of branches and connect with the main axis through connectives. The logical relationship between sentences tends to be explicit,; Chinese is more parataxis, and the combination between the components in a sentence or between sentences mostly depends on the connection of semantics and uses fewer connectives. Chinese sentences are arranged under the command of theme, that is, the structure of &amp;quot;topic description&amp;quot; has various forms and free combination. The logical relationship between sentences is more implicit (Yang Lin, 2007: Preface). There are few logical relational words between clauses and between sentences. Therefore, the author adopts the reorganization method, combining syntax and disassembling syntax to realize the semantic equivalence of sentences, and studies the influence of sentence structure on the translation. The significance is to better guide the translation practice.&lt;br /&gt;
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5.Recasting&lt;br /&gt;
The example 7: This was the good old lady who paid fifty dollars for my grandmother, for the purpose of making her free, when she stood on the auction block.&lt;br /&gt;
translated text：这个老太太是个好人，当年外祖母站在拍卖台上，为了让外祖母获得自由她花五十美元买下了我的外祖母。&lt;br /&gt;
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Analysis: The original text contains two compound structures, one is an attributive clause, the other is a time adverbial clause. Because Chinese sentences are constructed according to the law of logical order, the word order is arranged according to the actual sequence and event order, which is divided into sequence in time, and pay attention to the causality in logic. The author adjusts the time adverbial clause to the front, first explain the time, then explain the reason, and finally the result. This reorganized translation plays an important role in shaping the relationship between sentences, which is in line with the characteristics of Chinese sentence structure.&lt;br /&gt;
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6.Sentence-combining&lt;br /&gt;
The example 8: There was joy and there was sadness in the sound. It made my tears flow.&lt;br /&gt;
translated text：无论是哭声还是笑声都会让我泪流满面。&lt;br /&gt;
&lt;br /&gt;
Analysis: The original text is two sentences. Considering the close causal relationship between the two sentences, the author adopts the translation method of combined sentence to translate it into one sentence, so that the target language readers can read it more naturally.&lt;br /&gt;
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&lt;br /&gt;
7.Dismantle the syntactic&lt;br /&gt;
The example 9: My hope was that the doctor would get discouraged, and, for fear of losing my value, and also of subsequently finding my children among the missing, he would consent to sell us; and I knew somebody would buy us.&lt;br /&gt;
translated text：损失一个女奴，再赔上我的两个孩子，这正是弗林特医生所担心的。他会泄气并同意卖掉我们，我知道有人会买下我们，而这正是我所希望的！  &lt;br /&gt;
&lt;br /&gt;
Analysis: When dealing with long English sentences, the method of splitting is generally used to divide the original sentence into several parts and combine them according to their internal logical relationship. The adverbial clause after the subject of “My hope” consists of three parallel sentences, the second of which has a more complex cause adverbial. The author first takes apart the subject clause, first translates the clause, and then presents the subject at the end, which is in line with the characteristics of Chinese presentation before topic.&lt;br /&gt;
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Case 5: Stylistic equivalence&lt;br /&gt;
The basic task of translation is to faithfully present the original text, so it is necessary for the translator to pursue the style of the original text. To achieve stylistic equivalence, the translator needs to analyze and identify the stylistic markers in the original. The original text contains national language characteristics, historical allusions and religious beliefs, so it has cultural differences. In translation, it should reflect the style of the original text and optimize it accordingly, so as to realize the re creation of style and adapt to the communication of the target language.&lt;br /&gt;
The original text has strong religious and cultural content, simple and pious faith, and shows their enthusiasm and passion for them. In translation, we should not only show the feeling of religious belief and culture, but also optimize the sentence style and deal with alienation appropriately, so that readers can feel the piety and understand the author's writing intention.&lt;br /&gt;
The key to shaping the problem role lies in its adaptability to the style of the original language. Only by adopting appropriate translation methods, deeply understanding the cultural background of the original text and skillfully changing the style of the original text, can the style meaning of the original text be reproduced in the target language and better reflect its charm and artistic conception.&lt;br /&gt;
In a word, a biographical text should be well expressed first to make it conform to the expression habits of the target language. First, we should deeply understand the creative intention of the original author and think of what we think from the perspective of the original author, so as to realize the central idea of the original text. The premise of translation is that the translator should have profound language and cultural skills and deeply understand the particularity of different background cultures, Have a good command of the target language, and then use it flexibly.&lt;br /&gt;
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The example 10: She hasn't so much feeling for her children as a cow has for its calf. If she had, she would have come back long ago, to get them out of jail, and save all this expense and trouble. &lt;br /&gt;
translated text：她对孩子的感情还不如母牛呢，母牛还知道护犊子。如果她有感情，她很久以前就会回来把他们救出去了，也就没有这些代价和麻烦了。&lt;br /&gt;
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Analysis: This sentence is a complaint made by Dr. Flint's wife—my mistress, about my escape. Considering that cows in Chinese culture also have the image of caring for their cubs, The author translates call “feeling for her children as a cow has for its calf” as：“母牛还知道护犊子”, This not only achieves cultural equivalence, but also sounds colloquial. On the other hand, it is in line with the speaker's identity as a mean slave owner.[He was &amp;quot;a chip of the old block.&amp;quot; If he found any slave out after nine o'clock, he could whip him as much as he liked; and that was a privilege to be coveted.如果他发现任何人九点后（宵禁时刻）跑出去，他就会抓住并鞭打此人，直到他满意为止。这是别人垂涎三尺的特权。]&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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Through the development of this project, the author believes that the translation of biographical works needs to have a full understanding of the differences between Chinese and English languages and cultures, thinking habits and expression methods. Only after having an accurate understanding and grasp of the language characteristics and contents of the original text, can words and sentences be carefully selected and constantly modified and polished in the process of translation, Make it an excellent translation. The author summarizes the following points in the whole translation process:&lt;br /&gt;
The translation method of biographical text. Biographical text has both information function and expression function (Zhang Meifang, 2006). Therefore, in translation, the translator should not only correctly express the information of the original text, but also reflect the literariness of biographical literature. In view of the differences in thinking and logic between Chinese and English, different translation methods should be adopted in the translation process. For example, literal translation can be used in terms of vocabulary, so as to simply, clearly and accurately convey the meaning of the original text. If literal translation is not possible, free translation, addition or subtraction, positive and negative translation, such transformation and other methods should be adopted to strive to achieve literal semantic equivalence. In terms of sentences, according to the respective characteristics of Chinese and English sentence structures, translation skills such as reorganization, disassembly and combination of syntax are adopted in order to meet the reading habits of target language readers. Experience the language style of biographical literature. In this project, the author's narrative language is simple and simple, and do a good job in the analysis of the characteristics of biographical literature materials. For a translator, the types of material translation can be diverse, literary or scientific, so the translator must do a good job in the analysis of text materials when he gets a relatively unfamiliar translated text, Only after analyzing the materials thoroughly and finding out the characteristics can the preparatory work be done adequately. This project adopts biographical text, which is characterized by many names and place names and strong local cultural characteristics. Therefore, in order to improve the accuracy of translation, the author has made a lot of preparations before translation, including finding the author's relevant background information, relevant historical facts, as well as the folk customs at that time. With reference to the new English Chinese dictionary, the names of people and places in the text are translated uniformly. Due to sufficient preparation, these problems encountered in translation have been solved.&lt;br /&gt;
The author has two experiences in maintaining problem awareness in the translation process. &lt;br /&gt;
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First, if you encounter an uncertain word and sentence in the translation process, you should consult the relevant reference books in time or use the Internet. &lt;br /&gt;
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Second, when dealing with cultural problems, I often ask my classmates or experts in this field for advice, so as to solve the problems in time.&lt;br /&gt;
At the same time, there are some problems in the process: My translation experience is still shallow and the cultural knowledge reserve is insufficient. There are some disadvantages in this project.Because my Chinese level needs to be further improved, the translated language is still immature and not concise enough. Second, the lack of relevant knowledge leads to the fact that the unique things of foreign culture can only be translated directly and hard in translation, resulting in the stiff and rigid translation. Such as a box, covered with sheepskin, is called the gumbo box. A dozen beat on this, while other strike triangles and jawbones, to which bands of dancers keep time.&lt;br /&gt;
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Third, in translation, we should not only maintain the meaning of the original text, but also reflect the style of the original text. We can't have both fish and bear's paw—鱼和熊掌不可兼得。Therefore, I believe that only through a lot of translation practice and summing up experience can we improve our translation level.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Beardslee, Karen E. Through Slave Culture's Lens Comes the Abundant Source: Harriet A. Jacobs's Incidents in the Life of a Slave Girl.&amp;quot; MELUS 24 (1999): 37-58.&lt;br /&gt;
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[2]Jacobs Incidents in the life of a Slave Girl: Written by herself.&amp;quot; Languages &amp;amp;Literature 15(2001):314-336.&lt;br /&gt;
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[3]Incidents in Life of a Slave Girl chapters 16 to 30&lt;br /&gt;
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[4]李小春. (2016). 浅析英语翻译技巧及方法的应用. 读天下(20), 1.&lt;br /&gt;
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[5]李亚云.《一名女奴的人生际遇》之黑人女性身份建构[J].文学教育(上),2015(07):30-31.p&lt;br /&gt;
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[6]李亚云. 《一名女奴的人生际遇》之黑人母性分析[D].中央民族大学,2016.&lt;br /&gt;
&lt;br /&gt;
[7]付娟. 英汉翻译中拆句法和合并法的有机结合探析[J]. 好家长, 2016(38):1.&lt;br /&gt;
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=邝艳丽 On the Translation Strategies of English Version of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hong-Ming and Xu Yuanchong=&lt;br /&gt;
[[Trans_Type_EN_9]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
''Lun Yu'', one of Chinese classics, records behavior and thoughts of Confucius and his disciples. ''Lun Yu'', intensively reflecting Chinese Confucianism, plays a significant role in Chinese culture. Dating from 1809, there are about sixty translations of ''Lun Yu'' during the two hundred years. This paper will study the two English versions of ''Lun Yu'' by Ku Hung-ming and Xu Yuanchong from the the theory of Horizon Fusion proposed by Hans-Georg Gadamer, mainly the core conceptual words in ''Lun Yu''. Besides, the paper will explore the translation strategies adopted by the two translators from different visions such as the horizons of the original text, the translator and the target culture. The better translation of core conceptual words will come to a conclusion through the contrastive analysis.&lt;br /&gt;
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===Keywords===&lt;br /&gt;
Fusion of horizons; Ku Hong-Ming; ''Lun Yu''; Xu Yuanchong&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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''Lun Yu'', as a carrier of Confucianism, has profound influence on the culture all over the world. Confucianism has largely influenced the development of European philosophy, which provide new theoretical basis for European Enlightenment in the eighteenth century (Li Zongzheng 2016: 112-116). In Voltaire’s opinion, the discovery of Chinese culture is important to the process of European society, just as what what has been discovered by Vasco da Dagama and Magellan to the nature (Bao Xiankuo 2001: 62-67). With the continuing development of China in the recent years, China exerts more and more significant influence on the world. In the meanwhile, more and more people would like to learn Chinese language and cultures. When it comes to Chinese culture, all the people, Chinese and foreigners, nearly think of Confucianism, which is generally regarded as the important components of Chinese traditional culture, as well as the mainstream of the spirit of national modern culture. Moreover, Confucianism is intensively embodied in the ancient work called ''Lun Yu'', which records the behaviors and thoughts of Confucius and his disciples mainly in the form of dialogues. ''Lun Yu'' involves so many aspects such as politics, education and so on. The wide and profound influence of Confucianism on the world attributes the success to the development of translations of ''Lun Yu'' by Chinese or foreign translators.&lt;br /&gt;
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''Lun Yu'' is a classic work. The reason why classics remains classics is that it can be translated and re-translated. The language itself of ''Lun Yu'' is difficult to be understood, and what are reflected by ''Lun Yu'' such as history, thoughts, culture and culture is also hard to be understood. Therefore, translators in different times produce different translations of ''Lun Yu'' due to different constrictions of subjective or objective factors. Derrida, holding the point of hermeneutics, considers that the understanding of works is open and that the understanding of text by the readers is always unfinished and uncertain for reading is the process of creation. ''Lun Yu'', acclaimed as one of the leading classics in the course of Chinese literature’s development, is always given new life by the scholars. Therefore, every translation version of classics deserves to be studiedin the different times. Moreover, the employment of fusion of horizons may not only be a reference for English translation of ancient Chinese classics, but also be beneficial foe the spread of traditional culture. &lt;br /&gt;
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This paper chooses two English translation versions of ''Lun Yu'', one by Ku Hung-ming, the other one by Xu Yuanchong. The paper mainly makes a contrastive study of different translation strategies adopted by the two translators from the perspective of fusion of horizons. In order to make an in-depth study, the thesis will focus on the analysis of the translation of core conceptual words of ''Lun Yu'', and aim to present a more appropriate translation to both fully express the content of Chinese culture and make western readers easier to understand.&lt;br /&gt;
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===Overview on the Theory of Fusion of Horizons===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====Fusion of Hrizons====&lt;br /&gt;
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Hans-Georg Gadamer is the greatest thinker in 20th century when his academic work ''Truth and Method'' was published. The publishment brought about widespread attention in the world and helped him reach the immortal status in the field of philosophy. Actually, the theory used in this paper is originated from ''Truth and Method''. “Horizon” was first proposed by Edmund Husserl, a great German philosopher. For the concept of “Horizon”, Husserl believed that “everything worldly giving is given under the horizon. Finally, everything given by the world itself has the horizon of the world, and it is only for this reason that it is realized as the world.” (Wei Fangyuan 2013: 134-136)&lt;br /&gt;
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It can be seen that “Horizon” in Husserl’s eye is related to consciousness. Husserl’s “Horizon” includes two ones, internal horizon and external horizon. Internal horizon refers to what previous knowledge people have grasped or not. External horizon refers to grasp or experience of another open horizon when people have internal horizon. Martin Heidegger, from the respective of Ontology, believed that “Horizon” is something real which has been known by human and exists previously. This becomes precondition of our understanding. Inspired by Martin Heidegger and Edmund Husserl, Hans-Georg Gadamer affirmed the importance of “Horizon”. In his Hermeneutic, “Horizon” refers to the process of understanding from a specific standpoint. And “Fusion of Horizons” means that the process of understanding in nature is open without fixed pattern and answer. “Fusion of Horizon is not onlly diachronic, but also synchronic. History and present, object and subject, self and other, all form an infinite unified entirety. (Wei Fangyuan 2013: 134-136 ) &lt;br /&gt;
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Gadamer thinks that, both the translator and the object which is explained by the translator have their own horizons. The object-- history, classics, personal life, philosophy or work of art—has its own historical horizons. When we understand historical classical works, philosophy or certain culture with the horizons given by the history, the conflict of two different horizons and historical background will inevitably happen. Translation neither demands the translator to totally give up his own horizon in order to get into the text’s horizons, nor allows the interpreter simply includes the text into his own horizons. Translator, starting from his original horizons, ceaselessly test his own “prejudice” and open his own horizons, in the contact with the object which is interpreted by the interpreter, then two different horizons forming a new horizon. This process is called “fusion of horizons”. The reason why it is possible to interpret historical text is the fusion of horizons of the readers and writers of the original text.&lt;br /&gt;
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====Fusion of Horizons in translation study====&lt;br /&gt;
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In the view of Hans-Georg Gadamer, any understandings is carried out in the stream of history for any interpreter and reader lives in the history in his or her own way. Historicity is the basic fact of human existence. People’s historical particularity and limitations cannot be eliminated and avoided. Both subject and object exist in historicity. History determines that people cannot get rid of historicity. Such question faced by Hermeneutics is not what we carry out but what caused on us by something beyond our willing and behavior. In the research of translation Gadamer’s “Fusion of Horizons” can be borrowed and reformed into views or perspective available to the translation study. (Li Ge 2020:50-63)&lt;br /&gt;
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To achieve such a horizon, means that we learn to see something beyond its restricted horizon. However, the reason why we do this is for watching the things in a more correct angle and in a bigger unity, rather than for avoid seeing it.(Gadamer, H. G. 2004: 304) We need to study translation from a higher point and in a more overall angle. Only in this way can we “full see” the parts of the integrity, which is the enlightenment brought by “fusion of horizons”. The precondition of translation is that the translator and the original text have the common horizons. If the translator does not know medicine, he cannot interpret some books about medicine, and vice versa. The translator need to understand the original text’s meanings at first, which means that he will get into the horizon of the original text, and overcome the difference to form a new horizon. This is the first fusion of horizons. The second one is that the translator gets into the horizons of the target readers. Then the third fusion of horizons, the final interpretation of the translator, is the fusion of the two texts after the first two fusions. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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During the process of translation, the horizons are produced in the history rather than in isolation. In the fusion of horizons, the past and the present, the subject and the object, form a unity. Everything exists in the point of history, and all the interpretation cannot be finished for good. The original text itself is historical. The language, content, thoughts and etc. in it are marked by characteristics of the times. The translator is also historical. He will be influenced by his identity, status and tradition. There does not exist “perfectness” and “standard” in the translation. It will vary with different historical period. So the study of translation also goes on. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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===Overview on the Translations of ''Lun Yu''===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====The history of translations of ''Lun Yu====&lt;br /&gt;
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''Lun Yu'' is as important to Chinese is the Bible is to Westerners. So ''Lun Yu''’s translation is hot in western countries. ''Lun Yu'', whose translation can be traced back as early as the end of 16th century, has been translated by lots of missionary, sinologist, philosopher, litterateur and other scholars. There have been more than 40 translation versions of ''Lun Yu'' so far. Its English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. In 1861 James Legge’s The Confucian Analects became the mark of the English translation of ''Lun Yu''. A Companion for Chinese Translators makes comments on the translation version that James Legge can roughly understand the meaning of the original text and that his enormous notes can show his serious and careful attitude to the translation of our Chinese classics. (Wang Hui 2003: 39-43) &lt;br /&gt;
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In 1898, Ku Hong-ming’s translation of Lun Yu was published in Shanghai. The reason why he retranslated Lun Yu is that he was not content with James Legge’s. Ku Hong-ming use the strategy of foreignization, trying to translate Lun Yu in the same way an educated British express his thoughts. And Ku thought the Chinese proper nouns should be omitted and some European writers’ saying in order to remove the feeling of strangeness of British readers. In 1938, Arthur Waley’s version of Lun Yu was published. Waley wrote long-winded introduction for the translation, which was accompanied by detailed notes for readers and was followed by the footnotes for in-depth discussion on the text. Cui Yonglu thought that Waley’s translation, retaining the original text’s meaning and culture and paying attention to the detail, is beneficial to scholars. In 1998, Roger Ames’ translation of Lun Yu was published. His retranslation, which is based on a philosophical perspective, exerted great influence in the world of translation at home and abroad. In 2005, Xu Yuanchong’s Thus Spoke the Master was published. The book’s title borrowed the name of well-known philosophical translation called Thus Spoke Zarathustra, which shows Chinese translators’ creative spirits. In addition, there are still so many translators, such as Ezra Pound, James Ware, Din Cheuk Lau, Lin Yu tang and so on. (Wang Hui 2003: 39-43) &lt;br /&gt;
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====Different angles of the study on the translations of ''Lun Yu''====&lt;br /&gt;
In the nearly 30 years, the study of ''Lun Yu''’s translation has become hot in the translation studies. Scholars have made lot of studies of ''Lun Yu''’s translation from different angles and theories. From the linguistic point of view, scholars focus on the equivalence of lexicon, syntax, text and style. Professor Liu Chongde wrote “A research into Waley’s English version of The Analects—And some comments on its English versions by Legge and D. C. Lau”. Professor Liu summarized the language features and style of the two translations by Waley and Legge. Besides, he compared James Legge’s version and D. C. Lau’s, and made a conclusion that the former one preferred the written English, complicated sentences and archaic words which were quite similar to the style of the original, while the latter one preferred using spoken English and simple sentences.(Liu Chongde 2001:15-17) &lt;br /&gt;
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From the cultural point of view, Yao Shun in Southwest Jiaotong University did “On English translation of Confucius notions from the perspective of Skopos theory—A case study on Legge’s and Waley’s Translation of ''Lun Yu''”. Yao concluded that translation cannot be measured only by the equivalence with the source text, other elements such as translators’ purposes and expectation of target readers should be taken allowance for and that amongst these factors, the intention of the target text ranks the first.(Yao Shun 2014: 42-43)&lt;br /&gt;
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From the sociological point of view, Zhang Xin in Jiangnan University did “A study on Xu Yuanchong’s English Translation of ''Lun Yu'' from the Sociological Perspective of Bourdieu”.   Zhang draw some tentative conclusions. Firstly, the original text must be valuable and unique with an international reputation to facilitate its dissemination in the world. Secondly, translators should pay full attention to the readability and acceptability of target readers to meet their anticipation. Thirdly, the success of a work is the combination of various social factors.(Zhang Xi 2020:80-89)&lt;br /&gt;
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=== The Translation of ''Lun Yu'' from Fusion of Horizons===&lt;br /&gt;
''Lun Yu'' has always been translated or retranslated into many languages. Before interpretation, interpreters are supposed to try to totally understand ''Lun Yu'' in the first step. However, in the matter of fact, the language of a text is really hard for translators to totally understand. Different cultural background and different translators may produce different translation version.&lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》） [8]”. In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. &lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
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Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》）”.In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. (Yao Sshun 2014:42-43) &lt;br /&gt;
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====Horizon of the translator====&lt;br /&gt;
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Ku Hung-ming (1857-1928) is not only a famous literary figure in modern China, but also a great translator. He became an influential scholar at the turn of the 20th century because of his works that advocated Confucianism. Ku’s traslated works, including Lun Yu and Zhong Yong, played a significant role in spreading traditional Chinese culture to the western world. Ku, well-versed in both Chinese and Western cultures, has a good command of nine languages such as English, French, Germany and so on. He is the first one was proficient in Western science and language in the late Qing Dynasty. Special background of growth and education makes his thoughts combine advantages between Chinese and Western cultures. He tried to translate Lun Yu as a work written by a educated English man in order to promote Chinese traditional culture to spread in Western countries. At the meanwhile, he added his thinking and understanding of Confucianism in order to express the truth and spirit of Confucian classics and Chinese belief system. In order to make Western readers accept to the most extent the Confucian culture, Ku adopted some special methods, such as using extreme translation strategy of Domestication to translate Chinese special expression; borrowing the expression in Western literature to translate some words; applying the strategy of combination of omission and addition.(Niu Xiyu 2021: 89-90)&lt;br /&gt;
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When translating Lun Yu, Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. Western readers are not familiar with Confucian core words whose total equivalence can not be found in the Wesern culture. Ku did not translate the core words according to the literal meaning, but according to his deep understanding of Confucian classics he adopted flexible methods to translate the words in different situation. Besides, in order to make the translation of Lun Yu more readable to Western readers, Ku adopted the stratedy of domestication to interprete Confucian thoughts in Western way of mind. On the one hand, Ku used Western terms to translate those Confucian concept words which is difficult to Western readers. For example, he translates “天” as “God”. On the other hand, he quoted those well-known writers and thinkers who are familiar to Western readers, such as Johann Wolfgang von Goethe, Ralph Waldo Emersonand so on. Ku tries to make the content and form of the translation to accord with the way of thinking and cognitive structure of Western people. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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Xu Yuanchong, professor in Peking University, has been devoting himself in Literature translation study. He accomplished numerous classical translations and proposed many translation theories. He makes contribution to the development of Chinese traditional career.In 1921, Xu Yuanchong was born in Jiangxi Province in China. Since he was a child, Xu Yuanchong had been deeply influenced by his families. His mother was well educated and his uncle worked as a translator. All of these inspired his passion of enjoying literature and going after beauty, as we can see the three-beauty-concept-concept proposed in his later books. His uncle succeeded in translating the play called Wang Baochuan into English, which caused a sensation when it was performed in England. Later on the British dramatist George Bernard Shaw interviewed his uncle, which inspired the great interests of Xu Yuanchong in learning English well. In 1938, he was admitted to the Foreign Languages Department of National Southwest United University with the seventh place. In 1939, he translated the book “别丢掉” written by Lin Huiyin at the first time in order to express his love for a girl. Then he fell in love with translation ever after. Although suffering a lot, he still insisted to be himself. Xu made a great contribution to the development of Chinese translation. Xu introduces the three-beauty-concept to translation theory. The theory of three beauty advocates that a translation should be as beautiful as the original in sense, in sound and in font. These three aspects call also be respectively called Beauty of Sense, Beauty of Sound, and Beauty of Form. Beauty of Sense, emphasizing the deeper meaning, is of the first-rate importance. Beauty of Sound, emphasizing rhyme and rhythm, is of the second-importance. Beauty of Form, emphasizing length, is of the third-rate importance. All of these have great influence on his translation. (Li Mi 2004: 83-84)&lt;br /&gt;
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====Horizon of the target language culture====&lt;br /&gt;
The purpose of translation is to be read by the target readers. However, the target individual is different. They differ from historical background, education, knowledge, and so on. Some foreign readers read Lun Yu just for broaden his vision and know Chinese culture, some study the translation just for doing academic researches. The ages of target readers also influence the translation. Some young readers with less knowledge need translation which can be easily understood. For those aged readers the sophisticated translations are needed. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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===Contrastive Analysis===&lt;br /&gt;
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As Confucian classics recording the words and deeds between Confucius and his disciples, Lun Yu deeply influences generations of Chinese people. Lun Yu combines Chinese rich culture from thousands of years and gathers immortal spirit of Eastern philosophy. Therefore, a number of scholars at home or abroad want to translate Lun Yu. Especially, the various academic conference that has taken place in the recent years attract many scholars to absorb Confucian wisdom and explore Chinese wisdom from the old classics.&lt;br /&gt;
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====Description of key conceptual words====&lt;br /&gt;
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''Lun Yu''’s English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. Since that many other scholars have thrown themselves in the wave of translation of ''Lun Yu''. The scholars at home and abroad attempt to know more about the Chinese society, language, and Chinese culture through ''Lun Yu''. However, in order to really understand and interpret ''Lun Yu'', we must be clear about the meaning of the core conceptual words in ''Lun Yu''. Whether the translation of the core conceptual words is right or not has something to do with whether the readers abroad can understand the real meaning of the classics ''Lun Yu''. The translation of core conceptual words is so critical that has drawn many scholars’ attention. However, in the present situation of translation, one core conceptual word has so many Chinese translation, and some translation is not very accurate, which will cause trouble for foreigner readers to understand the original meaning and its cultural meaning. For those core words concerning Chinese culture, if wrongly translated, will not cause foreigners’ misunderstanding Chinese traditional culture, but also influence the improvement of national cultural soft power. Thus, the discussion of the translation of ''Lun Yu'', especially that of the core words, is very important to the circles of translation and culture. There are lots of core conceptual words in Lun Yu, but This thesis will mainly discuss the five core words: “''ren''”, “''li''”, and “''junzi''”. &lt;br /&gt;
“''Ren''” is the supreme state of moral ideal advocated by Confucius, and the spirit and centre of Confucian theory. Xu Shen in the Eastern Han Dynasty made an explanation of the word “''ren''” in “Shuo-wen chieh-tzu”. He thought “''ren''” is combined by “''ren''”(man) and “er”(number 2), and that “''ren''” does not express the quantitative relation but the interpersonal relationship, more accurately the interpersonal relationship close to friendship. (Xu Shen 2013: 1458) According to The Notes of ''Lun Yu'' by Yang Bojun, “''ren''” appears 109 times in ''Lun Yu'' . (Yang Bojun, 2009)&lt;br /&gt;
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“''Li''” is another important concept in ''Lun Yu'' after “''ren''”. According to The Notes of ''Lun Yu'' by Yang Bojun, “''li''” appears 74 times. Obviously, “''li''” is one of main ideas repeated by Confucius. Its connotation has become one of the objects the scholars of every dynasty attempt to study and understand since the ''Lun Yu'' came out. Both “''ren''” and “''li''” work as the centre of Confucianism. They complement and perfect each other. Just as the saying in Lun Yu, “To Subdue Oneself and Return to the Proprieties is Perfect Virtue”. “Li” refers to external behavior, while “ren” refers to internal morality. “''Li''” is a general term the rules and regulation according to the moral demanding. “''Li''” can restrict personal behavior, improve interpersonal relationship and help building a harmony and orderly society. However, Confucius does not give an accurate explanation of “''li''”, but its meanings can be analyzed from the concrete sentences concerning “''li''”. (Yang Bojun 2009: 23)&lt;br /&gt;
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“''Junzi''”, first found in The Book of Songs, was roughly referred to noble man. Thereafter, “''junzi''” was widely used in many ancient classics such as The Book of Changes, Shangshu and so on. Based on the original meaning “the noble man”, “''junzi''”’s meaning was extended and expanded. In Lun Yu, the word “''junzi''” got extended meaning of morality. The core conceptual word “''junzi''” mainly placed emphasis on moral deeds, then developed into the important cultural icon in Confucianism. According to The Notes of ''Lun Yu'' by Yang Bojun, “''junzi''” appears 107 times in ''Lun Yu'' .(Yang Bojun 2009: 11)&lt;br /&gt;
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====Different translations of key conceptual words====&lt;br /&gt;
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Different translators will have different translation. &lt;br /&gt;
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“Ren” has rich meanings. Its translation will to the certain degree influence the understanding of Lun Yu and Chinese traditional culture. For example:&lt;br /&gt;
子曰：“巧言令色，鲜矣仁！”《学而》&lt;br /&gt;
Ku: Confucius remarked, “With plausible speech and fine manners will seldom be found moral character.” &lt;br /&gt;
Xu: A good man, said the Master, would rarely say what he does not believe, or pretend to appear better than he is.&lt;br /&gt;
From the translation above, it is seen that Ku adopts free translation, and the English sentence is in formal grammer and syntax which accords with Western readers’ language habits. While Xu’s translation is not in the form of direct speech and he changes the order of the target text and use the parenthesis so as to conform to the habits of target language readers. It can be easily seen that Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. And Xu employs free translation to make target readers better understand the meanings. For the translation of “ren”, Ku translated it into “moral character”. He thought “ren” is refers to all the morality, and that “ren” is the highest realm of life. The translation “moral character” is more in line with Western language habits. While Xu interpreted it into “a good person”, of which “good” has broad meanings just like “ren” which is a kind of moral category of extremely broad meanings in ancient China. By comparison, “mental character” is better translation for “ren”. (Yang Bojun 2009: 23) (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
&lt;br /&gt;
“Li” is generally thought to have three main meanings. The first one is worshiping the God. The second one refers to a ceremony held to show respect or solemnity. The third one refers to the social and moral norms of the aristocratic hierarchy in slave society of feudal society. For example, &lt;br /&gt;
道之以道，齐之以礼，有耻且格 。（《为政》）&lt;br /&gt;
Ku: If, on the other hand, in government you depend upon the moral sentiment, and maintain order by encouragung education and good manners, the people will have a sense of shame for wrong – doing and, moreover, wil emulate what is good. &lt;br /&gt;
Xu: If they are led by virtue and order is kept by the rites, they would be conscientious and act in agreement with what is right. &lt;br /&gt;
Generally, “li” is rendered as “rites,” “customs,” “propriety,” “ritual,” “moral,” “rules of proper behavior,” and “worship.” However, Ku did not literally translated “li” but to fully understand its original meaning in such concrete situation to translated it into “education and good manners”. While Xu translated it into “rites”. In the Oxford dictionary, “rite” means a ceremony performed by a particular group, often for religious purpose. In Spring and Autumn and Warring States periods of China, the social order was in chaos. Actually, “rite” is a proper word full of Chinese speciality, which is really hard for Western readers to understand. Therefore, Ku’s translation “education and good manners” is better one. It not only convey Confucian thoughts but also make it readable to Western readers. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
&lt;br /&gt;
“Junzi” is Confucian ideal character standard. Then what is “junzi”? In Confucian point of view, “junzi” should be erudite, which is an important standard of being “junzi”. First and the most, “junzi” should be a benevolent man. In addition, “junzi” and “xiaoren” form contrast. For example,&lt;br /&gt;
人不知，而不愠，不亦君子乎？（《学而》）&lt;br /&gt;
Ku: But he is truly a wise and good man who fees no discomposure even when he is not noticed of men.&lt;br /&gt;
Xu: Is he not an intelligentleman, who is careless alike of being known or unknown?&lt;br /&gt;
According to Oxford dictionary, the term “exemplary” refers to providing a good example for people to copy. Ku adopted free translation to interprete one word “junzi” into several words “wide and good man”, which is easy for Western peple to understand what “junzi” is. It can be seen that Ku had a thoroungh understanding of Confucian thoughts as well as well-versed in English. While, Xu translated it into “intelligentleman”, which cannot be found in dictionaries. It is a new word created by Xu. “Interlligentleman” is combined by “intelligent” and “gentleman”. In the Oxford dictionary, the term “intelligent” means good at learning, understanding and thinking in a logical way about things. “gentleman” refers to a man who is polite and well educated and who has excellent manners and always behaves well. “Intelligentlemen” seemly attempt to achieve formal equivalence with “junzi”. However, it is unfamiliar to Wetern readers. So Ku’s translation “a wise and goood man”. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
In this paper, we have talked over two translation versions of ''Lun Yu'' written by Ku Hung-ming and Xu Yuanchong, especially the core conceptual words in ''Lun Y''u. In the matter of fact, both of them had good command of Chinese and western cultures. But their interpretation of Lun Yu were quite different from each other. Here we use Gadamer’s “fusion of horizons” to explain why they had different understandings of Lun Yu. Understanding is regarded as the fusion of horizons between translator and the text in the hermeneutics, however, besides, the target readers should also be taken into consideration. Thus, in the paper, the horizons of the original text, two translators and target readers are expounded in detail. Under the contrast between the two translation versions, we could find out that Ku Hung-ming’s translation is better one which can more convey the meaning of original text and can be easier for the readers of the target culture from the perspective of the fusion of horizons. &lt;br /&gt;
&lt;br /&gt;
However, this paper could not give an in-depth research on the transaltion of ''Lun Yu'' because of the author’s limited knowledge and not thorough understanding of the theory of “fusion of horizons”. In addition, Confucianism has got more and more important influence on the world in the recent years. However, the study of translation of ''Lun Yu'' has not gone far enough. Though lots of scholars have achieved a lot in the field, there is still much work to do in the future. Written by --[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 03:41, 9 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
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Li Zongzheng, Ma Haidong 李宗政,马海东. (2016)《论语》英译的当代价值研究[J] [A study on the contemporary value of the ''Analects of Confucius''] 112-116.&lt;br /&gt;
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Wei Yuanfang 韦芳元. (2020) 浅析伽达默尔的视域融合理论[J].[On the Gadamer’s Theory Fusion of Horizons] 2013(12):134-136.&lt;br /&gt;
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Gadamer, H. G. Truth and Method[M]. New York: Continuum, 2004: 304.&lt;br /&gt;
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Wang Hui 王辉. (2003) 理雅各与《中国经典》[J]. [James Legge and Chinese Classics] 2003: 39-43.&lt;br /&gt;
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Lieu Chongde 刘重德. (2003)《论语》韦利英译本之研究—兼议里雅各、刘殿爵英译本[J]. [A Study of Lun Yu by Whaley—Discussion on contrastive analysis between James Legge and D.C.Lau)  2001: 15-17.&lt;br /&gt;
&lt;br /&gt;
Yao Shun 姚舜. (2014) 目的论视角下的儒家思想核心概念英译研究—以理雅各和韦利《论语》英译对比分析为例[D]. [A Study of Lun Yu Translated by Xu Yuanchong in the perspective of Skopostheory] 2014: 42-43.&lt;br /&gt;
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Niu Xiyu 牛汐语. (2021) 辜鸿铭《论语》译本中译者主体性的体现[J]. [The Presentation of Translator’s Subjectivity in Ku Hung-ming’s Lun Yu’s Translation] 2021:89-90.&lt;br /&gt;
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Li Mi 李谧. (2004) 许渊冲的诗译“三美”之说[J]. [Three Beauty in Poetic Translation of Xu Yuanchong] 2004: 83-84.&lt;br /&gt;
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Xu Shen 许慎. (2013)《说文解字》[Z]. [Shut-wen chieh-tzu] 2013: 1458&lt;br /&gt;
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Yang Bojun 杨伯峻. (2009)《论语释注》[Z]. [Annotation Analects] 2009: 213, 214, 215,2, 11, 23,&lt;br /&gt;
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Ku Hungming 辜鸿铭.(2011)《辜鸿铭英译&amp;lt;论语&amp;gt;》[M]. [The Discourses And Sayings of Confucius] 2011&lt;br /&gt;
&lt;br /&gt;
Yuanchong, Xu. (2013) Thus Spoke the Master[M]. Beijing: Dolphin Books, 2013: 12, 18.&lt;br /&gt;
&lt;br /&gt;
=杨柳青 Bian Zhilin's Literary Translation Theories and Practice  ——Take His Translation of Romantic Poems as examples=&lt;br /&gt;
[[Trans_Type_EN_10]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. He absorbed traditional translation theories dialectically and created translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; from the perspective of literary translation. Specifically, &amp;quot;Replacing foot with dun&amp;quot; is his poetry translation strategy. This paper will analyze Bian Zhilin translations of some romantic poems and shows some critical thinking about his literary translation theories.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Faithfulness, Similarity and Translation&amp;quot;; &amp;quot;Replacing Foot with Dun&amp;quot;; Romantic Poetry&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
&lt;br /&gt;
卞之琳文学翻译理论和实践 ——以其浪漫主义诗歌译作为例&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
卞之林是著名的中国翻译家、诗人。他辩证地吸收传统翻译理论，从文学翻译的角度创立了“信、似、译”的翻译理论。 具体而言，“以顿代步”是他的诗歌翻译策略。本文将对卞之琳的浪漫主义诗歌译作进行分析，并对其文学翻译理论提出一些批判性性思考。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
&lt;br /&gt;
“信、似、译”；“以顿代步”；浪漫主义诗歌&lt;br /&gt;
&lt;br /&gt;
===Chapter 1 Introduction of Bian Zhilin and Romanticism===&lt;br /&gt;
====Introduction of Bian Zhilin====&lt;br /&gt;
Bian Zhilin is a representative of Chinese modernist poetry, a famous literary critic and literary translator. He translated foreign literature especially poetry and Shakespeare's plays. He has devoted his whole life to the literature and cultural exchanges between China and foreign countries. He is known as &amp;quot;the master of Poetry and the leading scholar in translation in China&amp;quot;. He dialectically absorbed previous translation theories and formed his unique translation thoughts. His famous works include ''Leaves of Three Autumns'' which is his first volume of Poetry and contains verses filled with the melancholy and despair, ''Fish Eyes Collection'', ''The Han Garden Collection'' and ''Poems of a Decade'' and so on.&lt;br /&gt;
&lt;br /&gt;
====Introduction of Romanticism====&lt;br /&gt;
Romanticism is a reaction against the Enlightenment and rationalism in 18th century, and a rejection of the precepts of order, calm, harmony, balance, idealization, and rationality that typified in classicism and neoclassicism. English Romanticism is generally defined to begin in 1798 with the publication of William Wordsworth and Samuel Taylor Coleridge's Lyrical Ballads and end in 1832 with Walter Scott's death. Romanticists place the individual at the center of art and make literature most valuable as an expression of his or her unique feelings and particular attitudes and make its accuracy a portraying the individual's experience. &lt;br /&gt;
&lt;br /&gt;
Romanticism is a period of poetry. During this period, many poets created plenty of wonderful poems which vividly show the beauty of nature and humanistic thoughts. English romantic poets contain the elder generation and the younger generation. The elder generation, also called &amp;quot;lake poets&amp;quot; includes William Wordsworth, Samuel Taylor Coleridge and Robert Southey and so on. The younger generation includes George Gordon Byron, Percy Bysshe Shelley and John Keats and so on. Besides, William Blake also deserves attention. He is a pre-romanticist and a forerunner of the romantic poetry of the 19th century. In this paper, I will analyze poems of William Blake, William Wordsworth and Percy Bysshe Shelly to show Bian Zhilin's translation theories.&lt;br /&gt;
&lt;br /&gt;
===Chapter 2 Bian Zhilin's Literary Translation Theories===&lt;br /&gt;
====&amp;quot;Faithfulness, Similarity and Translation&amp;quot;====&lt;br /&gt;
Bian Zhilin is a famous poet, translator and literary researcher in China. For decades, he not only made remarkable achievements in the field of poetry and Chinese and foreign literature studies, but also left a valuable fortune in literary translation, especially in poetry translation. Bian Zhilin has formed clear and instructive translation thoughts and theoretical views through her long-term translation practice. These translation thoughts and theoretical views influenced his translation behavior and effect, formed his exquisite translation art, and also had a great influence in the field of translation. He broke through the traditional translation theories and put forward the translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot; which is based on dialectically absorbing and reasonably sublating the traditional translation theories.&lt;br /&gt;
&lt;br /&gt;
=====Faithfulness=====&lt;br /&gt;
It is well-known that &amp;quot;faithfulness, expressiveness and elegance&amp;quot; created by a modern Chinese translator Yan Fu has become the most widely spread and popular translation standards in history of modern Chinese translation. And it has always been in the mainstream in the field of translation in China. There has been a long debate in Chinese translation field around &amp;quot;faithfulness, expressive and elegance&amp;quot;. However, &amp;quot;faithfulness&amp;quot; put forward by Bian Zhilin has achieved the transcendence and unification of this debate. &lt;br /&gt;
&lt;br /&gt;
======Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
According to Yan Fu, &amp;quot;faithfulness&amp;quot; means a translation should be faithful to the content of the original which is the first requirement of translation. &amp;quot;Expressiveness&amp;quot; means a translation should be fluent and articulate. &amp;quot;Elegance&amp;quot; means a translation should use elegant words so as to make the translation literary (Luo Xinzhang 136). Yan Fu believed that only elegant words can express the essence of original text. And he advocated translator used classical Chinese before Han Dynasty, namely, pre-Qin period. In fact, Yan Fu translated a lot of works in accordance with this criterion. &lt;br /&gt;
&lt;br /&gt;
======Debates around Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
Many speakers thought highly of Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, and this criterion once became the only standard for evaluating the quality of translation. Many literary translators like Liang Qichao, Lu Xun praised this criterion.&lt;br /&gt;
&lt;br /&gt;
Though &amp;quot;Faithfulness, expressiveness and elegance&amp;quot; has been widely accepted, there were still many doubts about this criterion. Most translators acknowledged Yan Fu's &amp;quot;faithfulness,expressiveness and elegance&amp;quot;, but they doubted &amp;quot;elegance&amp;quot;. For example, Chen Xiying, a famous Chinese female translator, opposed &amp;quot;elegance&amp;quot; because she thought &amp;quot;faithfulness and expressiveness&amp;quot; is quite enough for non-literary works and &amp;quot;elegance&amp;quot; is not necessary. Even for literary works, &amp;quot;elegance&amp;quot; is not necessary since some characters in literary works are from countryside and their speeches apparently couldn't be elegant (Luo Xinzhang 401-402). &lt;br /&gt;
&lt;br /&gt;
However, though these opinions are different they have one thing in common: all these opinions divide &amp;quot;faithfulness, expressiveness and elegance&amp;quot; up and judge them separately. &lt;br /&gt;
&lt;br /&gt;
======Bian Zhilin's &amp;quot;faithfulness&amp;quot;======&lt;br /&gt;
Unlike most translators, Bian Zhilin has his own unique view. Bian Zhilin believes there is only one advisable standard in &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, that is &amp;quot;faithfulness&amp;quot;. According to Bian Zhilin, &amp;quot;faithfulness&amp;quot; means being loyal to the original text comprehensively, not only to the content of the original text, but also to the form (Bian Zhilin 503). It seems that there is no apparent difference between Yan Fu's faithfulness and Bian Zhilin's faithfulness. But that's not the case. &lt;br /&gt;
     &lt;br /&gt;
Firstly, Bian Zhilin doesn't totally deny the value of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. His faithfulness is mainly for literary translation which aims to highlight the artistic features of literary translation. Bian Zhilin believes that literary translation is an artistic and creative activity which not only includes language conversion but also involves the knowledge of literature, aesthetics, literature and art. He thinks &amp;quot;faithfulness, expressiveness and elegance&amp;quot; lays too much emphasis on the content and form of language which is not suitable for literary translation. &lt;br /&gt;
&lt;br /&gt;
Secondly, Bian Zhilin opposed the artificial separation of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. He thinks this separation is a kind of false perception which may cause the emphasis of one aspect and the neglect of the others. He thinks that artistic translation standard, strictly speaking, is only &amp;quot;faithfulness&amp;quot; which means the full fidelity to content and form. Actually, Bian Zhilin doesn't deny the existence value of expressiveness and elegance; instead, he seems &amp;quot;faithfulness, expressiveness and elegance&amp;quot; as a whole and &amp;quot;faithfulness&amp;quot; includes &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot;. Therefore, his faithfulness is comprehensive: both &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot; are internalized in &amp;quot;faithfulness&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Thirdly, Bian Zhilin believes &amp;quot;faithfulness&amp;quot; in literary translation means translation should be loyal to original text both in content and form. In others words, it's not desirable that translation be better or worse than the original. Besides, he holds that &amp;quot;faithfulness&amp;quot; in translation is not absolute but relative and it needs artistic creation of translators(Li Changshuan 57). What's more, literary translators should have the confidence in translating the &amp;quot;spirit&amp;quot; of the original so as to make translation vivid and expressive.&lt;br /&gt;
&lt;br /&gt;
All in all, Bian Zhilin believes the content and form of literary works are unified and indivisible, so is &amp;quot;faithfulness, expressiveness and elegance&amp;quot;.  At the same time, he admits &amp;quot;faithfulness&amp;quot; is relative rather than absolute considering difference between language and culture. Therefore, Bian Zhilin's faithfulness is inheritance and innovation of traditional translation theory and has important theoretical value.&lt;br /&gt;
&lt;br /&gt;
=====Similarity=====&lt;br /&gt;
======Formal Similarity and Spiritual Similarity======&lt;br /&gt;
Formal similarity means translation preserves the linguistic form of the original which includes words, grammar, sentence structure, figures of speech and types or forms of literature and so on. Any two languages have something both common and different. Those common features are the bases of formal similarity of translation. &lt;br /&gt;
&lt;br /&gt;
Spiritual similarity, on the contrary to formal similarity, means getting rid of the bondage of language form such as words, grammar when it is necessary. And translators should use authentic translation to convey the artistic features of the original. Spiritual similarity was first put forward by Mao Dun and was further advocated and practiced by Fu Lei. It has become one of the dominant theories in Chinese translation theories.&lt;br /&gt;
&lt;br /&gt;
======Debates around Formal Similarity and Spiritual Similarity======&lt;br /&gt;
In the field of Chinese translation, translators debated a lot around formal translation and spiritual translation. Many translators believe formal translation is more advisable than spirit translation. But others think differently. For instance, Chen Xiying believed there were three kinds of &amp;quot;faithfulness&amp;quot;, namely spiritual similarity, meaning similarity and formal similarity, among which spiritual similarity is superior, meaning similarity is the second and formal similarity is inferior. Chen Xiying held that formal similarity ignores the writing style of the original though it conveys the meaning of the original completely. Meaning translation is better than formal translation because it focuses on not only what the original writer says but also how he says it. But meaning translation is much more like imitation which cannot grasp the &amp;quot;spirit&amp;quot; of the original. Spirit translation, however, is the exact way to convey the &amp;quot;spirit&amp;quot; of the original. Besides, Yan Fu is another representative who pays more attention to spirit similarity than to formal similarity (Luo Xinzhang 694).&lt;br /&gt;
======Bian Zhilin's &amp;quot;Similarity&amp;quot;======&lt;br /&gt;
Bian Zhilin took a stand against the long-standing debate around formal similarity and spiritual similarity. In his opinion, there is only one word between formal similarity and spiritual similarity that is advisable——&amp;quot;Similarity&amp;quot;. Bian Zhilin holds that literary work is a unity of content and form; &amp;quot;form&amp;quot; and &amp;quot;spirit&amp;quot; in literary translation is complementary. On the one hand, &amp;quot;form&amp;quot; is the basis of &amp;quot;spirit&amp;quot; which means without concrete form, the spirit and artistic value of literary works can only be empty talk. On the other hand, &amp;quot;spirit&amp;quot; is the life of &amp;quot;form&amp;quot; which means literary works without &amp;quot;spirit&amp;quot; likes people without soul, which can only be empty body and meaningless form (Bian Zhilin 551).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Similarity&amp;quot; which was put forward by Bian Zhilin, actually contains the similarity both in formal similarity and spiritual similarity. In other words, ideal literary translation should achieve the unity of form and spirit. Bian Zhilin thinks literary translation can only achieve similarity with the original but not sameness (Bian Zhilin 8-9), which not only recognizes the difference between the original and the translation, but also acknowledges translators' creative efforts.&lt;br /&gt;
&lt;br /&gt;
=====Translation=====&lt;br /&gt;
======Literal Translation and Free Translation======&lt;br /&gt;
Literal Translation means expression forms and syntactic structure of the translated text should be as consistent as possible with the original when translators convey the meaning of the original text. Free translation, however, means translators should break the linguistic form of the original text and express the meaning of the original by using the customary expressions of the target language.&lt;br /&gt;
&lt;br /&gt;
======Debates around Literal Translation and Free Translation======&lt;br /&gt;
The debates between literal translation and free translation in the history of western translation can be date back to Cicero (106BC-43BC). Cicero opposed &amp;quot;word for word translation&amp;quot; (literal translation) which was deemed as &amp;quot;interpreter's translation&amp;quot; and advocated &amp;quot;sense for sense translation&amp;quot; (free translation) which was deemed as &amp;quot;orator's translation&amp;quot;(Tan Zaixi 24). Cicero's distinction about translation paved the way for following translators. For example, John Dryden published his views on literal translation and free translation. Dryden made distinction between metaphrase, phrase and imitation which was an extension of literal translation and free translation. What's more, Newmark thinks literal translation is preferred when the effect is the same (Newmark 39). And Nabokov holds that literal translation is true translation because it can convey the exact contextual meaning of the text as accurately as possible (Nabokov viii).&lt;br /&gt;
&lt;br /&gt;
======Bian Zhilin's Translation======&lt;br /&gt;
Bian Zhilin thinks only &amp;quot;translation&amp;quot; is advisable over the long-standing dispute over literal translation and free translation. Translation contains following meanings (Bian Zhilin 8).&lt;br /&gt;
&lt;br /&gt;
Firstly, literal translation and free translation are not contradictory but complementary. Too much emphasis on either side will only have a bad effect on literary translation. Bian Zhilin also criticizes translations that put too much emphasis on the source language or the target language.&lt;br /&gt;
&lt;br /&gt;
Secondly, translation cannot be creation. Translation should be based on the original text, not personal creation. But Bian Zhilin doesn't deny the creativity in translation and thinks the creativity is the life of translation as long as it is based on the original.&lt;br /&gt;
&lt;br /&gt;
====Bian Zhilin's Poetry Translation Strategies====&lt;br /&gt;
Absorbed thoughts from former and contemporary poets, Bian Zhilin created his poetry translation strategies. That is to translate English poetry in a poetical and metrical way and replace foot with dun. These strategies not only consider the western poetry patterns, but also considers the characteristics of Chinese, which has strong feasibility. Bian Zhilin's poetry translation strategies are closely related with his literary translation theory of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
=====Translating Poetry in A Poetical and Metrical Way=====&lt;br /&gt;
Bian Zhilin thinks that poetry is more a unity of content and form than other literary forms. Therefore, poetry translation includes both translation of poetry content and form. Bian Zhilin thinks poetry translation should be loyal to the original poem not only in content but also in form. Poems should be translated into the form of poem rather than prose. If the original poem is free verse, then translated version also should be free verse. If the original poem is metrical poem, then translation also should be a metrical one. (Bian Zhilin, 319) The coincidence between form and content in poetry translation is an embodiment of translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Meter is an important feature of poetry, including rhythm, rhythm and arrangement of words and stanzas. There are many differences in meter among poetry of different languages. And different poets and works use different meters. These become major factors of difficulties in poetry translation. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin thinks translators should preserve the metrical features of the original poems. In other words, translators should translate poetry in a metrical way. Therefore, poems should be translated by using equivalent meter. To be more specific, translators should translate foreign poems by using commonalities between Chinese traditional metrical basis and foreign metrical basis. It's not just simple application of foreign poetry patterns nor of Chinese traditional poetry patterns. Instead, it's the crossover of the two poetry patterns.&lt;br /&gt;
&lt;br /&gt;
=====Replacing Foot with Dun=====&lt;br /&gt;
The key to the metrical problem of poetry translation is what is the metrical unit of the line, &amp;quot;word&amp;quot; (a syllable) as a unit or &amp;quot;dun&amp;quot; (syllables) as a unit. Bian Zhilin believes metrical poems should be translated in equivalent &amp;quot;duns&amp;quot; which can replace meters and this kind of translation is without the limit of word numbers. This theory is well thought out and based on rhythmic characteristics of Chinese. As Bian Zhilin analyzed that when we speak Chinese, we usually say two or three Chinese characters as a &amp;quot;dun&amp;quot; in most cases, one character at least as a &amp;quot;dun&amp;quot; and four characters at most as a &amp;quot;dun&amp;quot;. This is the internal rules of Chinese. Chinese poems constitute stanzas, stanzas constitute lines and lines constitutes &amp;quot;duns&amp;quot;. Therefore, &amp;quot;dun&amp;quot; is the natural rhythmic units of Chinese poetry and reveals poems' &amp;quot;inherent music-like rhythm and beat&amp;quot;.&lt;br /&gt;
 &lt;br /&gt;
However, that &amp;quot;dun&amp;quot; is the basic metrical unit of the Chinese poetry doesn't mean the number of duns in each line is exactly the same. Bian Zhilin advocates dun of two characters and dun of three characters should be arranged alternately and adjusted mutually to meet the needs of poetic expression and produce an effect similar to feet in western poetry.&lt;br /&gt;
&lt;br /&gt;
===Chapter 3 Analyses of Bian Zhilin's Translation Practice===&lt;br /&gt;
Bian Zhilin put his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and poetry translation strategies of &amp;quot;replacing foot with dun&amp;quot; into practice. Here are three poem excerpts of romantic poets and Bian Zhilin's translation of them.&lt;br /&gt;
&lt;br /&gt;
====William Blake's ''The Tiger'' in ''Songs of Experience''====&lt;br /&gt;
William Blake is a representative of English romantic literature. He was hailed by 20th century critics as &amp;quot;the great prophet&amp;quot; who was a pioneer of romanticism. He broke neoclassical traditions in the 18th century and emphasized instinct, passion and imagination. Besides, Blake is a revolutionary poet and expressed strong revolutionary passion and rebellious spirit in his poem. The Tiger is one of his earliest lyrical poems. It eulogizes the shape and strength of the tiger. Here is an excerpt of it:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Tiger! Tiger! Burning bright&lt;br /&gt;
&lt;br /&gt;
In the forests of the night,&lt;br /&gt;
&lt;br /&gt;
What immortal hand or eye&lt;br /&gt;
&lt;br /&gt;
Could frame thy fearful symmetry?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
老虎！|老虎！|火一样的辉煌，&lt;br /&gt;
&lt;br /&gt;
烧穿了|黑夜的|森林和|草莽，&lt;br /&gt;
&lt;br /&gt;
什么样|非凡的|手和|眼睛&lt;br /&gt;
&lt;br /&gt;
能塑造|你一身|惊人的|匀称？&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of dun.)&lt;br /&gt;
&lt;br /&gt;
The excerpt shows the praise for the tiger. In the poem, Blake uses symbolization and compares the tiger to a fire that destroys everything. Bian Zhilin represents the perfect creation of the creator with the symmetry of the tiger. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem on the guidance of his theory of &amp;quot;faithfulness, similarity and translation&amp;quot;. In the first line of the excerpt, the use of &amp;quot;Tiger&amp;quot; with exclamation marks is a kind of call of the tiger——the king of the forest. Bian Zhilin translates them faithfully into &amp;quot;老虎！老虎！&amp;quot;. The third line is a rhetorical sentence that asks without answering, which reminds readers of the Creator——God, thus making the poetry profound. Bian Zhilin follows the rhythmic characteristics of the original poem and translates it artistically.  &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin also makes his translation according to his theory of &amp;quot;replacing foot with dun”. The above stanza consists of four lines of trochaic tetrameter. Therefore, there are four feet in each line. And in translated version, there are four lines of four duns. Each duns contains two or three characters, thus make the structure of the translated poem neat and have a strong rhythm.&lt;br /&gt;
&lt;br /&gt;
====William Wordsworth's ''The“Lucy”Series''====&lt;br /&gt;
William Wordsworth is also an important poet in English romanticism. He was made poet laureate and he strongly promoted the innovation of English poetry and the development of the Romantic movement. He believes &amp;quot;Poetry is the spontaneous overflow of powerful feelings&amp;quot;. The following excerpt is taken from his &amp;quot;Lucy&amp;quot; series:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
A slumber did my spirit seal&lt;br /&gt;
&lt;br /&gt;
I had no human fears&lt;br /&gt;
&lt;br /&gt;
She seemed a thing that could not feel&lt;br /&gt;
&lt;br /&gt;
The touch of earthly years &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
No motion has she now, no force&lt;br /&gt;
&lt;br /&gt;
She neither hears nor sees&lt;br /&gt;
&lt;br /&gt;
Rolled round in earth's diurnal course&lt;br /&gt;
&lt;br /&gt;
With rocks, and stones, and trees.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
迷糊|封住了|我的|精神；&lt;br /&gt;
&lt;br /&gt;
我没有|人世的|忧惶：&lt;br /&gt;
&lt;br /&gt;
她似乎|超然|物外，|不可能&lt;br /&gt;
&lt;br /&gt;
感觉到|岁月的|影响。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
现在|她无力了，|也不能|动弹；&lt;br /&gt;
&lt;br /&gt;
她不再|耳闻|目睹；&lt;br /&gt;
&lt;br /&gt;
卷在|地球的|日程里|滚转，&lt;br /&gt;
&lt;br /&gt;
混同了|岩石、|树木。&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
The above poem was written when Wordsworth went and stayed in Germany with his sister Dorothy in 1798 and 1799. It uses simple words and the meaning of the poems is quite clear. And Bian Zhilin's translation of the poem is quite faithful and vivid. &amp;quot;Slumber&amp;quot; in the first line of the original is translated into &amp;quot;迷糊&amp;quot; rather than &amp;quot;沉睡&amp;quot;, which gives readers a sense of &amp;quot;lazy charm&amp;quot;. And &amp;quot;fears&amp;quot; in the second line was translated into &amp;quot;忧惶&amp;quot;；it’s quite vivid and pertinent. Besides, the original poem consists of two stanzas with four lines of iambus. In each stanza, the first and the third line have four feet and the second and the fourth line have three feet. The whole poem follows the rhyme scheme of &amp;quot;a-b-a-b, c-d-c-d&amp;quot;. Bian Zhilin replaces feet in the poem with duns. There are fours duns in the first and the third lines and three duns in the second and fourth lines in translation. And the translated version follows the same rhyme scheme with the original. The whole poem is translated and expressed in quite appropriate way.&lt;br /&gt;
&lt;br /&gt;
====Percy Bysshe Shelley's ''Song to the Men of England''====&lt;br /&gt;
Percy Bysshe Shelley, as one of the famous romantic poets, pursued freedom and resisted violence in his short life. He encouraged people to stand and fight for a better life and was branded a &amp;quot;complete revolutionary&amp;quot; by Marx. And Song to the Men of England was written by Shelley after &amp;quot;Peterloo incident&amp;quot; in Manchester in 1819 to reveal the cruel nature of reactionary rulers and call on people to revolt bravely. Here is an excerpt of Song to the Men of England:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Men of England, wherefore plough&lt;br /&gt;
&lt;br /&gt;
For the lords who lay ye low?&lt;br /&gt;
&lt;br /&gt;
Wherefore weave with toil and care&lt;br /&gt;
&lt;br /&gt;
The rich robes your tyrants wear?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Wherefore feed and clothe and save&lt;br /&gt;
&lt;br /&gt;
From the cradle to the grave&lt;br /&gt;
&lt;br /&gt;
Those ungrateful drones who would&lt;br /&gt;
&lt;br /&gt;
Drain your sweat——nay, drink your blood?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
英国的|人民，|为什么|犁地&lt;br /&gt;
&lt;br /&gt;
报答|老爷们|踩你们|成泥？&lt;br /&gt;
&lt;br /&gt;
为什么|辛勤|劳苦|去织布，&lt;br /&gt;
&lt;br /&gt;
让那些|恶霸|穿华丽|衣服？&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
为什么|你们|从摇篮|到坟冢&lt;br /&gt;
&lt;br /&gt;
尽供给|和保养|那许多|雄峰？&lt;br /&gt;
&lt;br /&gt;
他们|不感激，|还非常|坚决，&lt;br /&gt;
&lt;br /&gt;
要喝干|你们的汗|——再加|血；&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
This excerpt is about the clash between two classes of society, the poor working class and the rich nobles. The major theme of this poem is exploitation. People plow for the sake of the lords, who are like drone bees that do no work but live off of the works of others. The narrator is urging the workers to make a stand as they are being treated unfairly. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin practices his poetry translation strategies of &amp;quot;translating poetry in metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; in this poem. In the original poem, each of two stanzas consists of four lines of iambic tetrameter, rhyming &amp;quot;a-a-b-b, a-a-b-b&amp;quot;. In the translated version, there are also two stanzas composed of four lines. And in each line, there are four duns which replaces the four feet in the original poem. The rhyme scheme in translated version is the same as that in the original.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translate the poem faithfully and vividly. For example, he translates &amp;quot;lay ye low&amp;quot; into &amp;quot;踩你们成泥&amp;quot; which well preserves the images of the original work. And &amp;quot;tyrants&amp;quot; in the fourth line of the first stanza is translated into &amp;quot;恶霸&amp;quot; which is concise and accurate. In the second stanza, &amp;quot;From the cradle to the grave&amp;quot; modifies &amp;quot;the men of England&amp;quot; rather than those &amp;quot;ungrateful drones&amp;quot;, Bian Zhilin understands the linguistic structure of the poem and translates it into &amp;quot;你们从摇篮到坟冢&amp;quot;. &amp;quot;坟冢&amp;quot; is more formal than &amp;quot;坟墓&amp;quot; and it's suitable for poetry, from which we can see the precision of Bian Zhilin's choose of words. In the last line, Bian Zhilin uses a dash and the words &amp;quot;再加&amp;quot; to highlight the brutal nature of the rulers. Actually, this translation is a good practice of his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===Chapter 4 Critical Thinking of Bian Zhilin's Translation Theories===&lt;br /&gt;
There is no doubt that Bian Zhilin's translation theories greatly promoted the development of English poetry translation in China. His &amp;quot;faithfulness, similarity and translation&amp;quot; is the inheritance and innovation of Chinese traditional translation theories. And it indeed provides a new way for poetry translation. Besides, Bian Zhilin thinks poetry should be translated into poetry rather than prose. In other words, translators should translate poetry in a poetical and metrical way. He stresses the importance of the unity between form and content and thinks high quality translation should be a unity of content and artistic style of the original text.&lt;br /&gt;
&lt;br /&gt;
Despite Bian Zhilin's great contribution to literary translation theories, I think there are still some problems existing in Bian Zhilin's translation strategies. In Bian Zhilin's opinion, translators can replace foot with dun thus achieving similar rhythmical effect in Chinese version with the English original. It seems that it is a quite advisable and feasible method. Bur actually, it cannot be practiced widely. In English poetry, each foot consists of two syllables, which is fixed and regular. But things are changed in Chinese. The character numbers in each dun in Chinese are not fixed. There may be one or two or three or four characters in each dun, so different people may have different divisions of duns based on their different understanding of context. Therefore, the division of duns may be disordered and random, which makes &amp;quot;replacing foot with dun&amp;quot; not advisable in many cases.&lt;br /&gt;
&lt;br /&gt;
Another problem in Bian Zhilin's translation theories is the ignorance of metrical patterns of foot. In English poetry, there are different metrical patterns like iambus, trochee, spondee and pyrrhic and so on. But there are no such meters in Chinese. &amp;quot;Replacing foot with dun&amp;quot; only considers the correspondence of foot but ignores the correspondence of metrical patterns of foot, so Bian Zhilin's &amp;quot;translating poetry in metrical way&amp;quot; actually is not adequate. We know Chinese is a kind of tone language which has four tones. We can use four tones to correspond the metrical patterns of foot in English. But it's quite difficult in so far and still needs more exploration.&lt;br /&gt;
&lt;br /&gt;
===Chapter 5 Conclusion===&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. His literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and &amp;quot;translating poems in a poetical and metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; give us a lot of enlightenment in the translation of poems. This paper analyzes Bian Zhilin's translation of romantic poems to show his translation strategies. However, there are still some problems in his theories, for example, the division of duns are disordered and random which are based on the understanding of translators and there is no correspondence in metrical patterns of foot. These are the problems that are needed to be considered and solved.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Blake, William. Songs of Experience[M]. New York: Dover Publications, Inc., 1971.&lt;br /&gt;
&lt;br /&gt;
Durrant, Geoffrey. William Wordsworth [M]. Cambridge: Cambridge University Press, 1979.&lt;br /&gt;
&lt;br /&gt;
Nabokov, Vladimir. &amp;quot;Forward&amp;quot;, A.S.Pushkin, Eugene Onegin, Nabokov, V.trans. London: Routledge &amp;amp; Kegan Paul, 1964/1975, p.viii.&lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. Approaches to Translation. Oxford: Pergamon, 1981, p39.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2002).《卞之琳文集》（中卷）. 安徽教育出版社, p503.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2000).《卞之琳文集》（上卷）. 安徽教育出版社, p8.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(1994).《从&amp;lt;西窗集&amp;gt;到&amp;lt;西窗小书&amp;gt;》.[英] 克里斯托弗·衣修伍德《紫罗兰姑娘》, 卞之琳译. 中国工人出版社, p8-9.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2007).《人与诗：忆旧说新》（增订本）. 安徽教育出版社, p319.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2005). 《英国诗选》. 商务印书馆, p156.&lt;br /&gt;
&lt;br /&gt;
Chen Xiying陈西滢(1984).《论翻译》. 罗新璋编《翻译论集》. 商务印书馆, p401-402.&lt;br /&gt;
&lt;br /&gt;
Fu Lei傅雷(1984).《论文学翻译书》. 罗新璋编《翻译论集》. 商务印书馆, p694.&lt;br /&gt;
&lt;br /&gt;
Li Changshuan李长栓(2004). 《非文学翻译理论与实践》. 中国对外翻译出版公司, p57.&lt;br /&gt;
&lt;br /&gt;
Shen Suru沈苏儒(1998).《论信达雅：严复翻译理论研究》. 商务印书馆, p8.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜(1991).《西方翻译简史》.商务印书馆, p24.&lt;br /&gt;
&lt;br /&gt;
Yan Fu严复(1984).《&amp;lt;天演论&amp;gt;译例言》.罗新璋编《翻译论集》. 商务印书馆, p136.&lt;br /&gt;
&lt;br /&gt;
=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday, 2012) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær, 2015; von Flotow, 2010). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh (2015) argues that translation is one of the traditional communicating methods between communities all around the world. Jothiraj (2004) states that “translation plays an important role in the inter-lingual process of communication” (p. 1). Translation is essential for cultures and languages to exchange information. Newmark (1988) defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects. Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
&lt;br /&gt;
Nida (1964) indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style. Larson (1998) has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context. &lt;br /&gt;
&lt;br /&gt;
Culture plays a considerable role, Snell-Hornby (1988, p. 33) assumed that “Culture refers to all socially conditioned aspects of human life”. Another definition of culture is formulated by Goodenough (1957, p. 167). For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term. By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
&lt;br /&gt;
The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline (2003, p.16) thought that “religion is an important institutional network that binds people to one another.” But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
&lt;br /&gt;
This study is aimed to probe Newmark's (1988) translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion (1988, p. 81), seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL. &lt;br /&gt;
&lt;br /&gt;
===Translation and Culture===&lt;br /&gt;
&lt;br /&gt;
2. Translation and Culture &lt;br /&gt;
&lt;br /&gt;
Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.  &lt;br /&gt;
The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988, 7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988, 5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988, 7).  &lt;br /&gt;
&lt;br /&gt;
In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford (1965) defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language” (Catford 1965, 20). According to Venuti’s translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader” (Venuti 1995, 18). Schjoldager stated that “a translation is a text that expresses what another text has expressed in another language” (Schjoldager 2008, 19). Culture is a complex whole which includes knowledge, belief, art, law, morals, customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan (2014), claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014, 2). Hermanns (1999) contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures. Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014, 2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark (2001), illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001, 328). &lt;br /&gt;
&lt;br /&gt;
Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
&lt;br /&gt;
2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
&lt;br /&gt;
Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora, fauna, food, clothes, housing, work, leisure, politics, law, and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988, 327) Christine Nord names them “culturemes” (Nord 1997, 9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012, 1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Aixela, 1997; Davies, 2003), others choose cultural words (Newmark, 2003) or culture-bound phenomena/concepts (Baker, 1992, Newmark, 2003, Robinson, 2003). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker, 1992, 21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988, 94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988, 95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988, 95).&lt;br /&gt;
&lt;br /&gt;
2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
&lt;br /&gt;
The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85, P. 22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003, 16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.&lt;br /&gt;
&lt;br /&gt;
===Types of Translation ===&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
Newmark (1988) determines 8 types of translation which are: &lt;br /&gt;
 &lt;br /&gt;
3.1 Word-for-Word Translation &lt;br /&gt;
&lt;br /&gt;
This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
&lt;br /&gt;
3.2 Literal translation &lt;br /&gt;
&lt;br /&gt;
In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
&lt;br /&gt;
3.4 Semantic Translation &lt;br /&gt;
&lt;br /&gt;
Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
&lt;br /&gt;
3.5 Adaptation &lt;br /&gt;
&lt;br /&gt;
This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015, 15). &lt;br /&gt;
&lt;br /&gt;
3.6 Free Translation &lt;br /&gt;
&lt;br /&gt;
The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
&lt;br /&gt;
3.7 Idiomatic Translation &lt;br /&gt;
&lt;br /&gt;
This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
&lt;br /&gt;
3.8 Communicative Translation &lt;br /&gt;
&lt;br /&gt;
This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
===Translation Strategies  ===&lt;br /&gt;
&lt;br /&gt;
4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
&lt;br /&gt;
4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela (1996), translators need to choose several strategies based on the source language culture and target culture.  He distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, he tries to command by the level of their intercultural intervention. He divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies). &lt;br /&gt;
&lt;br /&gt;
4.1.1. Conservation: &lt;br /&gt;
In conservation, the less compelling process includes repetition, orthographic adaptation, linguistic translation, extratextual gloss and intratextual gloss. &lt;br /&gt;
&lt;br /&gt;
4.1.1.1 Repetition: In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus, the translator keeps as much as possible the original reference (Aixela, 1996, p. 61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
&lt;br /&gt;
4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
&lt;br /&gt;
4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
&lt;br /&gt;
4.1.1.4 Extra-textual Gloss: Here, the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes, endings, words, ideas, translators in dictionaries, italics and so on. &lt;br /&gt;
&lt;br /&gt;
4.1.1.5 Intra-textual Gloss: It's like the past but the translator feels that he/she can include the globe as an indirect part of the text, not to distract the reader. &lt;br /&gt;
&lt;br /&gt;
4.2.1 Substitution &lt;br /&gt;
In substitution, According (Aixela, 1996) “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here”. &lt;br /&gt;
&lt;br /&gt;
4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
&lt;br /&gt;
4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
&lt;br /&gt;
4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela, 1997, p.63). &lt;br /&gt;
&lt;br /&gt;
4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Shokri, Ketabi, 2015, p.8). &lt;br /&gt;
&lt;br /&gt;
4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela, 1996, p. 64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
&lt;br /&gt;
4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela, 1997). &lt;br /&gt;
&lt;br /&gt;
4.3 Mona Baker’s Translation Strategies &lt;br /&gt;
Baker’s strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation. (Baker, 1992). He suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies, which are the following: &lt;br /&gt;
&lt;br /&gt;
4.3.1 Translation by a more general word: According to Baker, this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
&lt;br /&gt;
4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
&lt;br /&gt;
4.3.3 Translation by cultural substitution: This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
&lt;br /&gt;
4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
&lt;br /&gt;
4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
&lt;br /&gt;
4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
&lt;br /&gt;
4.3.7 Translation by omission: Losing phrases or words that are not vital to text development. &lt;br /&gt;
&lt;br /&gt;
4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view, however, Baker's (1992) translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
&lt;br /&gt;
===Cultural Categories  ===&lt;br /&gt;
5. Cultural categories &lt;br /&gt;
 &lt;br /&gt;
5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
5.1.2 Material culture &lt;br /&gt;
Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.” &lt;br /&gt;
5.1.3 Social culture &lt;br /&gt;
The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
5.1.4 Organisation &lt;br /&gt;
Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
 &lt;br /&gt;
5.2 Newmark Classification CSIs &lt;br /&gt;
Newmark (1988) established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items.&lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
 &lt;br /&gt;
Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
&lt;br /&gt;
2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
&lt;br /&gt;
3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
&lt;br /&gt;
4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
&lt;br /&gt;
5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
&lt;br /&gt;
6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
&lt;br /&gt;
7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
&lt;br /&gt;
8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
&lt;br /&gt;
9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
&lt;br /&gt;
10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
&lt;br /&gt;
11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
&lt;br /&gt;
12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
&lt;br /&gt;
13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
&lt;br /&gt;
14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
&lt;br /&gt;
16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
&lt;br /&gt;
17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
&lt;br /&gt;
18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
&lt;br /&gt;
19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
&lt;br /&gt;
20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
&lt;br /&gt;
21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
&lt;br /&gt;
22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
&lt;br /&gt;
23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
&lt;br /&gt;
24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996, 31), “translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by (Newmark 1988, 81), “translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.” &lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation, then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions. &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity, as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts, the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term, and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part, but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark (1988) has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9. &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark’s strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                           	 قرُۡءٰنًا	Quran &lt;br /&gt;
 	                         ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference               	 يعَۡقوُۡب	Yaqub &lt;br /&gt;
 	                            اِسۡحٰق	Ishaq &lt;br /&gt;
 	                         يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
===8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
===      This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
===8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
===8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
===The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark (1988) were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
===This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However, the translator must be competent in using the translation procedures to provide an accurate translation. &lt;br /&gt;
&lt;br /&gt;
===8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
===The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abdi, H. (2019). Translating culture-specific items (CSIs) as a conundrum for Iranian MA translation students: Considering the level of study. Journal of new advances in English Language Teaching and Applied Linguistics, 1(1), 88-109. &lt;br /&gt;
&lt;br /&gt;
Aguado-Gimenez, P., &amp;amp; Pérez-Paredes, P. F. (2005). Translation-strategies use: A classroombased examination of Baker’s taxonomy. Meta: journal des traducteurs/Meta: &lt;br /&gt;
Translators' Journal, 50(1), 294-311. &lt;br /&gt;
&lt;br /&gt;
Ahmadi, M. R.S and Nosrati, Fatemah. (2012). Domestication and Foreignization Strategies in Translation of Culture-Specific Items. Translations of English-Persian Children’s Literature. San Francisco: Grin Publishing. Google Books. &lt;br /&gt;
&lt;br /&gt;
Al Saleh, R. A. (2019). An Application of Newmark's Procedures to Muhammad Abul Quasem's Alleman, J. C. Bee. W. Ulitkin, I. Files, F., Zetzsche, J., Chatonnet-Marton, P. &amp;amp; y del Árbol, E. V. Translation Strategies. &lt;br /&gt;
&lt;br /&gt;
Al-Sofi, B. B. M. A., &amp;amp; Abouabdulqader, H. (2020). Bridging the gap between translation and culture: towards a cultural dimension of translation. International journal of linguistics, literature and culture, 6(1), 1-13. &lt;br /&gt;
&lt;br /&gt;
Baker, M., 1992. In Other Words: A Coursebook on Translation. London: Routledge, p.20–42. &lt;br /&gt;
&lt;br /&gt;
Blažytė, D., &amp;amp; Liubinienė, V. (2016). Culture-specific items (CSI) and their translation strategies in Martin Lindstrom’s&amp;quot; Brand sense&amp;quot;. Kalbų studijos, (29), 42-57. &lt;br /&gt;
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Bush, P. (1998) &amp;quot;Literary Translation.&amp;quot; In: M. Baker, ed. Routledge Encyclopedia of Translation Studies, London: Routledge, pp.127-130. &lt;br /&gt;
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Catford. J. C. (1965). A linguistic theory of translation. Oxford: Oxford University Press. &lt;br /&gt;
English Translation of Mohammad Al-Ghazali's Islamic Guidance.Literature and Culture, 6(1), 1-13. &lt;br /&gt;
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Gečaitė, L. (2020). Culture-Specific Items and Their Translation Strategies in Victoria Hislop's Novel The Sunrise.” (2020). &lt;br /&gt;
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Hassan, B. E. A. (2014). Between English and Arabic: A practical course in translation. &lt;br /&gt;
Cambridge Scholars Publishing. &lt;br /&gt;
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Hermans, T. (1999). Translation in systems. Manchester: St. Jerome Publication  House, J. (Ed.). (2014). Translation: a multidisciplinary approach. Springer. &lt;br /&gt;
Issa, A. L. S. M., &amp;amp; Hammood, L. H. R.- Quranic-Specific Phrases under the Study of Translation; Significance and Applications. &lt;br /&gt;
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In International Conference on Language, Medias and Culture (Vol. (33), p. 83-87). &lt;br /&gt;
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Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
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Lambert, J. (1998) Literary Translation. In: M. Baker, ed. Routledge Encyclopedia of Translation Studies. London: Routledge, 130-134. &lt;br /&gt;
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Landers, Clifford E. (2001) Literary Translation: A practical guide. New Jersey University Press: Multilingual Maters. &lt;br /&gt;
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Lustig, Myron, W. and Koeser, Joline  (2003), Intercultural Competence: Interpersonal Communication Across Cultures, Boston: Allyn and Bacon. &lt;br /&gt;
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Malmkjær, K. (1993). Who Can Make Nice A Better Word Than Pretty? Collocation, Translation, and Psycholoinguistics. In: Baker, M., Francis, G. and Tognini-Bonelli, E. &lt;br /&gt;
eds. Text and Technology. Philadelphia/Amsterdam: John Benjamins Publishing Company. pp.213-32. &lt;br /&gt;
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Mosavat, S., &amp;amp; Rahimpour, S. (2016). The Most and Least Used Translation Strategies for &lt;br /&gt;
Conveying Culture-Specific-Items in Young Adult Literature from English into Persian. International Journal of Humanities and Cultural Studies (IJHCS) ISSN 23565926, 1853-1873. &lt;br /&gt;
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Munday, J. (1997). Systems in Translation: A computer-assisted systemic approach to the analysis of translation of García Márquez. Ph.D thesis, University of Bradford. &lt;br /&gt;
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Education Press &lt;br /&gt;
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Newmark, Peter. (1988). A Textbook of Translation. New Jersey: Prentice-Halls &lt;br /&gt;
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Nord, Christiane. (1997). Translating as a Purposeful Activity: Functionalist Approaches &lt;br /&gt;
Explained. Manchester: St. Jerome. Accessed 10 November. 2018. Google Books Schjoldager, A. (2008). Understanding translation. Academica: Århus. &lt;br /&gt;
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Silalahi, M., &amp;amp; Lubis, S. (2013). Translation Procedures of Cultural Terms Found In Sejarah Bilingual For Students of Senior High School. &lt;br /&gt;
Valipoor, K., &amp;amp; andAzizeh Chalak, H. H. T. (2019). Cultural-specific items in translation of the Holy Quran by Irving: 43-51. &lt;br /&gt;
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Venuti, L. (1995). The translator’s invisibility: A history of translation. London and New York: &lt;br /&gt;
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Widiarto, O. V. V. (2016). The translation procedures of cultural expressions applied in a game of thrones translated into Perebutan Tahta novel by Barokah Ruziati (Doctoral dissertation, Dian Nuswantoro University).&lt;br /&gt;
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=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
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[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
===An Overview on Translation Studies  ===&lt;br /&gt;
&lt;br /&gt;
===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
&lt;br /&gt;
=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
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===Conclusion ===&lt;br /&gt;
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=== References ===&lt;br /&gt;
&lt;br /&gt;
= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the researcher wants to highlight the different concepts about the fundamental question &amp;quot;what is idiomatic expression&amp;quot; of different critics, theorists and linguistic experts, and prominent scholars of translation studies. Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
&lt;br /&gt;
Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda Corelli 2006, 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984, 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992, 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to (Newmark 1981, 11), “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”&lt;br /&gt;
.	The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to (Corelli 2006, 53), English has a sizeable idiomatic base.&lt;br /&gt;
About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.&lt;br /&gt;
The main issue that idiomatic and fixed expressions pose for translators, according to (Baker 1992, 65), is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.&lt;br /&gt;
&lt;br /&gt;
Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.&lt;br /&gt;
&lt;br /&gt;
===Literature Review ===&lt;br /&gt;
In this chapter, the author/researcher defines the strategy and its different definitions from the perspective of different subjects and fields. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented. Krings defines it as the content of the project, while Seguinet divided the term into three steps. However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. &lt;br /&gt;
&lt;br /&gt;
The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward.&lt;br /&gt;
Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint.&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to (Seguinot 1989, 27) (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.&lt;br /&gt;
 Furthermore, (Loescher 1991, 8) defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot; As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998, 4) claim moreover, (Bell 1998, 188) distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.&lt;br /&gt;
 According to (Venuti 1998, 240), &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot; He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to (Jaaskelainen 2005, 15), product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.&lt;br /&gt;
&lt;br /&gt;
Furthermore, (Jaaskelainen 2005, 16) distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making. (Newmark 1988, 221) distinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016, 13).&lt;br /&gt;
The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010, 15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017, 54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985, 9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female.&lt;br /&gt;
Several research articles are found on translated work (license and khol do) of Urdu famous short stories writer Sadat Hassan Manto's from a different perspective like psychoanalysis, postcolonial, feminist approaches but to explore the problem of translations strategies face by translator Aatish Taseer during the process of translation has not been mention till date. To summarize this, the research includes a critical, in-depth, comprehensive analysis of issues that previously did not address.&lt;br /&gt;
&lt;br /&gt;
=== Theoritical Framework ===&lt;br /&gt;
&lt;br /&gt;
Different strategies have been used, like using an idiom of similar meaning and similar form, the idiom of similar meaning and different form, translation by Paraphrasing, translation by omission. The approach of employing idioms of similar meaning and form, according to Mona Baker, entails using an idiom in the target language that can express about the same meaning as the source language idiom, as well as having lexical similarity. On the other hand, this type of matching happens periodically as well as regularly.&lt;br /&gt;
&lt;br /&gt;
Similarly, employing idioms with similar meanings but different forms means that it is possible to locate an idiom or fixed expression in the target text language that has a similar meaning to the source idiom or expression but is made up of distinct lexical elements. Consider the case of English and French, both of which use the idiom mentioned above. In English, one good deed is rewarded with another, whereas in French, handsome deeds are rewarded with handsome deeds.&lt;br /&gt;
&lt;br /&gt;
Furthermore, we did not come across any idioms in the category mentioned above during translating idioms. To deal with this issue, the translators used the most popular approach, known as a translation by paraphrase, which is short, straightforward, and time-saving. When a match cannot be identified in the target language or when it appears improper to employ idiomatic language in target material due to aesthetic differences between the source and target languages, this is the most typical approach for translating an idiom from source to target language. However, one thing to keep in mind is that a perfect translation is not required is necessary or possible.&lt;br /&gt;
&lt;br /&gt;
Last but not least, to overcome the problem of idiom translation, the translator employs the strategy of translation by omission. This can be defined as an idiom being omitted entirely in the target text with a single word. This is done because the idiom has no close match in the target language; its meaning cannot be easily paraphrased or due to stylistic reasons. &lt;br /&gt;
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&lt;br /&gt;
&lt;br /&gt;
3.4 Data analysis Techniques:&lt;br /&gt;
Textual analysis is the method of data analysis in qualitative research that brings forth the hidden and potent message, structure, and function of research in giving text, Alan Mckee (defines textual analysis as whenever we perform textual analysis on the text, we make an educated guess at some time of the most likely interpretations that might be made of that text (Alan Mckee 2001, 3)&lt;br /&gt;
Analysis of the translation of short stories in light of Mona baker's theory &amp;quot;khol do and license&amp;quot; are short stories written by Sadat Hassan Manto and translated by many translators from Urdu into English. During translation, the translator adopted many strategies for translating idiomatic expression, sometimes by Paraphrasing, sometimes by omission, sometimes using similar idioms of form and meaning while sometimes using different words and the same form, the whole.&lt;br /&gt;
&lt;br /&gt;
===Discussion and Analysis===&lt;br /&gt;
The chapter analyzes and discusses all the data collected by the author/researcher from different sources. All the examples of idioms are first identified, then translated into the target text, and back-translated for the sole purpose of exploring the strategies being used by the translator. A separate section is given to every strategy with its related example. Moreover, the idiomatic expression, the target work for finding, is highlighted through the bold letter.&lt;br /&gt;
&lt;br /&gt;
4.1	Translation by Paraphrasing:&lt;br /&gt;
Based on our findings, the most often used strategy was &amp;quot;translation by paraphrasing.&amp;quot; An inspection also reveals that Aatish Taseer preferred this strategy. Here are some examples applied by the translators, and in the following section, the logic behind their preference towards this strategy is elaborate. The following are examples from two short stories of Sadat Husain Manto's &amp;quot;khol do&amp;quot; and &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 1: &lt;br /&gt;
ST: Sirajuddin ne subah das baji anki kholi to logo ka ail mutalatam samandar deka.&lt;br /&gt;
TT: Ten a.m., Siraj Uddin opens his eyes on the cold floor of the camp, seeing the swelling sea of men.&lt;br /&gt;
BT: sub ke das baji jab Sirajuddin ne apni anki koli to logo ka aik ublaha howa samandar ka nizara dekni laga.&lt;br /&gt;
So, the above idioms are literal idioms being translated with the help of Paraphrasing because there is no perfect equivalent of mutalatam words in English languages. A similar look at another idiom from short stories &amp;quot;khol do.&amp;quot;&lt;br /&gt;
Example 2:&lt;br /&gt;
ST: Khuda tomahra bala kari.&lt;br /&gt;
TT: Your God will reward&lt;br /&gt;
BT: Is ka badla khoda tomahi di.&lt;br /&gt;
Here, the word reward is being used for Bala Kari, an example of transitional by Paraphrasing.&lt;br /&gt;
Let  take another example from &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
ST: unkho nai Jan khateli pa rak kar sakena ko donda.&lt;br /&gt;
TT: even putting their lives online, they search sakina &lt;br /&gt;
BT: apni zindagio ko khatri me dal kar unkho nai sakina ko dond nekala.&lt;br /&gt;
The above idioms are examples of pure idiom translated from Urdu into English with the help of paraphrases strategies. However, under the same strategies, the idioms of another short story of Manto,s &amp;quot;license,&amp;quot; are translated by Aatish Taseer. Some of the examples are given below.&lt;br /&gt;
Example 4:&lt;br /&gt;
ST: Abu kochwan bara cheel jabela ta. It is the binomial type of idioms taken from the first sentence of the short story &amp;quot;license&amp;quot; by Sadat Hasan Manto &lt;br /&gt;
TT: Abu kochwan is stylish man.&lt;br /&gt;
BT: Abu kochwan aik wazahdar admi ta.&lt;br /&gt;
From the above idiom, it is clear that there is no perfect equivalence of cheela chabela idiom in English; that is, the translator goes through paraphrasing strategies. Look at another example from &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 5:&lt;br /&gt;
ST: Lein har waqat bank bani rekhi ka usi be had showk ta&lt;br /&gt;
TT: He had a weakness for style and fashion.&lt;br /&gt;
BT: Dan saj ke rekhna uski kamzori me sai ik ta.&lt;br /&gt;
So all of the above examples, which are analyzed one by one, are examples of idioms being translated through paraphrasing strategies. (De Beaugrande and Dressler 1981, 50) define paraphrases as &amp;quot;approximate conceptual equivalence among outwardly different material.&amp;quot; Similarly, in this regard, Hirst defines paraphrases as &amp;quot;talk(ing) about the same situation in a different way.&amp;quot; Munday declared that &amp;quot;equivalence is particularly useful in translating idioms and proverbs” For instance, if the English idiom like a bear with a sore head is rendered into Persian as (mesle borje zahremar), meaning like a tower of snake venom, the strategy of equivalence has been applied. &lt;br /&gt;
According to Leonardi, &amp;quot;Equivalence can be said to be the central issue in translation.&amp;quot; In this regard, house believes that &amp;quot;a translation text should match not only its source text in function but also employ equivalent situational-dimensional means to achieve that function&amp;quot; (Baker 2002, 49).  who shares this approach, states that equivalence is used &amp;quot;for the sake of convenience—because most translators are used to it rather than because it has any theoretical status&amp;quot; (Kenny 1998, 77). &lt;br /&gt;
Despite different attitudes to the concept of equivalence, most specialists pay much attention to its meaning in the theory of translation. The translation is a form of communication, and that is why it is vital to establish equivalence between the source text and the target text. Although Vinay and Darbelnet believe that equivalence is used differently than in modern translation theory, it is evident that equivalence is one of the basic concepts of translation that cannot be neglected. Consequently, based on the Above mentioned studies using Paraphrasing in translation stands as the core concept in the process of translation, and still, most of the translators cling to it for producing a more comprehensible and explicable text. These language ideas and translation models are ideal constructs, presented abstractly in order to be differentiated precisely. They may exist in an uneasy combination in actual theories and practices, resulting in logical tensions or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation. Theories and actions must be contextualized in historical settings. They've been utilized as analytical tools to describe various topics in section introductions. Theoretical writings and current events these language notions and translation models are ideal constructs expressed in an abstract manner in order to be distinguished precisely in real-life hypotheses they may exist in an uncomfortable mix, resulting in logical conflicts or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
4.2	Using an idiom of Similar Meaning and Form &lt;br /&gt;
As mentioned earlier, this strategy type is being used by Aatish Taseer during their translated work of Manto's short stories &amp;quot;khol do&amp;quot; and&amp;quot; license&amp;quot; on an occasional basis. Some examples are mention below.&lt;br /&gt;
From khol do.&lt;br /&gt;
Example 6:&lt;br /&gt;
ST: Larki ka rang zard hogaya.&lt;br /&gt;
TT: The girl's face became fail&lt;br /&gt;
BT: larki ka rang zar hogya.&lt;br /&gt;
Similarly, another example from the license is&lt;br /&gt;
Example 7:&lt;br /&gt;
ST: Abu our us ke mat beer hogaie&lt;br /&gt;
TT: They fall in love with each other.&lt;br /&gt;
BT: WO ik dosri ke mokhbat me geriftar hogaie&lt;br /&gt;
The above idioms are pure ones and are being translated with the help of similar meanings and similar forms.&lt;br /&gt;
	 The procedures: transposition, modulation, equivalence, and adaptation, and when it comes to defining the term Equivalence, (Vinay and Darbelnet 2000, 90) propose that it consists in rendering &amp;quot;the same situation … by two texts using completely different stylistic and structural methods&amp;quot;, and when it comes to translating idiomatic expressions like &amp;quot;Il pleut à seaux&amp;quot; it can be translated as &amp;quot;It is raining cats and dogs&amp;quot; using the idiom of similar form and meaning in the target language.&lt;br /&gt;
As (Baker 1992, 12) states, this strategy involves using an idiom in the TL which conveys roughly the same meaning as that of the source language idiom and, in addition, consists of identical lexical items. The salient point is that this kind of match can only occasionally be achieved, which cannot be picked up more often by translators. Accordingly, both translators mentioned in the current study had quite a slim chance of using this strategy type. &lt;br /&gt;
&lt;br /&gt;
4.3 Using an idiom of similar meaning but different form:&lt;br /&gt;
During translating Manto short stories, &amp;quot;khol do&amp;quot; and &amp;quot;license,&amp;quot; some of the idioms are translated with the help of this strategy. Some of the examples are given below from two different short stories.&lt;br /&gt;
Example number one is from the short story &amp;quot;khol do&amp;quot;&lt;br /&gt;
Example 8:&lt;br /&gt;
ST: Aur bolwai gos ayai thee?&lt;br /&gt;
TT: The roitors come abroad.&lt;br /&gt;
BT: pasadi bahar agai hai.&lt;br /&gt;
The above idiom is a pure type of idiom being translated with the help of above mention strategy. The word rioter is being used for bolwai, which is not a perfect word for bolwai. In Urdu bolwai, people believe in violence when minorities or the low population of any country want some rights. These people stop them by using violence, burn down their properties, rapes women, and do things like that. Another example from the license is below.&lt;br /&gt;
Example 9:&lt;br /&gt;
ST: Dosri kotwal abu ko dek kar jal ban ho jati.&lt;br /&gt;
TT: The other coachman burn with envy.&lt;br /&gt;
BT: Abu ke kamyabi dek kar aur kotwal abu sai khasad karni lagi’&lt;br /&gt;
The above idioms are a pure idiom that reflects the effect of jealousy between competitors to achieve equivalency. Aatish Taseer uses envy word for jal ban instead of other which have similar meaning but different form. Look at the other example from &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 10:&lt;br /&gt;
ST: Dino lat vo lagal se kam karni laga.&lt;br /&gt;
TT: Dino came with an excuse.&lt;br /&gt;
BT: Dino abb bahi tarashni laga.&lt;br /&gt;
	&lt;br /&gt;
The above idioms are types of binomial idioms translated with the help of idioms with similar meanings and different forms. (Newmark 1988, 81) mentions the difference between translation methods and translation procedures. He writes that &amp;quot;[w]hile translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language&amp;quot; (Newmark 1988, 81). Idiomatic translation in his definition reproduces the 'message' of the original. However, it distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original, leading to using an idiom of similar meaning but a different form. Besides, it is often possible to find an idiom or fixed expression in the target language with a meaning similar to that of the source idiom or expression but which consists of different lexical items (Baker 1992, 12). Therefore, translators discover idiomatic expressions in the target language with different forms than in the source language. In the current study, the translators approached this strategy merely for 9% of the total times, which means the frequency of Iranian and English idioms with the same meaning and different forms is not considered high. &lt;br /&gt;
&lt;br /&gt;
4.4 Translation by omission:&lt;br /&gt;
A translator is less using these strategies, and we did not find any clue on this type of strategy in an area under consideration.&lt;br /&gt;
&lt;br /&gt;
=== Findings===&lt;br /&gt;
&lt;br /&gt;
(Mandelbit 1995) believed that idioms with different cognitive mapping in the target language would be more challenging to translate. After conducting study and data analysis of collected data, the result revealed that the translator frequently used three out of four strategies of the Mona Baker model during the translation process, which is a translation by Paraphrasing, translation by similar meaning and similar form, translation by similar meaning and different form. In contrast, translation by omission does not found in his work.&lt;br /&gt;
After detail and careful analysis of data, more than half of idioms like &amp;quot;swelling sea of man,” my lord break his arrogance, “weakness for style and fashion.&amp;quot; As I mentioned earlier, many more are translated under the umbrella of Paraphrasing, which is considered the most common method used for translating idioms.&lt;br /&gt;
&lt;br /&gt;
Similarly, we also reflect strategies like similar meaning and different form and similar meaning and similar form. The idiom &amp;quot;rioter came abroad,” burn with envy,” The girl's face became pale, &amp;quot; They fall in love with each other&amp;quot; are translated with the help of two mention strategies, respectively.&lt;br /&gt;
&lt;br /&gt;
Although translation by omission is a strategy used on rare occasions because of its meaning, its meaning cannot be easily paraphrased or stylistic reason. Here, the researcher also did not find any idiom translated with the help of the omission strategy.&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
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===Ambiguity===&lt;br /&gt;
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===Lexical and Structural Mismatches===&lt;br /&gt;
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===Multiword units: Idioms and Collocations===&lt;br /&gt;
&lt;br /&gt;
===Summary===&lt;br /&gt;
&lt;br /&gt;
===Further Reading===&lt;/div&gt;</summary>
		<author><name>Atta Ur Rahman</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=130880</id>
		<title>Translation types, strategies, styles, methods</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=130880"/>
		<updated>2021-12-10T15:07:39Z</updated>

		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* Discussion and Analysis */&lt;/p&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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==Abstract==&lt;br /&gt;
''Legend of Zhen Huan'', as an excellent Chinese TV series, has successfully entered the American market. However, the American version of Legend of Zhen Huan still has some shortcomings in translation. By comparing and analyzing the subtitle texts of the ''Legend of Zhen Huan'' in China and the United States, this paper aims to discuss the problems existing in the overseas translation of the ''legend of Zhen Huan'' and the translation strategies and methods adopted in the subtitle translation of the American version, so as to provide some enlightenment for Chinese costume dramas to reach the world in the future.&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
Translation strategy and translation methods; ''Legend of Zhen Huan''; Subtitle translation&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
The TV series ''Legend of Zhen Huan'' is Imperial-harem competing play produced by the Beijing Television Arts Center in 2011. This play is adapted from a novel of the same name written by Liu Lianzi, which mainly tells the story of the young girl Zhen Huan growing up from an unsophisticated young girl to an empress dowager who is good at politics. Since its debut in China in 2012, ''the Legend of Zhen Huan'' has been a hit among Chinese audiences, with its ratings rising and even forming “Zhen Huan craze” for a time. The reason why the play has received so much praise, on the one hand, is that the film and television script is well-produced; on the other hand, it is because the plots and dialogues of the characters in the play cover a wealth of historical and cultural knowledge, embodying the profundity of Chinese culture.&lt;br /&gt;
Due to its great success in the domestic market, the series finally attracted the attention of foreign producers: the American team adapted the original ''Legend of Zhen Huan'', cutting the 76-episode original drama into six episodes,which was officially launched on Netflix’s paid website in the United States on March 15, 2015. It is the first Chinese TV series to be broadcast on mainstream TV stations in the United States. &lt;br /&gt;
However, the American version of the ''Legend of Zhen Huan'' failed to be sought after by audiences in the US, with most viewers abandoning the show after only one or two episodes.The English lines of the ''Legend of Zhen Huan''’s have ever been criticized by some Chinese audiences. After a deep study of the reason, in addition to the lack of content caused by a large amount of deletion and cutting, another important reason is the insufficiency of subtitle translation. This paper attempts to explore the translation strategies of the subtitle of ''Legend of Zhen Huan'', hoping to provide some inspiration for the subtitle translation of domestic film and television works of the same type.&lt;br /&gt;
&lt;br /&gt;
==Literature Review==&lt;br /&gt;
&lt;br /&gt;
===Previous studies in Subtitle Tranlation abroad===&lt;br /&gt;
In the early 1970s, Doller Up (1974) published a paper entitled “On Subtitle in TV Programs” on Babel, an authoritative journal of the International Association of Translators, which was the first time that scholars paid special attention to subtitle translation. In addition, he creatively pointed out the great value of TV subtitles to foreign language teaching, and then made contributions to the cause of education.&lt;br /&gt;
&lt;br /&gt;
In 1976, Istvan Fodor published a book called Film Dubbing: Aspects of Phonology, Semiotic Aesthetics, and Psychology, which centered on film dubbing from an acoustic perspective. Fodor argues that because each country’s language and culture are unique and irreplaceable, it is almost impossible to achieve perfect “synchronization” in all aspects of the translation of film(Fodor 1976:82).&lt;br /&gt;
&lt;br /&gt;
In 1982, Christopher Titford first proposed the concept of “restricted translation” in his article “Subtitling: Restricted Translation”. He believes that the limitations of film and television as a medium themselves are the main cause of problems encountered by translators in practice (Titford 1982:113).&lt;br /&gt;
&lt;br /&gt;
In 1992, Ivarsson, a Swedish subtitling translation scholar, published his book Subtitling for Media: A Handout of Art, which can be said to be the first comprehensive study of subtitling translation works in Europe. In this book, Ivarsson introduces the development of subtitle translation technology in detail. The most representative subtitle translation scholars are Gambill and Gottlieb, who are two translation theorists. Yves Gambill, a Finnish translator, is a very important expert in the field of film and television translation. Gambill has a wide range of research fields, he has compiled a large number of academic monographs, such as language transfer and Audiovisual Communication: bibliography, which discusses the classification of translation patterns, translation strategies, translation audience and so on (Gambill 1997).&lt;br /&gt;
&lt;br /&gt;
===Previous studies on Subtitle translation at home===&lt;br /&gt;
The research on subtitle translation in China mainly focuses on the English translation of Chinese films, and a large number of such papers and articles have been published, which are also the most representative research results of subtitle translation in China. In addition, with more and more domestic films moving toward the international stage, some attention has been paid to the study of Chinese subtitles.&lt;br /&gt;
&lt;br /&gt;
The study on Chinese and English subtitle translation can be divided into several fields, including film and television language characteristics, subtitle translation methods, subtitle translation history and so on.&lt;br /&gt;
&lt;br /&gt;
Subtitle translation methods can be broadly divided into two categories. One category refers to some practical translation methods and skills summed up by translators based on their years of translation experience, such as the seven kinds of experiences of film and television translation proposed by Qian Shaochang (2000), which stresses the importance of “translation” in the output of films and TV plays. The other is related to domestic MA papers. They usually start with some translation theories, such as German functional translation theory, Eugene Nida’s functional equivalence theory, relevance theory, and Susan Basnett’s cultural translation theory, and finally conclude translation methods such as domestication, foreignization, literal translation, free translation, omission and so on.&lt;br /&gt;
&lt;br /&gt;
In recent years, with the increasing popularity of American TV series in China, the phenomenon of online subtitle translation has begun to attract attention from all sides. As time went by, subtitle translation goes beyond the simple purpose of satisfying the entertainment needs of movie fans, and begin to be applied to teaching practice and students’ self-learning process. This phenomenon is bound to attract academic attention. For example, Wang Hui (2005) discussed this issue in his article “The Impact of Subtitling on Vocabulary Acquisition”. This paper draws some conclusions which are beneficial to foreign language teaching.&lt;br /&gt;
&lt;br /&gt;
However, there are still many deficiencies in the study on subtitle translation. The only literature we can refer to is few books on the translation of film and television subtitle. In other words, subtitle translation is not discussed in detail.&lt;br /&gt;
&lt;br /&gt;
==Subtitle translation features==&lt;br /&gt;
&lt;br /&gt;
===Subtitle translation needs to be brief and comprehensive===&lt;br /&gt;
Subtitle translation should not be lengthy for two reasons: First, because the screen keeps switching, each screen stay can not be very long, the scene with the character’s dialogue switches over more quickly, in a matter of seconds, which is fleeting. Second, whether it is the large screen in the cinema or the small screen in the home, due to space constraints, if the subtitle translation is not simple enough, it will lead to an increase in the number of words in the target language, not to mention the English words that take up more space than Chinese phrases. English words take up more space than Chinese phrases.&lt;br /&gt;
&lt;br /&gt;
Take the Chinese phrase “Computer”for example, the English equivalent word is computer. The Chinese verb “来”corresponds to the English word “Come”. In general, English words have more characters than their Chinese counterparts, except in rare cases. Since the length of the word can not be artificially controlled, subtitle translation will put a higher demand on the number of words. In a typical presentation, Chinese and English subtitles are displayed simultaneously at the bottom of the screen, up to two lines of Chinese and two lines of English.&lt;br /&gt;
&lt;br /&gt;
If there are too many words, the limited space can not accommodate in a few seconds, the audience will have a dazzling feeling as well. Therefore, one of the distinctive features of subtitle translation is its concise use of words.&lt;br /&gt;
&lt;br /&gt;
===Subtitling translation requires natural equivalence===&lt;br /&gt;
The subtitling of the target language should be as natural as the subtitling of the source language. The subtitle translation discussed in this paper is mainly about the dialogue of the characters in the play. On the one hand, the style of dialogue is colloquial, in this sense,It is important   for the translator to pay attention to whether the subtitle translation that the target language audience can hear and see is in line with their daily speaking style.If the original spoken language is translated formally and rigidly, the audience of the target language will feel less natural and fluent, and their movie-watching experience can not be comparable with that of the source language audience. On the other hand, the spoken language features of the characters can clearly shape the characters in the play. If the translator does not grasp the spoken features of the characters, the target audience can not understand the character’s connotation as well as the source audience.&lt;br /&gt;
&lt;br /&gt;
Therefore,if a character needs to say something filthy, or even taboo, to make the character stand out, the subtitle translator must also translate the same filthy and taboo.These taboos should inevitably appear in the subtitle translation, and we should not mince words about them. The same is true of English to Chinese subtitle translation and Chinese to English translation. Because these taboo words are the extension of the role connotation, improper handling will affect the target audience's understanding of the connotation of the role.&lt;br /&gt;
&lt;br /&gt;
===Subtitle translation needs to be easy to understand===&lt;br /&gt;
The film and Television Play is the Popular Entertainment Program, so subtitle translation should be clear at a glance. There are thousands of people watching TV dramas, and their knowledge and cultural level vary widely, and their appreciation level is naturally mixed.Film and TV series have such a wide audience, which requires subtitle translation to take care of the needs of the majority of the audience whether from the perspective of box office and Audience Rating, or from the perspective of cultural communication.&lt;br /&gt;
&lt;br /&gt;
==Theory of Domestication and Foreignization==&lt;br /&gt;
In the process of translation, the translator should determine the general direction of translation, cultivate a good sense of culture, and fully understand that translation is an important feature of information exchange across different languages and cultures. But how to achieve that? There are two opposite strategies in translation: foreignization and domestication. The terms of domestication and foreignization were put forward by Laurence Venutti in his book Translators’ invisibility in 1995:&lt;br /&gt;
&lt;br /&gt;
===Domestication===&lt;br /&gt;
The domestication strategy is to localize the source language, take the target language or target readers as the destination, and convey the content of the original text in the way that the target language readers are accustomed to.Domestication requires the translator to be closer to the target language reader, and the translator must speak like the native author.This translation strategy will often make the translation transparent, smooth, relaxed and natural, close to the reader to the greatest extent, so as to dilute the strangeness brought by the original text.In film and television subtitle translation, domestication is often used in order to make the audience understand the film smoothly.&lt;br /&gt;
&lt;br /&gt;
===Foreignization===&lt;br /&gt;
The foreignization strategy is completely opposite to the domestication strategy, which is oriented by the source language culture and that &amp;quot;the translator should not disturb the author as much as possible to make the reader close to the author&amp;quot;.Foreignization advocates believe that the main purpose of translation is cultural communication, so the translation should try its best to preserve the language and cultural information contained in the source language.Only in this way can the exchange and fusion of source and target cultures be achieved through translation. In addition, they believe that the translator should believe the reader’s imagination and intelligence to the utmost, and believe that when reading the translated version, the reader should not only understand the simple words, but also understand the foreign culture through the words, and they have the capacity to understand the culture. &lt;br /&gt;
&lt;br /&gt;
Of course, as two translation strategies, domestication and foreignization are the unity of opposites and they complement each other. Absolute domestication and absolute foreignization do not exist.&lt;br /&gt;
&lt;br /&gt;
==Case Study==&lt;br /&gt;
&lt;br /&gt;
===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
The essence of “foreignization”is “the tendency toward the original author”, that is, the translator tries to be close to the original author in his translation (Xiong Bing, 2014). In the words of the Friedrich Schleiermacher, this means that the translator“Tries not to disturb the original author, but to take the reader to the original author”(Robinson, 2006:229) . Specifically in Translation, the translator tries to retain the original language, literariness, cultural characteristics and exotic customs (Xiong Bing, 2014) . Therefore, the nature of foreignization strategy is mainly in favor of the original author, and its defects are mainly reflected in the readability of the translation. In other words, the translation may be blunt and not well received and understood by the audience. Therefore, the translation effect is not ideal for the target audience.&lt;br /&gt;
&lt;br /&gt;
====Literal Translation====&lt;br /&gt;
Literal translation means keeping both the content and the form of the original text in the translation when the language conditions permit, especially the metaphor, image, national and local color of the original text.The vast majority of subtitle translation of the Us version of ''Legend of Zhen Huan'' adopts literal translation. Look at the following example:&lt;br /&gt;
&lt;br /&gt;
Example 1&lt;br /&gt;
&lt;br /&gt;
Chinese version：嬛嬛一袅楚宫腰。&lt;br /&gt;
&lt;br /&gt;
American version：the slim waist of the concubines of the Chu palace.&lt;br /&gt;
&lt;br /&gt;
For the word “Huan”in the name of Zhen Huan, the American version uses the Foreignization method, which is translated literally as the slim waist of the concubines of the Chu palace.Western audiences may be confused by the subtitles,Western audiences may be confused by the subtitles, because Zhen Huan is clearly a woman from the Qing Dynasty, how come another Chu Palace? In terms of accuracy and the conveying of cultural context, this translation is well-done, but it creates a barrier for the audience to understand. Therefore, the translation can throw out on its real meaning, such as translated into As my name, Huan, means graceful women with slim waist, &amp;quot;Chu palace&amp;quot; here means can be omitted.&lt;br /&gt;
&lt;br /&gt;
Example 2&lt;br /&gt;
&lt;br /&gt;
Chinese version：一片冰心在玉壶&lt;br /&gt;
&lt;br /&gt;
American version：A jade vessel is the symbol of a pure heart.&lt;br /&gt;
&lt;br /&gt;
“Jade Vessel”in Chinese has a unique associative meaning, while the meaning of these words in English is vacant. Western audiences just think that Dr. Wen is evaluating his character, but they can’t hear his pure love for Zhen Huan, so on the basis of foreignization, it’s better to add some domestication translation to make it easier for the audience to understand.&lt;br /&gt;
&lt;br /&gt;
The American versions of examples 1 and 2 are very literal and concise translations, because the original subtitles have no hidden meaning.However, due to the wrong choice of translation methods, a small number of translated subtitles are just like translation cavities.If the cultural significance of the original text is lost, the translation may be regarded as a failure.In a sense, actors’ performances and lines are the &amp;quot;booster&amp;quot; of the plot development of the TV series.However, if the audience can not understand the original meaning, the story will be much less attractive in the eyes of the audience.For example:&lt;br /&gt;
&lt;br /&gt;
Example 3&lt;br /&gt;
&lt;br /&gt;
Chinese version：“赏你一丈红”&lt;br /&gt;
&lt;br /&gt;
American version：Then I will award Attendant Xia the Scarlet Red.&lt;br /&gt;
&lt;br /&gt;
In the original subtitle of example 3, “一丈红” (yi zhang hong,  literally “two-meter-long red”) is used to punish a palace maid or a  concubine who had done something wrong in China’s ancient imperial palace. The specific content of the penalty goes as follows: a two-meter-long and two-inch-thick board was used by the performer to give the guilty palace maid or concubine a good beating on their waist or the place below it until their bones were broken and the blood gushed out.   Looking from the distance, you will see that the blood covered a long distance. Thus, it is called “一丈红”. &lt;br /&gt;
&lt;br /&gt;
In the American version of Legend of Zhen Huan, it is translated into “the Scarlet Red”. the word Scarlet itself means “Lewd and sinful,”as in the Scarlet letter. It is very appropriate to translate &amp;quot;red&amp;quot; with scarlet. However, this partial literal translation runs counter to the American audience’s way of thinking, which they think it as nothing more than a horror show. In this way, the specific penalty content will be lost, and the target audience can't feel that the harem struggle is everywhere in the court, and can't get the equal effect for them.&lt;br /&gt;
&lt;br /&gt;
In this way, the specific content of the penalty will be lost, the target audience can not feel the Harem struggle existed everywhere in the imperial court and the equivalent effects cannot be obtained for them.&lt;br /&gt;
&lt;br /&gt;
====Zero Translation====&lt;br /&gt;
The so-called &amp;quot;zero translation&amp;quot; means that some elements of the source language are directly introduced into the target language without the ready-made words in the target language (Xiong Bing, 2014). This translation method is mainly used to translate the names of people and officials in the English version of the ''Legend of Zhen Huan''. That’s because in ancient China, there was a very strict patriarchal system with the ideas of three cardinal guides and the five constant virtues.&lt;br /&gt;
&lt;br /&gt;
In the eyes of the Chinese people, the distinction between the titles of concubines and concubines is clear at a glance, but it is difficult for foreigners to see these things, because medieval European monarchs were nominally allowed only one wife, there is no such complicated hierarchy of appellation among women. Therefore, such titles as &amp;quot;贵妃&amp;quot;, &amp;quot;妃&amp;quot;, &amp;quot;嫔&amp;quot;, &amp;quot;贵人&amp;quot;, &amp;quot;常在&amp;quot; and &amp;quot;答应&amp;quot; are presented in a dynamic equivalent way (words with similar functions in the source language), for example:&lt;br /&gt;
&lt;br /&gt;
Example 4&lt;br /&gt;
&lt;br /&gt;
熹贵妃——Noble Consort Xi    华妃——Consort Hua&lt;br /&gt;
&lt;br /&gt;
莞嫔 ——Concubine Huan       沈贵人——Lady Shen&lt;br /&gt;
&lt;br /&gt;
夏常在——Attendant Xia       小主——Young Mistress&lt;br /&gt;
&lt;br /&gt;
敦亲王：Prince Dun            舒太妃：Consort Dowager Shu&lt;br /&gt;
&lt;br /&gt;
Example 4 only shows a few official titles of the characters in the ''Legend of Zhen Huan''. However, the translation subtitles in this example reveal a subtitle rule that the American version of the ''Legend of Zhen Huan'' Uses Zero Translation for personal names and free translation for official titles. And we can clearly see the efforts of translators to represent this hierarchical culture in ancient China. However, this method of translation can not meet the needs of the current audience, because the ancient Chinese culture is broad and profound, and the official titles of emperors and concubines in the play conform to the traditional Chinese culture&lt;br /&gt;
&lt;br /&gt;
However, the cultural ideologies of the American people and the Chinese people are very different. Traditional translation can not convey the characteristics of the characters and the intensification of their contradictions. The American people have not experienced the five thousand years of slavery and feudalism in China, nor do English dictionaries or translation related books have Chinese cultural vocabulary. In addition, the current subtitle translation does not advocate the use of a large number of notes, which will have a negative impact on the effect of watching the drama.&lt;br /&gt;
&lt;br /&gt;
Therefore, notes are usually used only for the first appearance of a character, in order to provide the necessary introduction in enough subtitling space.When they appear a second time, the introduction will be omitted.As for the conflicts between the characters and the progress of the plot, it is difficult for the target audience unfamiliar with Chinese History to adapt to the culture and conflict in the play. Therefore, it is hard to arouse their interest in watching this drama.&lt;br /&gt;
&lt;br /&gt;
===Translation Methods under Domesticating Strategy===&lt;br /&gt;
Opposite to the foreignizing strategy, domestication is characterized by the “tendency toward the target recipients” (Xiong Bing, 2014). In other words, the translator tries to be as close to the target recipients in the translation as possible. In Schleiermacher’s words, it means that translators “try not to disturb the reader, but to bring the original author to the reader” (Robinson, 2006: 229). Specifically speaking, in the translation, the translator uses the language, literary devices, cultural elements that the target language readers love to replace the language, literary devices and cultural elements of the original language as much as possible, and abides by the language, literary devices and cultural norms of the original language (Xiong Bing, 2014). &lt;br /&gt;
&lt;br /&gt;
The domesticating strategy is a translation strategy just opposite to the foreignizing strategy. Its advantage is that the translation can be fluent, easy to understand, and easily accepted by the target recipients; or it tries to meet the specific needs of the target audience. However, the domesticating strategy also has some shortcomings. The first weakness of it is the loss of the language, literariness, culture and other important elements of the source text, so that the target audience cannot appreciate the exotic authentic language and cultural practices. This cannot help the cultural exchange and dissemination between different ethnic groups. The second weakness is that the domesticating strategy of the translated text may lead to semantic loss and semantic ambiguity in translated texts.&lt;br /&gt;
&lt;br /&gt;
====Omission====&lt;br /&gt;
Omission is a very important method in domestication strategy.The Syntactic structure of English emphasizes &amp;quot;hypotaxis&amp;quot;, and there are appropriate connecting elements between each component of a sentence to express their mutual relations, which emphasizes the consistency and coordination of grammatical relations.The structure of Chinese sentences is &amp;quot;parataxis&amp;quot;, and the relationship between each component of the sentence depends more on the intention, and less on the linking component. The structure form is relatively relaxed, and the words and sentences are relatively simple.Therefore, Omission is one of the most common methods in Chinese text translation.Word reduction means that in translation, the translator must grasp the differences between Chinese and English, omit the unnecessary linking elements in Chinese, make the translation smooth, avoid stiff and cumbersome, and eliminate unnecessary words and words as far as possible.There are many examples of reducing words in the translation of Legend of Zhen Huan.&lt;br /&gt;
&lt;br /&gt;
Example 1&lt;br /&gt;
&lt;br /&gt;
Chinese version:“先敬罗衣后敬人。” &lt;br /&gt;
&lt;br /&gt;
American version: “The clothing completes the person.”&lt;br /&gt;
&lt;br /&gt;
This Chinese idiom means that people will first look at the clothes they are wearing and judge their social status according to the clothes. There is a derogatory element in it.However, in the translation of this sentence, the translator adopted the word reduction method and did not translate every word.The word &amp;quot;complete&amp;quot; expresses the idea that &amp;quot;clothes make the man&amp;quot;, but fails to express the meaning intended in the original text.Therefore, the author thinks that can continue to use the Omission here, will change its translated into “According to clothing to estimate people’s status.”&lt;br /&gt;
&lt;br /&gt;
Example 2&lt;br /&gt;
&lt;br /&gt;
Chinese version: “花开堪折直须折，莫待无花空折枝。” &lt;br /&gt;
&lt;br /&gt;
American version: One must pick a flower at the prime of its bloom, Do not wait until the blossom fade and falls.&lt;br /&gt;
&lt;br /&gt;
There are three Chinese characters for &amp;quot;折&amp;quot; in this sentence, but the translator did not show any of them in the Process of English translation.Shall we say that he did not translate the Chinese meaning?Of course not. The translator must have noticed these three &amp;quot;fold&amp;quot; characters in the process of translation. If one of them is translated out, the sentence will appear too long-winded and not in line with the characteristics of subtitle translation.Therefore, the translator starts from the meaning of the original text to persuade people to cherish, and cleverly leaves out the word &amp;quot;折&amp;quot;, which not only avoids repetition, but also conveys the meaning of the original text.This reflects the three principles of Skopos theory: &amp;quot;Based on the source language, pay attention to the culture in the target language, the intention of translation activities and the acceptance state of the American audience&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
====Addition====&lt;br /&gt;
Addition is also an important translation method in domestication strategy.Augmentation refers to the use of structural and semantic augmentation to compensate for linguistic and cultural deficiencies in the target text.Structural supplement refers to the addition of omitted words or replaced words to make the content of translation more complete.Semantic supplement refers to the translator's addition of nouns, verbs, summative words, explanatory words and conjunctions to compensate for the lack of language and culture in the target text so that readers can understand the original text.&lt;br /&gt;
&lt;br /&gt;
Example 1&lt;br /&gt;
&lt;br /&gt;
Chinese version:“他不忍叫你明珠暗投。”  &lt;br /&gt;
&lt;br /&gt;
American version:&amp;quot;You will not be granted an ordinary life when you can live an extraordinary one.&lt;br /&gt;
&lt;br /&gt;
In this example, the translator adopted Addition method to make a explanatory translation for &amp;quot;明珠暗投&amp;quot; , the translation of &amp;quot;be granted an ordinary life when you can live an extraordinary one.&amp;quot;As we know, Chinese idioms are one of the wonders of The Han culture, and they often show rich implicit meanings in condensed four-character sentences.In the translation of this sentence, it is easy for us to understand the meaning of &amp;quot; 明珠暗投&amp;quot;&amp;quot;, but how to make the American audience understand, the translator needs to make an explanation, so that the American audience can understand the implicit meaning of the original text, so as to reduce the cultural burden.&lt;br /&gt;
&lt;br /&gt;
Example 2&lt;br /&gt;
&lt;br /&gt;
Chinese version：“臣妾一与社稷无功，二与龙脉无助。” &lt;br /&gt;
&lt;br /&gt;
American version:“Firstly, I have made no contribution to the nation. Secondly, I have begotten no heirs.&lt;br /&gt;
&lt;br /&gt;
In example 2, the translator interprets &amp;quot;社稷&amp;quot; as &amp;quot;nation&amp;quot; for readers to understand.&amp;quot;社稷&amp;quot; has always been a synonym for &amp;quot;nation&amp;quot; in Chinese, just as &amp;quot;White House&amp;quot; is a synonym for &amp;quot;America&amp;quot;. In addition, there is no English equivalent for &amp;quot;nation&amp;quot;, so it is appropriate for the translator to use &amp;quot;nation&amp;quot;.Heirs to dragon vein, a Feng shui concept meaning undulating mountains, succeed.Later, the royal family regarded it as the lifeblood of the country, so they would call the royal blood &amp;quot;dragon vein&amp;quot;.Heirs to dragon Vein, which in this case means heirs to the emperor's children, succeed in translating it into Heirs to the emperor.It's less common and more advanced than the word &amp;quot;children&amp;quot;, which is often thrown around.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
The subtitle translation strategy of Legend of Zhen Huan generally focuses on domestication, and tends to transform implicit meaning into explicit meaning.When the meaning of the source language is complex and difficult to be understood by the target language audience, the translation strategy of domestication is usually adopted, and the expressions used in the target language are adopted.If there is an equivalent or similar expression between the target language and the source language, alienation should be considered, and a concise explanation should be added if conditions permit, so that the cultural essence of the source language can be preserved and the audience can experience the charm and national characteristics of traditional Chinese culture.&lt;br /&gt;
&lt;br /&gt;
As a translation strategy, absolute domestication and absolute foreignization do not exist in translation practice.The task of the translator is to make the best use of the two strategies in practice according to the specific language characteristics, the purpose, the language characteristics of the source language and the target language, and the national culture, so as to bridge the cultural differences between the two countries.&lt;br /&gt;
&lt;br /&gt;
==Reference==&lt;br /&gt;
[１]Dollerup, Cay. On Subtitles in Television Programs[J]. Babel, 1974, (20): 197-202. &lt;br /&gt;
&lt;br /&gt;
[２]Ivstor, Fordor. Film Dubbing: Phonetic Semiotic, Esthetic and Psychological Aspects[C]. John Benjamins, 1976. &lt;br /&gt;
&lt;br /&gt;
[３]Schleiermacher, F. On the Different Methods of Translation[A]. In Robinson, D.(ed.). Western Translation Theory: From Herodotus to Nietzsche[C]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
&lt;br /&gt;
[４]Titford, Christopher.Subtitling: Constrained Translation[J]. Lebende Sprachen, 1982, 27(3):113-116.  &lt;br /&gt;
&lt;br /&gt;
[５]钱绍昌. 影视翻译──翻译园地中愈来愈重要的领域[J]. 中国翻译, 2000(1):61-65.&lt;br /&gt;
&lt;br /&gt;
[６]汪徽.字幕对伴随性词汇习得的影响[J].外语电化教学,2005(2):47-52. &lt;br /&gt;
&lt;br /&gt;
[７]熊兵. 翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J]. 中国翻译, 2014(3):82-88.&lt;br /&gt;
&lt;br /&gt;
=2 刘晓 The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
[[Trans_Type_EN_2]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
With the rapid growth of economy, people's pursuit of life quality is gradually increasing. Travelling abroad has become a hot topic nowadays. The rapid development of overseas travel has increased the market demand for tourism translation, and more stringent requirements for tourism translators. How to deal with the translation problems caused by the cultural differences between Chinese and English during the translation process is of great importance to improve the quality of tourism translation. The communicative translation strategy in Newmark's translation theory focuses on the effect that the translation brings to the target language readers, which is of certain guiding significance to the E-C translation of tourism texts. Therefore, this paper takes ''Everglades National Park, Florida (Excerpt)'' as an example to analyze the specific translation strategies and methods in the application of Newmark's translation theory in tourism texts, so as to provide reference for other translators.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Translation strategy and translation methods; Peter Newmark; Tourism texts&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
This paper is based on the English-Chinese translation of ''Everglades National Park, Florida (Excerpt)''. By analyzing the application of Peter Newmark's communicative transaltion in the translation, the author proposes some translation methods, which can be provided for future references.  This chapter mainly introduces the background information and significance of the report, and the domestic research status.&lt;br /&gt;
&lt;br /&gt;
====Research background====&lt;br /&gt;
&lt;br /&gt;
With the development of the world, various kinds of tourism appear in people’s life, and has unprecedentedly, extremely widely spread a variety of culture and lifestyle. Tourism has become a rising sunrise industry in modern society (Jin Huikang, 2007). To a foreign country to enjoy the beautiful scenery can make people know the colorful world and further know what they want. And this activity also has made tourism translation a reality and a thriving discipline.&lt;br /&gt;
&lt;br /&gt;
However, due to the different geographical environments, cultural differences and historical backgrounds in different countries, many translators often ignore the disadvantages brought by differences in language and cultural habits in the process of translation, so that the original meaning of the original text will be lost in the process of transmission, which may cause confusion for tourists and cannot achieve the purpose of offering them accurate information and stimulating their interest.&lt;br /&gt;
&lt;br /&gt;
Therefore, in order to make it more convenient for domestic citizens to travel abroad, translators should choose appropriate translation strategies and methods according to the cultural differences between China and foreign countries in the process of tourism English translation, so that tourists can form an objective and correct understanding of scenic spots. The semantic translation and communicative translation strategies in Peter Newmark’s Theories respectively focus on whether the meaning of the original text is exactly reproduced and the effect and influence that the translation brings to the target language readers, which are of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
&lt;br /&gt;
====Research significance====&lt;br /&gt;
&lt;br /&gt;
In theory, based on Peter Newmark’s translation theories, this paper chooses the semantic translation strategy and puts forward appropriate translation methods for the English-Chinese translation of tourist text -- the ''Everglades National Park, Florida (Excerpt)'', which is of certain guiding significance for English - Chinese translation of tourist texts.&lt;br /&gt;
Based on the practice of the ''Everglades National Park, Florida (Excerpt)'' English - Chinese translation and the analysis of Newmark’s communicative translation strategy’s application, this paper sums up some translation methods, such as voice change, objective and personal subject changing, adding conjunctions, etc. And these methods can be provided for future references in the translation study and practice of others, which has a certain practical significance.&lt;br /&gt;
&lt;br /&gt;
====Literature review====&lt;br /&gt;
&lt;br /&gt;
Through the analysis of Newmark’s communicative translation in recent years, it can be found that there are many references for the guidance of communicative translation on tourism translation texts. He Xueyun (2005) proposes that the public notices and signs should belong to the vocative functional text and focus on the reader-centered communicative translation, which can give foreigners a better environment for travel, study and work in China. For such a style, the communicative translation theory should be chosen, the target readers put in the first place and always in mind, and their culture and receptivity taken into account. Jin Huikang (2006) believes that tour guide words must have a specific expected function, which are a kind of texts that integrate informative, expressive and vocative functions. Therefore, tourism translation should aim at effective attraction for overseas tourists, and the translator should grasp the group characteristics of overseas tourists and audiences when carrying out tourism propaganda or translating tourism materials. Ma Chen (2010) points out that the tourism text is a kind of article mainly based on vocative function, and the core of which is to accurately convey information for readers. Liu Anhong (2013) proposes tourism text as a kind of publicity material, aiming to stimulate tourists’ interest in visiting. According to the division of Newmark, the tourism text should belong to the text with the vocative function as its main function and the informative function as its secondary function. Therefore, the translation of tourism text should effectively achieve the effects similar to the original text.&lt;br /&gt;
&lt;br /&gt;
From the combing of previous literatures, it can be found that there are many studies on the translation of tourism texts guided by Newmark’s communicative translation strategy. However, at present, there are few studies on the translation of tourism texts from English to Chinese, and more studies focus on the Chinese- English translation. For this reason, this paper is based on the translation practice of ''Everglades National Park, Florida (Excerpt)'' to provide some reference for future English – Chinese translation of tourism.&lt;br /&gt;
&lt;br /&gt;
===Tourism Texts===&lt;br /&gt;
&lt;br /&gt;
====General Introduction====&lt;br /&gt;
&lt;br /&gt;
Tourism text is an important carrier for readers to obtain scenic spot information, and Tourism text is to stimulate readers' desire to travel by introducing tourist attractions and resources, and its ultimate purpose is to meet readers' expectations and arouse readers' enthusiasm by delivering tourism information. In other words, the dominant function of tourism text is vocative function. At the same time, tourism texts also provide readers with information they like, from which people can acquire relevant knowledge such as culture and customs, natural geography, etc. Therefore, informative function is also its important feature. It can be seen that the two most important functions of tourism texts are respectively informative and vocative one, whose premise is to provide information and purpose is to attract tourists. &lt;br /&gt;
&lt;br /&gt;
In addition, we should realize that translation of tourism texts is a professional translation of tourist attractions and resources for target readers, and its essence is a communicative behavior. If the translator fails to properly deal with the differences between cultures, it will often fail to achieve the expected results. Therefore, during the translation process, more attention should be paid to the accuracy and effectiveness of the information, so as to make the translation conform to the target readers’ reading habits and aesthetic expectation (Li Daosheng, 2000). This requires the translator to put the reader's acceptance first in the process of translation. That is, tourism text translation should not only realize the conversion from one language to another, but also take language barriers and cultural differences into account. Therefore, in order to achieve the goal of successful communication, translators should flexibly apply various translation strategies and adopt appropriate translation methods according to the text types of tourism texts.&lt;br /&gt;
&lt;br /&gt;
====Introduction to the ''Everglades National Park, Florida (Excerpt)''====&lt;br /&gt;
&lt;br /&gt;
Established in 1974, Everglades National Park covers 2,354 square miles, or 6,097 square kilometers (1.4 million acres). Located at the tip of southern Florida, it is the largest subtropical wildlife sanctuary in the continental United States. Everglades National Park protects an unparalleled landscape which provides important habitat for numerous rare and endangered species such as the manatee, American crocodile, and the elusive Florida panther.&lt;br /&gt;
&lt;br /&gt;
''Everglades National Park, Florida (Excerpt)'' is excerpted from a notice from U.S. National Park Service about the phased reopening of the park, including alerts of the reopening, activities, safety and accessibility. It can also be regarded as a travel guide, which describes the journey towards people and offers help to the tourists who want to go there, and which often includes the description of the best travel time, transportation, accommodation, scenic spots and matters needing attention. As a practical text, its main purpose is to introduce and promote tourist scenic spots, that is the Everglades National Park in Florida. Its vocative and informative function are very prominent, and it has the characteristics of reader-orientation, the effectiveness of information transmission and timeliness.&lt;br /&gt;
&lt;br /&gt;
===Newmark's Translation Theory===&lt;br /&gt;
&lt;br /&gt;
====General introduction of Peter Newmark's translation theories====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark, a well-known translation theorist, is one of the main figures in the founding of translation studies in the English-speaking world in 20th century. Newmark devoted himself to studying the past and present of Western translation, and put forward his own views on this basis. Newmark’s translation theories mainly include three parts, that is, the classification of text types, translation approaches, and the lately correlative theory of translation.&lt;br /&gt;
&lt;br /&gt;
According to Karl Buhler’s knowledge of language features and Jacobson’s classification of them, Newmark proposed six functions of language informative function, expressive function, vocative function, phatic function, aesthetic function, and lastly metalingual function. (Hou Yingying, 2020) Then Newmark divided text types into three: expressive-functional texts, informative-functional texts, vocative-functional texts.&lt;br /&gt;
&lt;br /&gt;
After putting forward these three text types, Peter Newmark suggested eight translation approaches or strategies. Firstly, from the perspective of focusing on the source language, he suggested word-for-word translation, literal translation, faithful translation and semantic translation; Secondly, from the perspective of focusing on the target language, he suggested adaptation, free translation, idiomatic translation and communicative translation (Newmark, 2001:45).&lt;br /&gt;
&lt;br /&gt;
In 2007, Newmark came up with a new theory, that is, correlative theory of translation, which means that “The more serious and important the language of the original or source text, the more closely it should be translated.” (Newmark, 2007)&lt;br /&gt;
&lt;br /&gt;
In conclusion, Peter Newmark has proposed many significant theories and made extensive discussion on those concepts, which will have a great influence on the translation practice.&lt;br /&gt;
&lt;br /&gt;
====Semantic translation and communicative translation====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark divided text genres into “expressive text”, “informative text” and “vocative text” in his classic work ''Approaches to Translation''. Imaginative literary works, such as poems, songs, novels and dramas, authoritative statements, autobiographies, essays and personal correspondence, etc. are expressive texts. All the formatted texts with science and technology, industry and commerce, and economy as themes belong to informative texts. And vocative text refers to all texts that can infect readers and make them “get information”.&lt;br /&gt;
&lt;br /&gt;
With reference to these three kinds of texts, Newmark further creatively proposed the concepts of semantic translation and communicative translation: “communicative translation” means that the effect of the target text on the reader of the target language is as much as the effect of the original text on the reader of the source language; “semantic translation” refers to the reproduction of the context of the source text as accurately as possible under the premise of the semantic and syntactic structure of the target language. He believed that only communicative translation and semantic translation can achieve the two major goals of translation: being accurate, and being economic (effective).&lt;br /&gt;
&lt;br /&gt;
In ''About Translation'', Newmark made a detailed comparison of the characteristics of semantic translation and communicative translation from different aspects, and pointed out that the fundamental difference between them lies in that when the information and the effect are in conflict, communicative translation lays more emphasis on effect than content, while semantic translation lays more emphasis on content than effect. Communicative translation can give the translator full freedom, the translator can reorganize the syntax, eliminate the original obscure places in the source language, and make the language conform to the standard of the target language. However, semantic translation emphasizes the content of the information itself, tries to make the form of the target text similar to the form of the original text, and retains the language characteristics and expressive style of the original author. Therefore, compared with semantic translation, communicative translation is more subjective and can better reflect the translator’s creativity and it attaches great importance to the communicative effect of translation, the key to which is to convey information, make readers of the target language think, act and feel, and play an inductive role in making the translation natural and smooth, and more readable. &lt;br /&gt;
&lt;br /&gt;
Newmark pointed out that the translation of expressive texts should employ semantic translation, while informative and vocative texts communicative translation which is reader-centered. The most direct purpose of tourism texts translation is to convey information to readers on the premise of attracting readers’ attention and leaving readers with deep memories, so that readers can take actions -- to visit tourist attractions and pay attention to matters that should be paid attention to. Thus, it can be seen that the tourism text belongs to the vocative text and the communicative translation should be applied. &lt;br /&gt;
&lt;br /&gt;
To sum up, Newmark’s communicative translation focus on the effect that the translation brings to the target language readers, which is of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
&lt;br /&gt;
===Case Study===&lt;br /&gt;
&lt;br /&gt;
The purpose of communicative translation is to try to make the translation have the same effect on the target reader as the original does on the source reader. That is to say, the key point of communicative translation is to be loyal to the target language and the target text reader, that is, the source language is required to obey the target language and culture, leaving no doubt or obscurity to the reader, and eliminating difficulties and obstacles in reading or communication for the reader as far as possible.&lt;br /&gt;
&lt;br /&gt;
Because the translator wants to achieve a certain communicative purpose, emphasizes the effect and has a specific target audience, the translation has inevitably broken the restrictions of the original text, pursuing smoothness, clarity, directness and conformity with conventions. In this part, the author analyzes the specific application of communicative translation in the translation practice of the ''Everglades National Park, Florida (Excerpt)'' from three aspects: lexical, syntactic and textual analysis.&lt;br /&gt;
&lt;br /&gt;
====At Lexical Level====&lt;br /&gt;
&lt;br /&gt;
Generally speaking, there is partial equivalence between English and Chinese, that is, similar expressions in Chinese can replace the meaning of English words or phrases (Liu Junping, 2009). In the following, two translation methods used in lexical translation will be introduced: conversion of part of speech and the translation of public signs.&lt;br /&gt;
&lt;br /&gt;
1)Conversion of part of speech&lt;br /&gt;
&lt;br /&gt;
Example 1:&lt;br /&gt;
&lt;br /&gt;
ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors.''&lt;br /&gt;
&lt;br /&gt;
TT: 个人、团体或家庭都能在这找到适合的户外活动。&lt;br /&gt;
&lt;br /&gt;
Analysis: As we all know, English belongs to the Indo-European language family, while Chinese the Sino-Tibetan language family. Many differences exist between English and Chinese in terms of vocabulary and grammatical structure. Therefore, in the process of translating English into Chinese, due to the different ways of expression between English and Chinese some sentences can be translated word by word, while most sentences cannot. In order to make the Chinese translation smooth and natural, some words in the original text need to be converted into different parts of speech in the target text without sticking to the surface structure of the original text. In other words, some words in the original text can be converted into other parts of speech in Chinese on the premise of being faithful to the original meaning and retaining the original effect. &lt;br /&gt;
&lt;br /&gt;
The original sentence uses a nominal phrase “no shortage of” to express the meaning that no matter how many people come together for outdoor activities, there are always options. The translator translates it into a verbal phrase, that is, everyone can find a suitable outdoor activity here, so that the meaning gets across and the whole sentence flows naturally.&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&lt;br /&gt;
ST: ''Accessibility: No immediate trails.''&lt;br /&gt;
&lt;br /&gt;
TT: 如何前往：没有路径可直接到达。&lt;br /&gt;
&lt;br /&gt;
Analysis: As English tends to use more nouns with static narratives, while Chinese tends to use more verbs with dynamic ones. The static tendency of English mainly comes from nominalization, a common phenomenon in English. Nominalization mainly refers to the use of nouns (phrases) to express the information originally expressed by verbs (phrases), such as the use of abstract nouns to express actions, behaviors, changes, states, etc (Lian Shuneng, 1993). For example, “accessibility” in Example 2 is an abstract noun, which is used to show the way to one place. Chinese, on the other hand, tends to use verbs. So, in order to better convey the effect and let the reader read without any doubt or discomfort, the translator converted the noun into a verb phrase, that is “如何前往”. Likewise, in the noun phrase “no immediate trails”, the author wants to say that there is no direct way (to arrive at the destination). When translating, if it is directly translated into a noun phrase “没有直达路”, the reader may feel difficult to read. So, if it is translated into “there is no direct path can reach that place”, the sentence will be more smoothly and convey the original information and the effect is also retained.&lt;br /&gt;
&lt;br /&gt;
2)Public signs&lt;br /&gt;
&lt;br /&gt;
Example 3 &amp;amp; 4:&lt;br /&gt;
&lt;br /&gt;
ST: ''Things To Do'' &lt;br /&gt;
&lt;br /&gt;
TT: 活动介绍&lt;br /&gt;
&lt;br /&gt;
ST: ''What you can do''&lt;br /&gt;
&lt;br /&gt;
TT: 解决措施&lt;br /&gt;
&lt;br /&gt;
Analysis: As mentioned in the theoretical framework above, tourism text belongs to vocative text. As a kind of tourism text, public signs are a special style for specific people to achieve a certain communicative purpose. Its application scope is very wide, almost involved in every aspect of our daily life, such as street signs, billboards, road signs, shop signs, warnings, propaganda, travel briefs and so on. As a communicative tool, it conveys necessary and useful information to the public by means of a few words, simple and easy to understand icons or the combination of both (He Xueyun, 2006). Therefore, it can be seen that public signs feature lots of nouns, verbs, phrases and abbreviations and more often, fixed expression, which means in translation, only concise and idiomatic expression can fully convey the effect of the original text.&lt;br /&gt;
&lt;br /&gt;
Just as the example 3, once the original text is translated literally, that is “要做的事情”, it sounds rather awkward, which not only does not convey the meaning of the source text that was intended as an introduction to the activities that can be done, but also may lead the reader to believe that this section is about what is required. However, if it is translated into “活动介绍”, readers can clearly know the main content of this part and can find out the activities they are interested in. This expression is very concise and also in line with the Chinese language habits. The same is true of example 4.&lt;br /&gt;
&lt;br /&gt;
Example 5 &amp;amp; 6:&lt;br /&gt;
&lt;br /&gt;
ST: ''Alligators and crocodiles - Crocodilians are one of the reasons people visit the park, however, these are wild animals that can be dangerous to humans.''&lt;br /&gt;
&lt;br /&gt;
TT: 小心短吻鳄和鳄鱼——鳄鱼是人们参观公园的原因之一，然而，这些野生动物对人类会很危险。&lt;br /&gt;
&lt;br /&gt;
ST: ''Poisonous plants - The park’s ecosystems support a variety of plant life including some that cause reactions to human skin.''&lt;br /&gt;
&lt;br /&gt;
TT: 警惕有毒植物——公园的生态系统支持多种植物的生长，包括一些会对是人类皮肤过敏的植物。&lt;br /&gt;
&lt;br /&gt;
Analysis: Tourist texts belong to the vocative text, emphasizing the transfer of the effect of the information and the empathy of the reader. This requires the translator to pay attention to the internal logic of the text, modify the translated text to make it clear in the process of tourism translation without sticking to the original form and give full consideration to the core position of readers. &lt;br /&gt;
Examples 5 and 6 are in the same sentence structure -- firstly species are given, and then that the species could be in some danger is pointed out. If it is translated in accordance with the original text word by word, then the front part is just posing out that species. However, if such warning words as “小心” or “警惕” are added, it can let the reader know before he continues reading that this species may be dangerous when visiting, and then with reading below, the reader will know why it is dangerous. This will prepare the reader mentally, and the reading will be smoother.&lt;br /&gt;
&lt;br /&gt;
====At Syntactical Level====&lt;br /&gt;
&lt;br /&gt;
Two aspects are included in syntactic analysis, which are change of subjects and passive voice, and the punctuation.&lt;br /&gt;
&lt;br /&gt;
1)Change of subjects and passive voice&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: ''Wading birds, cormorants, Purple Gallinules, and nesting Anhingas may be found along the path anytime of the day during the winter (dry) season.''&lt;br /&gt;
&lt;br /&gt;
TT: 在冬季（旱季），任何时候您都可以在沿路发现涉水鸟类、鸬鹚、紫雀和筑巢的美洲蛇鸟。&lt;br /&gt;
&lt;br /&gt;
Analysis: English tends to use more impersonal subjects, which means it rarely uses the personal subject to describe but expresses how objective things act on people’s perception to things appear in an objective tone. So, the structure is often like this: inanimate subject + animate subject (Lian Shuneng, 2010). Chinese pays more attention to subjective thinking, and often describes objective things from the point of view of oneself, or tends to describe people and their behavior or state, so the personal subject is often used. When the personal subject is clear, Chinese often implies or omits it.&lt;br /&gt;
Passive voice is a common grammatical phenomenon in English. In some styles, the use of passive sentences has almost become a habit of expression. Passive sentences give rise to the tendency of using impersonal subjects, and vice versa. Chinese uses fewer passive forms. The main reason for this difference is that the use of passive forms in Chinese is limited, and the mark of the passive voice, such as “让”, “给”, “受”, mostly expresses displeasure.&lt;br /&gt;
&lt;br /&gt;
Therefore, in example 7, the translator transformed the passive voice into the active voice and the impersonal subjects “Wading birds, cormorants, Purple Gallinules, and nesting Anhingas” into the personal subjects “您”. What’s more, as this tourism text is written for readers, the use of the second person subject can shorten the distance. &lt;br /&gt;
&lt;br /&gt;
Example 8 &amp;amp; 9: &lt;br /&gt;
&lt;br /&gt;
ST: ''Wading birds, American Coots, Osprey, White-crowned Pigeons, warblers, Red-shouldered Hawks, Anhingas, rails, Painted Buntings and other transients are best viewed here in the morning.''&lt;br /&gt;
&lt;br /&gt;
TT: 早晨在这里观赏涉禽、美洲骨顶鸡、鱼鹰、白头鸽、莺、赤肩鹫、美洲蛇鸟、秧鸡、彩绘鹀和其他过路的鸟类的效果最好。&lt;br /&gt;
&lt;br /&gt;
ST: ''In the summer, fewer programs are offered.''&lt;br /&gt;
&lt;br /&gt;
TT: 夏季提供的项目较少。&lt;br /&gt;
&lt;br /&gt;
Analysis: Just as what has been said above, English has a tendency to use impersonal subjects and passive voice, while Chinese is exactly the opposite. And when the subject is clear, Chinese often implies or omits it, which is just like example 8 the personal subject “you” is omitted. &lt;br /&gt;
In example 9, the omitted subject is the national park, and the temporal adverbial phrase “in the summer” becomes the subject in form, which is a common expression in Chinese. That is because subjects in Chinese are not only in various forms, but also dispensable: it can denote giving, receiving, time, place.&lt;br /&gt;
 &lt;br /&gt;
2)Punctuation&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: ''Connecting trails through the Pinelands run 7 miles (11 km) west from the Long Pine Key campground to Pine Glades Lake along the main park road.''&lt;br /&gt;
&lt;br /&gt;
TT: 这些小道从长松岛营地向西延伸7英里（11公里），穿过一片松林地，连通公园主路边松林湖。&lt;br /&gt;
&lt;br /&gt;
Analysis: English sentences are complicated, and subordination is one of the most important characteristics of modern English, which features right-branching, sentences long and complex, made in “architecture style”. Conversely, Chinese sentences are relatively short, and commonly use scattered sentences, loose sentences, tight sentences or composite sentences with parallel structure. Chinese features left-branching, and sentences are made in “chronicle style”, using clauses to streamline the thoughts. &lt;br /&gt;
&lt;br /&gt;
So, when there are many prepositional phrases in the original English sentence, the translator can divide the long sentence into several short sentences and recognize those by adding comma, which can help readers to sort out the logic of the original text and get the main information. By using communicative translation, the translator divided the original sentence into three sentences. The logical sequence is that “The trails run seven miles (11 kilometers) west from the Long Pine Key campground. Passing through the Pinelands, they lead to Pine Glades Lake along the main park road.”, which shows the location of both the Long Pine Key campground, the Pinelands and Pine Glades Lake correctly, leaving no doubt to readers of the target language.&lt;br /&gt;
&lt;br /&gt;
Example 11:&lt;br /&gt;
&lt;br /&gt;
ST: ''In keeping with Monroe County’s closure order for beaches, North Nest Key and all waters within 100 yards from the shore will be closed for protection of park resources during the holiday weekend. The closure will begin on Friday, July 3 at 6 a.m.''&lt;br /&gt;
&lt;br /&gt;
TT: 根据门罗县对海滩的关闭安排，为保护公园资源，北巢岛和离海岸100码以内的所有水域将自7月3日星期五早上6点起暂停对外开放。&lt;br /&gt;
&lt;br /&gt;
Analysis: In the original text there are two sentences, which can be combined to make the meaning complete and language pithy in the target language. And it can be taken into consideration to reconstruct them by replacing full stop with comma. By considering communicative translation, the translator put two prepositional phrases in advance as adverbials, which are “in keeping with Monroe County’s closure order for beaches” and “for protection of park resources during the holiday weekend”, and then turned the second sentence into a temporal adverbial phrase and put it in the main clause as an adverbial. So, the whole structure is “In keeping with Monroe County’s closure order for beaches and for protection of park resources during the holiday weekend, North Nest Key and all waters within 100 yards from the shore will be closed from Friday, July 3 at 6 a.m.” By doing so, the information is concisely conveyed, and Chinese readers can well understand it.&lt;br /&gt;
&lt;br /&gt;
====At Textual Level====&lt;br /&gt;
&lt;br /&gt;
Discourse refers to the actual language unit used and is the whole language constituted by a series of consecutive paragraphs or sentences in the communication process. In general, a text consists of words, phrases, sentences and sentence cluster (Lan Lingyan, 2020), among which the components were cohesion in form and coherence in semantics.&lt;br /&gt;
&lt;br /&gt;
Example 12:&lt;br /&gt;
&lt;br /&gt;
ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors. The diverse habitats allow for enjoyable activities ranging from hiking, canoeing, kayaking, biking, fresh and saltwater fishing, and camping in the ultimate wilderness.''&lt;br /&gt;
&lt;br /&gt;
TT: 个人、团体或家庭都能在这找到适合的户外活动。无论是步行、乘坐独木舟、划皮划艇、骑自行车，还是在淡水或海水钓鱼、在终极荒野地露营，您都可以饱览多样的自然环境、尽享快乐。&lt;br /&gt;
&lt;br /&gt;
Analysis: Coherence in a piece of writing refers to the principle that all paragraphs, sentences or ideas are combined so well that they form a united whole. Coherent translation has smooth structural, grammatical, and logical movement from one sentence or idea to the next and the reader does not have to pause and guess at the meaning caused by gaps in development between ideas, sentences and paragraphs. &lt;br /&gt;
&lt;br /&gt;
In example 12, the last topic of the fist sentence in the original sentence is outdoor activities, while the subject of the second sentence is the diverse habitats. This is a shift in the topic, which may make the readers pause and guess at the logical relation between them. Therefore, in translation, guided by communicative translation, the translator needs to mind the text coherence and to make proper adjustments. Out of this, the translator put the activities in the second sentences as the subject of the second sentence in the target text, so that the first sentence can pass through smoothly to the next one, so does the understanding of readers.&lt;br /&gt;
&lt;br /&gt;
Example 13:&lt;br /&gt;
&lt;br /&gt;
ST: ''Everglades National Park is a popular spot for saltwater and freshwater sport fishing. Boats can be chartered at Flamingo. Be sure to check a visitor center for park fishing regulations and closed areas.''&lt;br /&gt;
&lt;br /&gt;
TT: 大沼泽地国家公园是一个很受欢迎的钓海水鱼和淡水鱼的地方。在弗拉明戈可以租船。在钓鱼之前，一定要阅读游客中心的公园捕鱼规定和封闭区域。&lt;br /&gt;
&lt;br /&gt;
Analysis: Cohesion can be thought of as all the grammatical and lexical links that link one part of a text to another. This includes the use of synonyms, lexical sets, pronouns, verb tenses, time references, grammatical reference, etc. For example, ‘it’, ‘neither’ and ‘this’ all refer to an idea previously mentioned.&lt;br /&gt;
&lt;br /&gt;
In example 13, this paragraph mainly talks about fishing in the Everglades National Park, with a topic sentence and two explanatory sentences: one introducing the place for chartering and the other cautions. There are no grammatical or lexical links within these three sentences, and the logic is connected by semantics. Considering well understanding of readers in the target language, the translator added one lexical link “before fishing” between the last two sentences, to make the reader understand that he or she should read the rules and precautions of fishing before going fishing. Also, with repeating the key word “fishing”, the central idea of this whole paragraph is prominent, and the sentences are logically and smoothly linked to express the intended meaning, thus making this paragraph a cohesive group.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
====Major findings====&lt;br /&gt;
For the text, the tourism text belongs to the vocative text, which focuses on conveying the information and effect, so the communicative translation theory should be adopted to this kind of translation. As for this original text, the first part that introduces the outdoor activities belongs to the tourism advertisements, which are descriptive with vivid words. Tourism advertising is infective, with short and concise words, full of creativity, lively and concise sentence structure, and strong attraction. While the announcement that informs of the operating status of the park is a quite different style. The wording is formal, standard, accurate and stylized. Secondly, the source text involves a wide range of knowledge and large vocabulary. For example, “hardwood hammock” for “硬木吊床” and “Geocaching” for “寻宝”. &lt;br /&gt;
&lt;br /&gt;
Based on the analysis of examples from lexical, syntactic and textual levels, some translation methods can be proposed. On one hand, when translating, some words in the target text can be converted into different parts of speech in the original text to make the language natural and idiomatic. On the other hand, when doing English – Chinese translation, in most cases, passive voice should be changed into active voice, personal subject is favored in Chinese, and subjects can also be omitted sometimes. Lastly, as English and Chinese have lots of differences in sentences, the translator should change the order of the sentences sometimes to make them smooth and fluent, and some words can be added to make the meaning coherent.&lt;br /&gt;
&lt;br /&gt;
====Limitations====&lt;br /&gt;
&lt;br /&gt;
Besides some major findings, there are also many limitations in this translation practice. Firstly, communicative translation focuses on the effect conveyed by the translation rather than the information, which can easily make the translator ignore some original. So, in the translation, other available translation theories should also be taken into account to achieve best translation. &lt;br /&gt;
&lt;br /&gt;
Then, when translating a text, whether it is a tourism text or a literary works, they cannot be translated immediately. Relevant information and background should be collected in advance, and otherwise some mistakes which should be avoided will be made. For example, “Snail Kite (蜗鸢)” might be translated as “蜗牛风筝” if the translator does not look it up in advance.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
[1] Newmark, Peter. About Translation[M]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
&lt;br /&gt;
[2] Newmark. Approaches to translation[M]. Shanghai Foreign Language Education Press, 2001. &lt;br /&gt;
&lt;br /&gt;
[3] Newmark, Peter. A New Theory of Translation[J]. Sborník Prací Filozofické Fakulty Brněnské Univerzity, 2007(13)&lt;br /&gt;
&lt;br /&gt;
[4] Newmark, Peter. A Textbook of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2001:39-42. &lt;br /&gt;
&lt;br /&gt;
[5] 贺学耘.汉英公示语翻译的现状及其交际翻译策略[J].外语与外语教学, 2006(03):57-59.&lt;br /&gt;
&lt;br /&gt;
[6] 侯莹莹.凯瑟琳娜·莱斯与彼得·纽马克文本类型翻译理论之比较研究[J].海外英语, 2020(22):49-50+60. &lt;br /&gt;
&lt;br /&gt;
[7] 金惠康.跨文化旅游翻译探讨[J].上海翻译, 2007(01):31-34.&lt;br /&gt;
&lt;br /&gt;
[8] 兰灵艳.交际翻译理论指导下《家庭生活》（节选）汉译实践报告[D].南昌大学, 2020.&lt;br /&gt;
&lt;br /&gt;
[9] 李道胜. 汉英语义对比分析[J]. 语言教育, 2000(4):4-5.&lt;br /&gt;
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[10] 连淑能.《英汉对比研究》[M]. 北京：高等教育出版社, 1993.&lt;br /&gt;
&lt;br /&gt;
[11] 刘安洪.跨文化交际视角下的旅游文本翻译策略研究[J].中华文化论坛, 2013(10):160-163. &lt;br /&gt;
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[12] 刘军平，西方翻译理论通史[M]. 武汉：武汉大学出版社, 2009.&lt;br /&gt;
&lt;br /&gt;
[13] 马忱.交际翻译策略对汉英旅游翻译的启示[J].郑州航空工业管理学院学报(社会科学版), 2010,29(06):119-121.&lt;br /&gt;
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=3 刘越 Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
[[Trans_Type_EN_3]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
There are many translation practices under the guidance of communicative translation theory, but there are not many translation practices in Korean novels. Through this translation practice, we hope to summarize the translation methods and strategies adopted in the translation of novel subject matter under the guidance of communicative translation theory in terms of vocabulary, sentence and rhetoric. In this paper, under the guidance of communicative translation theory of Korean novels &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; to analyze translation strategies and translation methods, let us hope that through the work of human changes in temperature to realize that the most warm affection and the most simple human feelings, seems to be the fact that more and more far from us, let us together to explore the history of the &amp;quot;family&amp;quot; gradually forgotten by us and meaning, Wake up our sense of affection, cause our emotional resonance.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
Communicative translation theory; Korean novels; Translation methods and strategies&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
===The emergence and development of communicative translation===&lt;br /&gt;
According to the function of language, i.e. the purpose for which it is used, Newmark proposes the following three text types: expressive function, informative function, and evocative function.&lt;br /&gt;
At the heart of the expressive function is the use of words by the speaker or author to express his or her thoughts and feelings. The author's unique form of language is as important as the content.Expressive function texts emphasise the authority of the original author, and translations should follow the principle of &amp;quot;original author first&amp;quot;, faithful to both the content of the ideas expressed by the original author and the language style of the original author, without regard to the reaction of the target reader. The core of the information function is the external context, i.e. all the information about a topic, or the unspeakable reality. At the heart of the information text is the &amp;quot;authenticity&amp;quot; of the content; the author's language is secondary. Translation should be based on the principle of &amp;quot;authenticity first&amp;quot;. The call to action is reader-centred and aims to &amp;quot;call the reader to action, to think, to feel&amp;quot;. The translation should follow the principle of 'reader first', putting the reader of the target language first. The translator can make full use of the advantages of the incoming language, without adhering to the expressions of the original, so that the translated language can achieve the same effect as the original.&lt;br /&gt;
&lt;br /&gt;
On this basis, two translation concepts, communicative translation and semantic translation, are proposed. Newmark believes that the theory of communicative translation focuses on the understanding and reaction of the recipient, the reader of the translation, and more on the effect rather than the content of the translated expression. The translator can give full play to the advantages of the translated language and introduce foreign elements into the culture of the translated language, with the advantages of naturalisation, Italian translation and idiomatic translation. Semantic translation attaches importance to the original text, focuses on its semantic content and strives to preserve the culture of the original text, and has the advantages of word-for-word, word-for-word and faithful translation. Communicative translation is suitable for informative and attractive texts such as autobiographies, personal emotional declarations, important political statements (or other statements), most non-literary texts, news, intellectual articles and books, textbooks, reports, scientific and technical literature, official correspondence, promotional material, advertisements, announcements, popular fiction. ( Yang 1989:68-71)# His communicative and semantic translations have largely enriched the study of translation theory and influenced the field of translation.&lt;br /&gt;
&lt;br /&gt;
===The applicability of communicative translation theory to the translation of popular novels===&lt;br /&gt;
First of all, the core content of communicative translation theory is that on the basis of being faithful to the content of the original text, it focuses on the readers' understanding ability and feelings, and pays more attention to the expression effect of the target text than the content. For the translator, the translator can give full play to the advantages of the target language and get rid of the constraints of the language structure of the original text. If the original text is illogical, ambiguous, and there are redundant words and ambiguities in the sentence, as well as dialects, coarse slang and other phenomena in the article, the translator has the right to reorganize the syntax and improve it by using collocation and common sentence patterns in accordance with the habits of the target language, so as to make the language more standardized. Translators also have the right to correct errors and omissions in the original text.( Shuang 1999(05):840）&lt;br /&gt;
&lt;br /&gt;
Secondly, according to Newmark's text type, communicative translation theory is applicable to vocative texts, which focus on the inspiring effect and take the target readers as the center. The purpose of translation is to elicit the desired response, including popular books and best-selling novels. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. The novel is mainly composed of characters, plots and descriptions of the environment to reflect the social reality. Novel is a literary genre that conveys thoughts and feelings and arouses readers' resonance. It belongs to appeal text, so communicative translation theory is suitable for novel translation.&lt;br /&gt;
&lt;br /&gt;
The most important thing in novel translation is to convey the content of the original text and the author's thoughts and feelings to the readers, and to arouse the readers' deep thinking and empathy. When translating a novel, we should describe the plot of the original text to the readers and try to get close to the literary image described by the author and the literary artistic conception created in the novel.&lt;br /&gt;
If only follow the content style and text structure of the original text, it will violate the original intention of translation, making the translation obscure and unclear. Under the guidance of communicative translation theory, the translator can give full play to the advantages of the target language, modify and polish the original text, adjust the logic of expression, eliminate the differences between the original text and the target text, and get a smooth translation. At the same time, the translator can also pay more attention to the target readers, fully consider the reading habits and thinking mode of the target readers, and use easy to understand language vocabulary to convey the information of the source text and the thoughts and feelings of the source text author to the readers, so that the target text readers and the source text readers get the same effect.&lt;br /&gt;
&lt;br /&gt;
=== Case study under the guidance of communicative translation theory===&lt;br /&gt;
Guided by Peter Newmark's communicative translation theory, the author carries out translation practice on two short stories &amp;quot;The Innocent Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. Under the guidance of communicative translation theory, this section adopts the strategies of translation modification and meaning extension to solve the problems of ambiguous and implicit sentences in novels. At the sentence level, the strategy of paraphrase, syntactic and translation is adopted. In the aspect of rhetoric, this paper adopts the translation strategies of addition and repetition, and makes a case study to explore and summarize the translation methods and strategies applicable to novel subject matter under the guidance of communicative translation theory.&lt;br /&gt;
&lt;br /&gt;
=== The application of communicative translation theory at lexical level===&lt;br /&gt;
'''Transliteration'''&lt;br /&gt;
&lt;br /&gt;
The translation method refers to the conversion of parts of speech in the original text, such as changing nouns into verbs, adjectives into verbs, etc., so as to make the translation conform to the expression habits of the target language. Different languages have different linguistic phenomena and cultural backgrounds. In order to make the translation more in line with the language expression habits of The Chinese people and convey the correct meaning of the original text to The Chinese readers, every word in the Korean sentence cannot be translated dead, and some parts of speech in The Korean language have to be changed in translation.&lt;br /&gt;
&lt;br /&gt;
The following is a case study of translating a part of speech in the original text into another part of speech in Chinese.&lt;br /&gt;
&lt;br /&gt;
Eg.1 그럴 때의 아이는 이제 노인이 아니라 소년가장 같았다.&lt;br /&gt;
First translation：那一刻我觉得孩子不像老人，而像少年家长。&lt;br /&gt;
Retranslation：那一刻我觉得他不像一个历经沧桑的老人，而像一个饱经世故的孩子。&lt;br /&gt;
&lt;br /&gt;
&amp;quot;소 년 가 장&amp;quot; is a noun, the author looked up Chinese dictionary, found &amp;quot;소 년 가 장&amp;quot; in Korean means &amp;quot;가 정 의 생 계 를 실 질 적 으 로 책 임 지 고, 어 렵 게 생 계 를 유 지 하 는 소 년&amp;quot;, at the beginning of translation, in accordance with the original literal translation is &amp;quot;young parents&amp;quot;, but is not in conformity with the Chinese expression habit, it is not easy to let Chinese readers understand, The author in the guidance of communicative translation theory, through the network search and found the dictionary lookup &amp;quot;소 년 가 장&amp;quot; and Chinese proverb &amp;quot;the poor children early master&amp;quot; has the same effect, but here can make statements impassability, in order not to cause the reader to understand the problems, the author give full play to the advantages of the Chinese, the author by using the method of adaptation, Phrases collocation and considering the Chinese habit, the term &amp;quot;소 년 가 장&amp;quot; divided &amp;quot;소 년&amp;quot; and &amp;quot;가 장&amp;quot; two nouns, and the term &amp;quot;가 장&amp;quot; translated into adjectives &amp;quot;world&amp;quot;, the &amp;quot;소 년&amp;quot; translated into &amp;quot;children&amp;quot;, both to convey the meaning of the original, and can make readers easily understand the content.&lt;br /&gt;
&lt;br /&gt;
Eg.2：거기에 아이가 자신을 만나려 하지 않기 때문에 돈을 주지 않는 것이라는 비난의 말이 반복해서 쓰여 있었기 때문이다.&lt;br /&gt;
Translation ：文件上反复指责说孩子不想认他这个父亲，所以不给抚养费。&lt;br /&gt;
In the original text 비 난&amp;quot; is a noun, the author according to the original text in translation translated into &amp;quot;document and is accused of child, father didn't want to see him the accused, so not to support&amp;quot;, at the same time with the two accused, groundwork or at the back of the verb &amp;quot;blame&amp;quot;, also make the repetitive, so the author under the guidance of communicative translation theory, When translated again, the noun &amp;quot;비 project-oriented&amp;quot; is translated into the verb &amp;quot;blame&amp;quot;, so that the translation is easy to understand.&lt;br /&gt;
&lt;br /&gt;
'''Extension of meaning'''&lt;br /&gt;
&lt;br /&gt;
Extension translation method is refers to according to the specific context of contact and words in the original context, starting from the basic meaning of Korean original words, through the letter of the word or phrase in the sentence, its excellent implied meaning appropriately, use some conforms to the Chinese expression habit of character words, the content of the original essence of accurate expression.&lt;br /&gt;
&lt;br /&gt;
Eg.3：①텔레비전을 쳐다보던 아이가 대뜸 내밷었다.&lt;br /&gt;
②동식이 집을 나서자마자 엄마는 휴이히히히, 하는 기괴한 한숨을 길게 내뱉었다.&lt;br /&gt;
Translation：①正在看电视的儿子突然吐槽道：“妈，你快看，电视里那个人真像我爸”。&lt;br /&gt;
②母亲就“唉！”长长地叹了一口气。&lt;br /&gt;
&lt;br /&gt;
The author by looking up the dictionary, in the original &amp;quot;내 밷 다&amp;quot; has two meanings: (1) 입 안 에 있 던 것 을 입 밖 으 로 뱉 어 내 보 내 다. (2) 마 음 에 내 키 지 아 니 하 거 나 못 마 땅 한 어 조 로 불 쑥 말 하 다. Chinese meaning is &amp;quot;vomit, and said,&amp;quot; the author under the guidance of communicative translation theory, reader's expressions and words in Chinese habit as the center, contact the original context and context, considering the words collocation, adopt the method of the extension, the &amp;quot;내 밷 다&amp;quot; translated into &amp;quot;fun&amp;quot; and &amp;quot;sigh&amp;quot;, not only conforms to the present context, and in accordance with the Chinese language habits.&lt;br /&gt;
&lt;br /&gt;
Eg.4: ①그러니까 엄마는 내가 돈 얘기 할 것을 미리 알고서 지금 차단막을 치는&lt;br /&gt;
것이리라.&lt;br /&gt;
②형이 옆구리를 툭 치며.&lt;br /&gt;
③까지는 살큼 익혀서 찬지름 치고 조선간장으로 조물조물 무쳐노면 고기반찬보다 낫드라.&lt;br /&gt;
Translation：①但母亲好像早已看透了我的心思，先堵住了我的口。&lt;br /&gt;
②大哥用胳膊肘戳了我一下。&lt;br /&gt;
③蒸个七八分熟的时候撒上香油好好拌一下就行了，这样比那些荤食都好吃。&lt;br /&gt;
&lt;br /&gt;
The verb &amp;quot;치&amp;quot; would give many different meanings with different words, such as ①&amp;quot;beating, beating, beating, playing&amp;quot;.② take, base, wrap, erect, ③ feed, feed, etc. On the basis of communicative translation theory, and fully understand the original meaning, context, and considering Chinese words collocation is used, depending on the context, the extension method was adopted, will &amp;quot;치 다&amp;quot; translated into &amp;quot;blocking&amp;quot;, &amp;quot;stamp&amp;quot;, &amp;quot;and&amp;quot; verb, such as to conform to the Chinese habits of expression.&lt;br /&gt;
&lt;br /&gt;
===The expression of communicative translation theory at the sentence level===&lt;br /&gt;
Communicative translation theory is pointed out that to the readers, the translator should give full play to the advantages of the target language, to make the translation conform to the target language expression of habit, not to leave any arcane to readers, while Korean and Chinese belong to different language families, there are differences in expression habit, this summary is mainly under the guidance of communicative translation theory, This paper analyzes the translation of sentences in The Pure Man and The Goat Family by means of paraphrase, syntactic and combined translation.&lt;br /&gt;
&lt;br /&gt;
'''Interpretation method'''&lt;br /&gt;
&lt;br /&gt;
Hermeneutic method is also an interpretative translation method. Because Chinese and Korean have different expression habits, in the process of translation, we can use the paraphrase method to explain some ambiguous sentences, which can not only make the translation clear, but also accurately convey the original purpose.&lt;br /&gt;
&lt;br /&gt;
Eg.5：어느날, 아이가 눈에 보이는 사물들을 가리켜 얼마짜리냐고 물었을 때, 어떤 행위를 가리켜 얼마 받느냐고 물었을 때, 나는 어린것이 별걸다 궁금해한다고 면박을 줬다. 면박을 주는 것으로 마음에 이는 민망함을 무마시켰다. 아이의 입에서 처음 돈 얘기가 나왔을 때, 그때 나는 이미 알아챘어야 했는지도 모른다.&lt;br /&gt;
First Translation: 当某一天，孩子们指着各种东西问花了多少钱，挣了多少钱时，我当面斥责说“小孩子家家的，真是什么都好奇”。我以这种当面驳斥的方式来掩饰心中的尴尬。当我第一次从孩子嘴里听到关于钱的话题时,我可能就已经觉察到了些什么。&lt;br /&gt;
Retranslation: 当某一天，孩子们指着各种东西问价格时，我当面斥责说‘小孩子家的，问这个做什么’，以此来掩饰我内心的尴尬。当我第一次从孩子嘴里听到关于钱的话题时，我可能已经觉察到时代变了，我那‘不知钱为何物’的时代过去了。&lt;br /&gt;
&lt;br /&gt;
The author at the beginning of the translation of &amp;quot;그 때 나 는 이 미 알 아 챘 어 야 했 는 지 도 모 른 다&amp;quot;, literal translation is &amp;quot;I may already have noticed what&amp;quot;, but the specific perceive what is not clear, causing distress to Chinese readers, by contacting the above learned that the &amp;quot;I&amp;quot; as a child is the hairpin, objects such as pottery fragments, But now the child is the &amp;quot;money&amp;quot;, the author under the guidance of communicative translation theory, to the readers, adopting the tactics of interpretation method, interpreted &amp;quot;I perceived that the&amp;quot; content &amp;quot;I might have been aware of The Times have changed, I that 'I don't know the money was the era of the past&amp;quot;, thus the author want to convey the original concept of the era of the change of the clear expression come out.&lt;br /&gt;
&lt;br /&gt;
Eg.6：영호야, 명절 때만이라도 꼭 아빠한데 가봐, 가기 싫으면 연락이라도 드리고.아빠가 아무리 네 맘에 안 들더라도 너는 네 할 도리를 해야 떳떳한 사람이 되는 거야,알았지?&lt;br /&gt;
First Translation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。只有做了自已应该做的才能做一个光明磊落的人，知道吗？&lt;br /&gt;
Retranslation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。为人处事和忠孝贤良是亘古不变的，要想做一个光明磊落的人，就要做好自己的分内之事，知道吗？阿姨的话要记住哦。&lt;br /&gt;
&lt;br /&gt;
Early in the translation of &amp;quot;너 는 네 할 도 리 를 해 야 떳 떳 한 사 람 이 되 는 거 야&amp;quot;, the corresponding Chinese literal translation is &amp;quot;only do oneself should do can do a aboveboard person&amp;quot;, but &amp;quot;할 도 리&amp;quot; what, did not explain clearly in the original, need the reader to consider, in order not to leave readers obscure place, The author puts the advantage of Chinese into full play and interprets &amp;quot;up 도 wish to be good&amp;quot; into English by means of context and translation theory. At the same time, I also think that this is the advice of adults. It is necessary to tell him this truth in a soft and powerful tone. After this sentence, &amp;quot;Remember what aunt said&amp;quot; is added to make the original meaning clearly conveyed to readers, so that readers can better understand the original content.&lt;br /&gt;
&lt;br /&gt;
'''demolition syntax'''&lt;br /&gt;
&lt;br /&gt;
Deconstruction is the breaking down of a long sentence into several shorter sentences. As Korean and Chinese belong to different language families, there are many differences in syntax. The word order of Korean sentences is the structure of SOV, and narration is the main body and focus of the sentence, and there are a large number of long sentences, which rely on word endings to express various grammatical meanings. No amount of sentence elements will cause meaning confusion.&lt;br /&gt;
&lt;br /&gt;
However, the word order of Chinese sentences is the SVO structure, which depends on vocabulary, function words and word order to distinguish sentence components, so the sentence structure is simple, mainly short sentences. The translation of Korean long sentences into Chinese sentence groups can make the translation logical, smooth and accurate.&lt;br /&gt;
&lt;br /&gt;
Eg.7：동식의 이혼에 책임이 없다고 할 수는 없는 형제들이 돈을 모아 동식에게 새집을 지어줬는데 집안 새것이면 뭐 하냐고 동식이 폭력을 휘두를 조짐을 보이자 그 팔아 종류의 폭력을 아버지에게 당해본 엄마는 지레 겁을 먹고 소를 팔아 동식에게 새장가 갈 자금을 쥐여줄 수밖에 없었다.&lt;br /&gt;
First Translation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子。挨过父亲打的母亲因为对东植这种动不动就挥拳头打人的行为心有余悸，并觉得只有新房子没用，就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
Retranslation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子，母亲因为挨过父亲的打，所以对东植这种动不动就挥拳头打人的行为心有余悸，觉得只有新房子无济于事，改不了他的暴力行为，索性就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
&lt;br /&gt;
The original text Is a long sentence, &amp;quot;는 데&amp;quot; is a long attributive clause, behind the author under the guidance of communicative translation theory, using the translation, in the resolution of a sentence, adjust the structure of the sentence, but his father mother &amp;quot;dragged&amp;quot; compared to read man translationese is too heavy, have the taste of Korean Chinese, is not in conformity with the Chinese expression habit, the author on the basis of this, The translation has been revised and polished to make it smooth and smooth.&lt;br /&gt;
&lt;br /&gt;
'''Cotranslation'''&lt;br /&gt;
&lt;br /&gt;
Cotranslation refers to the combined translation of two or more sentences in the original text. Using the combined translation method to translate, will reduce the long winded translation, obtain a smooth and smooth translation.&lt;br /&gt;
&lt;br /&gt;
Eg.8 ：나는 큰오빠와 작은오빠가 아버지가 남긴 논을 가져간 것을 알고 있었다. 큰언니, 작은언니가 결혼할 때 밭을 가져 갔다는 것도. 동식은 제 몫이 논도 밭도 아닌 집인 것에 불만을 품고 쓰러져가는 슬레이트집에 불을 질렀다.&lt;br /&gt;
First Translation：我知道大哥和二哥结婚时分走了家里的水田，大姐和二姐结婚时分走了家里的旱地，东植因为分到的不是田和地，而是即将坍塌的的石板屋，一气之下就在屋里放了火。&lt;br /&gt;
Retranslation：哥哥姐姐们结婚时把家里的水田和旱地都分走了。而东植分到的是即将坍塌的的石板屋，他对此很不满，一气之下就放火烧了房子。&lt;br /&gt;
&lt;br /&gt;
Are two sentences in the original, the author first translation, according to the original text translated into two other subject-predicate bin structure of the sentence, but &amp;quot;big sister&amp;quot; &amp;quot;big brother&amp;quot; &amp;quot;sister&amp;quot; &amp;quot;second brother&amp;quot; will be read repetitive, so the author under the guidance of communicative translation theory, adopt the method of r the appellation of original elements became the &amp;quot;brothers and sisters&amp;quot;, and the two sentence elements into a simple sentence, Reduce redundant redundant.&lt;br /&gt;
&lt;br /&gt;
===The embodiment of communicative translation at the rhetorical level===&lt;br /&gt;
Communicative translation theory points out that should take the readers as heavy, compared to convey to the readers the article content, pay more attention to the expression effect, good expression effect can cause the resonance of the readers, caused the reader's thinking, and good expression effect depends on the use of rhetoric, this summary is mainly under the guidance of communicative translation theory, adopt different translation strategies, The rhetorical translation in The Innocent Man and The Goat Family is analyzed.&lt;br /&gt;
&lt;br /&gt;
'''Addition'''&lt;br /&gt;
&lt;br /&gt;
Addition is a translation method that adds content to the target text in order to accurately express the meaning of the source text, meet the needs of the target text readers and make the target text conform to the expression habits of the target language. Since Chinese and Korean have different pragmatic ways and expressive habits, some words or sentences should be added in the translation to make the translation more consistent with the Chinese context, the reader's expressive habits and the exact meaning of the original text.&lt;br /&gt;
&lt;br /&gt;
Eg.9：나는 아이 아빠의 돈을 ‘그깟 돈’이라고 표현했다.&lt;br /&gt;
First Translation：我把孩子爸爸的钱称为“那么点儿钱”。&lt;br /&gt;
Retranslation：我把孩子爸爸给的钱称为“塞牙缝的钱”。&lt;br /&gt;
&lt;br /&gt;
&amp;quot;그깟&amp;quot; is a contraction of &amp;quot;그까짓&amp;quot;. It means so little, so little. The amount of money given by the father of the child is very small. The author under the guidance of communicative translation theory, give full play to the advantages of target language, adopt the method of thickening of translation, the use of metaphor, the &amp;quot;그 깟 돈&amp;quot; translated into accord with the readers expression habit &amp;quot;for all of the money&amp;quot;, making it easy to understand, more intuitive said the little amount, so as to impress the reader.&lt;br /&gt;
&lt;br /&gt;
'''Repetition'''&lt;br /&gt;
&lt;br /&gt;
Repetition refers to the translation technique of appropriately repeating a part of words or sentences in translation. The repetition method can make the meaning of the translation more clear, further strengthen the appeal of the article, highlight the thoughts and feelings of the article, and achieve a good rhetorical effect.&lt;br /&gt;
&lt;br /&gt;
Eg.10：아비를 한번도 찾지 않다가 돈 달라고, 그것도 법정에서 애 얼굴을 봐야 하는 아비 된 자의 참담한 심정을 당신들이 아느냐고.&lt;br /&gt;
First Translation：孩子一次也没来看过我这个父亲，却开口要钱？而且只有上了法院，我才好不容易看孩子一眼，你们理解我这个做父亲的心情和处境吗！&lt;br /&gt;
Retranslation：孩子一次也没来看过我就跟我开口要钱，只有上了法院，我才好不容易看孩子一眼，我这个做父亲的苦楚，悲凉的的心情，你们理解吗！理解吗！&lt;br /&gt;
&lt;br /&gt;
The author by contacting the specific context, as a father, no contact for many years but children themselves to court, the state of mind should be both angry and sad, based on the theory of communicative translation, using the skill of verb repetition, to &amp;quot;알 다&amp;quot; repeated translation, to emphasize my angry tone, in order to make the article more vivid and accurate meaning.&lt;br /&gt;
&lt;br /&gt;
=== conclusion===&lt;br /&gt;
This paper selected the south Korean writer Kong Shanyu stories &amp;quot;well bead film&amp;quot; in the two novel &amp;quot;pure people&amp;quot; and &amp;quot;the goat family&amp;quot; has carried on the translation practice, the two novels are using the simple nature of language and a small amount of dialect vocabulary, shape lifelike characters, are described by family members of the past, let the past and reality contrast, It reflects the social reality that with the development of society, people have become selfish and indifferent, and the most simple family and human feelings seem to be more and more far away from us, so as to explore the history and significance of the &amp;quot;family&amp;quot; and the simple social atmosphere, which are gradually forgotten by Koreans.&lt;br /&gt;
&lt;br /&gt;
The core of Peter Newmark's communicative translation theory is that on the basis of being faithful to the content of the original text, the translator can give full play to the advantages of the target language, get rid of the constraints of the language structure of the original text, and pay attention to the effect of the expression of the target text. According to Newmark's text type, communicative translation theory applies to appeal texts, which focus on the target reader and aim to elicit the desired response, including popular books, popular novels and so on. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. Under the guidance of Peter Newmark's communicative translation theory, the author analyzes and discusses the translation strategies in the Pure Man and The Goat Family, which are complicated sentences, ambiguous meanings and implicit expressions.&lt;br /&gt;
&lt;br /&gt;
From the lexical level analysis, the author mainly combined with the context, to Chinese readers as the center, to comply with the Chinese expression and language habits, consider the reader's understanding ability, on the basis of Chinese used to translation and translation methods of extension, so as to satisfy the to the original readers and the translation of the original dual need of the readers have the same effect, At the same time, it also ensures the accuracy and flexibility of the translation words, so as to conform to the translator's lexical habits.&lt;br /&gt;
From the statement level analysis, &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; appeared in the text of the long sentence and attributive clause, at the same time, some relatively obscure sentences substance, so the author adopted the method of interpretation, syntax and translation of translation strategies, to explain the sentence, split, reorganization, thus reducing the sentence's mad outages and ideographic unclear, The translation is in line with the habits of Chinese readers and effectively conveys the essence of the original text. From the rhetoric analysis, communicative translation theory points out that compared with the content, should attach great importance to the expression of the translation effect, good expression effect depends on the use of rhetoric, so the author USES the translation strategy of work and repetition, has carried on the modification to the original and polishing, to strengthen the artistic effect and influence of the translation, make readers for the characters vivid impression, Arouse readers' reflection and emotional resonance.&lt;br /&gt;
&lt;br /&gt;
Therefore, the results of this study indicate that the communicative translation theory is of guiding significance to the Chinese translation of Korean novels and can provide a reference for similar translation practices. Communicative translation theory is pointed out that to the reader as the center, the translator can get rid of the original text, giving full play to the advantages of target language to adjust the structure and logic, to make the translation easy to understand, but there may be lack of scattering situation, so the translator should properly our subjective initiative, to insure the effect of readers in at the same time, also used to avoid the above situation. In addition, there are also shortcomings in the translation, but the author still hopes that this translation practice can provide reference for the future Korean-Chinese translation practice. At the same time, through this translation practice, the author has realized his own shortcomings. In the future, the author will continue to learn, accumulate practical experience, and strive to improve his literary accomplishment and language foundation, and improve his translation level.&lt;br /&gt;
&lt;br /&gt;
===Reference===&lt;br /&gt;
&lt;br /&gt;
'''English Literature:'''&lt;br /&gt;
&lt;br /&gt;
[1]. GAO Chang. The Application of Peter Newmark's Communicative Translation Theory to the Translation of Chinese Historical Allusions [J]. Overseas English, 2013(11).&lt;br /&gt;
&lt;br /&gt;
[2]. JIAN Fang. Newmark's Translation Theory and Film Names [J]. Overseas English, 2010(08).&lt;br /&gt;
&lt;br /&gt;
[3]. LI Xin, ZHANG Zhe. On Peter Newmark’s Semanic Translation &amp;amp; Communicative Translation[J]. Overseas English, 2015（03）.&lt;br /&gt;
&lt;br /&gt;
'''Korean literature:'''&lt;br /&gt;
&lt;br /&gt;
[4]. Gong Seon-ok. In the 1980s, my literature Gwangju, and my life's hardship [J]. History of Criticism, 1995 (08).&lt;br /&gt;
&lt;br /&gt;
[5]. Kang Young-mi. Preliminary review of the singing movement in the 1970s and 1980s [J]. Mental Culture Research 41(3), 2018.(09).&lt;br /&gt;
&lt;br /&gt;
[6]. Kim Young Hee. Modern and Alternative Experience and Women--Park Wan-seo, Kim In-sook, and Gong Sun-ok's novel [J]. Creation and Criticism 23(3), 1995(09).&lt;br /&gt;
&lt;br /&gt;
[7]. Osunbang. A study of the translation of novels in modern China and the two-way translation of Sino-Korean novels[J]. Seoul: Sungsil University Press, 2008.&lt;br /&gt;
&lt;br /&gt;
'''Chinese Literature:'''&lt;br /&gt;
&lt;br /&gt;
[8]. Chen Lin. A comparison of Eugene A. Naida and Peter Newmark's translation theories [J]. Journal of Xiangtan University (Social Science Edition), 1994,(08): 87-91.&lt;br /&gt;
&lt;br /&gt;
[9]. Si Jitao and Yan Honglan. The translation of split sentences and combined sentences in English-Chinese translation[J]. Journal of Guangxi Right River Nationalities Teachers College,2005(02):21&lt;br /&gt;
&lt;br /&gt;
[10]. Chen Lin. A comparison of Eugene A. Naida and Peter Newmark's translation theory [J]. Journal of Xiangtan University (Social Science Edition), 1994, (08).&lt;br /&gt;
&lt;br /&gt;
[11]. Yang Shi-Zhuo. A brief analysis of Newmark's theory of semantic and communicative translation[J]. Fujian Foreign Language, 1989:68-71.&lt;br /&gt;
&lt;br /&gt;
=毛雅文On Translation Strategies and Methods in Chinese Translation of English Prose --- Chinese Translation of Robert Lynd’s &amp;quot;Pleasures of Ignorance&amp;quot; as an example=&lt;br /&gt;
[[Trans_Type_EN_4]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Prose, together with poetry, novel and drama, is a kind of literary form. It is not limited to rhythm, plot and characters, flexible in form, real and natural. English prose has a long history and various types, so it becomes an important object in translation practice and research. In China, the most famous English prose writers are Francis Bacon and Charles Lamb, hence, their works can be regarded as the focus of studies on Chinese translation of English prose. In fact, Chinese translation of English prose draws less attention in translation circle of China, compared with that of English poetry and drama. With English prose as the starting point, this paper will introduce the characteristics of English prose and the domestic studies on its Chinese translation, and take the Chinese translation of ''Pleasures of Ignorance'', the representative work of English modern prose writer Robert Lynd, as an example to analyze its translation strategies and methods.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Pleasures of Ignorance&amp;quot;; Chinese translation of English prose; translation strategies; translation methods; translation techniques&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
This chapter will point to the research background and its significance, and briefly set forth the structure of this paper and the methods used.&lt;br /&gt;
&lt;br /&gt;
'''Research Background and Significance'''&lt;br /&gt;
&lt;br /&gt;
In recent years, with the deepening of the reform and opening-up, the channels of international cultural exchange have become increasingly unblocked, and China's translation industry has also flourished. The studies on translation theory, drawing lesson from western translation studies, have yielded fruitful results, and more noteworthily, remarkable achievements have been made in studies on literary translation for all to see.&lt;br /&gt;
&lt;br /&gt;
Prose is a basic literary form in written or spoken language that typically exhibits a natural flow of speech and grammatical structure. A large number of works in philosophy, history, economics, journalism, etc, are examples of works written in prose. It can be seen that prose, which is widely used for creation, occupies an important position in literature. However, there are few researchers majoring in prose translation, still fewer ones who specialize in Chinese translation of English prose. In view of the above, this paper, based on previous studies, will study the Chinese translation of English prose, and take the Chinese translation by Liu Bingshan of ''The Pleasures of Ignorance'' created by the English prose writer Robert Lynd, exploring its characteristics in translation strategies and methods, so as to provide better understanding and some reference for the appreciation and translation of English prose.&lt;br /&gt;
&lt;br /&gt;
'''Methodology and Structure'''&lt;br /&gt;
&lt;br /&gt;
This paper will employ the methods of literature research and case analysis. The paper consists of three parts. The first section is literature review, explicating the distinctive properties and linguistic features of English prose, and the prose translation with its principles, as well as introducing the previous studies on Chinese translation of English prose at home. The second part, the core of this paper, will take Liu Bingshan's Chinese translation version of Robert Lynd's prose work &amp;quot;Pleasures of Ignorance&amp;quot; as an example, carry out the interpretation of this translation in terms of its types, styles as well as strategies and methods employed. Lastly, the conclusion will point to the findings in this study and the weaknesses in the paper.&lt;br /&gt;
&lt;br /&gt;
===Literature Review===&lt;br /&gt;
&lt;br /&gt;
This part will draw into the domestic previous studies on Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
With regard to Chinese translation of English prose, at present, there are few domestic scholars dedicated to its systematic research. According to the different perspectives,  the relevant researches at home can be roughly divided into three categories.&lt;br /&gt;
&lt;br /&gt;
First, concerning research on the theory of Chinese translation of English prose into Chinese, there are relatively small number of studies in this direction. One of the most fruitful works is ''The Study and Translation of British and American Prose'' co-authored by Zhao Xiuming and Zhao Zhangjin (2010), which makes a detailed investigation of the literary characteristics, historical evolution and style evolution of British and American prose. The work also discusses the basic principles of English prose translation in terms of pre-translation text analysis, historical and cultural context, artistic principles, and styles, etc., which can offer a reference for the further study of the theories and practices of English prose translation.&lt;br /&gt;
&lt;br /&gt;
Second, regarding research on the famous translators of English and American prose with their translation styles and skills, Xia Ying explored the style of Professor Cao's translation of Francis Bacon with the essay titled &amp;quot;Research on Professor Cao Minglunss Chinese translation of bacon prose&amp;quot;. (Xia Ying, 2012:165-166) Some others probed into Liu Bingshanss and Li Shicong’s thoughts on prose translation which have guiding significance for prose translation practice.&lt;br /&gt;
&lt;br /&gt;
Third, as regards research on the practice of Chinese translation English prose based on translation theory, Huang Jianling (2021) analyzed the Chinese translation of Bacon's essays from the perspective of translation aesthetics. Hu Hongyun (2013) translates and elaborates on the British prose Farewell in vocabulary, semantics, style and cultural transmission, on the basis of Eugene Nida's Functional Equivalence theory.&lt;br /&gt;
&lt;br /&gt;
===Overview of English Prose===&lt;br /&gt;
&lt;br /&gt;
Prose can be defined in broad sense and in narrow sense. In broad sense, prose refers to all the written and oral works in a loose form free from parallelism; and in narrow sense, it specifically means the writings with certain literary qualities, such as essays, and a literary genre juxtaposed with poetry, novel, drama and movie-television literature.&lt;br /&gt;
&lt;br /&gt;
'''Distinctive Features of English Prose'''&lt;br /&gt;
&lt;br /&gt;
As an independent literary genre, English prose has its own distinctive characteristics.&lt;br /&gt;
&lt;br /&gt;
The first characteristic is its expression of sincere feeling. Prose mostly depicts the real people, things and scenery, and is generated based on record and recollection of life. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. So in this sense, prose can be considered as an earnest conversation between the author and the readers.&lt;br /&gt;
&lt;br /&gt;
Secondly, English prose is characterized by the wide material selection. In English prose, one detail, episode and facet of life can be used to display the author’s specific emotions and circumstances, and all materials related to the theme can also be employed. It places no emphasis on rhythm and rhyme, like poetry, as well as to plot and characters, like drama.&lt;br /&gt;
&lt;br /&gt;
Besides, English prose features the free and loose structure. The structure of prose writings is free and flexible. Prose is elastic and natural and boasts descriptive, argumentative and lyrical qualities, thereof constituting its most distinctive advantage. There are no strict restrictions and fixed patterns in the prose structure, but its flexibility and randomness is not tantamount to disorder and scatter, and its choice of theme and expression of feelings should be closely centered on one main line.&lt;br /&gt;
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'''Linguistic Features of English Prose'''&lt;br /&gt;
&lt;br /&gt;
Compared with other literary forms, prose has no more skills to resort to. Therefore, as regards the form of artistic expression, English prose mainly has recourse to its own language features.&lt;br /&gt;
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First and foremost, succinctness and fluency characterize English prose language. The concise prose language not only fully delivers the content that the author intends to convey, but effectively shows the author's emotions and attitude towards persons and things. This is not the result of the author's deliberate elaboration, but the natural overflow of his or her plain and pure emotion. The fluency of prose language refers to both the informal use of words and phrases, and the author's sound expression of feelings.&lt;br /&gt;
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Meanwhile, colloquial style and literary grace are characteristic of prose language. As prose mainly focuses on description of the author's personal stories and sentiments, thus, he speaks or writes with his own posture, style and tone, as if he is confiding to the readers, so as to highlight the agreeable conversation style and unique colloquial style. Colloquial prose language is natural due to its simplicity, friendly owing to its ease of communication, and true thanks to its individuality.&lt;br /&gt;
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Furthermore, another linguistic feature of English prose is the smooth rhythm and reading. The rhythmic beauty of prose language is reflected in phonetic respect and in sentence patterns. The prose reading is catchy, with no obstacles and awkwardness, and its rhythm is in line with the natural law of oral breathing pauses as well as with the ups and downs of feelings.&lt;br /&gt;
&lt;br /&gt;
'''Principles of English Prose Translation'''&lt;br /&gt;
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The beauty of prose lies in its language and artistic conception, the two permeating each other and jointly creating the artistic charm of prose. In prose translation practice, the following principles can be observed to reproduce the artistic appeal.&lt;br /&gt;
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Keep an eye on sound and rhythm. Despite that the sound and rhythm of prose are often internal, not as obvious, regular and musical as that of poetry, they are not disordered with no aesthetic purpose. On the contrary, they effectively represent the variation of emotion in the prose, and are consistent with its unique aesthetic interest. This illustrates that in prose translation, on the one hand, the translators should recognize the great value and significance of prose sound and rhythm; on the other hand, with the intention of reproducing the linguistic subtleties of the original text, the translators can fully touch its aesthetic interest from the cadence between the lines, and perceive its inner rhythm from sentence length and speech speed.&lt;br /&gt;
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Pay attention to personalized mode of discourse. Different writers with various discourse modes bring about manifold writing styles. Not only is the personalized mode of discourse reflected in the author's choice of words and sentences as well as layout of the prose, but also in his thoughts and aesthetic interest. As a result, the translators can start with analyzing the original writer's one classic work and then his anthology and even look closely at the literary features of his age, in order to grasping the writer's personalized discourse mode, which is of particular importance to reproduce his artistic personality and the characteristics of his emotional expression in translation practice.&lt;br /&gt;
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Place a premium on the unity of scene and emotion. The unity of scene and interest in prose is embodied in diverse ways of language expression and structure, as well as the images or settings created by the author. In translation practice, based on the unity of scene and interest in the prose, it is beneficial to preserve and reproduce the overall aesthetic orientation of the original text through aesthetic reconstruction in word selection and layout, so that the translated text can obtain the aesthetic taste similar to the original prose.&lt;br /&gt;
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===Case Study of Chinese Translation of &amp;quot;Pleasures of Ignorance&amp;quot;===&lt;br /&gt;
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The selected source text is &amp;quot;The Pleasures of Ignorance&amp;quot;, written by Robert Lynd. &lt;br /&gt;
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Robert Lynd (1879-1949), born in Belfast, Northern Ireland, was a modern critic and prose writer. He, together with E. V. Lucas, was a pioneer in reviving the tradition of Charles Lamb's prose. And The Pleasures of Ignorance is one of his notable prose works.&lt;br /&gt;
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This prose points out that it is because ignorance that people are interested in the nature and the world and their pursue knowledge, and the process of seeking knowledge is full of pleasure, by which the author emphasizes the importance of learning more and gaining insight. The article reveals somewhat erudition and aesthetic sensibility, as well as love for nature and and passion for life. From his leisurely writing, the author's maturity of thought and capability in usage of words is unveiled. Though the tone of the original text makes the readers feel that the author is chatting with them, giving people familiarity and closeness, it is not particularly colloquial. On the contrary, there is a kind of exactness and elegance of the learned between the lines, thus it can be seen that the case text is a typical scholar prose.&lt;br /&gt;
&lt;br /&gt;
The translator Professor Liu Bingshan firmly grasps these features of the original text and conveys the original style by carefully choosing words and sentences, with the principles of faithfulness, smoothness and expressiveness. His Chinese translation of ''The Pleasures of Ignorance'' will be analyzed in terms of translation strategies and methods.&lt;br /&gt;
&lt;br /&gt;
There is the natural connection between translation strategies and translation methods, but the two concepts are often confused. It is generally believed that translation strategies (such as foreignization and domestication) are at the cultural level, while the translation methods (such as literal translation and free translation) are at the textual level. According to Xiong Bing, (2014: 83-86) translation methods are the approaches, steps and techniques used to achieve a specific translation purpose based on a certain translation strategy in translation activities, whereas translation strategies are a collection of principles and methods. Consequently, this paper will enunciate the translation text on the basis of translation methods under foreignization strategy and domestication strategy respectively.&lt;br /&gt;
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====Translation Methods under Foreignizing Strategy====&lt;br /&gt;
&lt;br /&gt;
Foreignization is a strategy in which a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. This strategy is &amp;quot;an ethnodeviant pressure on target-language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad&amp;quot; to have alien reading experience. (Venuti, 1995: 20) The translation methods under foreignization employed in Professor Liu's target text include literal translation, zero-translation and transliteration.&lt;br /&gt;
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=====Literal Translation=====&lt;br /&gt;
&lt;br /&gt;
Literal translation is in fact looser renditions that replace individual source language words with individual target language wors wherever possible, and cling as closely as possible to the source language word order in the target language. Specifically, in the case translation text, the translator faithfully retains some personal pronouns and demonstrative pronouns in the original text. For example, &lt;br /&gt;
&lt;br /&gt;
(1)It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance.&lt;br /&gt;
&lt;br /&gt;
同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
&lt;br /&gt;
(2)This ignorance, however, is not altogether miserable.&lt;br /&gt;
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不过，这种无知也并非全然不幸。&lt;br /&gt;
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(3)But your and my ignorance is not confined to cuckoos.&lt;br /&gt;
&lt;br /&gt;
但是，你我的无知并不仅限于杜鹃这一方面。&lt;br /&gt;
&lt;br /&gt;
(4)A contemporary English novelist was once asked by a foreigner what was the most important crop in England.&lt;br /&gt;
&lt;br /&gt;
一个外国人问一位当代英国小说家，英国最重要的农作物是什么。&lt;br /&gt;
&lt;br /&gt;
The translation of these sentences, though properly altering the word order and voice with the adherence to the target-language syntactic norms, does not adopt the usage of transferred meaning in dealing with lexical sense.&lt;br /&gt;
&lt;br /&gt;
The use of literal translation, especially the retaining of the personal pronouns, like &amp;quot;we&amp;quot; and &amp;quot;you and I&amp;quot;, conveys the style of the original text, showing friendliness and intimacy.&lt;br /&gt;
&lt;br /&gt;
=====Zero-Translation=====&lt;br /&gt;
&lt;br /&gt;
Zero translation refers to the translation in which the translators do not use the ready-made words in the target language to translate the source language words. This translation phenomenon occurs when adjustments must be made due to the differences in the syntactic structures of the two languages. For example, some articles and personal pronouns are not translated in E-C translation. In Professor Liu’s Translation, zero-translation is particularly displayed by omission, a translation technique. For instance,&lt;br /&gt;
&lt;br /&gt;
Omission of the expletives ''It'' and ''There'':&lt;br /&gt;
&lt;br /&gt;
(5)''It'' is impossible to take a walk in the country oneself without being amazed at the vast continent of one's own ignorance.&lt;br /&gt;
&lt;br /&gt;
任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
&lt;br /&gt;
(6)''There'' are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy.&lt;br /&gt;
&lt;br /&gt;
这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。&lt;br /&gt;
&lt;br /&gt;
Omission of English articles:&lt;br /&gt;
&lt;br /&gt;
(7)Thousands of men and women live and die without knowing the difference between ''a'' beech and ''an'' elm, between ''the'' song of ''a'' thrush and ''the'' song of ''a'' blackbird.&lt;br /&gt;
&lt;br /&gt;
成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
&lt;br /&gt;
Omission of pronouns:&lt;br /&gt;
&lt;br /&gt;
(8)... as she (the cuckoo) lays ''her'' egg on the ground and takes it in ''her'' bill to the nest in which it is destined to breed infanticide.&lt;br /&gt;
&lt;br /&gt;
把蛋下到地面上，然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。&lt;br /&gt;
&lt;br /&gt;
The application of zero-translation can render the translation text concise, neat and fluent, and make the rhythm of the prose more natural and flexible, conforming to the principle of prose translation.&lt;br /&gt;
&lt;br /&gt;
=====Transliteration=====&lt;br /&gt;
&lt;br /&gt;
Proper names such as the names of persons and places of foreign countries, are, as a rule, to be transliterated, i.e., to be translated by using Chinese characters to represent the sound in articulating these names.&lt;br /&gt;
&lt;br /&gt;
In transliteration, the translators should follow the original pronunciation of proper names, in Liu's translation, for example,&lt;br /&gt;
&lt;br /&gt;
(9)Hamlet 哈姆雷特 Pickwick 匹克威克 (both transliterated from English)&lt;br /&gt;
&lt;br /&gt;
Besides, in transliteration, the translators sometimes should also use the standard pronunciation of the Chinese characters. One of the difficulties in transliterating a foreign name in Chinese characters lies in the lack of many foreign sounds in Chinese, and the variation in the pronunciation of the Chinese characters causes confusion. The remedy is to fix certain Chinese characters for a certain syllable of foreign names. And many long-standing translated names, though not named after the original sounds, have been recognized by the world and are generally invariable. For example, in the translation in case study. For example, in the translation in case study,&lt;br /&gt;
&lt;br /&gt;
(10)Montaigne 蒙田 (not 蒙泰涅)&lt;br /&gt;
&lt;br /&gt;
Transliteration plays a crucial role in translation of proper nouns and technical terms, which ensures the correct conveyance of information.&lt;br /&gt;
&lt;br /&gt;
The translation methods under foreignization are able to make the translation process more visible, by means of showing how translators are deeply involved in the construction of culture and ideology. The use of these methods can retain the foreignness of the source text and produce on the target-language readers an effect as close as possible to that obtained on the readers of the original, through which the readers can further understand the foreign expressions and cultures, realizing the differences between the two countries.&lt;br /&gt;
&lt;br /&gt;
====Translation Methods under Domesticating Strategy====&lt;br /&gt;
&lt;br /&gt;
Domestication is a strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for target language readers. This strategy is &amp;quot;an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home&amp;quot; (Venuti, 1995: 20). In other words, as regards the use of domesticating strategy, the translators are required to make target-language readers feel familiar and close through conveying the content of the original text with the expressions to which TL readers are accustomed. And in Liu Bingshan's Chinese translation of ''Pleasures of Ignorance'', free translation method and imitation method under domestication are used and displayed in several translation techniques.&lt;br /&gt;
&lt;br /&gt;
=====Free Translation=====&lt;br /&gt;
&lt;br /&gt;
Free translation, also known as sense-for-sense translation, emphasizes transfer of the meaning or &amp;quot;spirit&amp;quot; of a source text over accurate reproduction of the original wording. The purpose of this method is to accommodate the needs of the target-language readers by producing a text which conforms to the linguistic and textual norms of the target language and culture which does not therefore sound 'foreign&amp;quot; (Shuttleworth &amp;amp; Cowie, 1997: 151). Such a method, in this case study, is specifically embodied in the choice of words packed with Chinese characteristics, that is, diction, also a translation technique. For example,&lt;br /&gt;
&lt;br /&gt;
(11)Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is ''the exception''.&lt;br /&gt;
&lt;br /&gt;
在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是''凤毛麟角''。&lt;br /&gt;
&lt;br /&gt;
(12)It is not that we have not seen the birds. It is simply that we ''have not noticed'' them.&lt;br /&gt;
&lt;br /&gt;
所以如此，并不是因为这些鸟我们没有见过，而只是因为我们''习焉不察''。&lt;br /&gt;
&lt;br /&gt;
(13)When in the oak’s green arms the cuckoo ''sings'', &lt;br /&gt;
&lt;br /&gt;
And first delights men in the ''lovely springs''.&lt;br /&gt;
&lt;br /&gt;
杜鹃在橡树的绿色怀抱里''啭啼''，&lt;br /&gt;
&lt;br /&gt;
第一个为人们带来''欢欣、美好的春意''。&lt;br /&gt;
&lt;br /&gt;
In translating these sentences, the translator transfers some words into vocabulary or phrases with conspicuously Chinese features. For instance, the transfer of &amp;quot;the exception&amp;quot; and &amp;quot;have not noticed&amp;quot; to Chinese idioms &amp;quot;凤毛麟角&amp;quot; (that describes rare and precious items) and &amp;quot;习焉不察&amp;quot; (which means that one is too accustomed to something to call it in questions), respectively, exemplifies the typical Chinese four-character structure. Moreover, the verb &amp;quot;sings&amp;quot; is transferred to &amp;quot;啭啼&amp;quot; (that describes birds' melodious chirp), a Chinese term composed of two words with the same left side, which is one of common and special linguistic phenomena in Chinese language. Meanwhile, &amp;quot;the lovely springs&amp;quot; is transferred to &amp;quot;欢欣、美好的春意&amp;quot; (a joyful and wonderful feeling brought by the spring) through abstraction.&lt;br /&gt;
Thus, it can be seen that the application of free translation can reproduce the sense of the original text more smoothly and idiomatically. And the wide adoption of the four-character structures enhance the academic atmosphere of the translation version.&lt;br /&gt;
&lt;br /&gt;
=====Imitation=====&lt;br /&gt;
&lt;br /&gt;
With regard to the use of imitation, the translators do not stick to the meaning details of the original text, let alone its vocabulary and syntactic structure, but take the original text as a reference model, either by deleting and condensing to only translate its gist and key information, or by adding and expanding to deliver more information than that in the original text. For instance,&lt;br /&gt;
&lt;br /&gt;
(14)Thousands of ''men and women'' ''live and die'' ''without knowing'' the difference between a beech and an elm, between the song of a thrush and the song of a blackbird.&lt;br /&gt;
 &lt;br /&gt;
成千上万的''男男女女''，''从生到死''，''一辈子''也''说不出''山毛榉和榆树有什么区别，''听不出''画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
&lt;br /&gt;
In the translation of this sentence, a variety of translation techniques are employed. &lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
The translator uses conversion to alter the syntactic structure of the original sentence. &lt;br /&gt;
&lt;br /&gt;
The predicate &amp;quot;live and die&amp;quot; is converted into the preposition phrase &amp;quot;从生到死&amp;quot; as the adverbial in Chinese.&lt;br /&gt;
&lt;br /&gt;
And the adverbial preposition phrase in the source text &amp;quot;without knowing&amp;quot; is converted into the predicate in Chinese translation.&lt;br /&gt;
&lt;br /&gt;
②　Division:&lt;br /&gt;
&lt;br /&gt;
In accordance with the need of Chinese expression, &amp;quot;without knowing&amp;quot; is divided into two verb phrases &amp;quot;说不出&amp;quot; and &amp;quot;听不出&amp;quot; in Chinese as the predicate.&lt;br /&gt;
&lt;br /&gt;
③　Addition:&lt;br /&gt;
&lt;br /&gt;
With the addition of the expression &amp;quot;一辈子&amp;quot;, the translator highlights the long time between life and death.&lt;br /&gt;
&lt;br /&gt;
④　Repetition:&lt;br /&gt;
&lt;br /&gt;
The plural form &amp;quot;men and women&amp;quot; is translated into the reiterative locution &amp;quot;男男女女&amp;quot; by repetition. &lt;br /&gt;
&lt;br /&gt;
The change of sentence structure via techniques such as conversion and division as well as of vocabulary via repetition and addition render the translation natural and smooth, showing the translator's superb handling of the original text.&lt;br /&gt;
&lt;br /&gt;
(15)...we are all the ''more'' delighted ''at the spectacle of'' its runaway flight as it (the cuckoo) ''hurries'' from wood to wood conscious of its crimes ...&lt;br /&gt;
&lt;br /&gt;
一日''看见''它（杜鹃）因为自己犯了罪而''煌惶不安地''从这个林子飞''逃''向那个林子 ... 我们才会觉得''大大''开心。&lt;br /&gt;
&lt;br /&gt;
In this example, there are also various translation techniques used.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
Firstly, the preposition phrase &amp;quot;at the spectacle of&amp;quot; is converted into the verb &amp;quot;看见&amp;quot; in Chinese. &lt;br /&gt;
&lt;br /&gt;
Secondly, the noun phrase &amp;quot;runaway flight&amp;quot; is converted into Chinese verbs &amp;quot;飞&amp;quot; (fly) and &amp;quot;逃&amp;quot; (escape). &lt;br /&gt;
&lt;br /&gt;
Besides, the verb &amp;quot;hurries&amp;quot; (that means to move quickly in a particular direction) is converted into &amp;quot;惶惶不安地&amp;quot; (which means to feel panic, afraid and utterly uneasy), a Chinese adverb to modify the verbs &amp;quot;飞&amp;quot; and &amp;quot;逃&amp;quot;, which endows the subject cuckoo with somewhat human characteristic.&lt;br /&gt;
&lt;br /&gt;
②　Repetition:&lt;br /&gt;
&lt;br /&gt;
The adjective &amp;quot;more&amp;quot; is translated into the reiterative locution &amp;quot;大大&amp;quot;, a Chinese adverb equivalent to &amp;quot;very&amp;quot; or &amp;quot;extremely&amp;quot; in English to modify the adjective &amp;quot;delighted&amp;quot;.&lt;br /&gt;
 &lt;br /&gt;
In this example, the adjustment of the sentence order and conversion of parts of speech make the translation more consistent with the word sequence in Chinese. Meanwhile, the choice of words such as the Chinese four-character structure &amp;quot;惶惶不安&amp;quot; conveys the romantic charm beyond the original text. And there are also indicators of use of repetition embodied in the typical Chinese reiterative locutions like &amp;quot;惶惶&amp;quot; and &amp;quot;大大&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
(16)I have myself a ''capricious'' and ''leaking'' memory.&lt;br /&gt;
&lt;br /&gt;
我自己的记忆力也是''漏洞百出''、''不听使唤''。&lt;br /&gt;
&lt;br /&gt;
Although this is a short sentence, it still contains the flexible use of translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
At first, the original object &amp;quot;memory&amp;quot; is converted to the subject in the Chinese translation.&lt;br /&gt;
&lt;br /&gt;
And then, the subject &amp;quot;I&amp;quot; with its appositive &amp;quot;myself&amp;quot; is converted into the attribute &amp;quot;我自己的&amp;quot; to modify the subject in the translation &amp;quot;记忆&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
On account of the conversion of the subject and the verb, the original predicate &amp;quot;have&amp;quot; is inappropriate. The addition of &amp;quot;也是&amp;quot; that is equivalent to the verb &amp;quot;be&amp;quot; in English enforces the completeness of sentence structure. And this is a structural addition mainly due to the structural difference between Chinese and English.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The two vivid adjective &amp;quot;capricious&amp;quot; and &amp;quot;leaking&amp;quot; are translated as &amp;quot;不听使唤&amp;quot; and &amp;quot;漏洞百出&amp;quot; respectively which are typical Chinese four-character structures. The Chinese adjective &amp;quot;漏洞百出(的)&amp;quot; means that the loopholes appear one after another, which is often used to describe that one's writing or speech is untenable because of lack of sufficient reasons and grounds. And here, this word shows the author's weak memory with which he forgets things time and again. And the other adjective &amp;quot;不听使唤(的)&amp;quot; generally depicts that someone loses control and is not obedient to the rules or instructions. Here, the word properly demonstrates that the author cannot manipulate his memory well and also cannot preclude it from being weaker. The use of these two words conforms to the choice of affective and stylistic meanings.&lt;br /&gt;
&lt;br /&gt;
In this example, the conversion of the subject and object as well as the change of the predicate enable the translation to be more closely accord with the Chinese sentential structure. Moreover, the two figurative adjectives packed with personified traits not only fully  convey the author's intention, but also enhance literariness of the translation and even display a lively mood beyond the original text.&lt;br /&gt;
&lt;br /&gt;
(17)We know, again, that, the blossom precedes and ''not succeeds'' the fruit of the apple-tree, but ''this does not lessen our amazement at'' the beautiful holiday of a May orchard.&lt;br /&gt;
&lt;br /&gt;
另外，我们知道苹果树''先''开花，''后''结果，可是五月''一旦''到来，果园里一片欢闹的花海。''我们不是仍然惊为奇观吗？''&lt;br /&gt;
&lt;br /&gt;
This is a typical example of the imitation method embodied in the use of diverse translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
Regarding the conversion of word classes, the noun &amp;quot;blossom&amp;quot; is converted into the Chinese verb &amp;quot;开花&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Concerning the conversion of sentence members, the object in the clause &amp;quot;apple-tree&amp;quot; is converted into the subject &amp;quot;苹果树&amp;quot; in the Chinese translation. And the attribute &amp;quot;May&amp;quot; is converted into the adverbial in Chinese as &amp;quot;五月一旦到来&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Considering the conversion of sentence patterns, the negative sentence &amp;quot;this does not lessen our amazement at...&amp;quot; is converted into a interrogative sentence &amp;quot;我们不是仍然惊为奇观吗？&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Negation:&lt;br /&gt;
&lt;br /&gt;
The negative form &amp;quot;not succeeds&amp;quot; in English is translated into the affirmative form &amp;quot;后结果&amp;quot; in Chinese, intensifying a positive tone on which Chinese language often places emphasis.&lt;br /&gt;
&lt;br /&gt;
③　Division:&lt;br /&gt;
&lt;br /&gt;
The original complicated sentence in English is divided into several simplex clauses and phrases in Chinese, which underlines the &amp;quot;chronicle style&amp;quot; of Chinese language with frequent use of shorter or composite structures.&lt;br /&gt;
&lt;br /&gt;
④　Addition:&lt;br /&gt;
&lt;br /&gt;
Now that the original sentence is divided into smaller components, it is necessary to supply connectors for better cohesion. The addition of the logical connectors in Chinese such as &amp;quot;先&amp;quot;, &amp;quot;后&amp;quot;, &amp;quot;一旦&amp;quot; and &amp;quot;仍然&amp;quot; render the translation more smooth and expressive.&lt;br /&gt;
&lt;br /&gt;
In this instance, the translator flexibly takes advantage of the techniques such as conversion, negation and division, not only contributing to the diversity of sentence patterns but also adding sense of warmth and vividness of the translation. Additionally, the semantic addition of logical connectors render the translation more cohesive and coherent.&lt;br /&gt;
&lt;br /&gt;
(18)Once more I shall see the world as a garden through the eyes of a stranger, my breath taken away with surprise by the painted fields.&lt;br /&gt;
&lt;br /&gt;
那时，我像一个陌生者进人大花园，放眼四望，五色缤纷的原野再一次使我''目不暇接''，''心迷神醉''。&lt;br /&gt;
&lt;br /&gt;
As regards this example, the translator enriches the meaning of the original text and creates a more balmy atmosphere by employing various translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Division:&lt;br /&gt;
&lt;br /&gt;
The long complex sentence, composed of two clauses, is divided into several separated clauses in arranged in a certain order, which renders the translation rhythmic and highlights the focus of expression.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
The addition of the Chinese set phrase &amp;quot;目不暇接&amp;quot; (which means that so many wonderful things and so swift change of scenery come into sight that the eyes are kept fully occupied) makes the context more coherent, as it echoes &amp;quot;see&amp;quot; and &amp;quot;the eyes&amp;quot; in the preceding and connects the &amp;quot;painted fields&amp;quot; in the following that greet the author's eyes and take his breath away.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The verb &amp;quot;see&amp;quot; is translated into &amp;quot;放眼四望” (to look around), the noun phrase &amp;quot;breath taken away with surprise&amp;quot; into &amp;quot;心醉神迷&amp;quot; (to be thrown into ecstasies), and the adjective &amp;quot;painted&amp;quot; into &amp;quot;五彩缤纷&amp;quot; (colorful). These recurring four-character structures in translation are loaded with positive meanings, and proper to depict the attractive scenery and to be used in scholar prose.&lt;br /&gt;
&lt;br /&gt;
④　Conversion:&lt;br /&gt;
&lt;br /&gt;
The original clause &amp;quot;my breath taken away with surprise by the painted fields&amp;quot; is in passive voice, and is converted into the active voice in Chinese translation &amp;quot;五色缤纷的原野再一次使我目不暇接，心迷神醉&amp;quot;. This kind of conversion is due to the fact that the Chinese passive form marked by &amp;quot;被&amp;quot; is traditionally felt to be an &amp;quot;inflictive voice&amp;quot;, mainly expressing things unpleasant or undesirable, contrasted with the cheerful aura overflowing the original text. &lt;br /&gt;
&lt;br /&gt;
The translator employs short clauses separated from the original complex sentence to  bestow smoothness and naturalness on the translation and strengthen its artistic appeal. Furthermore, the translator selects the words that tally with the affective, contextual and stylistic meanings of the original. And the opportune addition of words and change of voice also polish the translation.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
This paper makes an analysis of translation strategies and translation methods in English prose, with translator Liu Bingshan's Chinese translation of ''Pleasures of Ignorance'' created by Robert Lynd as an example. With translation strategies and methods as the starting point, this paper considers Chinese translation of English prose as the research subject. The paper first introduces English prose along with its distinctive properties, linguistics features and principles of its translation. And then this paper carries out the interpretation of translation strategies and methods in Liu Bingshan's Chinese translation of ''Pleasures of Ignorance'' in which the application of translation methods as well as techniques under foreignizing and domesticating strategies are elaborated, and the concrete effects they exert are also elucidated.&lt;br /&gt;
&lt;br /&gt;
====Major Findings====&lt;br /&gt;
&lt;br /&gt;
Based on the above study of translation strategies and methods employed in Liu Bingshan's Chinese translation of ''Pleasures of Ignorance'', the features or common ground of Chinese translation of English prose in terms of translation strategies and methods can be generally summarized.&lt;br /&gt;
&lt;br /&gt;
In Chinese translation of English prose, foreignization strategy and domestication strategy are both used in the light of the style, linguistic features, and syntactic structures of the source text.&lt;br /&gt;
&lt;br /&gt;
But, on the whole, the domesticating translation strategy which includes translation methods such as free translation and imitation is applied more frequently compared with foreignization. This is because that prose translation actually falls into literary translation that is special on the grounds of the unique characteristics of the original literary works. In literary works, or specifically, in English prose, some words are not used with their literal meanings but their connotative or extension meanings, so literal translation under foreignization may not correctly convey the real significance of the original text. Meanwhile, in English prose, there are complex syntactic structures whose translation cannot be carried out with no proper conversion and alteration. Additionally, multiple rhetoric devices such as metaphor, metonymy and allusion are used in English literary works, and the literal translation of these figures of speech may elude the target-language readers because of the cultural differences and the obscurity of the translation. However, the appropriate adoption of translation methods under domestication strategy, to some extent, can give the target-language readers a sense of closeness and deliver the aesthetic charm with the premise that the real meaning of the original text can be ensured.&lt;br /&gt;
&lt;br /&gt;
In terms of translation methods under foreignizing strategy, literal translation is used when the lexical meaning of the source text is lucid and the syntactic structures in it are relatively simple and clear, so the translators need not find a new path in the mode of expression in order to be faithful to the source text. And the use of literal translation can convey the information more objectively and avoid the interference of translators' subjective factors. Meanwhile, in Chinese translation of English prose, the use of zero-translation is frequent but imperceptible, with the omission of some words peculiar to English, such as expletives it and there, English articles and pronouns, but sometimes the English pronouns can also be retained to show a sense of closeness and friendliness. Besides, transliteration is used for the translation of proper nouns and technical terms not only in English prose but also in almost all text types, with conforming to the principles of being named after the original sound and of the translated names accepted through common practice. In a word, translation methods under foreignization can ensure the objective conveyance of information of the original text and preserve its foreignness and unique cultural values that can enrich the target-language readers' knowledge and their languages.&lt;br /&gt;
&lt;br /&gt;
With regard to translation methods under domesticating strategy, in Chinese translation English prose, free translation and imitation method are oftentimes employed. English prose, as one of the English literary genres, boasts distinctive features of literature, such as aesthetic value, language with hidden meanings and the usual use of figures of speech as well as culturally loaded images, which may not be shown vividly and be easily understood by target-language readers via literal or word-for-word translation. Thus, translation methods under domestication, with careful choice of words, proper adjustment of syntactic structures and sentence sequence, and appropriate sublimation of the original text, can express the original author's feelings more lively, render the translation more fluent, idiomatic and expressive, and display the aesthetic charm of the source text.&lt;br /&gt;
&lt;br /&gt;
At the lexical level, in Chinese translation of English prose, the translation techniques --- diction, addition, conversion and repetition --- are usually used. The typical Chinese four-character structures appear time from time in Chinese translation, and the translators choose the words in line with the affectionate, contextual and stylistic meanings of the original prose, which intensify literariness and satisfy the characteristics of scholar prose. Moreover, the addition of Chinese conjunctive words and logical connectors by which sentences in translation are connected into a text can create better cohesion. Furthermore, the conversion of word classes in translation is based on the contrastive studies of English and Chinese, viz., English with its nominal style is static whereas Chinese with its verbal style is dynamic. Besides, it is one of the peculiarities of Chinese to reduplicate characters or words in word-formation and to repeat the similar or same word or expression in a discourse for expressiveness and parallelism, which can render translation more appealing to Chinese readers and produce rhetorical and grammatical effect.&lt;br /&gt;
&lt;br /&gt;
At the syntactic level, the translation techniques --- conversion and division--- are often employed in Chinese translation of English prose. To start with, conversion in the syntactic respect involves conversions of sentence members, sentence patterns and the voice. The conversion of word classes often results in the conversion of sentence members, and the alteration of sentences patterns like the inter-conversion between assertive or negative sentences and question sentences can variegate sentence types in translation. The conversion of passive voice in English prose into active voice in Chinese translation is due to the preference for active forms that can produce positive effect in Chinese language. What's more, part of sentences in English prose are longer and complicated because of subordination, a fundamental feature of English, and it may be hard to reproduce the original thought with following the original sentence structure in translation, hence the division of complex English sentences into word-groups, clauses or simplex sentences in Chinese can endow Chinese translation of English prose with more naturalness, fluency and sense of rhythm.&lt;br /&gt;
&lt;br /&gt;
The research on the features of translation strategies and methods in Chinese translation of English prose, theoretically can offer a deeper insight into English prose and its translation, and practically can help to some extent improve the quality of Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
====Limitations and Suggestions====&lt;br /&gt;
&lt;br /&gt;
There are drawbacks in this paper: firstly, the paper takes only one piece of English prose as an example in case study, so it lacks strong persuasiveness; secondly, since there are few researchers on prose translation at home and abroad, especially those specializing in Chinese translation of English prose, this paper resorts to insufficient literature guidance and reference; thirdly, owing to the confined conditions and narrow academic capacity, this paper is devoid of enough depth and breadth as well as favorable insight and acuity, thus the theoretical support and practical assistance it provides are bound to be limited. As a consequence, it is expected that researchers in this field can cooperate well to build up a system to minimize the possible errors and create more thorough and holistic works to enunciate and improve Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
[1] Lawrence Venuti. Rethinking Translation: Discourse, Subjectivity, Ideology [C]. London and New York: Routledge, 1992: 5-20.&lt;br /&gt;
&lt;br /&gt;
[2] Lawrence Venuti. The Translator's Invisibility: A History of Translation [M]. 上海: 上海教育出版社, 2004: 7-25.&lt;br /&gt;
&lt;br /&gt;
[3] Mark Shuttleworth. Moira Cowie. Dictionary of Translation Studies [M]. London and New York: Routledge, 2014: 59-163.&lt;br /&gt;
&lt;br /&gt;
[4] 方梦之. 中国译学大辞典 [M]. 上海: 上海教育出版社, 2011: 96-118.&lt;br /&gt;
&lt;br /&gt;
[5] 侯强. 英语散文汉译策略研究 --- 以“韩素音青年翻译奖”参赛文本为例 [D]. 厦门: 厦门大学, 2014.&lt;br /&gt;
&lt;br /&gt;
[6] 何秀琴. 期待视角下的英语散文汉译研究 --- 以《散文佳作108篇》 为例 [D]. 南昌: 南昌大学, 2018.&lt;br /&gt;
&lt;br /&gt;
[7] 连淑能. 英译汉教程 [M]. 北京: 高等教育出版社, 2006: 67-262,&lt;br /&gt;
&lt;br /&gt;
[8] 宋颉. 翻译美学视角下的民国散文英译风格研究 [D]. 上海: 上海外国语大学, 2018.&lt;br /&gt;
&lt;br /&gt;
[9] 熊兵. 翻译研究中的概念混淆 [J]. 中国翻译, 2014(3): 82-88.&lt;br /&gt;
&lt;br /&gt;
[10] 张保红. 文学翻译 [M]. 北京: 外语教学与研究出版社, 2011: 28-88.&lt;br /&gt;
&lt;br /&gt;
[11] 朱明炬. 英汉名篇名译 [M]. 南京: 译林出版社, 2007: 319-328.&lt;br /&gt;
&lt;br /&gt;
===Appendix===&lt;br /&gt;
&lt;br /&gt;
(The original text:)&lt;br /&gt;
&lt;br /&gt;
The Pleasures of Ignorance&lt;br /&gt;
&lt;br /&gt;
By Robert Lynd&lt;br /&gt;
&lt;br /&gt;
It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance. It is impossible to take a walk in the country oneself without being amazed at the vast continent of one’s own ignorance. Thousands of men and women live and die without knowing the difference between a beech and an elm, between the song of a thrush and the song of a blackbird. Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is the exception. It is not that we have not seen the birds. It is simply that we have not noticed them. We have been surrounded by birds all our lives, yet so feeble is our observation that many of us could not tell whether or not the chaffinch sings, or the colour of the cuckoo. We argue like small boys as to whether the cuckoo always sings as he flies or sometimes in the branches of a tree-whether Chapman drew on his fancy or his knowledge of nature in the lines:&lt;br /&gt;
&lt;br /&gt;
When in the oak's green arms the cuckoo sings, &lt;br /&gt;
&lt;br /&gt;
And first delights men in the lovely springs.&lt;br /&gt;
&lt;br /&gt;
This ignorance, however, is not altogether miserable. Out of it we get the constant pleasure of discovery. Every fact of nature comes to us each spring, if only we are sufficiently ignorant, with the dew still on it. If we have lived half a lifetime without having ever seen a cuckoo, and know it only as a wandering voice, we are all the more delighted at the spectacle of its runaway flight as it hurries from wood to wood conscious of its crimes and at the way in which it halts hawk-like in the wind, its long tail quivering, before it dares descend on a hillside of fir-trees where avenging presences may lurk. It would be absurd to pretend that the naturalist does not also find pleasure in observing the life of the birds, but his is a steady pleasure, almost a sober and plodding occupation, compared to the morning enthusiasm of the man who sees a cuckoo for the first time, and, behold, the world is made new.&lt;br /&gt;
&lt;br /&gt;
And, as to that, the happiness even of the naturalist depends in some measure upon his ignorance,which still leaves him new worlds of this kind to conquer. He may have reached the very Z of knowledge in the books, but he still feels half ignorant until he has confirmed each bright particular with his eyes. He wishes with his own eyes to see the female cuckoo—rare spectacle!—as she lays her egg on the ground and takes it in her bill to the nest in which it is destined to breed infanticide. He would sit day after day with a field-glass against his eyes in order personally to endorse or refute the evidence suggesting that the cuckoo does lay on the ground and not in a nest.And, if he is so far fortunate as to discover this most secretive of birds in the very act of laying, there still remain for him other fields to conquer in a multitude of such disputed questions as whether the cuckoo’s egg is always of the same colour as the other eggs in the nest in which she abandons it. Assuredly the men of science have no reason as yet to weep over their lost ignorance. If they seem to know everything, it is only because you and I know almost nothing. There will always be a fortune of ignorance waiting for them under every fact they turn up. They will never know what song the Sirens sang to Ulysses any more than Sir Thomas Browne did.&lt;br /&gt;
&lt;br /&gt;
If I have called in the cuckoo to illustrate the ordinary man's ignorance, it is not because I can speak with authority on that bird. It is simply because, passing the spring in a parish that seemed to have been invaded by all the cuckoos of Africa, I realized how exceedingly little I, or anybody else I met, knew about them. But your and my ignorance is not confined to cuckoos. It dabbles in all created things, from the sun and moon down to the names of the flowers. I once heard a clever lady asking whether the new moon always appears on the same day of the week. She added that perhaps it is better not to know, because, if one does not know when or in what part of the sky to expect it,its appearance is always a pleasant surprise. I fancy, however, the new moon always comes as a surprise even to those who are familiar with her time-tables. And it is the same with the coming-in of spring and the waves of the flowers. We are not the less delighted to find an early primrose because we are sufficiently learned in the services of the year to look for it in March or April rather than in October. We know, again, that, the blossom precedes and not succeeds the fruit of the apple-tree, but this does not lessen our amazement at the beautiful holiday of a May orchard.&lt;br /&gt;
&lt;br /&gt;
At the same time there is, perhaps, a special pleasure in relearning the names of many of the flowers every spring. It is like rereading a book that one has almost forgotten. Montaigne tells us that he had so bad a memory that he could always read an old book as though he had never read it before. I have myself a capricious and leaking memory. I can read Hamlet itself and The Pickwick Papers as though they were the work of new authors and had come wet from the press, so much of them fades between one reading and another. There are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy. But this is only when life has an object beyond entertainment. In respect of mere luxury, it may be doubted whether there is not as much to be said for a bad memory as for a good one. With a bad memory one can go on reading Plutarch and The Arabian Nights all one's life. Little shreds and tags, it is probable, will stick even in the worst memory, just as a succession of sheep cannot leap through a gap in a hedge without leaving a few wisps of wool on the thorns. But the sheep themselves escape,and the great authors leap in the same way out of an idle memory and leave little enough behind.&lt;br /&gt;
&lt;br /&gt;
And, if we can forget books, it is as easy to forget the months and what they showed us, when once they are gone. Just for a moment I tell myself that I know May like the multiplication table and could pass an examination on its flowers, their appearance and their order. Today I can affirm confidently that the buttercup has five petals. (Or is it Six? I knew for certain last week.) But next year I shall probably have forgotten my arithmetic, and may have to learn once more not to confuse the buttercup with the celandine. Once more I shall see the world as a garden through the eyes of a stranger, my breath taken away with surprise by the painted fields. I shall find myself wondering whether it is science or ignorance which affirms that the swift (that black exaggeration of the swallow and yet a kinsman of the humming-bird) never settles even on a nest, but disappears at night into the heights of the air. I shall learn with fresh astonishment that it is the male, and not the female,cuckoo that sings. I may have to learn again not to call the champion a wild geranium, and to rediscover whether the ash comes early or late in the etiquette of the trees. A contemporary English novelist was once asked by a foreigner what was the most important crop in England. He answered without a moment's hesitation: &amp;quot;Rye&amp;quot;. Ignorance so complete as this seems to me to be touched with magnificence; but the ignorance even of illiterate persons is enormous. The average man who uses a telephone could not explain how a telephone works. He takes for granted the telephone, the railway train, the linotype, the aeroplane, as our grandfathers took for granted the miracles of the gospels. He neither questions nor understands them. It is as though each of us investigated and made his own only a tiny circle of facts. Knowledge outside the day's work is regarded by most men as a gewgaw. Still we are constantly in reaction against our ignorance. We rouse ourselves at intervals and speculate. We revel in speculations about anything at all—about life after death or about such questions as that which is said to have puzzled Aristotle, &amp;quot;why sneezing from noon to midnight was good, but from night to noon unlucky.&amp;quot; One of the greatest joys known to man is to take such a flight into ignorance in search of knowledge. The great pleasure of ignorance is, after all, the pleasure of asking questions. The man who has lost this pleasure or exchanged it for the pleasure of dogma, which is the pleasure of answering, is already beginning to stiffen. One envies so inquisitive a man as Jowett, who sat down to the study of physiology in his sixties. Most of us have lost the sense of our ignorance long before that age. We even become vain of our squirrel’s hoard of knowledge and regard increasing age itself as a school of omniscience. We forget that Socrates was famed for wisdom not because he was omniscient but because he realized at the age of seventy that he still knew nothing.&lt;br /&gt;
&lt;br /&gt;
(Liu Bingshan's Chinese translation:)&lt;br /&gt;
&lt;br /&gt;
无知常乐&lt;br /&gt;
&lt;br /&gt;
刘炳善 译&lt;br /&gt;
&lt;br /&gt;
同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是凤毛麟角。所以如此，并不是因为这些鸟我们没有见过，而只是因为我们习焉不察。在我们一生中，鸟类始终就在我们周围，然而我们对于它们的观察总是那样马马虎虎，所以我们当中许多人都说不清花鸡到底会不会知，也不知道杜鹃究竟是什么颜色。对于有些问题、我们像小孩子一样争论不休、譬如说，杜鹃在飞着或栖身于树枝间的时候，是否一直不停地鸣，而查普曼下面两行诗的灵感究竟是来自他的想像还是来自他的自然知识∶&lt;br /&gt;
&lt;br /&gt;
杜鹃在橡树的绿色怀抱里啭啼，&lt;br /&gt;
&lt;br /&gt;
第一个为人们带来欢欣、美好的春意。&lt;br /&gt;
&lt;br /&gt;
不过，这种无知也并非全然不幸，因为正是由于它，我们才能不断尝到发现的乐趣。只要我们是的的确确地无知，那么每年大地春回，自然界的每一种事物都会带着它那清新的露珠重新出现在我们面前。如果我们活了半辈子，对于杜鹃除了听过它那飘忽不定的叫声，从来没有见过它是什么模样，那么，一日看见它因为自己犯了罪而煌惶不安地从这个林子飞逃向那个林子。或是看见它顶着风、像老鹰似的停留在半空中，它那长长的尾巴颤动着，不敢落下来，生怕有什么鸟儿藏在那山坡上的枞树林里等着要找它报仇。我们才会觉得大大开心。有人想着，博物学家整天观察鸟类，大概就不会觉得有什么趣儿了吧？其实大谬不然--他那持续不断的乐趣几平已经变成一种安详的职业习惯了，不像有人某天早晨突然第一次看见一只杜鹃，不胜雀跃之至，于是，看哪，天地也为之焕然一新了。&lt;br /&gt;
&lt;br /&gt;
说到这儿，甚至连博物学家的快乐在一定程度上也有赖于自己的无知；只有如此。才能给他留出一些新的领域有待他去征服。即使他已经攀登了书本知识的顶峰，他仍会感到自己不过是半通不通，每一个引人注目的细节还必须用自己的亲眼观察来加以一一证实。他盼着能亲眼看到雌杜鹃（这可是个稀罕物儿！）把蛋下到地面上。然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。因此，博物学家就要戴上望远镜，日复一日地坐在那里等待着亲眼证实或者否定那种认为杜鹃确实是在地面上而非在窠里下蛋的说法。而日，即使他很幸运，能够发现杜鹃下蛋实况，这个在鸟类来说算是极大的秘密，其他一大批有争议的问题还依然存在。就像新的领土有待他去开拓，例如，杜鹃的蛋跟它占用的窠里其他鸟的蛋是否总是一样颜色？自然，科学家没有理由为了自己失去无知而哭泣。如果他们看起来似乎是精通一切的话，那也不过因为你我差不多是一无所知罢了。实际上，当他们要把一件事实的盖子揭开的时候，某种命定的无知就在等待着他们。海妖们向尤利塞斯唱的究竟是什么歌儿？——他们永远不可能知道，正像托马斯·勃朗爵士也不知道一样。&lt;br /&gt;
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我请杜鹃来做例子以说明普通人的无知，并不是因为我有什么权威可以对这种鸟儿发发议论。不过，我曾在某个教区暂住，而那年春天从非洲飞来的杜鹃似乎全集合在那个地方，因此我也就有机会了解到我自己以及我所碰见的每一个人对于这种鸟儿的知识是如何地微不足道。但是，你我的无知并不仅限于杜鹃这一方面。它涉及到宇宙万物，从太阳、月亮一直到花卉的名字。有一天，我听见一位聪明伶俐的太太提出了这样一个问题∶新月是不是总在星期几露面？她接着又说：不知道倒好，正因为人不知道在什么时候、在天空的哪一带能看见它，新月一出现才给人带来一场惊喜。然而我想、哪怕入把月亮盈亏时间表记得再熟。看见新月出现还是不免又惊又喜，春回大地，花开花落，也莫不如此。尽管我们对一年四季草本节令了如指掌，知道樱草开花在三月四月而不在十月，不过看见一株早开花的樱草，我们还是照样地高兴。另外，我们知道苹果树先开花，后结果，可是五月一旦到来，果园里一片欢闹的花海。我们不是仍然惊为奇观吗？&lt;br /&gt;
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倘在每年春天，把许多花卉之名重温一遍，还另有一番风味。那就像把一本差不多忘得干干净净的书再重新念一遍。蒙田说过，他的记忆力很坏，所以他随时都能拿起一本旧书，像从未读过的新书一样地念。我自己的记忆力也是漏洞百出、不听使唤。我甚至能拿起《哈姆雷特》和《匹克威克外传》，当作是初登文坛的新作家刚刚印成白纸黑字的作品来念，因为自从上回念过以后，这两部书在我脑子里的印象已经模模糊糊了。这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。不过，在这种时候，人不仅想得到娱乐，还追求着什么目的。如果只讲享受的话，记忆力坏比记忆力好究竟差到哪里去，还真是大可怀疑哩。记忆力坏的人可以一辈子不断地念普卢塔克的《英雄传》和《天方夜谭》，而永远感到新鲜。很可能，最坏的记忆力也难免粘粘连连地留下一星半点的印象，恰如一只只绵羊从篱笆洞里接连通过，总不免在那刺条上留下一丝半缕的羊毛。然而，绵羊终归逃出去了，正像伟大的作家从我们不争气的记忆中消失。所留下的东西简直微不足道。&lt;br /&gt;
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既然读过的书我们可以忘得一干二净，那么一年十二个月以及每个月的风物，一旦时过境迁。我们同样可以轻而易举地把它们忘在脑后。在某个短暂时刻，我可以说自己对于五月就像对于乘法表那样熟悉，关于五月里的花木、开花时间乃至前后次序，我能通过考试。今天，我就敢肯定金凤花有五瓣。（难道是六瓣吗？上个礼拜我还记得清清楚楚来着。）可是，到了明年，我也许连算术也忘个干干净净;我得从头学起，以免把金凤花误认成白屈菜。那时，我像一个陌生者进人大花园，放眼四望，五色缤纷的原野再一次使我目不暇接，心迷神醉。那时，我也许要对这么一个问题拿不定注意，就是; 认为雨燕（那种简直像大号小燕子、又和蜂鸟沾点儿亲戚的黑鸟儿）从来不在窠里歇着，一到夜里就飞向高高的天空，到底是一种科学论断，还是一种无知妄说？当我知道了会唱歌的并不是雌杜鹃，而是雄杜鹃。我还要再次感到惊讶。我得重新学习，以免把剪秋罗当作野大竺葵；还要去重新发现白杨在树木生长的习惯法中究章算是早成材还是晚成材。某天。一个外国人问一位当代英国小说家，英国最重要的农作物是什么。他毫不犹豫地回答：“稞麦。”在我看来，这是一种堂而皇之派头的彻头彻尾的无知；不过，大大无知的也包括那些没有文化的人。普通人只会使用电话，却无法解释电话的工作原理。他把电话、火车、铸造排字机、飞机都看作当然之事，就像我们的祖父一代把福音书里的奇迹故事视为理所当然一样。对于这些事，他既不去怀疑，也不去了解。我们每个人似乎只对很小范围内的某几件事才真正下工夫去了解、弄清楚。大部分人把日常工作以外的一切知识统统当作花哨无用的玩意儿。然面，对于我们的无知，我们还是时时抗拒着，我们}有时振作起来，进行思索。我们随便找一个什么题目，对之思考，甚至入迷——关于死后的生命，或者关于某些据说亚里士多德也感到大惑不解的问题，例如“打喷嚏，从中午到子夜则吉，从夜晚至中午则凶，其故安在？”为求知识而陷入无知，这是人类所欣赏的最大乐事之一。归根结底，无知的极大乐趣即在于提出问题。一个人，如果失去了这种提问的乐趣，或者把它换成了教条的答案，并且以此为乐，那么，他的头脑已经开始僵化了。我们羡慕像裘伊特这样勤学好问之人，他到了六十多岁居然还能坐下来研究生理学。我们多数人不到他这么大的岁数就早已丧失了自己无知的感觉了。我们甚全像松鼠似的对自己小小的知识储存感到沾沾自喜，把与日俱增的年龄看作是培养无所不知的天然学堂。我们忘记了∶苏格拉底之所以以智慧名垂后世，并非因为他无所不知，而是因为他到了七十高龄还能明白自己仍然一无所知。&lt;br /&gt;
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=毛优Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
[[Trans_Type_EN_5]]&lt;br /&gt;
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毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
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=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
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从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。	&lt;br /&gt;
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Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
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Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
翻译风格，巴黎的忧郁，郭宏安，亚丁&lt;br /&gt;
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==Introduction==&lt;br /&gt;
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The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
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Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations. Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
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==Liu Miqing’s theory of translation style==&lt;br /&gt;
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Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
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Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.&lt;br /&gt;
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In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
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==Form Markers==&lt;br /&gt;
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According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
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===Register Markers===&lt;br /&gt;
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“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
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The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
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Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
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Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
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Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
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This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
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===Lexical Markers===&lt;br /&gt;
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Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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'''Eg. (b)'''&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence, translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
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==Non-formal Markers==&lt;br /&gt;
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The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
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Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
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According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
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Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
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The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
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The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
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Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
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Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.&lt;br /&gt;
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==References==&lt;br /&gt;
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[1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[3] 刘宓庆 Liu Mingqing. 新编当代翻译理论[M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp;amp; Publishing Corporation, 2005.&lt;br /&gt;
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[4] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.&lt;br /&gt;
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[5] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.&lt;br /&gt;
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=秦建安 A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
[[Trans_Type_EN_7]]&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Lu Xun, chief commander of China's modern cultural revolution, is not only a great thinker and political commentator but the founder of modern Chinese literature. Kong I-Chi is one of the masterpieces of Lu Xun's novels. Although the total number of characters is less than 3,000 words, Lu Xun exposes the nature of feudal ethics and its negative influence through his character portrayal, which is loved by many readers home and aboard. The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but so as close as possible to the original text in terms of syntactic structure and wording. Therefore, his translations once became the authoritative version of Lu Xun's novels. From the perspective of Nida’s functional equivalence theory, this thesis conducts translation research on the English translation of the famous writer Yang Xianyi, analyzing whether the translation is functionally equivalent to the original text and construe the English translation of prose from the lexical, syntactic, and semantic level to try to explore the translation strategies, styles and methods of Kong I-Chi which aims to explain the functional equivalents in Lu Xun's short novel translation.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Functional Equivalence Theory; Lu Xun; Kong I-Chi;translation method&lt;br /&gt;
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===Introduction===&lt;br /&gt;
This chapter will be expanded with respect to the research background, its significance and the methodology. The literature review will also be included which describes the previous studies on the Functional Equivalence Theory and previous translation versions of ''Kong I-Chi''.&lt;br /&gt;
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'''Research Background and Significance'''&lt;br /&gt;
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As the most famous writer in modern China, Lu Xun has a decisive bearing on the modern history of Chinese literature. Lu Xun settled in a period of transformation in Chinese literature. His short stories are different from modern short stories in terms of text and expression. ''Kong I-Chi'' was written in 1918 when there was a turmoil in China. At that time, although the imperial examination system had been abolished, the education system had not changed, and many scholars had not shaken off the shackles of feudal tenets. &lt;br /&gt;
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''Kong I-Chi'' enjoys high reputation at home and abroad and has been translated into English, Japanese, French, Russian and other languages. Compared with other language versions, the English versions enjoy a wider spread and have deeper influence. In 1954, the couple Yang and Dai translated it into English and published Selected Stories of Lu Xun in which ''Kong I-Chi'' was included. Yang Xianyi and his wife Gladys Yang are great translator beyond all doubt. They are knowledgeable and familiar with Chinese and Western cultures also have devoted their life to translating excellent Chinese and Western literary works. Through their translation, we can better master the author's own novel intentions.&lt;br /&gt;
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'''Methodology'''&lt;br /&gt;
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In recent years, the translation of traditional Chinese literary works was attached great significance by both Chinese and foreign scholars. As an important part of ancient Chinese culture, though, it is a common genre in Chinese and foreign literature, the short novels cannot be neglected. For translators, how to deal with the modern and balance Chinese and Western cultural differences has become a salient problem. It is not only necessary to understand the characteristics of modern Chinese literature, but also to be very familiar with Chinese and Western cultures for the translator. Functional Equivalence Theory is put forward by American linguists Eugene Nida. According to him, two different languages represent two different cultures which will never be the same, but translation is a kind of communication between the two cultures and translators should try their best to achieve functional equivalence between the two languages rather than seek for rigid correspondence when making translation, which can accurately reproduce the source culture in the target language and eliminate cultural differences. It puts forward a new attitude to treat different languages and cultures, promoting language communication and mutual understandings among people. Thus, taking Nida’s theory as guidance, this research is meaningful not only for translation studies, but also for cultural exchanges.&lt;br /&gt;
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'''Literature Review'''&lt;br /&gt;
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As one of Nida’s major contribution to contemporary translation studies, Functional Equivalence Theory has brought about heated discussion among scholars at home and abroad since its birth. Many momentous works of Nida also have been translated and introduced into China, such as Nida on Translation edited and translated by Tan Zaixi (1999) and Language and Translation translated by Cai Yi (1985) which of them aroused great repercussions in Chinese translation field. As the prototypical member of Functional Equivalence Theory, receptor’s response theory draws scholars’ attention. Zhang Xiujuan (2015) points out that “receptor’s response theory breaks the tradition of Chinese translation that translators pay much attention to the text but may ignore the response of readers, and provides a new perspective for Chinese scholars to make studies on translation theories”.&lt;br /&gt;
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Kong I-Chi, as the most typical character in Lu Xun's novels in the teaching textbooks of Chinese junior high school students, has left an indelible impression in the hearts of Chinese people. The most recognized translators of ''Kong I-Chi'' include Yang and Dai, Lyle William and Edgar Snow. The translation of Lu Xun's novels during the period of Yang and Dai reach its heyday. For a long time, domestic and foreign publishing houses have published works translated by the couple. Since Edgar Snow lived in the same age as Lu Xun, his translation is closer to Lu Xun's life background. It wasn't until 1990 that the American scholar William Lyell's new American translation was published, and the new stage of the English translation of Lu Xun's novels began. The British English version translated by Yang and Dai is elegant and idiomatic, giving readers the good impression of pure British English.&lt;br /&gt;
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=== Theoretical Framework: Nida’s Functional Equivalence Theory ===&lt;br /&gt;
==== Introduction of Functional Equivalence Theory ==== &lt;br /&gt;
===== The Original of Functional Equivalence Theory  =====&lt;br /&gt;
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Nida's main academic activities unfold around the translation of the Bible. In the process of &amp;quot;Bible&amp;quot; translation, Nida started from reality and developed a set of his own translation theory, which eventually became one of the classics in translation studies. In 1964, Nida (1964) put forward “dynamic equivalence” in ''Toward a Science of Translating'', and gave it specific definition in ''The Theory and Practice of Translation'' (1969). In the mid-1980s, “dynamic equivalence” was replaced by “functional equivalence” to avoid misunderstandings on the term “dynamic”, which was the origin of Functional Equivalence Theory.&lt;br /&gt;
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=====The Development of Functional Equivalence Theory  =====&lt;br /&gt;
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The most important and the most intractable part in Functional Equivalence Theory is the disposal of message. The theory requires that the message in receptor’s language must be consistent with the source language. In such a translation, translators should strive to “reproduce as literally and meaningfully as possible the form and content of the original” (Nida 1964:159). Later he successfully applied the research results of modern linguistics to translation theory which also reciprocally pushed his theory forward. There are three stages in the development of Functional Equivalence Theory.&lt;br /&gt;
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The first stage is that starting from the essence of language; he used semantic theory to make an objective and accurate analysis of the referent and associative meaning of words. In Nida's point of view, various language structures have great similarities, and the deep structure is far more common than the surface structure. Therefore, the translation of the deep structure between languages can ensure the fidelity of the translation to the greatest extent. At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensue smoothness of the translation as much as possible. The faithful and fluent translation presupposes conditions for the equivalence of receptor’s response, which makes it possible to realize functional equivalence.&lt;br /&gt;
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The second stage is that the theory was prone to lay its foundation on information theory. Nida held the view that translation is the activity of converting information expressed in one language into information in another language, which is, converting information of one code into information of another code. The translation plays a communicative role in transmitting information. Only when the target reader obtains the same amount of information as the original reader can the relationship between the target language recipient and the target language information be basically the same as the relationship between the original language recipient and the original source information. Nida noticed that there is a receptive gap between the original reader and target reader especially when the original language and the target language belong to different language families and different cultures. Thus, in order to improve the amount of the receptor’s information as much as the original reader’s, Nida emphasizes the translator can moderately change the form of the original text to provide a better understanding for receptors.&lt;br /&gt;
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On third stage, Nida tended to embellish his theory from the perspective of social semiotics. Nida insisted that the translation means translation meaning, and semiotics is the most comprehensive system for analyzing meaning. In the book &amp;quot;''Language, Culture, and Translation''&amp;quot;, Nida pointed out that social semiotics studies all codes and codes of human society, and its focus is on the most comprehensive and complex symbol system used by mankind-Language. Therefore, in terms of decoding and encoding, no translation method is as comprehensive as the social semiotic translation method.&lt;br /&gt;
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Nida also recognized that there would never be complete equivalence and it was just a quaesitum. With further development of Functional Equivalence Theory, he thought that it has different degrees of adequacy and on that basis he put forward two levels of functional equivalence — the maximal level and the minimal level of equivalence. The former refers to “the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did” (Nida 1993:118), but this is just an ideal state which cannot be achieved especially when there are huge cultural and aesthetic differences between the two languages. While the latter means “the readers of a translated text should be able to comprehend it to point that they can conceive of how the original readers of the text must have understood and appreciated it” (Nida 1993: 118), and translation below this level can never be accepted. According to Nida, if a translation is between these two levels, it can be regarded as a good one.&lt;br /&gt;
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==== Basics of Functional Equivalence Theory  ==== &lt;br /&gt;
=====Receptor’s Response  =====&lt;br /&gt;
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In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s responce. When translators are working on translation, they are increasingly unable to ignore the reader's feedback on the translation. From the perspective of reception aesthetics, translation theorist Nida said that only when the reader accepts the translation can the translation be truly completed. Therefore, when translating, the translator cannot ignore the acceptability of the translation. The translator builds a bridge between the original author and the reader of the target language through translation, and it is the translation that can clearly reflect this bridge role.&lt;br /&gt;
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Receptor’s Response Theory draws attention to the reader and the reading process, rather than the author or the text. Pat Mora and James Welch define it as: &amp;quot;The theory emphasizes the importance of the reader's role in text understanding.&amp;quot; The same description also appears in many of Nida’s works in which the importance of “receptor’s response” is emphasized repeatedly. &lt;br /&gt;
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There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which was pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information need to be filled in by the reader himself. Such uncertainty occupies another very important position in this theory. This concept includes those vague factors, such as gaps and blanks. This kind of uncertainty encourages readers to add their own ideas when reading, so there is usually more than one understanding of a literal work. The third point is implicit reader also proposed by Isel, as opposed to the actual reader, which refers to the intended reader set by the writer himself who can concretize the text. Isel points out that the implicit reader is not the actual reader, but a reader that the author expects to design in the creative process, that is, the implicit recipient. It is a certain character that the artist conceives and pre-sets based on his experience or hobbies. The forth part is the identity theme. In other words, the work itself has no fixed objective meaning; only when the reader reshapes the work out of his own identity theme and the reader replicates his own fantasies during the reading process, the work can be given meaning. The last point is the interpretative group which was put forward by Stanley Fish. It refers to people who share the same interpretation strategy as we have. In a known context or reader group, the interpretation of the work meaning is the product from the group.&lt;br /&gt;
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===== Principles for Producing Functional Equivalence  =====&lt;br /&gt;
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To achieve the closest natural equivalence between the source language and target language, Nida put forward six principles as the guidance of different kinds and degrees of adjustments:&lt;br /&gt;
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1.	When the translation that strictly keeps the form of the source text makes receptors misunderstand the designative meaning, changes need to be made in the translated text, or a footnote should be added for further explanation if literal translation is still be selected.&lt;br /&gt;
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2.	When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aim to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.&lt;br /&gt;
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3.	When the translation that strictly keeps the form of the source text is so semantically and syntactically difficult that average readers may give up the attempt to understand it, changes should be made in the translated text and the nature of the changes needs to be indicated in the introduction or footnote.&lt;br /&gt;
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4.	When the translation that strictly keeps the form of the source text causes significant misconceptions on the associative meanings of the source text or huge loss in the appreciation for the stylistic values of the source text, changes should be made to reflect the associative meanings of the source text.&lt;br /&gt;
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5.	The way that a translation is to be used (such as a drama to be read or acted on the stage) is of great significance to the extent to which changes are to be made.&lt;br /&gt;
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6.	A source text that must be translated together with accompanying codes (such as songs and operas) generally requires numerous adjustments in all aspects, including phonology, lexicon, syntax, and discourse. (Nida 1993: 125-128).&lt;br /&gt;
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=== Introduction to Lu Xun and ''Kong I-Ch''i  === &lt;br /&gt;
==== Lu Xun and the values of ''Kong I-Chi'' ====&lt;br /&gt;
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To read and translate Kong I-Chi, you must first understand its author-Lu Xun.&lt;br /&gt;
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Lu Xun is a great writer. Mentioning classical literary works, no matter what innovative methods are adopted, whether realistic, romantic, or magical, the content should be close to life, reflect the reality of times and speak for the people. In terms of form, literary works should conform to the inherent rules of literary creation-forming a unique artistic style and achieving the perfect unity of truth, goodness, and beauty. Lu Xun's works fully meet the above requirements. &lt;br /&gt;
Lu Xun is also a famous thinker. Indeed, Lu Xun did not specifically study thinking or modes of thinking, nor did he have advanced theoretical monographs, but he, like thinkers in ancient and modern times, both at home and abroad, used suspicion and criticism as spiritual swords to explore truth and reveal. He held the view that it was his duty to awaken the sleeping souls of the Chinese people with literary works of various genres. The depth and breadth of his thinking is even higher than that of some contemporary thinkers. This is well reflected in his work Kong I-Chi.&lt;br /&gt;
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Lu Xun, who is a revolutionary, has a precious characteristic, that is, the purity of his revolutionary original intention. Lu Xun leaned towards socialism under the white horror of the low ebb of the Chinese revolution. What's more commendable is that as a sober realist, Lu Xun never conceives any romantic illusions about the revolution. No matter what difficulties the revolution encounters, Lu Xun always has an optimistic belief in the prospects of the revolution.&lt;br /&gt;
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From a general perspective, Lunatic's Diary is more macro and image specific than Kong I-Chi, while Kong I-Chi starts from the micro level, depicting the poor people at the bottom of society who was bullied and oppressed and lost their dignity as human beings. In addition, there are many opinions in the critics. For example, Mr. Lu Xun's Kong I-Chi was written to criticize the feudal imperial examination system, and some people think that it was sent out to criticize the “dark” old society. The famous critic Lin Zhihao believes that this novel is not only to assail at the corruption of the feudal imperial examination system, but also to reveal the persecution of people’s spiritual and ideology by the feudal education system in the dark old society. The social reality was that most scholars had been ruthlessly “eaten” up by the environment. When the shackles of thinking have been broken, we can dig into the deep meaning under the surface of Kong I-Chi, that is, the process of literati's loss of personality and the process of redemption under the background of the dark society of feudalism. Although the tragedy is redemptive, the process is also accompanied by a fall.&lt;br /&gt;
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==== Study on the Translation of ''Kong I-Chi''  ====&lt;br /&gt;
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''Kong I-Chi'' is a masterpiece of Lu Xun. The novel was created in the winter of 1918, published in the sixth volume of &amp;quot;''Italic text''New Youth&amp;quot; in April 1919. (刘家鸣1992: 15). ''Kong I-Chi'' is Lu Xun's most satisfying work (孙伏园等2000: 58), and it is also one of Lu Xun's novels that English translators are vying to translate resulting in an amount of English translation. &lt;br /&gt;
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So far, there are eight translations of ''Kong I-Chi'': 1)A British man E.H.F.Mills translated ''Con Y Ki'' from Jing Yinyu's French translation (Mills 1930: 42-50), included in ''The Tragedy of Ah Q and Other Contemporary Chinese Short Stories'' published by George Rutridge Bookstore in London in 1930; 2) The English translation of ''K’ung I-chi'' by the American Jin Shouzhuo (G.A.Kennedy 1932: 14-15), which was later included in ''Isaacs'' (Isaacs 1974: 25-32) edited by Yi Luosheng; 3) ''K’ung I-chi'' translated by Lin Jijin (Lin 1935:3-4); 4) Unsigned version of The Tragedy of ''K'ung I-Chi'' (Anonymous 1936: 2-3); 5) ''K’ung I-chi'' was co-translated by American journalists Edgar Snow and Yao Xinnong; 6) later comes to Yang Xianyi and Gladys's translation ''K'ung I-chi'' (hereinafter referred to as &amp;quot;Yang Translation&amp;quot;) (Yang &amp;amp; Gladys 1960: 40-46); 7)Then, famous American sinologist William Lyell translated ''Kong Yiji'' (Lyell 1990: 42-48); 8) other translation of ''Kong Yiji'' was produced by British sinologist Lan Shiling ( Lovell 2009: 32-36).&lt;br /&gt;
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This article focuses on Yang's translation, trying to explore Yang and Dai's translation strategies, styles and methods of ''Kong I-Chi'' from the lexical, syntactic and semantic levels, and aims to explain the functional equivalence in the English translation of Lu Xun's short stories.&lt;br /&gt;
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=== Analysis of the Translation of ''Kong I-Chi'' from the Perspective of Functional Equivalence  === &lt;br /&gt;
==== Lexical Analysis ====&lt;br /&gt;
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There are many cultural-loaded words in the original Kong I-Chi text, such as this. Culture-loaded words are deeply imprinted by the region and era of a certain language society which express things and concepts peculiar to a certain culture. Such words as “进学” and “秀才” not only carry rich cultural connotations, but also exist only in a certain culture which may be blank in another culture. It is this characteristic which is “I have and you do not have” that often becomes an obstacle to cross-cultural communication and translation. From the perspective of Functional Equivalence, this thesis will analyze how these words are handled in Yang's translation.&lt;br /&gt;
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In the sentence “幸亏荐头的情面大，辞退不得”, the word “荐头” was translated into “someone influential” by Yang and Dai. “荐头” is the person who introduces works to other people in ancient China. Such person is absolutely influential. But for reader, such influential people may be a nobleman or someone who is very authoritative in the area which may result in discrimination. The job introducers also can be regarded as common people instead of the influential. From the perspective of Functional Equivalence, Yang’s translation explicitly showed the deep meaning with loss of cultural characteristic.&lt;br /&gt;
The phrase “之乎者也” was translated into “archaisms” which stands for the use of an archaic expression. In Chinese, the original meaning of “之乎者也” is four auxiliary words commonly used in classical Chinese. Therefore, the word &amp;quot;之乎&amp;quot; also refers to the basic abilities that a scholar should possess. Later, it is used to ridicule the scholar who only knows how to analyze words while cannot solve practical problems. Functional equivalence theory requires efforts to create translations that not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. The word “archaisms” corresponds exactly to the description of Kong I-Chi in Lu Xun’s story who is a nerd.&lt;br /&gt;
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Other prototypical cultural-loaded word is “进学”. Yang translated it into “pass the official examination”. As a link in the imperial examination system in ancient China, “进学” means that the children of the Qing dynasties who can pass the examination will be admitted to the prefectural and county schools. Such system is unique to China. To achieve functional equivalence, that is, to allow non-native readers to understand this special cultural mark, the translator must explain this cultural phenomenon as much as possible or find a corresponding expression in the foreign language culture. The same in the word “秀才” on this sentence “你怎的连半个秀才也捞不到呢?” “秀才” also belong to the imperial system. “秀才” is a subject for selecting officials in ancient China, and it was once used as a special name for school students. Yang translated it into “passed the lowest official examination”. As the minimum requirement of the ancient imperial examination system, those who passed the selection examination were called  “秀才”. According to Nida’s theory, it perfectly expresses the ancient Chinese imperial examination system, and at the same time allows foreign language readers to understand Kong I-Chi’s knowledge background.&lt;br /&gt;
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==== Syntax Analysis ====&lt;br /&gt;
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In terms of syntax, the differences in sentence patterns between English and Chinese are the most salient. English emphasizes hypothesis while Chinese emphasizes parataxis, which leads to the conversion of sentence patterns in the process of translation. According to Nida's Functional Equivalence Theory, if the change in form is still insufficient to express the meaning and culture of the original text, the translation technique of &amp;quot;reconstruction&amp;quot; can be used to resolve cultural differences and make the source language and the target language equal in meaning. &amp;quot;Reconstruction&amp;quot; refers to the conversion of the deep structure of the source language into the surface structure of the target language (郭建中,2000 , P67), that is, the cultural connotation of the source language article is explained by the vocabulary of the target language.&lt;br /&gt;
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In ''Kong I-Chi'', when Kong I-Chi took our his money and ordered some food, other people started to sneer at his revenue sources and said “你一定又偷了人家东西了!” The exclamatory sentence in the original text showed others' affirmation of Kong I-Chi's theft. Yang translated it into “You must have been stealing again!” Here we can notice the tense of the two sentences. Lu Xun used the past tense in original text, which expresses that Kong I-Chi's stealing is an established fact. However, Yang used the present perfect continuous tense when translating. In English, the present perfect continuous tense manifests that something the subject has done in the past is still being done, and may continue in the future, expressing the continuation of an action. There is no need to add any other additional descriptions, just from this tense, readers can realize everyone's thoughts on Kong I-Chi's theft. Such reconstruction of tense verifies the application of Functional Equivalence Theory in turn.&lt;br /&gt;
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Afterwards, these people who deprecated him refuted Kong I-Chi's maintenance of himself, saying: “什么清白?” In Yang's translation, it is translated as “Pooh, good name indeed!” In the original text, it is originally an interrogative sentence, but Yang transformed it into an exclamation sentence, added English slang “pooh” in it and translated “清白” into good name. If the interrogative sentence in the original text is literally translated into &amp;quot;what’s the innocence&amp;quot;, the comic effect, that is, everyone's disdain for Kong I-Chi in the exclamatory sentence will not be achieved. The sentiment contained in the original text is successfully conveyed through the conversion of sentence patterns.&lt;br /&gt;
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When describing Kong I-Chi’s knowledge background, the original text mentioned: “幸而写得一笔好字，便替人家钞钞书”. In Yang’s translation, he didn’t directly translate it into a verb phrase instead of into a noun phrase which was “Happily, he was a good calligrapher.” Knowing the characteristics of English and Chinese languages, he metonymically recreated dynamic Chinese verb clauses into static noun clauses.&lt;br /&gt;
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==== Semantic Analysis ====&lt;br /&gt;
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How to eliminate cultural differences as much as possible so that the semantics of the original language can be perfectly embodied? From the perspective of Functional Equivalence Theory, the translator needs to transform the deep structure of the source language into the surface structure of the target language which requires translator to use the corresponding vocabulary in the target language to directly explain the connotation of the original text, so that the target readers can accept the translation more easily. For example, in the original text, the sentence “因为他姓孔，别人便从描红纸上的 ‘上大人孔乙己’这半懂不懂的话里，替他取下一个绰号，叫作孔乙己” includes an allusion: 上大人孔乙己 which refers to a character in the card game popular in ancient China. In such card game, the characters always are drawn in a red paper. For children in ancient China, the card game was easy to play and was a childhood memory.&lt;br /&gt;
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In Yang’s translation, he translated it into “As his surname was Kung, he was nicknamed ‘Kung I-chi’, the first three characters in a children's copybook.” Such translation omits a lot of information from the original text, such as “描红纸上” and “半懂不懂”. But Yang gave a substitute for the omission: he explained the game allusion about children which can be regarded as a strategy that helps foreign readers better understand how Kong I-Chi comes. &lt;br /&gt;
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Another illustration is the translation of this sentence: “孔乙己，你当真认识字么？” It seems fairly easy for common people to translate it with “Kong I-Chi, do you really know words?” , while Yang gave a different version: “Kung I-chi, do you really know how to read?” In our cognitive concepts, if a man knows how to read a word, then he must know this word. But if he knows the word, he may not only know how to read it, but even know how to write it. Such special mechanism is called conceptual metonymy. Yang metonymically narrowed the scope of the meaning of the word “认识”and accurately positioned the meaning of this understanding according to the context. The translator abandons the equivalence of form and achieves the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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This article selects Yang’s translation of &amp;quot;''Kong I-Chi''&amp;quot; as the study case, and analyzes the translation effect from three aspects: lexicon, syntax and semantics, combined with Nida’s Functional Equivalence Theory. It is believed that the translator flexibly uses a variety of translation methods to deal with the differences between English and Chinese languages, and the translation has realized functional equivalence as a whole.&lt;br /&gt;
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At the lexical level, the translator adopts the naturalization method when translating the proper nouns of &amp;quot; ''Kong I-Chi'' &amp;quot;, adding notes to individual words. The translation perfectly conveys the meaning of the original vocabulary. &lt;br /&gt;
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At the syntactic level, when there are differences in the expression of English and Chinese sentences, the translator will split the sentence, adjust the subject and object of the sentence, change the sentence structure and the sentence order to make the translation conform to the expression of the target language where the translation is smooth and natural. When translating the allusions of &amp;quot; ''Kong I-Chi'' &amp;quot;, the translator adopts literal translation and annotations. &lt;br /&gt;
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In terms of semantics, the translator uses the mechanism of conceptual metaphors to accurately show the original flavor.&lt;br /&gt;
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This article believes that the success of Yang’s English translation of &amp;quot;''Kong I-Chi''&amp;quot; lies in its fluent, natural language and exotic flavor. The author and translator of &amp;quot; ''Kong I-Chi'' &amp;quot; are both famous artists. The translation case from the English translation of &amp;quot;''Kong I-Chi''&amp;quot; reflects the practical application of the Functional Equivalence Theory in Lu Xun's novels. The writer also hopes that this thesis can provide ideas and inspirations for the English translation of other Lu Xun's novels.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Nida E.A. ''Language and Culture: Contexts in translating''. Shanghai: Shanghai Foreign Language Education Press.2001. &lt;br /&gt;
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[2]Nida, Eugene A.1964. Towardsa ''Science of Translating'', Leiden: E.J.Brill. &lt;br /&gt;
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[3]Nida, Eugene A.&amp;amp;Charles R.Taber, 1969, ''The Theory and Practice of Translation'', Leiden: E.J.Brill&lt;br /&gt;
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[4]鲁迅Lu Xun.鲁迅全集(第一卷)Selected Work of Lu Xun(volume Ⅰ）[M].北京Beijing:人民文学出版社People's Literature Publishing House ,1982.&lt;br /&gt;
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[5]谭载喜Tan Zaixi．新编奈达论翻译New Nida's Translation[M]．北京Beijing：中国对外翻译出版公司China Translation &amp;amp; Publishing Corporation，1999.&lt;br /&gt;
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[6]杨坚定Yang Jianding，孙鸿仁Sun Hongren．鲁迅小说英译版本综述A Summary of the English Versions of Lu Xun's Novels[J]．鲁迅研究月刊Lu Xun Research Monthly，2021(4)．&lt;br /&gt;
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[7]伊塞尔Iser.本文中的读者 Readers in this article[A]．二十世纪西方美学名著选（下）Selected Works of Western Aesthetics in the Twentieth Century (Part 2)[C]．上海Shanghai：复旦大学出版社Fudan University press,1998.&lt;br /&gt;
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[8]杨宪益.Yang Xianyi,戴乃迭 Dai Naidie译.鲁迅选集英文版(一) Selected Works of Lu Xun (1)[M].北京:外文出版社 Beijing: Foreign Languages Press,1980.&lt;br /&gt;
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[9]https://baike.baidu.com/item/%E5%8A%9F%E8%83%BD%E5%AF%B9%E7%AD%89%E7%90%86%E8%AE%BA/3373397?fr=aladdin&lt;br /&gt;
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[10]https://www.zhihu.com/question/29965932&lt;br /&gt;
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=颜子涵 Translation methods and strategies applicable to the style of biographical literature -- Taking Incidents in Life of Slave Girl (excerpt) as an example=&lt;br /&gt;
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[[Trans_Type_EN_8]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
The translated text of this article is a part of the English biography Incidents in Life of Slave Gir. The author of this work is Harriet Jacobs. This translation mainly takes the translation functional equivalence theory of American linguist Eugene A.Nida as the theoretical framework, adopts some translation skills in translation practice, and discusses the translation skills and Strategies of Chinese translation of such texts by analyzing the stylistic characteristics of biographical literature, especially African American autobiography. Through the Chinese translation of this autobiography, we can have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Autobiographical Literature; Black female slaves; Translation methods and Strategies&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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This paper is divided into four parts. The first part is an overview of the translation project, which mainly introduces the relevant situation of the translation project, the author and works of the translated text; The second part is the preliminary preparation of translation, including project text analysis and translation plan formulation; The third part, translation theory and case analysis, including functional equivalence theory, translation strategies and case analysis; The fourth part is the summary of the project, mainly on the problems encountered in translation, the experience and inspiration gained in the process of translation.&lt;br /&gt;
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This work belongs to the category of biographical literature. Biographical literature is a literary genre in which the author reproduces the characters' life stories and experiences, shows the characters' spiritual outlook and values, and depicts the characters' distinct love and hate and vivid personality through documentary writing and a variety of literary and artistic techniques. There are more than 50 characters involved in the biography. In the author's works, these characters are very vivid, such as the forbearance of a strong grandmother to the slave owner, the loyalty of a hard-working aunt to the slave owner, the oppression of female slaves by a crafty and sinister doctor, and the wit of Linda Brent, the heroine who pursues freedom and courage. In particular, the author's description of the heroine's seven years spent in a &amp;quot;cage&amp;quot; like cabin before she fled to the North more ruthlessly castigates the evil of slavery. The heroine's experience deeply moved her relatives and friends, including white slave owners. With the help of her relatives and friends, the heroine was able to escape to the north.&lt;br /&gt;
Taking the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework, this paper adopts the following translation skills in the process of translation: 1. The translation methods of foreignization and domestication are used to achieve partial functional equivalence between the source language and the target language, so as to reduce the lack of culture after translation. 2. According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to make the translation conform to the expression habits of the target language. 3. The methods of addition and subtraction are adopted to make the translation consistent with the original in grammar and language form, as well as in cultural background and word association. 4. The Conversion Transformation is adopted to make the translation more acceptable to the target language readers. By analyzing the stylistic characteristics of biographical literature, especially African American autobiography, the author discusses the translation skills and Strategies of Chinese translation of such texts.&lt;br /&gt;
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=== Text background===&lt;br /&gt;
From the beginning of the British northern colony to the early 20th century, blacks were brutally exploited and oppressed by the slavery system. In particular, female slaves not only had to bear heavy labor, but also suffered the destruction and abuse of supervisors. Since the publication of the first Autobiography of black slaves in 1760, some advanced elements in black slaves denounced and denounced the evils of slavery with their own experience, and made outstanding contributions to the abolition movement. The author of this work is Harriet Jacobs, whose pseudonym is Linda Brent. Born in a slave family, she fought tirelessly because she could not bear the persecution of slave owners on her and her children. After fleeing to the north, the author wrote a biography of his personal experience of being enslaved, exploited, persecuted, fleeing to the north and realizing freedom, which was published in 1861. Through the Chinese translation of this autobiography, more people have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves.&lt;br /&gt;
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===Research Purpose and Significance===&lt;br /&gt;
This autobiography of black women starts from the experience of childhood from the perspectives of black slaves and women. In the process of growing up, the author experienced different masters of good and evil. When she was a child, her hostess let the author learn to read and write. Later, she died of illness. Then the new owner, Dr. flint and his wife tortured and framed her. Later, for the freedom of her children, the author resolutely decided to flee to the north and enjoy the right to freedom with her children. In the process of pursuing freedom, he went through escape, pursuit, hiding until he went north by boat. The author selects simple but typical examples in daily life, through the description of characters' psychology and language, the contradictory struggle between the interests of opposite classes, the criminal complaint of slave trafficking, and the process of slaves fleeing to the north, reveals the slave owner's naked exploitation and fraud of slaves, and reveals the slave's sincerity, courage and longing for freedom. The simple language and narrative techniques of the work fully shape the tenacity, courage, intelligence and clear love and hate of the female slave Linda Brent, and show the readers the misfortune and suffering of many slaves.&lt;br /&gt;
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=== Translation theory and case analysis===&lt;br /&gt;
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3.1 functional equivalence theory&lt;br /&gt;
This translation practice report takes the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework. Eugene Nida is an American linguist and a famous translation theorist. From the perspective of etymology, according to the essence of translation, he put forward the famous dynamic equivalence translation theory, namely &amp;quot;functional equivalence&amp;quot;. In this theory, he pointed out that &amp;quot;translation is to reproduce the information of the source language from semantics to style in the most appropriate, natural and equivalent language&amp;quot;. He believes that translation is not only the equivalence of lexical meaning, but also the equivalence of semantic style and style. The information conveyed by translation includes both surface lexical information and deep cultural information. Equivalence in dynamic equivalence includes lexical equivalence, syntactic equivalence, textual equivalence and stylistic equivalence. Nida pointed out that the translation should be functionally equivalent to the original text. Judging whether the translation is equivalent to the original text should be based on the psychological response of the readers, that is, the translator should not only stay in the equivalence of structure and semantics, but strive to make the target readers produce the functions and effects that the original author wants to achieve through his works, so as to make the target readers after reading the translation, Get the same feelings as the original readers, and make translation really become a converter of thoughts, feelings and cultural information. Therefore, in literary translation, according to Nida's theory, the translator should take the four aspects of dynamic equivalence as the translation principle to accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
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The core of Nida's functional equivalence theory is &amp;quot;content is greater than form&amp;quot;, which emphasizes that when there is a conflict between content and form, content must precede form (Nida, 2004:203). Due to the differences between Chinese and Western ways of thinking and logical habits, in order to make the translation conform to the habits of readers in the target country and make it easier for readers in the target country to accept, the author has adopted different translation methods and strategies. According to the specific content of Nida theory, this paper intends to analyze its application in English-Chinese translation practice from four aspects. 1、 According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to achieve lexical semantic equivalence between the source language and the target language; second, addition and subtraction and part of speech conversion are used to make the translation conform to the expression habits of target slogans in grammar and language form and consistent with the original text in terms of cultural background and word association; third, forward and reverse translation is used to reproduce the original text Fourth, for the long and difficult sentences of the original text, the translation methods such as reorganization, sentence splitting and merging are adopted to make the language expression forms of the translation more rich and diverse, and more easily accepted by the target language readers.&lt;br /&gt;
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3.2 translation skills and case analysis&lt;br /&gt;
When translating vocabulary, the author mostly adopts the literal translation method to convey the information of the original text more accurately. If the meaning of the translation is not accurate enough or does not conform to the Chinese expression habits after the literal translation, the author adopts the free translation method, while for the long and difficult sentences with complex structure, the translational translation method and split method are adopted to make them conform to the Chinese expression habits and more acceptable to the readers.&lt;br /&gt;
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=== Translation skills, methods and case studies===&lt;br /&gt;
Case 1: literal translation and free translation to achieve semantic equivalence in vocabularyIn the process of translation, it is the basic quality of every translator to correctly express the source language in the target language. In order to achieve this goal, the translator must start with the smallest unit of the source language—vocabulary. In project translation, the author follows the functional translation theory and pursues semantic equivalence. First, we must ensure the equivalence of lexical meaning. The author mainly discusses the semantic equivalence of words from two aspects: literal translation and free translation.&lt;br /&gt;
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1. Literal translation  &lt;br /&gt;
Literal translation emphasizes the consistency between the original text and the translation in form and content, which helps to maintain the style of the original text. Literal translation is not a dead translation, a hard translation, or a literal translation. Literal translation emphasizes retaining its form and reaching its meaning.&lt;br /&gt;
The example 1:&lt;br /&gt;
“Nothing could please her better than to see me humbled and trampled upon” is literally translated as ”没有什么比看到我恭顺谦卑、任人践踏更让她快活啦。”&lt;br /&gt;
Analysis: in this sentence, humbled and trampled upon is used to express the due psychology and living state of slaves in the eyes of slave owners. Here, it can be translated into obedience, humility and trampling, which can reflect the coldness of slave owners and the misery of slaves.&lt;br /&gt;
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2. Free translation&lt;br /&gt;
Paraphrase emphasizes divine similarity. When the original text is quite different from the translation in terms of lexical meaning, syntactic structure and style, it can not be confined to the original text. Free translation should be adopted to explain the form of the original language in another language form, so as to correctly express the ideological thrust of the original text. Free translation should conform to the grammatical norms and expression habits of the target language, so as to make the translation more fluent and natural. Free translation is not arbitrary addition and deletion, nor random translation. Free translation emphasizes &amp;quot;preaching its spirit&amp;quot; rather than &amp;quot;retaining its shape&amp;quot;. The work belongs to biographical literature. There are great differences between the source language culture and the target language culture. The translator can not adhere to literal translation from beginning to end, but should carry out free translation according to needs, so as to achieve better translation effect.&lt;br /&gt;
The example 2:&lt;br /&gt;
I resolved to give him no cause to accuse me of being too much of a lady, so far as work was concerned.&lt;br /&gt;
literal translation: 就工作而言，我决心让他找不到口实指责我过分淑女。&lt;br /&gt;
free translation: 就工作而言，我决心让他找不到口实指责我养尊处优。&lt;br /&gt;
Analysis: a lady originally means 女士或优雅的女子. Too much of a lady is often understood as 十分优雅. Because the author could read and write and looked dignified, he had not done heavy work like other slaves before, &amp;quot;I&amp;quot; guessed that the young master was disgusted with it. Here, too much of a lady is translated by free translation, which reflects the inner contempt of the young master for &amp;quot;me&amp;quot;.&lt;br /&gt;
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Case 2: addition, subtraction and part of speech conversion make the translation achieve sentence meaning equivalence, which is in line with the expression habit of the target language.&lt;br /&gt;
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3. Additional translation&lt;br /&gt;
The example 4:&lt;br /&gt;
One day, she sat under the window where I was at work, crying that weary cry which makes a mother's heart bleed. &lt;br /&gt;
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一天，她就坐在我干活的那个房间的窗户外哭，哭得声嘶力竭让任何一个做母亲的心里流血。&lt;br /&gt;
Analysis: A mother literally means &amp;quot;一个母亲&amp;quot;, but the following clause is translated into &amp;quot;哭得声嘶力竭让一个母亲的心里流血&amp;quot;. The emotion of the translation is weak. In this article, &amp;quot;I&amp;quot; as a slave must work and can't take into account children and family affection, because in the slave owner's view, slaves are low animals and don't deserve feelings. Although I heard my daughter crying, I couldn't get over it. Any mother would be distressed to hear her daughter's cry. In order to make up for the lack of emotion in literal translation, the method of additional translation should be adopted here, which is translated as &amp;quot;任何一个母亲&amp;quot;&lt;br /&gt;
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4. Omission &lt;br /&gt;
The example 5:&lt;br /&gt;
The doctor stamped his foot at him in a rage, and exclaimed, &amp;quot;Get out of the way, you little damned rascal! If you don't, I'll cut off your head.&amp;quot;&lt;br /&gt;
translated text：医生愤怒地跺了他一脚，厉声说道：“滚开!他妈的小坏蛋，如果不听话，我把你的头砍下来!”&lt;br /&gt;
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Analysis: Dr. flint twice went to the north to pursue the fugitive slave &amp;quot;I&amp;quot; without success. He spent a lot of money and was full of anger. At this time, my son asked him if he had brought his mother back. Dr. flint stamped his feet angrily, scolded and threatened the child. Through the vivid description of Dr. Flint's body movements and language, his angry image jumped onto the paper,In order to achieve the same effect and achieve the equivalence of language style, the author uses even verbs according to the original &amp;quot;stamped his foot at him in a rage, and exclaimed&amp;quot; and translates it into &amp;quot;stamp his foot angrily and say&amp;quot; you little damned rascal!!! &amp;quot;It is also a typical strong adult's words towards weak children. In order to be concise and powerful, the author omits &amp;quot;you&amp;quot; and translates it into &amp;quot;他妈的小坏蛋&amp;quot;.&lt;br /&gt;
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The example 6:&lt;br /&gt;
But when winter came, the cold penetrated through the thin shingle roof, and I was dreadfully chilled.&lt;br /&gt;
translated text：上次遭遇蛇咬，现在我对蛇更惧怕了，踏上这个藏身的地方，我不由心惊胆颤。&lt;br /&gt;
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Analysis: My fear of snakes is literally translated as &amp;quot;我对蛇的恐惧&amp;quot;, and the subject of the following clause is &amp;quot;我&amp;quot;. In order to give the target readers a unified reading perspective, my fear of snakes had been increased is translated as: 我对蛇更惧怕了. By transforming the noun of fear into a verb, the translation is more concise and more in line with Chinese expression habits than literal translation.&lt;br /&gt;
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Case 3: The stylistic style of the original text is reproduced by positive and negative translation.&lt;br /&gt;
5.The Positive and Negative Translation&lt;br /&gt;
The example 7:Nobody respects a mother who forsakes her children; and if you leave them, you will never have a happy moment.&lt;br /&gt;
translated text 1：没有人尊重抛弃孩子的母亲，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
translated text 2：抛弃孩子的母亲会遭人唾弃，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
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Analysis: This sentence contains a negative indefinite pronoun—nobody. In translation text 1, the first half of the original text (Nobody respects a mother who forsakes her children) is translated into &amp;quot;没有人尊重抛弃孩子的母亲&amp;quot;. Although the meaning is translated, the expression is not authentic. Translation text 2 uses the positive and negative translation method to change negative into positive, and “Nobody respects” into &amp;quot;being despised&amp;quot; can better express the speaker's (my grandmother's) eagerness to oppose &amp;quot;I&amp;quot; to escape.&lt;br /&gt;
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Case 4:The translation methods of reorganization, sentence splitting and merging are adopted to make the translation conform to the expression habits of the target language&lt;br /&gt;
There are great differences between English and Chinese syntactic structures. English is a linear language. Its syntax takes the subject predicate structure as the central axis, while other components form branch lines in the form of branches and connect with the main axis through connectives. The logical relationship between sentences tends to be explicit,; Chinese is more parataxis, and the combination between the components in a sentence or between sentences mostly depends on the connection of semantics and uses fewer connectives. Chinese sentences are arranged under the command of theme, that is, the structure of &amp;quot;topic description&amp;quot; has various forms and free combination. The logical relationship between sentences is more implicit (Yang Lin, 2007: Preface). There are few logical relational words between clauses and between sentences. Therefore, the author adopts the reorganization method, combining syntax and disassembling syntax to realize the semantic equivalence of sentences, and studies the influence of sentence structure on the translation. The significance is to better guide the translation practice.&lt;br /&gt;
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5.Recasting&lt;br /&gt;
The example 7: This was the good old lady who paid fifty dollars for my grandmother, for the purpose of making her free, when she stood on the auction block.&lt;br /&gt;
translated text：这个老太太是个好人，当年外祖母站在拍卖台上，为了让外祖母获得自由她花五十美元买下了我的外祖母。&lt;br /&gt;
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Analysis: The original text contains two compound structures, one is an attributive clause, the other is a time adverbial clause. Because Chinese sentences are constructed according to the law of logical order, the word order is arranged according to the actual sequence and event order, which is divided into sequence in time, and pay attention to the causality in logic. The author adjusts the time adverbial clause to the front, first explain the time, then explain the reason, and finally the result. This reorganized translation plays an important role in shaping the relationship between sentences, which is in line with the characteristics of Chinese sentence structure.&lt;br /&gt;
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6.Sentence-combining&lt;br /&gt;
The example 8: There was joy and there was sadness in the sound. It made my tears flow.&lt;br /&gt;
translated text：无论是哭声还是笑声都会让我泪流满面。&lt;br /&gt;
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Analysis: The original text is two sentences. Considering the close causal relationship between the two sentences, the author adopts the translation method of combined sentence to translate it into one sentence, so that the target language readers can read it more naturally.&lt;br /&gt;
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7.Dismantle the syntactic&lt;br /&gt;
The example 9: My hope was that the doctor would get discouraged, and, for fear of losing my value, and also of subsequently finding my children among the missing, he would consent to sell us; and I knew somebody would buy us.&lt;br /&gt;
translated text：损失一个女奴，再赔上我的两个孩子，这正是弗林特医生所担心的。他会泄气并同意卖掉我们，我知道有人会买下我们，而这正是我所希望的！  &lt;br /&gt;
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Analysis: When dealing with long English sentences, the method of splitting is generally used to divide the original sentence into several parts and combine them according to their internal logical relationship. The adverbial clause after the subject of “My hope” consists of three parallel sentences, the second of which has a more complex cause adverbial. The author first takes apart the subject clause, first translates the clause, and then presents the subject at the end, which is in line with the characteristics of Chinese presentation before topic.&lt;br /&gt;
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Case 5: Stylistic equivalence&lt;br /&gt;
The basic task of translation is to faithfully present the original text, so it is necessary for the translator to pursue the style of the original text. To achieve stylistic equivalence, the translator needs to analyze and identify the stylistic markers in the original. The original text contains national language characteristics, historical allusions and religious beliefs, so it has cultural differences. In translation, it should reflect the style of the original text and optimize it accordingly, so as to realize the re creation of style and adapt to the communication of the target language.&lt;br /&gt;
The original text has strong religious and cultural content, simple and pious faith, and shows their enthusiasm and passion for them. In translation, we should not only show the feeling of religious belief and culture, but also optimize the sentence style and deal with alienation appropriately, so that readers can feel the piety and understand the author's writing intention.&lt;br /&gt;
The key to shaping the problem role lies in its adaptability to the style of the original language. Only by adopting appropriate translation methods, deeply understanding the cultural background of the original text and skillfully changing the style of the original text, can the style meaning of the original text be reproduced in the target language and better reflect its charm and artistic conception.&lt;br /&gt;
In a word, a biographical text should be well expressed first to make it conform to the expression habits of the target language. First, we should deeply understand the creative intention of the original author and think of what we think from the perspective of the original author, so as to realize the central idea of the original text. The premise of translation is that the translator should have profound language and cultural skills and deeply understand the particularity of different background cultures, Have a good command of the target language, and then use it flexibly.&lt;br /&gt;
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The example 10: She hasn't so much feeling for her children as a cow has for its calf. If she had, she would have come back long ago, to get them out of jail, and save all this expense and trouble. &lt;br /&gt;
translated text：她对孩子的感情还不如母牛呢，母牛还知道护犊子。如果她有感情，她很久以前就会回来把他们救出去了，也就没有这些代价和麻烦了。&lt;br /&gt;
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Analysis: This sentence is a complaint made by Dr. Flint's wife—my mistress, about my escape. Considering that cows in Chinese culture also have the image of caring for their cubs, The author translates call “feeling for her children as a cow has for its calf” as：“母牛还知道护犊子”, This not only achieves cultural equivalence, but also sounds colloquial. On the other hand, it is in line with the speaker's identity as a mean slave owner.[He was &amp;quot;a chip of the old block.&amp;quot; If he found any slave out after nine o'clock, he could whip him as much as he liked; and that was a privilege to be coveted.如果他发现任何人九点后（宵禁时刻）跑出去，他就会抓住并鞭打此人，直到他满意为止。这是别人垂涎三尺的特权。]&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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Through the development of this project, the author believes that the translation of biographical works needs to have a full understanding of the differences between Chinese and English languages and cultures, thinking habits and expression methods. Only after having an accurate understanding and grasp of the language characteristics and contents of the original text, can words and sentences be carefully selected and constantly modified and polished in the process of translation, Make it an excellent translation. The author summarizes the following points in the whole translation process:&lt;br /&gt;
The translation method of biographical text. Biographical text has both information function and expression function (Zhang Meifang, 2006). Therefore, in translation, the translator should not only correctly express the information of the original text, but also reflect the literariness of biographical literature. In view of the differences in thinking and logic between Chinese and English, different translation methods should be adopted in the translation process. For example, literal translation can be used in terms of vocabulary, so as to simply, clearly and accurately convey the meaning of the original text. If literal translation is not possible, free translation, addition or subtraction, positive and negative translation, such transformation and other methods should be adopted to strive to achieve literal semantic equivalence. In terms of sentences, according to the respective characteristics of Chinese and English sentence structures, translation skills such as reorganization, disassembly and combination of syntax are adopted in order to meet the reading habits of target language readers. Experience the language style of biographical literature. In this project, the author's narrative language is simple and simple, and do a good job in the analysis of the characteristics of biographical literature materials. For a translator, the types of material translation can be diverse, literary or scientific, so the translator must do a good job in the analysis of text materials when he gets a relatively unfamiliar translated text, Only after analyzing the materials thoroughly and finding out the characteristics can the preparatory work be done adequately. This project adopts biographical text, which is characterized by many names and place names and strong local cultural characteristics. Therefore, in order to improve the accuracy of translation, the author has made a lot of preparations before translation, including finding the author's relevant background information, relevant historical facts, as well as the folk customs at that time. With reference to the new English Chinese dictionary, the names of people and places in the text are translated uniformly. Due to sufficient preparation, these problems encountered in translation have been solved.&lt;br /&gt;
The author has two experiences in maintaining problem awareness in the translation process. &lt;br /&gt;
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First, if you encounter an uncertain word and sentence in the translation process, you should consult the relevant reference books in time or use the Internet. &lt;br /&gt;
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Second, when dealing with cultural problems, I often ask my classmates or experts in this field for advice, so as to solve the problems in time.&lt;br /&gt;
At the same time, there are some problems in the process: My translation experience is still shallow and the cultural knowledge reserve is insufficient. There are some disadvantages in this project.Because my Chinese level needs to be further improved, the translated language is still immature and not concise enough. Second, the lack of relevant knowledge leads to the fact that the unique things of foreign culture can only be translated directly and hard in translation, resulting in the stiff and rigid translation. Such as a box, covered with sheepskin, is called the gumbo box. A dozen beat on this, while other strike triangles and jawbones, to which bands of dancers keep time.&lt;br /&gt;
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Third, in translation, we should not only maintain the meaning of the original text, but also reflect the style of the original text. We can't have both fish and bear's paw—鱼和熊掌不可兼得。Therefore, I believe that only through a lot of translation practice and summing up experience can we improve our translation level.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Beardslee, Karen E. Through Slave Culture's Lens Comes the Abundant Source: Harriet A. Jacobs's Incidents in the Life of a Slave Girl.&amp;quot; MELUS 24 (1999): 37-58.&lt;br /&gt;
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[2]Jacobs Incidents in the life of a Slave Girl: Written by herself.&amp;quot; Languages &amp;amp;Literature 15(2001):314-336.&lt;br /&gt;
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[3]Incidents in Life of a Slave Girl chapters 16 to 30&lt;br /&gt;
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[4]李小春. (2016). 浅析英语翻译技巧及方法的应用. 读天下(20), 1.&lt;br /&gt;
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[5]李亚云.《一名女奴的人生际遇》之黑人女性身份建构[J].文学教育(上),2015(07):30-31.p&lt;br /&gt;
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[6]李亚云. 《一名女奴的人生际遇》之黑人母性分析[D].中央民族大学,2016.&lt;br /&gt;
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[7]付娟. 英汉翻译中拆句法和合并法的有机结合探析[J]. 好家长, 2016(38):1.&lt;br /&gt;
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=邝艳丽 On the Translation Strategies of English Version of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hong-Ming and Xu Yuanchong=&lt;br /&gt;
[[Trans_Type_EN_9]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
''Lun Yu'', one of Chinese classics, records behavior and thoughts of Confucius and his disciples. ''Lun Yu'', intensively reflecting Chinese Confucianism, plays a significant role in Chinese culture. Dating from 1809, there are about sixty translations of ''Lun Yu'' during the two hundred years. This paper will study the two English versions of ''Lun Yu'' by Ku Hung-ming and Xu Yuanchong from the the theory of Horizon Fusion proposed by Hans-Georg Gadamer, mainly the core conceptual words in ''Lun Yu''. Besides, the paper will explore the translation strategies adopted by the two translators from different visions such as the horizons of the original text, the translator and the target culture. The better translation of core conceptual words will come to a conclusion through the contrastive analysis.&lt;br /&gt;
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===Keywords===&lt;br /&gt;
Fusion of horizons; Ku Hong-Ming; ''Lun Yu''; Xu Yuanchong&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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''Lun Yu'', as a carrier of Confucianism, has profound influence on the culture all over the world. Confucianism has largely influenced the development of European philosophy, which provide new theoretical basis for European Enlightenment in the eighteenth century (Li Zongzheng 2016: 112-116). In Voltaire’s opinion, the discovery of Chinese culture is important to the process of European society, just as what what has been discovered by Vasco da Dagama and Magellan to the nature (Bao Xiankuo 2001: 62-67). With the continuing development of China in the recent years, China exerts more and more significant influence on the world. In the meanwhile, more and more people would like to learn Chinese language and cultures. When it comes to Chinese culture, all the people, Chinese and foreigners, nearly think of Confucianism, which is generally regarded as the important components of Chinese traditional culture, as well as the mainstream of the spirit of national modern culture. Moreover, Confucianism is intensively embodied in the ancient work called ''Lun Yu'', which records the behaviors and thoughts of Confucius and his disciples mainly in the form of dialogues. ''Lun Yu'' involves so many aspects such as politics, education and so on. The wide and profound influence of Confucianism on the world attributes the success to the development of translations of ''Lun Yu'' by Chinese or foreign translators.&lt;br /&gt;
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''Lun Yu'' is a classic work. The reason why classics remains classics is that it can be translated and re-translated. The language itself of ''Lun Yu'' is difficult to be understood, and what are reflected by ''Lun Yu'' such as history, thoughts, culture and culture is also hard to be understood. Therefore, translators in different times produce different translations of ''Lun Yu'' due to different constrictions of subjective or objective factors. Derrida, holding the point of hermeneutics, considers that the understanding of works is open and that the understanding of text by the readers is always unfinished and uncertain for reading is the process of creation. ''Lun Yu'', acclaimed as one of the leading classics in the course of Chinese literature’s development, is always given new life by the scholars. Therefore, every translation version of classics deserves to be studiedin the different times. Moreover, the employment of fusion of horizons may not only be a reference for English translation of ancient Chinese classics, but also be beneficial foe the spread of traditional culture. &lt;br /&gt;
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This paper chooses two English translation versions of ''Lun Yu'', one by Ku Hung-ming, the other one by Xu Yuanchong. The paper mainly makes a contrastive study of different translation strategies adopted by the two translators from the perspective of fusion of horizons. In order to make an in-depth study, the thesis will focus on the analysis of the translation of core conceptual words of ''Lun Yu'', and aim to present a more appropriate translation to both fully express the content of Chinese culture and make western readers easier to understand.&lt;br /&gt;
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===Overview on the Theory of Fusion of Horizons===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====Fusion of Hrizons====&lt;br /&gt;
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Hans-Georg Gadamer is the greatest thinker in 20th century when his academic work ''Truth and Method'' was published. The publishment brought about widespread attention in the world and helped him reach the immortal status in the field of philosophy. Actually, the theory used in this paper is originated from ''Truth and Method''. “Horizon” was first proposed by Edmund Husserl, a great German philosopher. For the concept of “Horizon”, Husserl believed that “everything worldly giving is given under the horizon. Finally, everything given by the world itself has the horizon of the world, and it is only for this reason that it is realized as the world.” (Wei Fangyuan 2013: 134-136)&lt;br /&gt;
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It can be seen that “Horizon” in Husserl’s eye is related to consciousness. Husserl’s “Horizon” includes two ones, internal horizon and external horizon. Internal horizon refers to what previous knowledge people have grasped or not. External horizon refers to grasp or experience of another open horizon when people have internal horizon. Martin Heidegger, from the respective of Ontology, believed that “Horizon” is something real which has been known by human and exists previously. This becomes precondition of our understanding. Inspired by Martin Heidegger and Edmund Husserl, Hans-Georg Gadamer affirmed the importance of “Horizon”. In his Hermeneutic, “Horizon” refers to the process of understanding from a specific standpoint. And “Fusion of Horizons” means that the process of understanding in nature is open without fixed pattern and answer. “Fusion of Horizon is not onlly diachronic, but also synchronic. History and present, object and subject, self and other, all form an infinite unified entirety. (Wei Fangyuan 2013: 134-136 ) &lt;br /&gt;
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Gadamer thinks that, both the translator and the object which is explained by the translator have their own horizons. The object-- history, classics, personal life, philosophy or work of art—has its own historical horizons. When we understand historical classical works, philosophy or certain culture with the horizons given by the history, the conflict of two different horizons and historical background will inevitably happen. Translation neither demands the translator to totally give up his own horizon in order to get into the text’s horizons, nor allows the interpreter simply includes the text into his own horizons. Translator, starting from his original horizons, ceaselessly test his own “prejudice” and open his own horizons, in the contact with the object which is interpreted by the interpreter, then two different horizons forming a new horizon. This process is called “fusion of horizons”. The reason why it is possible to interpret historical text is the fusion of horizons of the readers and writers of the original text.&lt;br /&gt;
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====Fusion of Horizons in translation study====&lt;br /&gt;
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In the view of Hans-Georg Gadamer, any understandings is carried out in the stream of history for any interpreter and reader lives in the history in his or her own way. Historicity is the basic fact of human existence. People’s historical particularity and limitations cannot be eliminated and avoided. Both subject and object exist in historicity. History determines that people cannot get rid of historicity. Such question faced by Hermeneutics is not what we carry out but what caused on us by something beyond our willing and behavior. In the research of translation Gadamer’s “Fusion of Horizons” can be borrowed and reformed into views or perspective available to the translation study. (Li Ge 2020:50-63)&lt;br /&gt;
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To achieve such a horizon, means that we learn to see something beyond its restricted horizon. However, the reason why we do this is for watching the things in a more correct angle and in a bigger unity, rather than for avoid seeing it.(Gadamer, H. G. 2004: 304) We need to study translation from a higher point and in a more overall angle. Only in this way can we “full see” the parts of the integrity, which is the enlightenment brought by “fusion of horizons”. The precondition of translation is that the translator and the original text have the common horizons. If the translator does not know medicine, he cannot interpret some books about medicine, and vice versa. The translator need to understand the original text’s meanings at first, which means that he will get into the horizon of the original text, and overcome the difference to form a new horizon. This is the first fusion of horizons. The second one is that the translator gets into the horizons of the target readers. Then the third fusion of horizons, the final interpretation of the translator, is the fusion of the two texts after the first two fusions. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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During the process of translation, the horizons are produced in the history rather than in isolation. In the fusion of horizons, the past and the present, the subject and the object, form a unity. Everything exists in the point of history, and all the interpretation cannot be finished for good. The original text itself is historical. The language, content, thoughts and etc. in it are marked by characteristics of the times. The translator is also historical. He will be influenced by his identity, status and tradition. There does not exist “perfectness” and “standard” in the translation. It will vary with different historical period. So the study of translation also goes on. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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===Overview on the Translations of ''Lun Yu''===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====The history of translations of ''Lun Yu====&lt;br /&gt;
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''Lun Yu'' is as important to Chinese is the Bible is to Westerners. So ''Lun Yu''’s translation is hot in western countries. ''Lun Yu'', whose translation can be traced back as early as the end of 16th century, has been translated by lots of missionary, sinologist, philosopher, litterateur and other scholars. There have been more than 40 translation versions of ''Lun Yu'' so far. Its English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. In 1861 James Legge’s The Confucian Analects became the mark of the English translation of ''Lun Yu''. A Companion for Chinese Translators makes comments on the translation version that James Legge can roughly understand the meaning of the original text and that his enormous notes can show his serious and careful attitude to the translation of our Chinese classics. (Wang Hui 2003: 39-43) &lt;br /&gt;
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In 1898, Ku Hong-ming’s translation of Lun Yu was published in Shanghai. The reason why he retranslated Lun Yu is that he was not content with James Legge’s. Ku Hong-ming use the strategy of foreignization, trying to translate Lun Yu in the same way an educated British express his thoughts. And Ku thought the Chinese proper nouns should be omitted and some European writers’ saying in order to remove the feeling of strangeness of British readers. In 1938, Arthur Waley’s version of Lun Yu was published. Waley wrote long-winded introduction for the translation, which was accompanied by detailed notes for readers and was followed by the footnotes for in-depth discussion on the text. Cui Yonglu thought that Waley’s translation, retaining the original text’s meaning and culture and paying attention to the detail, is beneficial to scholars. In 1998, Roger Ames’ translation of Lun Yu was published. His retranslation, which is based on a philosophical perspective, exerted great influence in the world of translation at home and abroad. In 2005, Xu Yuanchong’s Thus Spoke the Master was published. The book’s title borrowed the name of well-known philosophical translation called Thus Spoke Zarathustra, which shows Chinese translators’ creative spirits. In addition, there are still so many translators, such as Ezra Pound, James Ware, Din Cheuk Lau, Lin Yu tang and so on. (Wang Hui 2003: 39-43) &lt;br /&gt;
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====Different angles of the study on the translations of ''Lun Yu''====&lt;br /&gt;
In the nearly 30 years, the study of ''Lun Yu''’s translation has become hot in the translation studies. Scholars have made lot of studies of ''Lun Yu''’s translation from different angles and theories. From the linguistic point of view, scholars focus on the equivalence of lexicon, syntax, text and style. Professor Liu Chongde wrote “A research into Waley’s English version of The Analects—And some comments on its English versions by Legge and D. C. Lau”. Professor Liu summarized the language features and style of the two translations by Waley and Legge. Besides, he compared James Legge’s version and D. C. Lau’s, and made a conclusion that the former one preferred the written English, complicated sentences and archaic words which were quite similar to the style of the original, while the latter one preferred using spoken English and simple sentences.(Liu Chongde 2001:15-17) &lt;br /&gt;
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From the cultural point of view, Yao Shun in Southwest Jiaotong University did “On English translation of Confucius notions from the perspective of Skopos theory—A case study on Legge’s and Waley’s Translation of ''Lun Yu''”. Yao concluded that translation cannot be measured only by the equivalence with the source text, other elements such as translators’ purposes and expectation of target readers should be taken allowance for and that amongst these factors, the intention of the target text ranks the first.(Yao Shun 2014: 42-43)&lt;br /&gt;
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From the sociological point of view, Zhang Xin in Jiangnan University did “A study on Xu Yuanchong’s English Translation of ''Lun Yu'' from the Sociological Perspective of Bourdieu”.   Zhang draw some tentative conclusions. Firstly, the original text must be valuable and unique with an international reputation to facilitate its dissemination in the world. Secondly, translators should pay full attention to the readability and acceptability of target readers to meet their anticipation. Thirdly, the success of a work is the combination of various social factors.(Zhang Xi 2020:80-89)&lt;br /&gt;
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=== The Translation of ''Lun Yu'' from Fusion of Horizons===&lt;br /&gt;
''Lun Yu'' has always been translated or retranslated into many languages. Before interpretation, interpreters are supposed to try to totally understand ''Lun Yu'' in the first step. However, in the matter of fact, the language of a text is really hard for translators to totally understand. Different cultural background and different translators may produce different translation version.&lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》） [8]”. In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. &lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
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Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》）”.In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. (Yao Sshun 2014:42-43) &lt;br /&gt;
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====Horizon of the translator====&lt;br /&gt;
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Ku Hung-ming (1857-1928) is not only a famous literary figure in modern China, but also a great translator. He became an influential scholar at the turn of the 20th century because of his works that advocated Confucianism. Ku’s traslated works, including Lun Yu and Zhong Yong, played a significant role in spreading traditional Chinese culture to the western world. Ku, well-versed in both Chinese and Western cultures, has a good command of nine languages such as English, French, Germany and so on. He is the first one was proficient in Western science and language in the late Qing Dynasty. Special background of growth and education makes his thoughts combine advantages between Chinese and Western cultures. He tried to translate Lun Yu as a work written by a educated English man in order to promote Chinese traditional culture to spread in Western countries. At the meanwhile, he added his thinking and understanding of Confucianism in order to express the truth and spirit of Confucian classics and Chinese belief system. In order to make Western readers accept to the most extent the Confucian culture, Ku adopted some special methods, such as using extreme translation strategy of Domestication to translate Chinese special expression; borrowing the expression in Western literature to translate some words; applying the strategy of combination of omission and addition.(Niu Xiyu 2021: 89-90)&lt;br /&gt;
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When translating Lun Yu, Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. Western readers are not familiar with Confucian core words whose total equivalence can not be found in the Wesern culture. Ku did not translate the core words according to the literal meaning, but according to his deep understanding of Confucian classics he adopted flexible methods to translate the words in different situation. Besides, in order to make the translation of Lun Yu more readable to Western readers, Ku adopted the stratedy of domestication to interprete Confucian thoughts in Western way of mind. On the one hand, Ku used Western terms to translate those Confucian concept words which is difficult to Western readers. For example, he translates “天” as “God”. On the other hand, he quoted those well-known writers and thinkers who are familiar to Western readers, such as Johann Wolfgang von Goethe, Ralph Waldo Emersonand so on. Ku tries to make the content and form of the translation to accord with the way of thinking and cognitive structure of Western people. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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Xu Yuanchong, professor in Peking University, has been devoting himself in Literature translation study. He accomplished numerous classical translations and proposed many translation theories. He makes contribution to the development of Chinese traditional career.In 1921, Xu Yuanchong was born in Jiangxi Province in China. Since he was a child, Xu Yuanchong had been deeply influenced by his families. His mother was well educated and his uncle worked as a translator. All of these inspired his passion of enjoying literature and going after beauty, as we can see the three-beauty-concept-concept proposed in his later books. His uncle succeeded in translating the play called Wang Baochuan into English, which caused a sensation when it was performed in England. Later on the British dramatist George Bernard Shaw interviewed his uncle, which inspired the great interests of Xu Yuanchong in learning English well. In 1938, he was admitted to the Foreign Languages Department of National Southwest United University with the seventh place. In 1939, he translated the book “别丢掉” written by Lin Huiyin at the first time in order to express his love for a girl. Then he fell in love with translation ever after. Although suffering a lot, he still insisted to be himself. Xu made a great contribution to the development of Chinese translation. Xu introduces the three-beauty-concept to translation theory. The theory of three beauty advocates that a translation should be as beautiful as the original in sense, in sound and in font. These three aspects call also be respectively called Beauty of Sense, Beauty of Sound, and Beauty of Form. Beauty of Sense, emphasizing the deeper meaning, is of the first-rate importance. Beauty of Sound, emphasizing rhyme and rhythm, is of the second-importance. Beauty of Form, emphasizing length, is of the third-rate importance. All of these have great influence on his translation. (Li Mi 2004: 83-84)&lt;br /&gt;
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====Horizon of the target language culture====&lt;br /&gt;
The purpose of translation is to be read by the target readers. However, the target individual is different. They differ from historical background, education, knowledge, and so on. Some foreign readers read Lun Yu just for broaden his vision and know Chinese culture, some study the translation just for doing academic researches. The ages of target readers also influence the translation. Some young readers with less knowledge need translation which can be easily understood. For those aged readers the sophisticated translations are needed. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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===Contrastive Analysis===&lt;br /&gt;
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As Confucian classics recording the words and deeds between Confucius and his disciples, Lun Yu deeply influences generations of Chinese people. Lun Yu combines Chinese rich culture from thousands of years and gathers immortal spirit of Eastern philosophy. Therefore, a number of scholars at home or abroad want to translate Lun Yu. Especially, the various academic conference that has taken place in the recent years attract many scholars to absorb Confucian wisdom and explore Chinese wisdom from the old classics.&lt;br /&gt;
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====Description of key conceptual words====&lt;br /&gt;
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''Lun Yu''’s English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. Since that many other scholars have thrown themselves in the wave of translation of ''Lun Yu''. The scholars at home and abroad attempt to know more about the Chinese society, language, and Chinese culture through ''Lun Yu''. However, in order to really understand and interpret ''Lun Yu'', we must be clear about the meaning of the core conceptual words in ''Lun Yu''. Whether the translation of the core conceptual words is right or not has something to do with whether the readers abroad can understand the real meaning of the classics ''Lun Yu''. The translation of core conceptual words is so critical that has drawn many scholars’ attention. However, in the present situation of translation, one core conceptual word has so many Chinese translation, and some translation is not very accurate, which will cause trouble for foreigner readers to understand the original meaning and its cultural meaning. For those core words concerning Chinese culture, if wrongly translated, will not cause foreigners’ misunderstanding Chinese traditional culture, but also influence the improvement of national cultural soft power. Thus, the discussion of the translation of ''Lun Yu'', especially that of the core words, is very important to the circles of translation and culture. There are lots of core conceptual words in Lun Yu, but This thesis will mainly discuss the five core words: “''ren''”, “''li''”, and “''junzi''”. &lt;br /&gt;
“''Ren''” is the supreme state of moral ideal advocated by Confucius, and the spirit and centre of Confucian theory. Xu Shen in the Eastern Han Dynasty made an explanation of the word “''ren''” in “Shuo-wen chieh-tzu”. He thought “''ren''” is combined by “''ren''”(man) and “er”(number 2), and that “''ren''” does not express the quantitative relation but the interpersonal relationship, more accurately the interpersonal relationship close to friendship. (Xu Shen 2013: 1458) According to The Notes of ''Lun Yu'' by Yang Bojun, “''ren''” appears 109 times in ''Lun Yu'' . (Yang Bojun, 2009)&lt;br /&gt;
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“''Li''” is another important concept in ''Lun Yu'' after “''ren''”. According to The Notes of ''Lun Yu'' by Yang Bojun, “''li''” appears 74 times. Obviously, “''li''” is one of main ideas repeated by Confucius. Its connotation has become one of the objects the scholars of every dynasty attempt to study and understand since the ''Lun Yu'' came out. Both “''ren''” and “''li''” work as the centre of Confucianism. They complement and perfect each other. Just as the saying in Lun Yu, “To Subdue Oneself and Return to the Proprieties is Perfect Virtue”. “Li” refers to external behavior, while “ren” refers to internal morality. “''Li''” is a general term the rules and regulation according to the moral demanding. “''Li''” can restrict personal behavior, improve interpersonal relationship and help building a harmony and orderly society. However, Confucius does not give an accurate explanation of “''li''”, but its meanings can be analyzed from the concrete sentences concerning “''li''”. (Yang Bojun 2009: 23)&lt;br /&gt;
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“''Junzi''”, first found in The Book of Songs, was roughly referred to noble man. Thereafter, “''junzi''” was widely used in many ancient classics such as The Book of Changes, Shangshu and so on. Based on the original meaning “the noble man”, “''junzi''”’s meaning was extended and expanded. In Lun Yu, the word “''junzi''” got extended meaning of morality. The core conceptual word “''junzi''” mainly placed emphasis on moral deeds, then developed into the important cultural icon in Confucianism. According to The Notes of ''Lun Yu'' by Yang Bojun, “''junzi''” appears 107 times in ''Lun Yu'' .(Yang Bojun 2009: 11)&lt;br /&gt;
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====Different translations of key conceptual words====&lt;br /&gt;
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Different translators will have different translation. &lt;br /&gt;
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“Ren” has rich meanings. Its translation will to the certain degree influence the understanding of Lun Yu and Chinese traditional culture. For example:&lt;br /&gt;
子曰：“巧言令色，鲜矣仁！”《学而》&lt;br /&gt;
Ku: Confucius remarked, “With plausible speech and fine manners will seldom be found moral character.” &lt;br /&gt;
Xu: A good man, said the Master, would rarely say what he does not believe, or pretend to appear better than he is.&lt;br /&gt;
From the translation above, it is seen that Ku adopts free translation, and the English sentence is in formal grammer and syntax which accords with Western readers’ language habits. While Xu’s translation is not in the form of direct speech and he changes the order of the target text and use the parenthesis so as to conform to the habits of target language readers. It can be easily seen that Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. And Xu employs free translation to make target readers better understand the meanings. For the translation of “ren”, Ku translated it into “moral character”. He thought “ren” is refers to all the morality, and that “ren” is the highest realm of life. The translation “moral character” is more in line with Western language habits. While Xu interpreted it into “a good person”, of which “good” has broad meanings just like “ren” which is a kind of moral category of extremely broad meanings in ancient China. By comparison, “mental character” is better translation for “ren”. (Yang Bojun 2009: 23) (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Li” is generally thought to have three main meanings. The first one is worshiping the God. The second one refers to a ceremony held to show respect or solemnity. The third one refers to the social and moral norms of the aristocratic hierarchy in slave society of feudal society. For example, &lt;br /&gt;
道之以道，齐之以礼，有耻且格 。（《为政》）&lt;br /&gt;
Ku: If, on the other hand, in government you depend upon the moral sentiment, and maintain order by encouragung education and good manners, the people will have a sense of shame for wrong – doing and, moreover, wil emulate what is good. &lt;br /&gt;
Xu: If they are led by virtue and order is kept by the rites, they would be conscientious and act in agreement with what is right. &lt;br /&gt;
Generally, “li” is rendered as “rites,” “customs,” “propriety,” “ritual,” “moral,” “rules of proper behavior,” and “worship.” However, Ku did not literally translated “li” but to fully understand its original meaning in such concrete situation to translated it into “education and good manners”. While Xu translated it into “rites”. In the Oxford dictionary, “rite” means a ceremony performed by a particular group, often for religious purpose. In Spring and Autumn and Warring States periods of China, the social order was in chaos. Actually, “rite” is a proper word full of Chinese speciality, which is really hard for Western readers to understand. Therefore, Ku’s translation “education and good manners” is better one. It not only convey Confucian thoughts but also make it readable to Western readers. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Junzi” is Confucian ideal character standard. Then what is “junzi”? In Confucian point of view, “junzi” should be erudite, which is an important standard of being “junzi”. First and the most, “junzi” should be a benevolent man. In addition, “junzi” and “xiaoren” form contrast. For example,&lt;br /&gt;
人不知，而不愠，不亦君子乎？（《学而》）&lt;br /&gt;
Ku: But he is truly a wise and good man who fees no discomposure even when he is not noticed of men.&lt;br /&gt;
Xu: Is he not an intelligentleman, who is careless alike of being known or unknown?&lt;br /&gt;
According to Oxford dictionary, the term “exemplary” refers to providing a good example for people to copy. Ku adopted free translation to interprete one word “junzi” into several words “wide and good man”, which is easy for Western peple to understand what “junzi” is. It can be seen that Ku had a thoroungh understanding of Confucian thoughts as well as well-versed in English. While, Xu translated it into “intelligentleman”, which cannot be found in dictionaries. It is a new word created by Xu. “Interlligentleman” is combined by “intelligent” and “gentleman”. In the Oxford dictionary, the term “intelligent” means good at learning, understanding and thinking in a logical way about things. “gentleman” refers to a man who is polite and well educated and who has excellent manners and always behaves well. “Intelligentlemen” seemly attempt to achieve formal equivalence with “junzi”. However, it is unfamiliar to Wetern readers. So Ku’s translation “a wise and goood man”. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
In this paper, we have talked over two translation versions of ''Lun Yu'' written by Ku Hung-ming and Xu Yuanchong, especially the core conceptual words in ''Lun Y''u. In the matter of fact, both of them had good command of Chinese and western cultures. But their interpretation of Lun Yu were quite different from each other. Here we use Gadamer’s “fusion of horizons” to explain why they had different understandings of Lun Yu. Understanding is regarded as the fusion of horizons between translator and the text in the hermeneutics, however, besides, the target readers should also be taken into consideration. Thus, in the paper, the horizons of the original text, two translators and target readers are expounded in detail. Under the contrast between the two translation versions, we could find out that Ku Hung-ming’s translation is better one which can more convey the meaning of original text and can be easier for the readers of the target culture from the perspective of the fusion of horizons. &lt;br /&gt;
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However, this paper could not give an in-depth research on the transaltion of ''Lun Yu'' because of the author’s limited knowledge and not thorough understanding of the theory of “fusion of horizons”. In addition, Confucianism has got more and more important influence on the world in the recent years. However, the study of translation of ''Lun Yu'' has not gone far enough. Though lots of scholars have achieved a lot in the field, there is still much work to do in the future. Written by --[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 03:41, 9 December 2021 (UTC)&lt;br /&gt;
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===Reference===&lt;br /&gt;
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Li Zongzheng, Ma Haidong 李宗政,马海东. (2016)《论语》英译的当代价值研究[J] [A study on the contemporary value of the ''Analects of Confucius''] 112-116.&lt;br /&gt;
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Wei Yuanfang 韦芳元. (2020) 浅析伽达默尔的视域融合理论[J].[On the Gadamer’s Theory Fusion of Horizons] 2013(12):134-136.&lt;br /&gt;
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Gadamer, H. G. Truth and Method[M]. New York: Continuum, 2004: 304.&lt;br /&gt;
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Wang Hui 王辉. (2003) 理雅各与《中国经典》[J]. [James Legge and Chinese Classics] 2003: 39-43.&lt;br /&gt;
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Lieu Chongde 刘重德. (2003)《论语》韦利英译本之研究—兼议里雅各、刘殿爵英译本[J]. [A Study of Lun Yu by Whaley—Discussion on contrastive analysis between James Legge and D.C.Lau)  2001: 15-17.&lt;br /&gt;
&lt;br /&gt;
Yao Shun 姚舜. (2014) 目的论视角下的儒家思想核心概念英译研究—以理雅各和韦利《论语》英译对比分析为例[D]. [A Study of Lun Yu Translated by Xu Yuanchong in the perspective of Skopostheory] 2014: 42-43.&lt;br /&gt;
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Niu Xiyu 牛汐语. (2021) 辜鸿铭《论语》译本中译者主体性的体现[J]. [The Presentation of Translator’s Subjectivity in Ku Hung-ming’s Lun Yu’s Translation] 2021:89-90.&lt;br /&gt;
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Li Mi 李谧. (2004) 许渊冲的诗译“三美”之说[J]. [Three Beauty in Poetic Translation of Xu Yuanchong] 2004: 83-84.&lt;br /&gt;
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Xu Shen 许慎. (2013)《说文解字》[Z]. [Shut-wen chieh-tzu] 2013: 1458&lt;br /&gt;
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Yang Bojun 杨伯峻. (2009)《论语释注》[Z]. [Annotation Analects] 2009: 213, 214, 215,2, 11, 23,&lt;br /&gt;
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Ku Hungming 辜鸿铭.(2011)《辜鸿铭英译&amp;lt;论语&amp;gt;》[M]. [The Discourses And Sayings of Confucius] 2011&lt;br /&gt;
&lt;br /&gt;
Yuanchong, Xu. (2013) Thus Spoke the Master[M]. Beijing: Dolphin Books, 2013: 12, 18.&lt;br /&gt;
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=杨柳青 Bian Zhilin's Literary Translation Theories and Practice  ——Take His Translation of Romantic Poems as examples=&lt;br /&gt;
[[Trans_Type_EN_10]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. He absorbed traditional translation theories dialectically and created translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; from the perspective of literary translation. Specifically, &amp;quot;Replacing foot with dun&amp;quot; is his poetry translation strategy. This paper will analyze Bian Zhilin translations of some romantic poems and shows some critical thinking about his literary translation theories.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Faithfulness, Similarity and Translation&amp;quot;; &amp;quot;Replacing Foot with Dun&amp;quot;; Romantic Poetry&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
&lt;br /&gt;
卞之琳文学翻译理论和实践 ——以其浪漫主义诗歌译作为例&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
卞之林是著名的中国翻译家、诗人。他辩证地吸收传统翻译理论，从文学翻译的角度创立了“信、似、译”的翻译理论。 具体而言，“以顿代步”是他的诗歌翻译策略。本文将对卞之琳的浪漫主义诗歌译作进行分析，并对其文学翻译理论提出一些批判性性思考。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
&lt;br /&gt;
“信、似、译”；“以顿代步”；浪漫主义诗歌&lt;br /&gt;
&lt;br /&gt;
===Chapter 1 Introduction of Bian Zhilin and Romanticism===&lt;br /&gt;
====Introduction of Bian Zhilin====&lt;br /&gt;
Bian Zhilin is a representative of Chinese modernist poetry, a famous literary critic and literary translator. He translated foreign literature especially poetry and Shakespeare's plays. He has devoted his whole life to the literature and cultural exchanges between China and foreign countries. He is known as &amp;quot;the master of Poetry and the leading scholar in translation in China&amp;quot;. He dialectically absorbed previous translation theories and formed his unique translation thoughts. His famous works include ''Leaves of Three Autumns'' which is his first volume of Poetry and contains verses filled with the melancholy and despair, ''Fish Eyes Collection'', ''The Han Garden Collection'' and ''Poems of a Decade'' and so on.&lt;br /&gt;
&lt;br /&gt;
====Introduction of Romanticism====&lt;br /&gt;
Romanticism is a reaction against the Enlightenment and rationalism in 18th century, and a rejection of the precepts of order, calm, harmony, balance, idealization, and rationality that typified in classicism and neoclassicism. English Romanticism is generally defined to begin in 1798 with the publication of William Wordsworth and Samuel Taylor Coleridge's Lyrical Ballads and end in 1832 with Walter Scott's death. Romanticists place the individual at the center of art and make literature most valuable as an expression of his or her unique feelings and particular attitudes and make its accuracy a portraying the individual's experience. &lt;br /&gt;
&lt;br /&gt;
Romanticism is a period of poetry. During this period, many poets created plenty of wonderful poems which vividly show the beauty of nature and humanistic thoughts. English romantic poets contain the elder generation and the younger generation. The elder generation, also called &amp;quot;lake poets&amp;quot; includes William Wordsworth, Samuel Taylor Coleridge and Robert Southey and so on. The younger generation includes George Gordon Byron, Percy Bysshe Shelley and John Keats and so on. Besides, William Blake also deserves attention. He is a pre-romanticist and a forerunner of the romantic poetry of the 19th century. In this paper, I will analyze poems of William Blake, William Wordsworth and Percy Bysshe Shelly to show Bian Zhilin's translation theories.&lt;br /&gt;
&lt;br /&gt;
===Chapter 2 Bian Zhilin's Literary Translation Theories===&lt;br /&gt;
====&amp;quot;Faithfulness, Similarity and Translation&amp;quot;====&lt;br /&gt;
Bian Zhilin is a famous poet, translator and literary researcher in China. For decades, he not only made remarkable achievements in the field of poetry and Chinese and foreign literature studies, but also left a valuable fortune in literary translation, especially in poetry translation. Bian Zhilin has formed clear and instructive translation thoughts and theoretical views through her long-term translation practice. These translation thoughts and theoretical views influenced his translation behavior and effect, formed his exquisite translation art, and also had a great influence in the field of translation. He broke through the traditional translation theories and put forward the translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot; which is based on dialectically absorbing and reasonably sublating the traditional translation theories.&lt;br /&gt;
&lt;br /&gt;
=====Faithfulness=====&lt;br /&gt;
It is well-known that &amp;quot;faithfulness, expressiveness and elegance&amp;quot; created by a modern Chinese translator Yan Fu has become the most widely spread and popular translation standards in history of modern Chinese translation. And it has always been in the mainstream in the field of translation in China. There has been a long debate in Chinese translation field around &amp;quot;faithfulness, expressive and elegance&amp;quot;. However, &amp;quot;faithfulness&amp;quot; put forward by Bian Zhilin has achieved the transcendence and unification of this debate. &lt;br /&gt;
&lt;br /&gt;
======Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
According to Yan Fu, &amp;quot;faithfulness&amp;quot; means a translation should be faithful to the content of the original which is the first requirement of translation. &amp;quot;Expressiveness&amp;quot; means a translation should be fluent and articulate. &amp;quot;Elegance&amp;quot; means a translation should use elegant words so as to make the translation literary (Luo Xinzhang 136). Yan Fu believed that only elegant words can express the essence of original text. And he advocated translator used classical Chinese before Han Dynasty, namely, pre-Qin period. In fact, Yan Fu translated a lot of works in accordance with this criterion. &lt;br /&gt;
&lt;br /&gt;
======Debates around Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
Many speakers thought highly of Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, and this criterion once became the only standard for evaluating the quality of translation. Many literary translators like Liang Qichao, Lu Xun praised this criterion.&lt;br /&gt;
&lt;br /&gt;
Though &amp;quot;Faithfulness, expressiveness and elegance&amp;quot; has been widely accepted, there were still many doubts about this criterion. Most translators acknowledged Yan Fu's &amp;quot;faithfulness,expressiveness and elegance&amp;quot;, but they doubted &amp;quot;elegance&amp;quot;. For example, Chen Xiying, a famous Chinese female translator, opposed &amp;quot;elegance&amp;quot; because she thought &amp;quot;faithfulness and expressiveness&amp;quot; is quite enough for non-literary works and &amp;quot;elegance&amp;quot; is not necessary. Even for literary works, &amp;quot;elegance&amp;quot; is not necessary since some characters in literary works are from countryside and their speeches apparently couldn't be elegant (Luo Xinzhang 401-402). &lt;br /&gt;
&lt;br /&gt;
However, though these opinions are different they have one thing in common: all these opinions divide &amp;quot;faithfulness, expressiveness and elegance&amp;quot; up and judge them separately. &lt;br /&gt;
&lt;br /&gt;
======Bian Zhilin's &amp;quot;faithfulness&amp;quot;======&lt;br /&gt;
Unlike most translators, Bian Zhilin has his own unique view. Bian Zhilin believes there is only one advisable standard in &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, that is &amp;quot;faithfulness&amp;quot;. According to Bian Zhilin, &amp;quot;faithfulness&amp;quot; means being loyal to the original text comprehensively, not only to the content of the original text, but also to the form (Bian Zhilin 503). It seems that there is no apparent difference between Yan Fu's faithfulness and Bian Zhilin's faithfulness. But that's not the case. &lt;br /&gt;
     &lt;br /&gt;
Firstly, Bian Zhilin doesn't totally deny the value of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. His faithfulness is mainly for literary translation which aims to highlight the artistic features of literary translation. Bian Zhilin believes that literary translation is an artistic and creative activity which not only includes language conversion but also involves the knowledge of literature, aesthetics, literature and art. He thinks &amp;quot;faithfulness, expressiveness and elegance&amp;quot; lays too much emphasis on the content and form of language which is not suitable for literary translation. &lt;br /&gt;
&lt;br /&gt;
Secondly, Bian Zhilin opposed the artificial separation of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. He thinks this separation is a kind of false perception which may cause the emphasis of one aspect and the neglect of the others. He thinks that artistic translation standard, strictly speaking, is only &amp;quot;faithfulness&amp;quot; which means the full fidelity to content and form. Actually, Bian Zhilin doesn't deny the existence value of expressiveness and elegance; instead, he seems &amp;quot;faithfulness, expressiveness and elegance&amp;quot; as a whole and &amp;quot;faithfulness&amp;quot; includes &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot;. Therefore, his faithfulness is comprehensive: both &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot; are internalized in &amp;quot;faithfulness&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Thirdly, Bian Zhilin believes &amp;quot;faithfulness&amp;quot; in literary translation means translation should be loyal to original text both in content and form. In others words, it's not desirable that translation be better or worse than the original. Besides, he holds that &amp;quot;faithfulness&amp;quot; in translation is not absolute but relative and it needs artistic creation of translators(Li Changshuan 57). What's more, literary translators should have the confidence in translating the &amp;quot;spirit&amp;quot; of the original so as to make translation vivid and expressive.&lt;br /&gt;
&lt;br /&gt;
All in all, Bian Zhilin believes the content and form of literary works are unified and indivisible, so is &amp;quot;faithfulness, expressiveness and elegance&amp;quot;.  At the same time, he admits &amp;quot;faithfulness&amp;quot; is relative rather than absolute considering difference between language and culture. Therefore, Bian Zhilin's faithfulness is inheritance and innovation of traditional translation theory and has important theoretical value.&lt;br /&gt;
&lt;br /&gt;
=====Similarity=====&lt;br /&gt;
======Formal Similarity and Spiritual Similarity======&lt;br /&gt;
Formal similarity means translation preserves the linguistic form of the original which includes words, grammar, sentence structure, figures of speech and types or forms of literature and so on. Any two languages have something both common and different. Those common features are the bases of formal similarity of translation. &lt;br /&gt;
&lt;br /&gt;
Spiritual similarity, on the contrary to formal similarity, means getting rid of the bondage of language form such as words, grammar when it is necessary. And translators should use authentic translation to convey the artistic features of the original. Spiritual similarity was first put forward by Mao Dun and was further advocated and practiced by Fu Lei. It has become one of the dominant theories in Chinese translation theories.&lt;br /&gt;
&lt;br /&gt;
======Debates around Formal Similarity and Spiritual Similarity======&lt;br /&gt;
In the field of Chinese translation, translators debated a lot around formal translation and spiritual translation. Many translators believe formal translation is more advisable than spirit translation. But others think differently. For instance, Chen Xiying believed there were three kinds of &amp;quot;faithfulness&amp;quot;, namely spiritual similarity, meaning similarity and formal similarity, among which spiritual similarity is superior, meaning similarity is the second and formal similarity is inferior. Chen Xiying held that formal similarity ignores the writing style of the original though it conveys the meaning of the original completely. Meaning translation is better than formal translation because it focuses on not only what the original writer says but also how he says it. But meaning translation is much more like imitation which cannot grasp the &amp;quot;spirit&amp;quot; of the original. Spirit translation, however, is the exact way to convey the &amp;quot;spirit&amp;quot; of the original. Besides, Yan Fu is another representative who pays more attention to spirit similarity than to formal similarity (Luo Xinzhang 694).&lt;br /&gt;
======Bian Zhilin's &amp;quot;Similarity&amp;quot;======&lt;br /&gt;
Bian Zhilin took a stand against the long-standing debate around formal similarity and spiritual similarity. In his opinion, there is only one word between formal similarity and spiritual similarity that is advisable——&amp;quot;Similarity&amp;quot;. Bian Zhilin holds that literary work is a unity of content and form; &amp;quot;form&amp;quot; and &amp;quot;spirit&amp;quot; in literary translation is complementary. On the one hand, &amp;quot;form&amp;quot; is the basis of &amp;quot;spirit&amp;quot; which means without concrete form, the spirit and artistic value of literary works can only be empty talk. On the other hand, &amp;quot;spirit&amp;quot; is the life of &amp;quot;form&amp;quot; which means literary works without &amp;quot;spirit&amp;quot; likes people without soul, which can only be empty body and meaningless form (Bian Zhilin 551).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Similarity&amp;quot; which was put forward by Bian Zhilin, actually contains the similarity both in formal similarity and spiritual similarity. In other words, ideal literary translation should achieve the unity of form and spirit. Bian Zhilin thinks literary translation can only achieve similarity with the original but not sameness (Bian Zhilin 8-9), which not only recognizes the difference between the original and the translation, but also acknowledges translators' creative efforts.&lt;br /&gt;
&lt;br /&gt;
=====Translation=====&lt;br /&gt;
======Literal Translation and Free Translation======&lt;br /&gt;
Literal Translation means expression forms and syntactic structure of the translated text should be as consistent as possible with the original when translators convey the meaning of the original text. Free translation, however, means translators should break the linguistic form of the original text and express the meaning of the original by using the customary expressions of the target language.&lt;br /&gt;
&lt;br /&gt;
======Debates around Literal Translation and Free Translation======&lt;br /&gt;
The debates between literal translation and free translation in the history of western translation can be date back to Cicero (106BC-43BC). Cicero opposed &amp;quot;word for word translation&amp;quot; (literal translation) which was deemed as &amp;quot;interpreter's translation&amp;quot; and advocated &amp;quot;sense for sense translation&amp;quot; (free translation) which was deemed as &amp;quot;orator's translation&amp;quot;(Tan Zaixi 24). Cicero's distinction about translation paved the way for following translators. For example, John Dryden published his views on literal translation and free translation. Dryden made distinction between metaphrase, phrase and imitation which was an extension of literal translation and free translation. What's more, Newmark thinks literal translation is preferred when the effect is the same (Newmark 39). And Nabokov holds that literal translation is true translation because it can convey the exact contextual meaning of the text as accurately as possible (Nabokov viii).&lt;br /&gt;
&lt;br /&gt;
======Bian Zhilin's Translation======&lt;br /&gt;
Bian Zhilin thinks only &amp;quot;translation&amp;quot; is advisable over the long-standing dispute over literal translation and free translation. Translation contains following meanings (Bian Zhilin 8).&lt;br /&gt;
&lt;br /&gt;
Firstly, literal translation and free translation are not contradictory but complementary. Too much emphasis on either side will only have a bad effect on literary translation. Bian Zhilin also criticizes translations that put too much emphasis on the source language or the target language.&lt;br /&gt;
&lt;br /&gt;
Secondly, translation cannot be creation. Translation should be based on the original text, not personal creation. But Bian Zhilin doesn't deny the creativity in translation and thinks the creativity is the life of translation as long as it is based on the original.&lt;br /&gt;
&lt;br /&gt;
====Bian Zhilin's Poetry Translation Strategies====&lt;br /&gt;
Absorbed thoughts from former and contemporary poets, Bian Zhilin created his poetry translation strategies. That is to translate English poetry in a poetical and metrical way and replace foot with dun. These strategies not only consider the western poetry patterns, but also considers the characteristics of Chinese, which has strong feasibility. Bian Zhilin's poetry translation strategies are closely related with his literary translation theory of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
=====Translating Poetry in A Poetical and Metrical Way=====&lt;br /&gt;
Bian Zhilin thinks that poetry is more a unity of content and form than other literary forms. Therefore, poetry translation includes both translation of poetry content and form. Bian Zhilin thinks poetry translation should be loyal to the original poem not only in content but also in form. Poems should be translated into the form of poem rather than prose. If the original poem is free verse, then translated version also should be free verse. If the original poem is metrical poem, then translation also should be a metrical one. (Bian Zhilin, 319) The coincidence between form and content in poetry translation is an embodiment of translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Meter is an important feature of poetry, including rhythm, rhythm and arrangement of words and stanzas. There are many differences in meter among poetry of different languages. And different poets and works use different meters. These become major factors of difficulties in poetry translation. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin thinks translators should preserve the metrical features of the original poems. In other words, translators should translate poetry in a metrical way. Therefore, poems should be translated by using equivalent meter. To be more specific, translators should translate foreign poems by using commonalities between Chinese traditional metrical basis and foreign metrical basis. It's not just simple application of foreign poetry patterns nor of Chinese traditional poetry patterns. Instead, it's the crossover of the two poetry patterns.&lt;br /&gt;
&lt;br /&gt;
=====Replacing Foot with Dun=====&lt;br /&gt;
The key to the metrical problem of poetry translation is what is the metrical unit of the line, &amp;quot;word&amp;quot; (a syllable) as a unit or &amp;quot;dun&amp;quot; (syllables) as a unit. Bian Zhilin believes metrical poems should be translated in equivalent &amp;quot;duns&amp;quot; which can replace meters and this kind of translation is without the limit of word numbers. This theory is well thought out and based on rhythmic characteristics of Chinese. As Bian Zhilin analyzed that when we speak Chinese, we usually say two or three Chinese characters as a &amp;quot;dun&amp;quot; in most cases, one character at least as a &amp;quot;dun&amp;quot; and four characters at most as a &amp;quot;dun&amp;quot;. This is the internal rules of Chinese. Chinese poems constitute stanzas, stanzas constitute lines and lines constitutes &amp;quot;duns&amp;quot;. Therefore, &amp;quot;dun&amp;quot; is the natural rhythmic units of Chinese poetry and reveals poems' &amp;quot;inherent music-like rhythm and beat&amp;quot;.&lt;br /&gt;
 &lt;br /&gt;
However, that &amp;quot;dun&amp;quot; is the basic metrical unit of the Chinese poetry doesn't mean the number of duns in each line is exactly the same. Bian Zhilin advocates dun of two characters and dun of three characters should be arranged alternately and adjusted mutually to meet the needs of poetic expression and produce an effect similar to feet in western poetry.&lt;br /&gt;
&lt;br /&gt;
===Chapter 3 Analyses of Bian Zhilin's Translation Practice===&lt;br /&gt;
Bian Zhilin put his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and poetry translation strategies of &amp;quot;replacing foot with dun&amp;quot; into practice. Here are three poem excerpts of romantic poets and Bian Zhilin's translation of them.&lt;br /&gt;
&lt;br /&gt;
====William Blake's ''The Tiger'' in ''Songs of Experience''====&lt;br /&gt;
William Blake is a representative of English romantic literature. He was hailed by 20th century critics as &amp;quot;the great prophet&amp;quot; who was a pioneer of romanticism. He broke neoclassical traditions in the 18th century and emphasized instinct, passion and imagination. Besides, Blake is a revolutionary poet and expressed strong revolutionary passion and rebellious spirit in his poem. The Tiger is one of his earliest lyrical poems. It eulogizes the shape and strength of the tiger. Here is an excerpt of it:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Tiger! Tiger! Burning bright&lt;br /&gt;
&lt;br /&gt;
In the forests of the night,&lt;br /&gt;
&lt;br /&gt;
What immortal hand or eye&lt;br /&gt;
&lt;br /&gt;
Could frame thy fearful symmetry?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
老虎！|老虎！|火一样的辉煌，&lt;br /&gt;
&lt;br /&gt;
烧穿了|黑夜的|森林和|草莽，&lt;br /&gt;
&lt;br /&gt;
什么样|非凡的|手和|眼睛&lt;br /&gt;
&lt;br /&gt;
能塑造|你一身|惊人的|匀称？&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of dun.)&lt;br /&gt;
&lt;br /&gt;
The excerpt shows the praise for the tiger. In the poem, Blake uses symbolization and compares the tiger to a fire that destroys everything. Bian Zhilin represents the perfect creation of the creator with the symmetry of the tiger. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem on the guidance of his theory of &amp;quot;faithfulness, similarity and translation&amp;quot;. In the first line of the excerpt, the use of &amp;quot;Tiger&amp;quot; with exclamation marks is a kind of call of the tiger——the king of the forest. Bian Zhilin translates them faithfully into &amp;quot;老虎！老虎！&amp;quot;. The third line is a rhetorical sentence that asks without answering, which reminds readers of the Creator——God, thus making the poetry profound. Bian Zhilin follows the rhythmic characteristics of the original poem and translates it artistically.  &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin also makes his translation according to his theory of &amp;quot;replacing foot with dun”. The above stanza consists of four lines of trochaic tetrameter. Therefore, there are four feet in each line. And in translated version, there are four lines of four duns. Each duns contains two or three characters, thus make the structure of the translated poem neat and have a strong rhythm.&lt;br /&gt;
&lt;br /&gt;
====William Wordsworth's ''The“Lucy”Series''====&lt;br /&gt;
William Wordsworth is also an important poet in English romanticism. He was made poet laureate and he strongly promoted the innovation of English poetry and the development of the Romantic movement. He believes &amp;quot;Poetry is the spontaneous overflow of powerful feelings&amp;quot;. The following excerpt is taken from his &amp;quot;Lucy&amp;quot; series:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
A slumber did my spirit seal&lt;br /&gt;
&lt;br /&gt;
I had no human fears&lt;br /&gt;
&lt;br /&gt;
She seemed a thing that could not feel&lt;br /&gt;
&lt;br /&gt;
The touch of earthly years &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
No motion has she now, no force&lt;br /&gt;
&lt;br /&gt;
She neither hears nor sees&lt;br /&gt;
&lt;br /&gt;
Rolled round in earth's diurnal course&lt;br /&gt;
&lt;br /&gt;
With rocks, and stones, and trees.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
迷糊|封住了|我的|精神；&lt;br /&gt;
&lt;br /&gt;
我没有|人世的|忧惶：&lt;br /&gt;
&lt;br /&gt;
她似乎|超然|物外，|不可能&lt;br /&gt;
&lt;br /&gt;
感觉到|岁月的|影响。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
现在|她无力了，|也不能|动弹；&lt;br /&gt;
&lt;br /&gt;
她不再|耳闻|目睹；&lt;br /&gt;
&lt;br /&gt;
卷在|地球的|日程里|滚转，&lt;br /&gt;
&lt;br /&gt;
混同了|岩石、|树木。&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
The above poem was written when Wordsworth went and stayed in Germany with his sister Dorothy in 1798 and 1799. It uses simple words and the meaning of the poems is quite clear. And Bian Zhilin's translation of the poem is quite faithful and vivid. &amp;quot;Slumber&amp;quot; in the first line of the original is translated into &amp;quot;迷糊&amp;quot; rather than &amp;quot;沉睡&amp;quot;, which gives readers a sense of &amp;quot;lazy charm&amp;quot;. And &amp;quot;fears&amp;quot; in the second line was translated into &amp;quot;忧惶&amp;quot;；it’s quite vivid and pertinent. Besides, the original poem consists of two stanzas with four lines of iambus. In each stanza, the first and the third line have four feet and the second and the fourth line have three feet. The whole poem follows the rhyme scheme of &amp;quot;a-b-a-b, c-d-c-d&amp;quot;. Bian Zhilin replaces feet in the poem with duns. There are fours duns in the first and the third lines and three duns in the second and fourth lines in translation. And the translated version follows the same rhyme scheme with the original. The whole poem is translated and expressed in quite appropriate way.&lt;br /&gt;
&lt;br /&gt;
====Percy Bysshe Shelley's ''Song to the Men of England''====&lt;br /&gt;
Percy Bysshe Shelley, as one of the famous romantic poets, pursued freedom and resisted violence in his short life. He encouraged people to stand and fight for a better life and was branded a &amp;quot;complete revolutionary&amp;quot; by Marx. And Song to the Men of England was written by Shelley after &amp;quot;Peterloo incident&amp;quot; in Manchester in 1819 to reveal the cruel nature of reactionary rulers and call on people to revolt bravely. Here is an excerpt of Song to the Men of England:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Men of England, wherefore plough&lt;br /&gt;
&lt;br /&gt;
For the lords who lay ye low?&lt;br /&gt;
&lt;br /&gt;
Wherefore weave with toil and care&lt;br /&gt;
&lt;br /&gt;
The rich robes your tyrants wear?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Wherefore feed and clothe and save&lt;br /&gt;
&lt;br /&gt;
From the cradle to the grave&lt;br /&gt;
&lt;br /&gt;
Those ungrateful drones who would&lt;br /&gt;
&lt;br /&gt;
Drain your sweat——nay, drink your blood?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
英国的|人民，|为什么|犁地&lt;br /&gt;
&lt;br /&gt;
报答|老爷们|踩你们|成泥？&lt;br /&gt;
&lt;br /&gt;
为什么|辛勤|劳苦|去织布，&lt;br /&gt;
&lt;br /&gt;
让那些|恶霸|穿华丽|衣服？&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
为什么|你们|从摇篮|到坟冢&lt;br /&gt;
&lt;br /&gt;
尽供给|和保养|那许多|雄峰？&lt;br /&gt;
&lt;br /&gt;
他们|不感激，|还非常|坚决，&lt;br /&gt;
&lt;br /&gt;
要喝干|你们的汗|——再加|血；&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
This excerpt is about the clash between two classes of society, the poor working class and the rich nobles. The major theme of this poem is exploitation. People plow for the sake of the lords, who are like drone bees that do no work but live off of the works of others. The narrator is urging the workers to make a stand as they are being treated unfairly. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin practices his poetry translation strategies of &amp;quot;translating poetry in metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; in this poem. In the original poem, each of two stanzas consists of four lines of iambic tetrameter, rhyming &amp;quot;a-a-b-b, a-a-b-b&amp;quot;. In the translated version, there are also two stanzas composed of four lines. And in each line, there are four duns which replaces the four feet in the original poem. The rhyme scheme in translated version is the same as that in the original.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translate the poem faithfully and vividly. For example, he translates &amp;quot;lay ye low&amp;quot; into &amp;quot;踩你们成泥&amp;quot; which well preserves the images of the original work. And &amp;quot;tyrants&amp;quot; in the fourth line of the first stanza is translated into &amp;quot;恶霸&amp;quot; which is concise and accurate. In the second stanza, &amp;quot;From the cradle to the grave&amp;quot; modifies &amp;quot;the men of England&amp;quot; rather than those &amp;quot;ungrateful drones&amp;quot;, Bian Zhilin understands the linguistic structure of the poem and translates it into &amp;quot;你们从摇篮到坟冢&amp;quot;. &amp;quot;坟冢&amp;quot; is more formal than &amp;quot;坟墓&amp;quot; and it's suitable for poetry, from which we can see the precision of Bian Zhilin's choose of words. In the last line, Bian Zhilin uses a dash and the words &amp;quot;再加&amp;quot; to highlight the brutal nature of the rulers. Actually, this translation is a good practice of his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===Chapter 4 Critical Thinking of Bian Zhilin's Translation Theories===&lt;br /&gt;
There is no doubt that Bian Zhilin's translation theories greatly promoted the development of English poetry translation in China. His &amp;quot;faithfulness, similarity and translation&amp;quot; is the inheritance and innovation of Chinese traditional translation theories. And it indeed provides a new way for poetry translation. Besides, Bian Zhilin thinks poetry should be translated into poetry rather than prose. In other words, translators should translate poetry in a poetical and metrical way. He stresses the importance of the unity between form and content and thinks high quality translation should be a unity of content and artistic style of the original text.&lt;br /&gt;
&lt;br /&gt;
Despite Bian Zhilin's great contribution to literary translation theories, I think there are still some problems existing in Bian Zhilin's translation strategies. In Bian Zhilin's opinion, translators can replace foot with dun thus achieving similar rhythmical effect in Chinese version with the English original. It seems that it is a quite advisable and feasible method. Bur actually, it cannot be practiced widely. In English poetry, each foot consists of two syllables, which is fixed and regular. But things are changed in Chinese. The character numbers in each dun in Chinese are not fixed. There may be one or two or three or four characters in each dun, so different people may have different divisions of duns based on their different understanding of context. Therefore, the division of duns may be disordered and random, which makes &amp;quot;replacing foot with dun&amp;quot; not advisable in many cases.&lt;br /&gt;
&lt;br /&gt;
Another problem in Bian Zhilin's translation theories is the ignorance of metrical patterns of foot. In English poetry, there are different metrical patterns like iambus, trochee, spondee and pyrrhic and so on. But there are no such meters in Chinese. &amp;quot;Replacing foot with dun&amp;quot; only considers the correspondence of foot but ignores the correspondence of metrical patterns of foot, so Bian Zhilin's &amp;quot;translating poetry in metrical way&amp;quot; actually is not adequate. We know Chinese is a kind of tone language which has four tones. We can use four tones to correspond the metrical patterns of foot in English. But it's quite difficult in so far and still needs more exploration.&lt;br /&gt;
&lt;br /&gt;
===Chapter 5 Conclusion===&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. His literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and &amp;quot;translating poems in a poetical and metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; give us a lot of enlightenment in the translation of poems. This paper analyzes Bian Zhilin's translation of romantic poems to show his translation strategies. However, there are still some problems in his theories, for example, the division of duns are disordered and random which are based on the understanding of translators and there is no correspondence in metrical patterns of foot. These are the problems that are needed to be considered and solved.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Blake, William. Songs of Experience[M]. New York: Dover Publications, Inc., 1971.&lt;br /&gt;
&lt;br /&gt;
Durrant, Geoffrey. William Wordsworth [M]. Cambridge: Cambridge University Press, 1979.&lt;br /&gt;
&lt;br /&gt;
Nabokov, Vladimir. &amp;quot;Forward&amp;quot;, A.S.Pushkin, Eugene Onegin, Nabokov, V.trans. London: Routledge &amp;amp; Kegan Paul, 1964/1975, p.viii.&lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. Approaches to Translation. Oxford: Pergamon, 1981, p39.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2002).《卞之琳文集》（中卷）. 安徽教育出版社, p503.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2000).《卞之琳文集》（上卷）. 安徽教育出版社, p8.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(1994).《从&amp;lt;西窗集&amp;gt;到&amp;lt;西窗小书&amp;gt;》.[英] 克里斯托弗·衣修伍德《紫罗兰姑娘》, 卞之琳译. 中国工人出版社, p8-9.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2007).《人与诗：忆旧说新》（增订本）. 安徽教育出版社, p319.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2005). 《英国诗选》. 商务印书馆, p156.&lt;br /&gt;
&lt;br /&gt;
Chen Xiying陈西滢(1984).《论翻译》. 罗新璋编《翻译论集》. 商务印书馆, p401-402.&lt;br /&gt;
&lt;br /&gt;
Fu Lei傅雷(1984).《论文学翻译书》. 罗新璋编《翻译论集》. 商务印书馆, p694.&lt;br /&gt;
&lt;br /&gt;
Li Changshuan李长栓(2004). 《非文学翻译理论与实践》. 中国对外翻译出版公司, p57.&lt;br /&gt;
&lt;br /&gt;
Shen Suru沈苏儒(1998).《论信达雅：严复翻译理论研究》. 商务印书馆, p8.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜(1991).《西方翻译简史》.商务印书馆, p24.&lt;br /&gt;
&lt;br /&gt;
Yan Fu严复(1984).《&amp;lt;天演论&amp;gt;译例言》.罗新璋编《翻译论集》. 商务印书馆, p136.&lt;br /&gt;
&lt;br /&gt;
=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday, 2012) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær, 2015; von Flotow, 2010). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh (2015) argues that translation is one of the traditional communicating methods between communities all around the world. Jothiraj (2004) states that “translation plays an important role in the inter-lingual process of communication” (p. 1). Translation is essential for cultures and languages to exchange information. Newmark (1988) defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects. Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
&lt;br /&gt;
Nida (1964) indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style. Larson (1998) has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context. &lt;br /&gt;
&lt;br /&gt;
Culture plays a considerable role, Snell-Hornby (1988, p. 33) assumed that “Culture refers to all socially conditioned aspects of human life”. Another definition of culture is formulated by Goodenough (1957, p. 167). For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term. By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
&lt;br /&gt;
The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline (2003, p.16) thought that “religion is an important institutional network that binds people to one another.” But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
&lt;br /&gt;
This study is aimed to probe Newmark's (1988) translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion (1988, p. 81), seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL. &lt;br /&gt;
&lt;br /&gt;
===Translation and Culture===&lt;br /&gt;
&lt;br /&gt;
2. Translation and Culture &lt;br /&gt;
&lt;br /&gt;
Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.  &lt;br /&gt;
The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988, 7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988, 5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988, 7).  &lt;br /&gt;
&lt;br /&gt;
In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford (1965) defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language” (Catford 1965, 20). According to Venuti’s translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader” (Venuti 1995, 18). Schjoldager stated that “a translation is a text that expresses what another text has expressed in another language” (Schjoldager 2008, 19). Culture is a complex whole which includes knowledge, belief, art, law, morals, customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan (2014), claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014, 2). Hermanns (1999) contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures. Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014, 2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark (2001), illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001, 328). &lt;br /&gt;
&lt;br /&gt;
Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
&lt;br /&gt;
2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
&lt;br /&gt;
Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora, fauna, food, clothes, housing, work, leisure, politics, law, and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988, 327) Christine Nord names them “culturemes” (Nord 1997, 9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012, 1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Aixela, 1997; Davies, 2003), others choose cultural words (Newmark, 2003) or culture-bound phenomena/concepts (Baker, 1992, Newmark, 2003, Robinson, 2003). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker, 1992, 21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988, 94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988, 95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988, 95).&lt;br /&gt;
&lt;br /&gt;
2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
&lt;br /&gt;
The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85, P. 22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003, 16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.&lt;br /&gt;
&lt;br /&gt;
===Types of Translation ===&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
Newmark (1988) determines 8 types of translation which are: &lt;br /&gt;
 &lt;br /&gt;
3.1 Word-for-Word Translation &lt;br /&gt;
&lt;br /&gt;
This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
&lt;br /&gt;
3.2 Literal translation &lt;br /&gt;
&lt;br /&gt;
In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
&lt;br /&gt;
3.4 Semantic Translation &lt;br /&gt;
&lt;br /&gt;
Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
&lt;br /&gt;
3.5 Adaptation &lt;br /&gt;
&lt;br /&gt;
This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015, 15). &lt;br /&gt;
&lt;br /&gt;
3.6 Free Translation &lt;br /&gt;
&lt;br /&gt;
The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
&lt;br /&gt;
3.7 Idiomatic Translation &lt;br /&gt;
&lt;br /&gt;
This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
&lt;br /&gt;
3.8 Communicative Translation &lt;br /&gt;
&lt;br /&gt;
This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
===Translation Strategies  ===&lt;br /&gt;
&lt;br /&gt;
4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
&lt;br /&gt;
4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela (1996), translators need to choose several strategies based on the source language culture and target culture.  He distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, he tries to command by the level of their intercultural intervention. He divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies). &lt;br /&gt;
&lt;br /&gt;
4.1.1. Conservation: &lt;br /&gt;
In conservation, the less compelling process includes repetition, orthographic adaptation, linguistic translation, extratextual gloss and intratextual gloss. &lt;br /&gt;
&lt;br /&gt;
4.1.1.1 Repetition: In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus, the translator keeps as much as possible the original reference (Aixela, 1996, p. 61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
&lt;br /&gt;
4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
&lt;br /&gt;
4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
&lt;br /&gt;
4.1.1.4 Extra-textual Gloss: Here, the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes, endings, words, ideas, translators in dictionaries, italics and so on. &lt;br /&gt;
&lt;br /&gt;
4.1.1.5 Intra-textual Gloss: It's like the past but the translator feels that he/she can include the globe as an indirect part of the text, not to distract the reader. &lt;br /&gt;
&lt;br /&gt;
4.2.1 Substitution &lt;br /&gt;
In substitution, According (Aixela, 1996) “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here”. &lt;br /&gt;
&lt;br /&gt;
4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
&lt;br /&gt;
4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
&lt;br /&gt;
4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela, 1997, p.63). &lt;br /&gt;
&lt;br /&gt;
4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Shokri, Ketabi, 2015, p.8). &lt;br /&gt;
&lt;br /&gt;
4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela, 1996, p. 64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
&lt;br /&gt;
4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela, 1997). &lt;br /&gt;
&lt;br /&gt;
4.3 Mona Baker’s Translation Strategies &lt;br /&gt;
Baker’s strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation. (Baker, 1992). He suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies, which are the following: &lt;br /&gt;
&lt;br /&gt;
4.3.1 Translation by a more general word: According to Baker, this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
&lt;br /&gt;
4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
&lt;br /&gt;
4.3.3 Translation by cultural substitution: This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
&lt;br /&gt;
4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
&lt;br /&gt;
4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
&lt;br /&gt;
4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
&lt;br /&gt;
4.3.7 Translation by omission: Losing phrases or words that are not vital to text development. &lt;br /&gt;
&lt;br /&gt;
4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view, however, Baker's (1992) translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
&lt;br /&gt;
===Cultural Categories  ===&lt;br /&gt;
5. Cultural categories &lt;br /&gt;
 &lt;br /&gt;
5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
5.1.2 Material culture &lt;br /&gt;
Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.” &lt;br /&gt;
5.1.3 Social culture &lt;br /&gt;
The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
5.1.4 Organisation &lt;br /&gt;
Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
 &lt;br /&gt;
5.2 Newmark Classification CSIs &lt;br /&gt;
Newmark (1988) established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items.&lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
 &lt;br /&gt;
Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
&lt;br /&gt;
2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
&lt;br /&gt;
3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
&lt;br /&gt;
4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
&lt;br /&gt;
5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
&lt;br /&gt;
6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
&lt;br /&gt;
7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
&lt;br /&gt;
8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
&lt;br /&gt;
9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
&lt;br /&gt;
10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
&lt;br /&gt;
11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
&lt;br /&gt;
12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
&lt;br /&gt;
13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
&lt;br /&gt;
14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
&lt;br /&gt;
16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
&lt;br /&gt;
17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
&lt;br /&gt;
18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
&lt;br /&gt;
19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
&lt;br /&gt;
20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
&lt;br /&gt;
21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
&lt;br /&gt;
22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
&lt;br /&gt;
23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
&lt;br /&gt;
24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996, 31), “translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by (Newmark 1988, 81), “translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.” &lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation, then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions. &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity, as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts, the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term, and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part, but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark (1988) has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9. &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark’s strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                           	 قرُۡءٰنًا	Quran &lt;br /&gt;
 	                         ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference               	 يعَۡقوُۡب	Yaqub &lt;br /&gt;
 	                            اِسۡحٰق	Ishaq &lt;br /&gt;
 	                         يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
===8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
===      This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
===8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
===8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
===The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark (1988) were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
===This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However, the translator must be competent in using the translation procedures to provide an accurate translation. &lt;br /&gt;
&lt;br /&gt;
===8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
===The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
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Widiarto, O. V. V. (2016). The translation procedures of cultural expressions applied in a game of thrones translated into Perebutan Tahta novel by Barokah Ruziati (Doctoral dissertation, Dian Nuswantoro University).&lt;br /&gt;
&lt;br /&gt;
=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
===An Overview on Translation Studies  ===&lt;br /&gt;
&lt;br /&gt;
===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
&lt;br /&gt;
=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
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In this chapter, the researcher wants to highlight the different concepts about the fundamental question &amp;quot;what is idiomatic expression&amp;quot; of different critics, theorists and linguistic experts, and prominent scholars of translation studies. Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
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Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
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&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda Corelli 2006, 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984, 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992, 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to (Newmark 1981, 11), “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”&lt;br /&gt;
.	The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to (Corelli 2006, 53), English has a sizeable idiomatic base.&lt;br /&gt;
About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.&lt;br /&gt;
The main issue that idiomatic and fixed expressions pose for translators, according to (Baker 1992, 65), is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.&lt;br /&gt;
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Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.&lt;br /&gt;
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===Literature Review ===&lt;br /&gt;
In this chapter, the author/researcher defines the strategy and its different definitions from the perspective of different subjects and fields. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented. Krings defines it as the content of the project, while Seguinet divided the term into three steps. However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. &lt;br /&gt;
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The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward.&lt;br /&gt;
Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint.&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to (Seguinot 1989, 27) (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.&lt;br /&gt;
 Furthermore, (Loescher 1991, 8) defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot; As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998, 4) claim moreover, (Bell 1998, 188) distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.&lt;br /&gt;
 According to (Venuti 1998, 240), &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot; He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to (Jaaskelainen 2005, 15), product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.&lt;br /&gt;
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Furthermore, (Jaaskelainen 2005, 16) distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making. (Newmark 1988, 221) distinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;&lt;br /&gt;
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Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016, 13).&lt;br /&gt;
The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010, 15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017, 54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985, 9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female.&lt;br /&gt;
Several research articles are found on translated work (license and khol do) of Urdu famous short stories writer Sadat Hassan Manto's from a different perspective like psychoanalysis, postcolonial, feminist approaches but to explore the problem of translations strategies face by translator Aatish Taseer during the process of translation has not been mention till date. To summarize this, the research includes a critical, in-depth, comprehensive analysis of issues that previously did not address.&lt;br /&gt;
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=== Theoritical Framework ===&lt;br /&gt;
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Different strategies have been used, like using an idiom of similar meaning and similar form, the idiom of similar meaning and different form, translation by Paraphrasing, translation by omission. The approach of employing idioms of similar meaning and form, according to Mona Baker, entails using an idiom in the target language that can express about the same meaning as the source language idiom, as well as having lexical similarity. On the other hand, this type of matching happens periodically as well as regularly.&lt;br /&gt;
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Similarly, employing idioms with similar meanings but different forms means that it is possible to locate an idiom or fixed expression in the target text language that has a similar meaning to the source idiom or expression but is made up of distinct lexical elements. Consider the case of English and French, both of which use the idiom mentioned above. In English, one good deed is rewarded with another, whereas in French, handsome deeds are rewarded with handsome deeds.&lt;br /&gt;
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Furthermore, we did not come across any idioms in the category mentioned above during translating idioms. To deal with this issue, the translators used the most popular approach, known as a translation by paraphrase, which is short, straightforward, and time-saving. When a match cannot be identified in the target language or when it appears improper to employ idiomatic language in target material due to aesthetic differences between the source and target languages, this is the most typical approach for translating an idiom from source to target language. However, one thing to keep in mind is that a perfect translation is not required is necessary or possible.&lt;br /&gt;
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Last but not least, to overcome the problem of idiom translation, the translator employs the strategy of translation by omission. This can be defined as an idiom being omitted entirely in the target text with a single word. This is done because the idiom has no close match in the target language; its meaning cannot be easily paraphrased or due to stylistic reasons. &lt;br /&gt;
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3.4 Data analysis Techniques:&lt;br /&gt;
Textual analysis is the method of data analysis in qualitative research that brings forth the hidden and potent message, structure, and function of research in giving text, Alan Mckee (defines textual analysis as whenever we perform textual analysis on the text, we make an educated guess at some time of the most likely interpretations that might be made of that text (Alan Mckee 2001, 3)&lt;br /&gt;
Analysis of the translation of short stories in light of Mona baker's theory &amp;quot;khol do and license&amp;quot; are short stories written by Sadat Hassan Manto and translated by many translators from Urdu into English. During translation, the translator adopted many strategies for translating idiomatic expression, sometimes by Paraphrasing, sometimes by omission, sometimes using similar idioms of form and meaning while sometimes using different words and the same form, the whole.&lt;br /&gt;
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===Discussion and Analysis===&lt;br /&gt;
The chapter analyzes and discusses all the data collected by the author/researcher from different sources. All the examples of idioms are first identified, then translated into the target text, and back-translated for the sole purpose of exploring the strategies being used by the translator. A separate section is given to every strategy with its related example. Moreover, the idiomatic expression, the target work for finding, is highlighted through the bold letter.&lt;br /&gt;
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4.1	Translation by Paraphrasing:&lt;br /&gt;
Based on our findings, the most often used strategy was &amp;quot;translation by paraphrasing.&amp;quot; An inspection also reveals that Aatish Taseer preferred this strategy. Here are some examples applied by the translators, and in the following section, the logic behind their preference towards this strategy is elaborate. The following are examples from two short stories of Sadat Husain Manto's &amp;quot;khol do&amp;quot; and &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 1: &lt;br /&gt;
ST: Sirajuddin ne subah das baji anki kholi to logo ka ail mutalatam samandar deka.&lt;br /&gt;
TT: Ten a.m., Siraj Uddin opens his eyes on the cold floor of the camp, seeing the swelling sea of men.&lt;br /&gt;
BT: sub ke das baji jab Sirajuddin ne apni anki koli to logo ka aik ublaha howa samandar ka nizara dekni laga.&lt;br /&gt;
So, the above idioms are literal idioms being translated with the help of Paraphrasing because there is no perfect equivalent of mutalatam words in English languages. A similar look at another idiom from short stories &amp;quot;khol do.&amp;quot;&lt;br /&gt;
Example 2:&lt;br /&gt;
ST: Khuda tomahra bala kari.&lt;br /&gt;
TT: Your God will reward&lt;br /&gt;
BT: Is ka badla khoda tomahi di.&lt;br /&gt;
Here, the word reward is being used for Bala Kari, an example of transitional by Paraphrasing.&lt;br /&gt;
Let  take another example from &amp;quot;khol do.&amp;quot;&lt;br /&gt;
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Example 3:&lt;br /&gt;
ST: unkho nai Jan khateli pa rak kar sakena ko donda.&lt;br /&gt;
TT: even putting their lives online, they search sakina &lt;br /&gt;
BT: apni zindagio ko khatri me dal kar unkho nai sakina ko dond nekala.&lt;br /&gt;
The above idioms are examples of pure idiom translated from Urdu into English with the help of paraphrases strategies. However, under the same strategies, the idioms of another short story of Manto,s &amp;quot;license,&amp;quot; are translated by Aatish Taseer. Some of the examples are given below.&lt;br /&gt;
Example 4:&lt;br /&gt;
ST: Abu kochwan bara cheel jabela ta. It is the binomial type of idioms taken from the first sentence of the short story &amp;quot;license&amp;quot; by Sadat Hasan Manto &lt;br /&gt;
TT: Abu kochwan is stylish man.&lt;br /&gt;
BT: Abu kochwan aik wazahdar admi ta.&lt;br /&gt;
From the above idiom, it is clear that there is no perfect equivalence of cheela chabela idiom in English; that is, the translator goes through paraphrasing strategies. Look at another example from &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 5:&lt;br /&gt;
ST: Lein har waqat bank bani rekhi ka usi be had showk ta&lt;br /&gt;
TT: He had a weakness for style and fashion.&lt;br /&gt;
BT: Dan saj ke rekhna uski kamzori me sai ik ta.&lt;br /&gt;
So all of the above examples, which are analyzed one by one, are examples of idioms being translated through paraphrasing strategies. (De Beaugrande and Dressler 1981, 50) define paraphrases as &amp;quot;approximate conceptual equivalence among outwardly different material.&amp;quot; Similarly, in this regard, Hirst defines paraphrases as &amp;quot;talk(ing) about the same situation in a different way.&amp;quot; Munday declared that &amp;quot;equivalence is particularly useful in translating idioms and proverbs” For instance, if the English idiom like a bear with a sore head is rendered into Persian as (mesle borje zahremar), meaning like a tower of snake venom, the strategy of equivalence has been applied. &lt;br /&gt;
According to Leonardi, &amp;quot;Equivalence can be said to be the central issue in translation.&amp;quot; In this regard, house believes that &amp;quot;a translation text should match not only its source text in function but also employ equivalent situational-dimensional means to achieve that function&amp;quot; (Baker 2002, 49).  who shares this approach, states that equivalence is used &amp;quot;for the sake of convenience—because most translators are used to it rather than because it has any theoretical status&amp;quot; (Kenny 1998, 77). &lt;br /&gt;
Despite different attitudes to the concept of equivalence, most specialists pay much attention to its meaning in the theory of translation. The translation is a form of communication, and that is why it is vital to establish equivalence between the source text and the target text. Although Vinay and Darbelnet believe that equivalence is used differently than in modern translation theory, it is evident that equivalence is one of the basic concepts of translation that cannot be neglected. Consequently, based on the Above mentioned studies using Paraphrasing in translation stands as the core concept in the process of translation, and still, most of the translators cling to it for producing a more comprehensible and explicable text. These language ideas and translation models are ideal constructs, presented abstractly in order to be differentiated precisely. They may exist in an uneasy combination in actual theories and practices, resulting in logical tensions or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation. Theories and actions must be contextualized in historical settings. They've been utilized as analytical tools to describe various topics in section introductions. Theoretical writings and current events these language notions and translation models are ideal constructs expressed in an abstract manner in order to be distinguished precisely in real-life hypotheses they may exist in an uncomfortable mix, resulting in logical conflicts or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation.&lt;br /&gt;
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4.2	Using an idiom of Similar Meaning and Form &lt;br /&gt;
As mentioned earlier, this strategy type is being used by Aatish Taseer during their translated work of Manto's short stories &amp;quot;khol do&amp;quot; and&amp;quot; license&amp;quot; on an occasional basis. Some examples are mention below.&lt;br /&gt;
From khol do.&lt;br /&gt;
Example 6:&lt;br /&gt;
ST: Larki ka rang zard hogaya.&lt;br /&gt;
TT: The girl's face became fail&lt;br /&gt;
BT: larki ka rang zar hogya.&lt;br /&gt;
Similarly, another example from the license is&lt;br /&gt;
Example 7:&lt;br /&gt;
ST: Abu our us ke mat beer hogaie&lt;br /&gt;
TT: They fall in love with each other.&lt;br /&gt;
BT: WO ik dosri ke mokhbat me geriftar hogaie&lt;br /&gt;
The above idioms are pure ones and are being translated with the help of similar meanings and similar forms.&lt;br /&gt;
	 The procedures: transposition, modulation, equivalence, and adaptation, and when it comes to defining the term Equivalence, (Vinay and Darbelnet 2000, 90) propose that it consists in rendering &amp;quot;the same situation … by two texts using completely different stylistic and structural methods&amp;quot;, and when it comes to translating idiomatic expressions like &amp;quot;Il pleut à seaux&amp;quot; it can be translated as &amp;quot;It is raining cats and dogs&amp;quot; using the idiom of similar form and meaning in the target language.&lt;br /&gt;
As (Baker 1992, 12) states, this strategy involves using an idiom in the TL which conveys roughly the same meaning as that of the source language idiom and, in addition, consists of identical lexical items. The salient point is that this kind of match can only occasionally be achieved, which cannot be picked up more often by translators. Accordingly, both translators mentioned in the current study had quite a slim chance of using this strategy type. &lt;br /&gt;
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4.3 Using an idiom of similar meaning but different form:&lt;br /&gt;
During translating Manto short stories, &amp;quot;khol do&amp;quot; and &amp;quot;license,&amp;quot; some of the idioms are translated with the help of this strategy. Some of the examples are given below from two different short stories.&lt;br /&gt;
Example number one is from the short story &amp;quot;khol do&amp;quot;&lt;br /&gt;
Example 8:&lt;br /&gt;
ST: Aur bolwai gos ayai thee?&lt;br /&gt;
TT: The roitors come abroad.&lt;br /&gt;
BT: pasadi bahar agai hai.&lt;br /&gt;
The above idiom is a pure type of idiom being translated with the help of above mention strategy. The word rioter is being used for bolwai, which is not a perfect word for bolwai. In Urdu bolwai, people believe in violence when minorities or the low population of any country want some rights. These people stop them by using violence, burn down their properties, rapes women, and do things like that. Another example from the license is below.&lt;br /&gt;
Example 9:&lt;br /&gt;
ST: Dosri kotwal abu ko dek kar jal ban ho jati.&lt;br /&gt;
TT: The other coachman burn with envy.&lt;br /&gt;
BT: Abu ke kamyabi dek kar aur kotwal abu sai khasad karni lagi’&lt;br /&gt;
The above idioms are a pure idiom that reflects the effect of jealousy between competitors to achieve equivalency. Aatish Taseer uses envy word for jal ban instead of other which have similar meaning but different form. Look at the other example from &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 10:&lt;br /&gt;
ST: Dino lat vo lagal se kam karni laga.&lt;br /&gt;
TT: Dino came with an excuse.&lt;br /&gt;
BT: Dino abb bahi tarashni laga.&lt;br /&gt;
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The above idioms are types of binomial idioms translated with the help of idioms with similar meanings and different forms. (Newmark 1988, 81) mentions the difference between translation methods and translation procedures. He writes that &amp;quot;[w]hile translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language&amp;quot; (Newmark 1988, 81). Idiomatic translation in his definition reproduces the 'message' of the original. However, it distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original, leading to using an idiom of similar meaning but a different form. Besides, it is often possible to find an idiom or fixed expression in the target language with a meaning similar to that of the source idiom or expression but which consists of different lexical items (Baker 1992, 12). Therefore, translators discover idiomatic expressions in the target language with different forms than in the source language. In the current study, the translators approached this strategy merely for 9% of the total times, which means the frequency of Iranian and English idioms with the same meaning and different forms is not considered high. &lt;br /&gt;
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4.4 Translation by omission:&lt;br /&gt;
A translator is less using these strategies, and we did not find any clue on this type of strategy in an area under consideration.&lt;br /&gt;
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=== Findings===&lt;br /&gt;
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===Conclusion ===&lt;br /&gt;
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=== References ===&lt;br /&gt;
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= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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===Key words ===&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
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===Ambiguity===&lt;br /&gt;
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===Lexical and Structural Mismatches===&lt;br /&gt;
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===Multiword units: Idioms and Collocations===&lt;br /&gt;
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===Summary===&lt;br /&gt;
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===Further Reading===&lt;/div&gt;</summary>
		<author><name>Atta Ur Rahman</name></author>
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		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=130871</id>
		<title>Translation types, strategies, styles, methods</title>
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		<updated>2021-12-10T14:26:42Z</updated>

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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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==Abstract==&lt;br /&gt;
''Legend of Zhen Huan'', as an excellent Chinese TV series, has successfully entered the American market. However, the American version of Legend of Zhen Huan still has some shortcomings in translation. By comparing and analyzing the subtitle texts of the ''Legend of Zhen Huan'' in China and the United States, this paper aims to discuss the problems existing in the overseas translation of the ''legend of Zhen Huan'' and the translation strategies and methods adopted in the subtitle translation of the American version, so as to provide some enlightenment for Chinese costume dramas to reach the world in the future.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
Translation strategy and translation methods; ''Legend of Zhen Huan''; Subtitle translation&lt;br /&gt;
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==Introduction==&lt;br /&gt;
The TV series ''Legend of Zhen Huan'' is Imperial-harem competing play produced by the Beijing Television Arts Center in 2011. This play is adapted from a novel of the same name written by Liu Lianzi, which mainly tells the story of the young girl Zhen Huan growing up from an unsophisticated young girl to an empress dowager who is good at politics. Since its debut in China in 2012, ''the Legend of Zhen Huan'' has been a hit among Chinese audiences, with its ratings rising and even forming “Zhen Huan craze” for a time. The reason why the play has received so much praise, on the one hand, is that the film and television script is well-produced; on the other hand, it is because the plots and dialogues of the characters in the play cover a wealth of historical and cultural knowledge, embodying the profundity of Chinese culture.&lt;br /&gt;
Due to its great success in the domestic market, the series finally attracted the attention of foreign producers: the American team adapted the original ''Legend of Zhen Huan'', cutting the 76-episode original drama into six episodes,which was officially launched on Netflix’s paid website in the United States on March 15, 2015. It is the first Chinese TV series to be broadcast on mainstream TV stations in the United States. &lt;br /&gt;
However, the American version of the ''Legend of Zhen Huan'' failed to be sought after by audiences in the US, with most viewers abandoning the show after only one or two episodes.The English lines of the ''Legend of Zhen Huan''’s have ever been criticized by some Chinese audiences. After a deep study of the reason, in addition to the lack of content caused by a large amount of deletion and cutting, another important reason is the insufficiency of subtitle translation. This paper attempts to explore the translation strategies of the subtitle of ''Legend of Zhen Huan'', hoping to provide some inspiration for the subtitle translation of domestic film and television works of the same type.&lt;br /&gt;
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==Literature Review==&lt;br /&gt;
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===Previous studies in Subtitle Tranlation abroad===&lt;br /&gt;
In the early 1970s, Doller Up (1974) published a paper entitled “On Subtitle in TV Programs” on Babel, an authoritative journal of the International Association of Translators, which was the first time that scholars paid special attention to subtitle translation. In addition, he creatively pointed out the great value of TV subtitles to foreign language teaching, and then made contributions to the cause of education.&lt;br /&gt;
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In 1976, Istvan Fodor published a book called Film Dubbing: Aspects of Phonology, Semiotic Aesthetics, and Psychology, which centered on film dubbing from an acoustic perspective. Fodor argues that because each country’s language and culture are unique and irreplaceable, it is almost impossible to achieve perfect “synchronization” in all aspects of the translation of film(Fodor 1976:82).&lt;br /&gt;
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In 1982, Christopher Titford first proposed the concept of “restricted translation” in his article “Subtitling: Restricted Translation”. He believes that the limitations of film and television as a medium themselves are the main cause of problems encountered by translators in practice (Titford 1982:113).&lt;br /&gt;
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In 1992, Ivarsson, a Swedish subtitling translation scholar, published his book Subtitling for Media: A Handout of Art, which can be said to be the first comprehensive study of subtitling translation works in Europe. In this book, Ivarsson introduces the development of subtitle translation technology in detail. The most representative subtitle translation scholars are Gambill and Gottlieb, who are two translation theorists. Yves Gambill, a Finnish translator, is a very important expert in the field of film and television translation. Gambill has a wide range of research fields, he has compiled a large number of academic monographs, such as language transfer and Audiovisual Communication: bibliography, which discusses the classification of translation patterns, translation strategies, translation audience and so on (Gambill 1997).&lt;br /&gt;
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===Previous studies on Subtitle translation at home===&lt;br /&gt;
The research on subtitle translation in China mainly focuses on the English translation of Chinese films, and a large number of such papers and articles have been published, which are also the most representative research results of subtitle translation in China. In addition, with more and more domestic films moving toward the international stage, some attention has been paid to the study of Chinese subtitles.&lt;br /&gt;
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The study on Chinese and English subtitle translation can be divided into several fields, including film and television language characteristics, subtitle translation methods, subtitle translation history and so on.&lt;br /&gt;
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Subtitle translation methods can be broadly divided into two categories. One category refers to some practical translation methods and skills summed up by translators based on their years of translation experience, such as the seven kinds of experiences of film and television translation proposed by Qian Shaochang (2000), which stresses the importance of “translation” in the output of films and TV plays. The other is related to domestic MA papers. They usually start with some translation theories, such as German functional translation theory, Eugene Nida’s functional equivalence theory, relevance theory, and Susan Basnett’s cultural translation theory, and finally conclude translation methods such as domestication, foreignization, literal translation, free translation, omission and so on.&lt;br /&gt;
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In recent years, with the increasing popularity of American TV series in China, the phenomenon of online subtitle translation has begun to attract attention from all sides. As time went by, subtitle translation goes beyond the simple purpose of satisfying the entertainment needs of movie fans, and begin to be applied to teaching practice and students’ self-learning process. This phenomenon is bound to attract academic attention. For example, Wang Hui (2005) discussed this issue in his article “The Impact of Subtitling on Vocabulary Acquisition”. This paper draws some conclusions which are beneficial to foreign language teaching.&lt;br /&gt;
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However, there are still many deficiencies in the study on subtitle translation. The only literature we can refer to is few books on the translation of film and television subtitle. In other words, subtitle translation is not discussed in detail.&lt;br /&gt;
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==Subtitle translation features==&lt;br /&gt;
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===Subtitle translation needs to be brief and comprehensive===&lt;br /&gt;
Subtitle translation should not be lengthy for two reasons: First, because the screen keeps switching, each screen stay can not be very long, the scene with the character’s dialogue switches over more quickly, in a matter of seconds, which is fleeting. Second, whether it is the large screen in the cinema or the small screen in the home, due to space constraints, if the subtitle translation is not simple enough, it will lead to an increase in the number of words in the target language, not to mention the English words that take up more space than Chinese phrases. English words take up more space than Chinese phrases.&lt;br /&gt;
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Take the Chinese phrase “Computer”for example, the English equivalent word is computer. The Chinese verb “来”corresponds to the English word “Come”. In general, English words have more characters than their Chinese counterparts, except in rare cases. Since the length of the word can not be artificially controlled, subtitle translation will put a higher demand on the number of words. In a typical presentation, Chinese and English subtitles are displayed simultaneously at the bottom of the screen, up to two lines of Chinese and two lines of English.&lt;br /&gt;
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If there are too many words, the limited space can not accommodate in a few seconds, the audience will have a dazzling feeling as well. Therefore, one of the distinctive features of subtitle translation is its concise use of words.&lt;br /&gt;
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===Subtitling translation requires natural equivalence===&lt;br /&gt;
The subtitling of the target language should be as natural as the subtitling of the source language. The subtitle translation discussed in this paper is mainly about the dialogue of the characters in the play. On the one hand, the style of dialogue is colloquial, in this sense,It is important   for the translator to pay attention to whether the subtitle translation that the target language audience can hear and see is in line with their daily speaking style.If the original spoken language is translated formally and rigidly, the audience of the target language will feel less natural and fluent, and their movie-watching experience can not be comparable with that of the source language audience. On the other hand, the spoken language features of the characters can clearly shape the characters in the play. If the translator does not grasp the spoken features of the characters, the target audience can not understand the character’s connotation as well as the source audience.&lt;br /&gt;
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Therefore,if a character needs to say something filthy, or even taboo, to make the character stand out, the subtitle translator must also translate the same filthy and taboo.These taboos should inevitably appear in the subtitle translation, and we should not mince words about them. The same is true of English to Chinese subtitle translation and Chinese to English translation. Because these taboo words are the extension of the role connotation, improper handling will affect the target audience's understanding of the connotation of the role.&lt;br /&gt;
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===Subtitle translation needs to be easy to understand===&lt;br /&gt;
The film and Television Play is the Popular Entertainment Program, so subtitle translation should be clear at a glance. There are thousands of people watching TV dramas, and their knowledge and cultural level vary widely, and their appreciation level is naturally mixed.Film and TV series have such a wide audience, which requires subtitle translation to take care of the needs of the majority of the audience whether from the perspective of box office and Audience Rating, or from the perspective of cultural communication.&lt;br /&gt;
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==Theory of Domestication and Foreignization==&lt;br /&gt;
In the process of translation, the translator should determine the general direction of translation, cultivate a good sense of culture, and fully understand that translation is an important feature of information exchange across different languages and cultures. But how to achieve that? There are two opposite strategies in translation: foreignization and domestication. The terms of domestication and foreignization were put forward by Laurence Venutti in his book Translators’ invisibility in 1995:&lt;br /&gt;
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===Domestication===&lt;br /&gt;
The domestication strategy is to localize the source language, take the target language or target readers as the destination, and convey the content of the original text in the way that the target language readers are accustomed to.Domestication requires the translator to be closer to the target language reader, and the translator must speak like the native author.This translation strategy will often make the translation transparent, smooth, relaxed and natural, close to the reader to the greatest extent, so as to dilute the strangeness brought by the original text.In film and television subtitle translation, domestication is often used in order to make the audience understand the film smoothly.&lt;br /&gt;
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===Foreignization===&lt;br /&gt;
The foreignization strategy is completely opposite to the domestication strategy, which is oriented by the source language culture and that &amp;quot;the translator should not disturb the author as much as possible to make the reader close to the author&amp;quot;.Foreignization advocates believe that the main purpose of translation is cultural communication, so the translation should try its best to preserve the language and cultural information contained in the source language.Only in this way can the exchange and fusion of source and target cultures be achieved through translation. In addition, they believe that the translator should believe the reader’s imagination and intelligence to the utmost, and believe that when reading the translated version, the reader should not only understand the simple words, but also understand the foreign culture through the words, and they have the capacity to understand the culture. &lt;br /&gt;
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Of course, as two translation strategies, domestication and foreignization are the unity of opposites and they complement each other. Absolute domestication and absolute foreignization do not exist.&lt;br /&gt;
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==Case Study==&lt;br /&gt;
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===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
The essence of “foreignization”is “the tendency toward the original author”, that is, the translator tries to be close to the original author in his translation (Xiong Bing, 2014). In the words of the Friedrich Schleiermacher, this means that the translator“Tries not to disturb the original author, but to take the reader to the original author”(Robinson, 2006:229) . Specifically in Translation, the translator tries to retain the original language, literariness, cultural characteristics and exotic customs (Xiong Bing, 2014) . Therefore, the nature of foreignization strategy is mainly in favor of the original author, and its defects are mainly reflected in the readability of the translation. In other words, the translation may be blunt and not well received and understood by the audience. Therefore, the translation effect is not ideal for the target audience.&lt;br /&gt;
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====Literal Translation====&lt;br /&gt;
Literal translation means keeping both the content and the form of the original text in the translation when the language conditions permit, especially the metaphor, image, national and local color of the original text.The vast majority of subtitle translation of the Us version of ''Legend of Zhen Huan'' adopts literal translation. Look at the following example:&lt;br /&gt;
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Example 1&lt;br /&gt;
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Chinese version：嬛嬛一袅楚宫腰。&lt;br /&gt;
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American version：the slim waist of the concubines of the Chu palace.&lt;br /&gt;
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For the word “Huan”in the name of Zhen Huan, the American version uses the Foreignization method, which is translated literally as the slim waist of the concubines of the Chu palace.Western audiences may be confused by the subtitles,Western audiences may be confused by the subtitles, because Zhen Huan is clearly a woman from the Qing Dynasty, how come another Chu Palace? In terms of accuracy and the conveying of cultural context, this translation is well-done, but it creates a barrier for the audience to understand. Therefore, the translation can throw out on its real meaning, such as translated into As my name, Huan, means graceful women with slim waist, &amp;quot;Chu palace&amp;quot; here means can be omitted.&lt;br /&gt;
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Example 2&lt;br /&gt;
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Chinese version：一片冰心在玉壶&lt;br /&gt;
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American version：A jade vessel is the symbol of a pure heart.&lt;br /&gt;
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“Jade Vessel”in Chinese has a unique associative meaning, while the meaning of these words in English is vacant. Western audiences just think that Dr. Wen is evaluating his character, but they can’t hear his pure love for Zhen Huan, so on the basis of foreignization, it’s better to add some domestication translation to make it easier for the audience to understand.&lt;br /&gt;
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The American versions of examples 1 and 2 are very literal and concise translations, because the original subtitles have no hidden meaning.However, due to the wrong choice of translation methods, a small number of translated subtitles are just like translation cavities.If the cultural significance of the original text is lost, the translation may be regarded as a failure.In a sense, actors’ performances and lines are the &amp;quot;booster&amp;quot; of the plot development of the TV series.However, if the audience can not understand the original meaning, the story will be much less attractive in the eyes of the audience.For example:&lt;br /&gt;
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Example 3&lt;br /&gt;
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Chinese version：“赏你一丈红”&lt;br /&gt;
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American version：Then I will award Attendant Xia the Scarlet Red.&lt;br /&gt;
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In the original subtitle of example 3, “一丈红” (yi zhang hong,  literally “two-meter-long red”) is used to punish a palace maid or a  concubine who had done something wrong in China’s ancient imperial palace. The specific content of the penalty goes as follows: a two-meter-long and two-inch-thick board was used by the performer to give the guilty palace maid or concubine a good beating on their waist or the place below it until their bones were broken and the blood gushed out.   Looking from the distance, you will see that the blood covered a long distance. Thus, it is called “一丈红”. &lt;br /&gt;
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In the American version of Legend of Zhen Huan, it is translated into “the Scarlet Red”. the word Scarlet itself means “Lewd and sinful,”as in the Scarlet letter. It is very appropriate to translate &amp;quot;red&amp;quot; with scarlet. However, this partial literal translation runs counter to the American audience’s way of thinking, which they think it as nothing more than a horror show. In this way, the specific penalty content will be lost, and the target audience can't feel that the harem struggle is everywhere in the court, and can't get the equal effect for them.&lt;br /&gt;
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In this way, the specific content of the penalty will be lost, the target audience can not feel the Harem struggle existed everywhere in the imperial court and the equivalent effects cannot be obtained for them.&lt;br /&gt;
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====Zero Translation====&lt;br /&gt;
The so-called &amp;quot;zero translation&amp;quot; means that some elements of the source language are directly introduced into the target language without the ready-made words in the target language (Xiong Bing, 2014). This translation method is mainly used to translate the names of people and officials in the English version of the ''Legend of Zhen Huan''. That’s because in ancient China, there was a very strict patriarchal system with the ideas of three cardinal guides and the five constant virtues.&lt;br /&gt;
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In the eyes of the Chinese people, the distinction between the titles of concubines and concubines is clear at a glance, but it is difficult for foreigners to see these things, because medieval European monarchs were nominally allowed only one wife, there is no such complicated hierarchy of appellation among women. Therefore, such titles as &amp;quot;贵妃&amp;quot;, &amp;quot;妃&amp;quot;, &amp;quot;嫔&amp;quot;, &amp;quot;贵人&amp;quot;, &amp;quot;常在&amp;quot; and &amp;quot;答应&amp;quot; are presented in a dynamic equivalent way (words with similar functions in the source language), for example:&lt;br /&gt;
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Example 4&lt;br /&gt;
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熹贵妃——Noble Consort Xi    华妃——Consort Hua&lt;br /&gt;
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莞嫔 ——Concubine Huan       沈贵人——Lady Shen&lt;br /&gt;
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夏常在——Attendant Xia       小主——Young Mistress&lt;br /&gt;
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敦亲王：Prince Dun            舒太妃：Consort Dowager Shu&lt;br /&gt;
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Example 4 only shows a few official titles of the characters in the ''Legend of Zhen Huan''. However, the translation subtitles in this example reveal a subtitle rule that the American version of the ''Legend of Zhen Huan'' Uses Zero Translation for personal names and free translation for official titles. And we can clearly see the efforts of translators to represent this hierarchical culture in ancient China. However, this method of translation can not meet the needs of the current audience, because the ancient Chinese culture is broad and profound, and the official titles of emperors and concubines in the play conform to the traditional Chinese culture&lt;br /&gt;
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However, the cultural ideologies of the American people and the Chinese people are very different. Traditional translation can not convey the characteristics of the characters and the intensification of their contradictions. The American people have not experienced the five thousand years of slavery and feudalism in China, nor do English dictionaries or translation related books have Chinese cultural vocabulary. In addition, the current subtitle translation does not advocate the use of a large number of notes, which will have a negative impact on the effect of watching the drama.&lt;br /&gt;
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Therefore, notes are usually used only for the first appearance of a character, in order to provide the necessary introduction in enough subtitling space.When they appear a second time, the introduction will be omitted.As for the conflicts between the characters and the progress of the plot, it is difficult for the target audience unfamiliar with Chinese History to adapt to the culture and conflict in the play. Therefore, it is hard to arouse their interest in watching this drama.&lt;br /&gt;
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===Translation Methods under Domesticating Strategy===&lt;br /&gt;
Opposite to the foreignizing strategy, domestication is characterized by the “tendency toward the target recipients” (Xiong Bing, 2014). In other words, the translator tries to be as close to the target recipients in the translation as possible. In Schleiermacher’s words, it means that translators “try not to disturb the reader, but to bring the original author to the reader” (Robinson, 2006: 229). Specifically speaking, in the translation, the translator uses the language, literary devices, cultural elements that the target language readers love to replace the language, literary devices and cultural elements of the original language as much as possible, and abides by the language, literary devices and cultural norms of the original language (Xiong Bing, 2014). &lt;br /&gt;
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The domesticating strategy is a translation strategy just opposite to the foreignizing strategy. Its advantage is that the translation can be fluent, easy to understand, and easily accepted by the target recipients; or it tries to meet the specific needs of the target audience. However, the domesticating strategy also has some shortcomings. The first weakness of it is the loss of the language, literariness, culture and other important elements of the source text, so that the target audience cannot appreciate the exotic authentic language and cultural practices. This cannot help the cultural exchange and dissemination between different ethnic groups. The second weakness is that the domesticating strategy of the translated text may lead to semantic loss and semantic ambiguity in translated texts.&lt;br /&gt;
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====Omission====&lt;br /&gt;
Omission is a very important method in domestication strategy.The Syntactic structure of English emphasizes &amp;quot;hypotaxis&amp;quot;, and there are appropriate connecting elements between each component of a sentence to express their mutual relations, which emphasizes the consistency and coordination of grammatical relations.The structure of Chinese sentences is &amp;quot;parataxis&amp;quot;, and the relationship between each component of the sentence depends more on the intention, and less on the linking component. The structure form is relatively relaxed, and the words and sentences are relatively simple.Therefore, Omission is one of the most common methods in Chinese text translation.Word reduction means that in translation, the translator must grasp the differences between Chinese and English, omit the unnecessary linking elements in Chinese, make the translation smooth, avoid stiff and cumbersome, and eliminate unnecessary words and words as far as possible.There are many examples of reducing words in the translation of Legend of Zhen Huan.&lt;br /&gt;
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Example 1&lt;br /&gt;
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Chinese version:“先敬罗衣后敬人。” &lt;br /&gt;
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American version: “The clothing completes the person.”&lt;br /&gt;
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This Chinese idiom means that people will first look at the clothes they are wearing and judge their social status according to the clothes. There is a derogatory element in it.However, in the translation of this sentence, the translator adopted the word reduction method and did not translate every word.The word &amp;quot;complete&amp;quot; expresses the idea that &amp;quot;clothes make the man&amp;quot;, but fails to express the meaning intended in the original text.Therefore, the author thinks that can continue to use the Omission here, will change its translated into “According to clothing to estimate people’s status.”&lt;br /&gt;
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Example 2&lt;br /&gt;
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Chinese version: “花开堪折直须折，莫待无花空折枝。” &lt;br /&gt;
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American version: One must pick a flower at the prime of its bloom, Do not wait until the blossom fade and falls.&lt;br /&gt;
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There are three Chinese characters for &amp;quot;折&amp;quot; in this sentence, but the translator did not show any of them in the Process of English translation.Shall we say that he did not translate the Chinese meaning?Of course not. The translator must have noticed these three &amp;quot;fold&amp;quot; characters in the process of translation. If one of them is translated out, the sentence will appear too long-winded and not in line with the characteristics of subtitle translation.Therefore, the translator starts from the meaning of the original text to persuade people to cherish, and cleverly leaves out the word &amp;quot;折&amp;quot;, which not only avoids repetition, but also conveys the meaning of the original text.This reflects the three principles of Skopos theory: &amp;quot;Based on the source language, pay attention to the culture in the target language, the intention of translation activities and the acceptance state of the American audience&amp;quot;.&lt;br /&gt;
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====Addition====&lt;br /&gt;
Addition is also an important translation method in domestication strategy.Augmentation refers to the use of structural and semantic augmentation to compensate for linguistic and cultural deficiencies in the target text.Structural supplement refers to the addition of omitted words or replaced words to make the content of translation more complete.Semantic supplement refers to the translator's addition of nouns, verbs, summative words, explanatory words and conjunctions to compensate for the lack of language and culture in the target text so that readers can understand the original text.&lt;br /&gt;
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Example 1&lt;br /&gt;
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Chinese version:“他不忍叫你明珠暗投。”  &lt;br /&gt;
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American version:&amp;quot;You will not be granted an ordinary life when you can live an extraordinary one.&lt;br /&gt;
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In this example, the translator adopted Addition method to make a explanatory translation for &amp;quot;明珠暗投&amp;quot; , the translation of &amp;quot;be granted an ordinary life when you can live an extraordinary one.&amp;quot;As we know, Chinese idioms are one of the wonders of The Han culture, and they often show rich implicit meanings in condensed four-character sentences.In the translation of this sentence, it is easy for us to understand the meaning of &amp;quot; 明珠暗投&amp;quot;&amp;quot;, but how to make the American audience understand, the translator needs to make an explanation, so that the American audience can understand the implicit meaning of the original text, so as to reduce the cultural burden.&lt;br /&gt;
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Example 2&lt;br /&gt;
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Chinese version：“臣妾一与社稷无功，二与龙脉无助。” &lt;br /&gt;
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American version:“Firstly, I have made no contribution to the nation. Secondly, I have begotten no heirs.&lt;br /&gt;
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In example 2, the translator interprets &amp;quot;社稷&amp;quot; as &amp;quot;nation&amp;quot; for readers to understand.&amp;quot;社稷&amp;quot; has always been a synonym for &amp;quot;nation&amp;quot; in Chinese, just as &amp;quot;White House&amp;quot; is a synonym for &amp;quot;America&amp;quot;. In addition, there is no English equivalent for &amp;quot;nation&amp;quot;, so it is appropriate for the translator to use &amp;quot;nation&amp;quot;.Heirs to dragon vein, a Feng shui concept meaning undulating mountains, succeed.Later, the royal family regarded it as the lifeblood of the country, so they would call the royal blood &amp;quot;dragon vein&amp;quot;.Heirs to dragon Vein, which in this case means heirs to the emperor's children, succeed in translating it into Heirs to the emperor.It's less common and more advanced than the word &amp;quot;children&amp;quot;, which is often thrown around.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
The subtitle translation strategy of Legend of Zhen Huan generally focuses on domestication, and tends to transform implicit meaning into explicit meaning.When the meaning of the source language is complex and difficult to be understood by the target language audience, the translation strategy of domestication is usually adopted, and the expressions used in the target language are adopted.If there is an equivalent or similar expression between the target language and the source language, alienation should be considered, and a concise explanation should be added if conditions permit, so that the cultural essence of the source language can be preserved and the audience can experience the charm and national characteristics of traditional Chinese culture.&lt;br /&gt;
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As a translation strategy, absolute domestication and absolute foreignization do not exist in translation practice.The task of the translator is to make the best use of the two strategies in practice according to the specific language characteristics, the purpose, the language characteristics of the source language and the target language, and the national culture, so as to bridge the cultural differences between the two countries.&lt;br /&gt;
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==Reference==&lt;br /&gt;
[１]Dollerup, Cay. On Subtitles in Television Programs[J]. Babel, 1974, (20): 197-202. &lt;br /&gt;
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[２]Ivstor, Fordor. Film Dubbing: Phonetic Semiotic, Esthetic and Psychological Aspects[C]. John Benjamins, 1976. &lt;br /&gt;
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[３]Schleiermacher, F. On the Different Methods of Translation[A]. In Robinson, D.(ed.). Western Translation Theory: From Herodotus to Nietzsche[C]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
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[４]Titford, Christopher.Subtitling: Constrained Translation[J]. Lebende Sprachen, 1982, 27(3):113-116.  &lt;br /&gt;
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[５]钱绍昌. 影视翻译──翻译园地中愈来愈重要的领域[J]. 中国翻译, 2000(1):61-65.&lt;br /&gt;
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[６]汪徽.字幕对伴随性词汇习得的影响[J].外语电化教学,2005(2):47-52. &lt;br /&gt;
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[７]熊兵. 翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J]. 中国翻译, 2014(3):82-88.&lt;br /&gt;
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=2 刘晓 The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
[[Trans_Type_EN_2]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
With the rapid growth of economy, people's pursuit of life quality is gradually increasing. Travelling abroad has become a hot topic nowadays. The rapid development of overseas travel has increased the market demand for tourism translation, and more stringent requirements for tourism translators. How to deal with the translation problems caused by the cultural differences between Chinese and English during the translation process is of great importance to improve the quality of tourism translation. The communicative translation strategy in Newmark's translation theory focuses on the effect that the translation brings to the target language readers, which is of certain guiding significance to the E-C translation of tourism texts. Therefore, this paper takes ''Everglades National Park, Florida (Excerpt)'' as an example to analyze the specific translation strategies and methods in the application of Newmark's translation theory in tourism texts, so as to provide reference for other translators.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Translation strategy and translation methods; Peter Newmark; Tourism texts&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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This paper is based on the English-Chinese translation of ''Everglades National Park, Florida (Excerpt)''. By analyzing the application of Peter Newmark's communicative transaltion in the translation, the author proposes some translation methods, which can be provided for future references.  This chapter mainly introduces the background information and significance of the report, and the domestic research status.&lt;br /&gt;
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====Research background====&lt;br /&gt;
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With the development of the world, various kinds of tourism appear in people’s life, and has unprecedentedly, extremely widely spread a variety of culture and lifestyle. Tourism has become a rising sunrise industry in modern society (Jin Huikang, 2007). To a foreign country to enjoy the beautiful scenery can make people know the colorful world and further know what they want. And this activity also has made tourism translation a reality and a thriving discipline.&lt;br /&gt;
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However, due to the different geographical environments, cultural differences and historical backgrounds in different countries, many translators often ignore the disadvantages brought by differences in language and cultural habits in the process of translation, so that the original meaning of the original text will be lost in the process of transmission, which may cause confusion for tourists and cannot achieve the purpose of offering them accurate information and stimulating their interest.&lt;br /&gt;
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Therefore, in order to make it more convenient for domestic citizens to travel abroad, translators should choose appropriate translation strategies and methods according to the cultural differences between China and foreign countries in the process of tourism English translation, so that tourists can form an objective and correct understanding of scenic spots. The semantic translation and communicative translation strategies in Peter Newmark’s Theories respectively focus on whether the meaning of the original text is exactly reproduced and the effect and influence that the translation brings to the target language readers, which are of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
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====Research significance====&lt;br /&gt;
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In theory, based on Peter Newmark’s translation theories, this paper chooses the semantic translation strategy and puts forward appropriate translation methods for the English-Chinese translation of tourist text -- the ''Everglades National Park, Florida (Excerpt)'', which is of certain guiding significance for English - Chinese translation of tourist texts.&lt;br /&gt;
Based on the practice of the ''Everglades National Park, Florida (Excerpt)'' English - Chinese translation and the analysis of Newmark’s communicative translation strategy’s application, this paper sums up some translation methods, such as voice change, objective and personal subject changing, adding conjunctions, etc. And these methods can be provided for future references in the translation study and practice of others, which has a certain practical significance.&lt;br /&gt;
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====Literature review====&lt;br /&gt;
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Through the analysis of Newmark’s communicative translation in recent years, it can be found that there are many references for the guidance of communicative translation on tourism translation texts. He Xueyun (2005) proposes that the public notices and signs should belong to the vocative functional text and focus on the reader-centered communicative translation, which can give foreigners a better environment for travel, study and work in China. For such a style, the communicative translation theory should be chosen, the target readers put in the first place and always in mind, and their culture and receptivity taken into account. Jin Huikang (2006) believes that tour guide words must have a specific expected function, which are a kind of texts that integrate informative, expressive and vocative functions. Therefore, tourism translation should aim at effective attraction for overseas tourists, and the translator should grasp the group characteristics of overseas tourists and audiences when carrying out tourism propaganda or translating tourism materials. Ma Chen (2010) points out that the tourism text is a kind of article mainly based on vocative function, and the core of which is to accurately convey information for readers. Liu Anhong (2013) proposes tourism text as a kind of publicity material, aiming to stimulate tourists’ interest in visiting. According to the division of Newmark, the tourism text should belong to the text with the vocative function as its main function and the informative function as its secondary function. Therefore, the translation of tourism text should effectively achieve the effects similar to the original text.&lt;br /&gt;
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From the combing of previous literatures, it can be found that there are many studies on the translation of tourism texts guided by Newmark’s communicative translation strategy. However, at present, there are few studies on the translation of tourism texts from English to Chinese, and more studies focus on the Chinese- English translation. For this reason, this paper is based on the translation practice of ''Everglades National Park, Florida (Excerpt)'' to provide some reference for future English – Chinese translation of tourism.&lt;br /&gt;
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===Tourism Texts===&lt;br /&gt;
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====General Introduction====&lt;br /&gt;
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Tourism text is an important carrier for readers to obtain scenic spot information, and Tourism text is to stimulate readers' desire to travel by introducing tourist attractions and resources, and its ultimate purpose is to meet readers' expectations and arouse readers' enthusiasm by delivering tourism information. In other words, the dominant function of tourism text is vocative function. At the same time, tourism texts also provide readers with information they like, from which people can acquire relevant knowledge such as culture and customs, natural geography, etc. Therefore, informative function is also its important feature. It can be seen that the two most important functions of tourism texts are respectively informative and vocative one, whose premise is to provide information and purpose is to attract tourists. &lt;br /&gt;
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In addition, we should realize that translation of tourism texts is a professional translation of tourist attractions and resources for target readers, and its essence is a communicative behavior. If the translator fails to properly deal with the differences between cultures, it will often fail to achieve the expected results. Therefore, during the translation process, more attention should be paid to the accuracy and effectiveness of the information, so as to make the translation conform to the target readers’ reading habits and aesthetic expectation (Li Daosheng, 2000). This requires the translator to put the reader's acceptance first in the process of translation. That is, tourism text translation should not only realize the conversion from one language to another, but also take language barriers and cultural differences into account. Therefore, in order to achieve the goal of successful communication, translators should flexibly apply various translation strategies and adopt appropriate translation methods according to the text types of tourism texts.&lt;br /&gt;
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====Introduction to the ''Everglades National Park, Florida (Excerpt)''====&lt;br /&gt;
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Established in 1974, Everglades National Park covers 2,354 square miles, or 6,097 square kilometers (1.4 million acres). Located at the tip of southern Florida, it is the largest subtropical wildlife sanctuary in the continental United States. Everglades National Park protects an unparalleled landscape which provides important habitat for numerous rare and endangered species such as the manatee, American crocodile, and the elusive Florida panther.&lt;br /&gt;
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''Everglades National Park, Florida (Excerpt)'' is excerpted from a notice from U.S. National Park Service about the phased reopening of the park, including alerts of the reopening, activities, safety and accessibility. It can also be regarded as a travel guide, which describes the journey towards people and offers help to the tourists who want to go there, and which often includes the description of the best travel time, transportation, accommodation, scenic spots and matters needing attention. As a practical text, its main purpose is to introduce and promote tourist scenic spots, that is the Everglades National Park in Florida. Its vocative and informative function are very prominent, and it has the characteristics of reader-orientation, the effectiveness of information transmission and timeliness.&lt;br /&gt;
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===Newmark's Translation Theory===&lt;br /&gt;
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====General introduction of Peter Newmark's translation theories====&lt;br /&gt;
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Peter Newmark, a well-known translation theorist, is one of the main figures in the founding of translation studies in the English-speaking world in 20th century. Newmark devoted himself to studying the past and present of Western translation, and put forward his own views on this basis. Newmark’s translation theories mainly include three parts, that is, the classification of text types, translation approaches, and the lately correlative theory of translation.&lt;br /&gt;
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According to Karl Buhler’s knowledge of language features and Jacobson’s classification of them, Newmark proposed six functions of language informative function, expressive function, vocative function, phatic function, aesthetic function, and lastly metalingual function. (Hou Yingying, 2020) Then Newmark divided text types into three: expressive-functional texts, informative-functional texts, vocative-functional texts.&lt;br /&gt;
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After putting forward these three text types, Peter Newmark suggested eight translation approaches or strategies. Firstly, from the perspective of focusing on the source language, he suggested word-for-word translation, literal translation, faithful translation and semantic translation; Secondly, from the perspective of focusing on the target language, he suggested adaptation, free translation, idiomatic translation and communicative translation (Newmark, 2001:45).&lt;br /&gt;
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In 2007, Newmark came up with a new theory, that is, correlative theory of translation, which means that “The more serious and important the language of the original or source text, the more closely it should be translated.” (Newmark, 2007)&lt;br /&gt;
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In conclusion, Peter Newmark has proposed many significant theories and made extensive discussion on those concepts, which will have a great influence on the translation practice.&lt;br /&gt;
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====Semantic translation and communicative translation====&lt;br /&gt;
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Peter Newmark divided text genres into “expressive text”, “informative text” and “vocative text” in his classic work ''Approaches to Translation''. Imaginative literary works, such as poems, songs, novels and dramas, authoritative statements, autobiographies, essays and personal correspondence, etc. are expressive texts. All the formatted texts with science and technology, industry and commerce, and economy as themes belong to informative texts. And vocative text refers to all texts that can infect readers and make them “get information”.&lt;br /&gt;
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With reference to these three kinds of texts, Newmark further creatively proposed the concepts of semantic translation and communicative translation: “communicative translation” means that the effect of the target text on the reader of the target language is as much as the effect of the original text on the reader of the source language; “semantic translation” refers to the reproduction of the context of the source text as accurately as possible under the premise of the semantic and syntactic structure of the target language. He believed that only communicative translation and semantic translation can achieve the two major goals of translation: being accurate, and being economic (effective).&lt;br /&gt;
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In ''About Translation'', Newmark made a detailed comparison of the characteristics of semantic translation and communicative translation from different aspects, and pointed out that the fundamental difference between them lies in that when the information and the effect are in conflict, communicative translation lays more emphasis on effect than content, while semantic translation lays more emphasis on content than effect. Communicative translation can give the translator full freedom, the translator can reorganize the syntax, eliminate the original obscure places in the source language, and make the language conform to the standard of the target language. However, semantic translation emphasizes the content of the information itself, tries to make the form of the target text similar to the form of the original text, and retains the language characteristics and expressive style of the original author. Therefore, compared with semantic translation, communicative translation is more subjective and can better reflect the translator’s creativity and it attaches great importance to the communicative effect of translation, the key to which is to convey information, make readers of the target language think, act and feel, and play an inductive role in making the translation natural and smooth, and more readable. &lt;br /&gt;
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Newmark pointed out that the translation of expressive texts should employ semantic translation, while informative and vocative texts communicative translation which is reader-centered. The most direct purpose of tourism texts translation is to convey information to readers on the premise of attracting readers’ attention and leaving readers with deep memories, so that readers can take actions -- to visit tourist attractions and pay attention to matters that should be paid attention to. Thus, it can be seen that the tourism text belongs to the vocative text and the communicative translation should be applied. &lt;br /&gt;
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To sum up, Newmark’s communicative translation focus on the effect that the translation brings to the target language readers, which is of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
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===Case Study===&lt;br /&gt;
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The purpose of communicative translation is to try to make the translation have the same effect on the target reader as the original does on the source reader. That is to say, the key point of communicative translation is to be loyal to the target language and the target text reader, that is, the source language is required to obey the target language and culture, leaving no doubt or obscurity to the reader, and eliminating difficulties and obstacles in reading or communication for the reader as far as possible.&lt;br /&gt;
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Because the translator wants to achieve a certain communicative purpose, emphasizes the effect and has a specific target audience, the translation has inevitably broken the restrictions of the original text, pursuing smoothness, clarity, directness and conformity with conventions. In this part, the author analyzes the specific application of communicative translation in the translation practice of the ''Everglades National Park, Florida (Excerpt)'' from three aspects: lexical, syntactic and textual analysis.&lt;br /&gt;
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====At Lexical Level====&lt;br /&gt;
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Generally speaking, there is partial equivalence between English and Chinese, that is, similar expressions in Chinese can replace the meaning of English words or phrases (Liu Junping, 2009). In the following, two translation methods used in lexical translation will be introduced: conversion of part of speech and the translation of public signs.&lt;br /&gt;
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1)Conversion of part of speech&lt;br /&gt;
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Example 1:&lt;br /&gt;
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ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors.''&lt;br /&gt;
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TT: 个人、团体或家庭都能在这找到适合的户外活动。&lt;br /&gt;
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Analysis: As we all know, English belongs to the Indo-European language family, while Chinese the Sino-Tibetan language family. Many differences exist between English and Chinese in terms of vocabulary and grammatical structure. Therefore, in the process of translating English into Chinese, due to the different ways of expression between English and Chinese some sentences can be translated word by word, while most sentences cannot. In order to make the Chinese translation smooth and natural, some words in the original text need to be converted into different parts of speech in the target text without sticking to the surface structure of the original text. In other words, some words in the original text can be converted into other parts of speech in Chinese on the premise of being faithful to the original meaning and retaining the original effect. &lt;br /&gt;
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The original sentence uses a nominal phrase “no shortage of” to express the meaning that no matter how many people come together for outdoor activities, there are always options. The translator translates it into a verbal phrase, that is, everyone can find a suitable outdoor activity here, so that the meaning gets across and the whole sentence flows naturally.&lt;br /&gt;
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Example 2:&lt;br /&gt;
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ST: ''Accessibility: No immediate trails.''&lt;br /&gt;
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TT: 如何前往：没有路径可直接到达。&lt;br /&gt;
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Analysis: As English tends to use more nouns with static narratives, while Chinese tends to use more verbs with dynamic ones. The static tendency of English mainly comes from nominalization, a common phenomenon in English. Nominalization mainly refers to the use of nouns (phrases) to express the information originally expressed by verbs (phrases), such as the use of abstract nouns to express actions, behaviors, changes, states, etc (Lian Shuneng, 1993). For example, “accessibility” in Example 2 is an abstract noun, which is used to show the way to one place. Chinese, on the other hand, tends to use verbs. So, in order to better convey the effect and let the reader read without any doubt or discomfort, the translator converted the noun into a verb phrase, that is “如何前往”. Likewise, in the noun phrase “no immediate trails”, the author wants to say that there is no direct way (to arrive at the destination). When translating, if it is directly translated into a noun phrase “没有直达路”, the reader may feel difficult to read. So, if it is translated into “there is no direct path can reach that place”, the sentence will be more smoothly and convey the original information and the effect is also retained.&lt;br /&gt;
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2)Public signs&lt;br /&gt;
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Example 3 &amp;amp; 4:&lt;br /&gt;
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ST: ''Things To Do'' &lt;br /&gt;
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TT: 活动介绍&lt;br /&gt;
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ST: ''What you can do''&lt;br /&gt;
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TT: 解决措施&lt;br /&gt;
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Analysis: As mentioned in the theoretical framework above, tourism text belongs to vocative text. As a kind of tourism text, public signs are a special style for specific people to achieve a certain communicative purpose. Its application scope is very wide, almost involved in every aspect of our daily life, such as street signs, billboards, road signs, shop signs, warnings, propaganda, travel briefs and so on. As a communicative tool, it conveys necessary and useful information to the public by means of a few words, simple and easy to understand icons or the combination of both (He Xueyun, 2006). Therefore, it can be seen that public signs feature lots of nouns, verbs, phrases and abbreviations and more often, fixed expression, which means in translation, only concise and idiomatic expression can fully convey the effect of the original text.&lt;br /&gt;
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Just as the example 3, once the original text is translated literally, that is “要做的事情”, it sounds rather awkward, which not only does not convey the meaning of the source text that was intended as an introduction to the activities that can be done, but also may lead the reader to believe that this section is about what is required. However, if it is translated into “活动介绍”, readers can clearly know the main content of this part and can find out the activities they are interested in. This expression is very concise and also in line with the Chinese language habits. The same is true of example 4.&lt;br /&gt;
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Example 5 &amp;amp; 6:&lt;br /&gt;
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ST: ''Alligators and crocodiles - Crocodilians are one of the reasons people visit the park, however, these are wild animals that can be dangerous to humans.''&lt;br /&gt;
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TT: 小心短吻鳄和鳄鱼——鳄鱼是人们参观公园的原因之一，然而，这些野生动物对人类会很危险。&lt;br /&gt;
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ST: ''Poisonous plants - The park’s ecosystems support a variety of plant life including some that cause reactions to human skin.''&lt;br /&gt;
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TT: 警惕有毒植物——公园的生态系统支持多种植物的生长，包括一些会对是人类皮肤过敏的植物。&lt;br /&gt;
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Analysis: Tourist texts belong to the vocative text, emphasizing the transfer of the effect of the information and the empathy of the reader. This requires the translator to pay attention to the internal logic of the text, modify the translated text to make it clear in the process of tourism translation without sticking to the original form and give full consideration to the core position of readers. &lt;br /&gt;
Examples 5 and 6 are in the same sentence structure -- firstly species are given, and then that the species could be in some danger is pointed out. If it is translated in accordance with the original text word by word, then the front part is just posing out that species. However, if such warning words as “小心” or “警惕” are added, it can let the reader know before he continues reading that this species may be dangerous when visiting, and then with reading below, the reader will know why it is dangerous. This will prepare the reader mentally, and the reading will be smoother.&lt;br /&gt;
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====At Syntactical Level====&lt;br /&gt;
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Two aspects are included in syntactic analysis, which are change of subjects and passive voice, and the punctuation.&lt;br /&gt;
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1)Change of subjects and passive voice&lt;br /&gt;
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Example 7:&lt;br /&gt;
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ST: ''Wading birds, cormorants, Purple Gallinules, and nesting Anhingas may be found along the path anytime of the day during the winter (dry) season.''&lt;br /&gt;
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TT: 在冬季（旱季），任何时候您都可以在沿路发现涉水鸟类、鸬鹚、紫雀和筑巢的美洲蛇鸟。&lt;br /&gt;
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Analysis: English tends to use more impersonal subjects, which means it rarely uses the personal subject to describe but expresses how objective things act on people’s perception to things appear in an objective tone. So, the structure is often like this: inanimate subject + animate subject (Lian Shuneng, 2010). Chinese pays more attention to subjective thinking, and often describes objective things from the point of view of oneself, or tends to describe people and their behavior or state, so the personal subject is often used. When the personal subject is clear, Chinese often implies or omits it.&lt;br /&gt;
Passive voice is a common grammatical phenomenon in English. In some styles, the use of passive sentences has almost become a habit of expression. Passive sentences give rise to the tendency of using impersonal subjects, and vice versa. Chinese uses fewer passive forms. The main reason for this difference is that the use of passive forms in Chinese is limited, and the mark of the passive voice, such as “让”, “给”, “受”, mostly expresses displeasure.&lt;br /&gt;
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Therefore, in example 7, the translator transformed the passive voice into the active voice and the impersonal subjects “Wading birds, cormorants, Purple Gallinules, and nesting Anhingas” into the personal subjects “您”. What’s more, as this tourism text is written for readers, the use of the second person subject can shorten the distance. &lt;br /&gt;
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Example 8 &amp;amp; 9: &lt;br /&gt;
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ST: ''Wading birds, American Coots, Osprey, White-crowned Pigeons, warblers, Red-shouldered Hawks, Anhingas, rails, Painted Buntings and other transients are best viewed here in the morning.''&lt;br /&gt;
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TT: 早晨在这里观赏涉禽、美洲骨顶鸡、鱼鹰、白头鸽、莺、赤肩鹫、美洲蛇鸟、秧鸡、彩绘鹀和其他过路的鸟类的效果最好。&lt;br /&gt;
&lt;br /&gt;
ST: ''In the summer, fewer programs are offered.''&lt;br /&gt;
&lt;br /&gt;
TT: 夏季提供的项目较少。&lt;br /&gt;
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Analysis: Just as what has been said above, English has a tendency to use impersonal subjects and passive voice, while Chinese is exactly the opposite. And when the subject is clear, Chinese often implies or omits it, which is just like example 8 the personal subject “you” is omitted. &lt;br /&gt;
In example 9, the omitted subject is the national park, and the temporal adverbial phrase “in the summer” becomes the subject in form, which is a common expression in Chinese. That is because subjects in Chinese are not only in various forms, but also dispensable: it can denote giving, receiving, time, place.&lt;br /&gt;
 &lt;br /&gt;
2)Punctuation&lt;br /&gt;
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Example 10:&lt;br /&gt;
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ST: ''Connecting trails through the Pinelands run 7 miles (11 km) west from the Long Pine Key campground to Pine Glades Lake along the main park road.''&lt;br /&gt;
&lt;br /&gt;
TT: 这些小道从长松岛营地向西延伸7英里（11公里），穿过一片松林地，连通公园主路边松林湖。&lt;br /&gt;
&lt;br /&gt;
Analysis: English sentences are complicated, and subordination is one of the most important characteristics of modern English, which features right-branching, sentences long and complex, made in “architecture style”. Conversely, Chinese sentences are relatively short, and commonly use scattered sentences, loose sentences, tight sentences or composite sentences with parallel structure. Chinese features left-branching, and sentences are made in “chronicle style”, using clauses to streamline the thoughts. &lt;br /&gt;
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So, when there are many prepositional phrases in the original English sentence, the translator can divide the long sentence into several short sentences and recognize those by adding comma, which can help readers to sort out the logic of the original text and get the main information. By using communicative translation, the translator divided the original sentence into three sentences. The logical sequence is that “The trails run seven miles (11 kilometers) west from the Long Pine Key campground. Passing through the Pinelands, they lead to Pine Glades Lake along the main park road.”, which shows the location of both the Long Pine Key campground, the Pinelands and Pine Glades Lake correctly, leaving no doubt to readers of the target language.&lt;br /&gt;
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Example 11:&lt;br /&gt;
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ST: ''In keeping with Monroe County’s closure order for beaches, North Nest Key and all waters within 100 yards from the shore will be closed for protection of park resources during the holiday weekend. The closure will begin on Friday, July 3 at 6 a.m.''&lt;br /&gt;
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TT: 根据门罗县对海滩的关闭安排，为保护公园资源，北巢岛和离海岸100码以内的所有水域将自7月3日星期五早上6点起暂停对外开放。&lt;br /&gt;
&lt;br /&gt;
Analysis: In the original text there are two sentences, which can be combined to make the meaning complete and language pithy in the target language. And it can be taken into consideration to reconstruct them by replacing full stop with comma. By considering communicative translation, the translator put two prepositional phrases in advance as adverbials, which are “in keeping with Monroe County’s closure order for beaches” and “for protection of park resources during the holiday weekend”, and then turned the second sentence into a temporal adverbial phrase and put it in the main clause as an adverbial. So, the whole structure is “In keeping with Monroe County’s closure order for beaches and for protection of park resources during the holiday weekend, North Nest Key and all waters within 100 yards from the shore will be closed from Friday, July 3 at 6 a.m.” By doing so, the information is concisely conveyed, and Chinese readers can well understand it.&lt;br /&gt;
&lt;br /&gt;
====At Textual Level====&lt;br /&gt;
&lt;br /&gt;
Discourse refers to the actual language unit used and is the whole language constituted by a series of consecutive paragraphs or sentences in the communication process. In general, a text consists of words, phrases, sentences and sentence cluster (Lan Lingyan, 2020), among which the components were cohesion in form and coherence in semantics.&lt;br /&gt;
&lt;br /&gt;
Example 12:&lt;br /&gt;
&lt;br /&gt;
ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors. The diverse habitats allow for enjoyable activities ranging from hiking, canoeing, kayaking, biking, fresh and saltwater fishing, and camping in the ultimate wilderness.''&lt;br /&gt;
&lt;br /&gt;
TT: 个人、团体或家庭都能在这找到适合的户外活动。无论是步行、乘坐独木舟、划皮划艇、骑自行车，还是在淡水或海水钓鱼、在终极荒野地露营，您都可以饱览多样的自然环境、尽享快乐。&lt;br /&gt;
&lt;br /&gt;
Analysis: Coherence in a piece of writing refers to the principle that all paragraphs, sentences or ideas are combined so well that they form a united whole. Coherent translation has smooth structural, grammatical, and logical movement from one sentence or idea to the next and the reader does not have to pause and guess at the meaning caused by gaps in development between ideas, sentences and paragraphs. &lt;br /&gt;
&lt;br /&gt;
In example 12, the last topic of the fist sentence in the original sentence is outdoor activities, while the subject of the second sentence is the diverse habitats. This is a shift in the topic, which may make the readers pause and guess at the logical relation between them. Therefore, in translation, guided by communicative translation, the translator needs to mind the text coherence and to make proper adjustments. Out of this, the translator put the activities in the second sentences as the subject of the second sentence in the target text, so that the first sentence can pass through smoothly to the next one, so does the understanding of readers.&lt;br /&gt;
&lt;br /&gt;
Example 13:&lt;br /&gt;
&lt;br /&gt;
ST: ''Everglades National Park is a popular spot for saltwater and freshwater sport fishing. Boats can be chartered at Flamingo. Be sure to check a visitor center for park fishing regulations and closed areas.''&lt;br /&gt;
&lt;br /&gt;
TT: 大沼泽地国家公园是一个很受欢迎的钓海水鱼和淡水鱼的地方。在弗拉明戈可以租船。在钓鱼之前，一定要阅读游客中心的公园捕鱼规定和封闭区域。&lt;br /&gt;
&lt;br /&gt;
Analysis: Cohesion can be thought of as all the grammatical and lexical links that link one part of a text to another. This includes the use of synonyms, lexical sets, pronouns, verb tenses, time references, grammatical reference, etc. For example, ‘it’, ‘neither’ and ‘this’ all refer to an idea previously mentioned.&lt;br /&gt;
&lt;br /&gt;
In example 13, this paragraph mainly talks about fishing in the Everglades National Park, with a topic sentence and two explanatory sentences: one introducing the place for chartering and the other cautions. There are no grammatical or lexical links within these three sentences, and the logic is connected by semantics. Considering well understanding of readers in the target language, the translator added one lexical link “before fishing” between the last two sentences, to make the reader understand that he or she should read the rules and precautions of fishing before going fishing. Also, with repeating the key word “fishing”, the central idea of this whole paragraph is prominent, and the sentences are logically and smoothly linked to express the intended meaning, thus making this paragraph a cohesive group.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
====Major findings====&lt;br /&gt;
For the text, the tourism text belongs to the vocative text, which focuses on conveying the information and effect, so the communicative translation theory should be adopted to this kind of translation. As for this original text, the first part that introduces the outdoor activities belongs to the tourism advertisements, which are descriptive with vivid words. Tourism advertising is infective, with short and concise words, full of creativity, lively and concise sentence structure, and strong attraction. While the announcement that informs of the operating status of the park is a quite different style. The wording is formal, standard, accurate and stylized. Secondly, the source text involves a wide range of knowledge and large vocabulary. For example, “hardwood hammock” for “硬木吊床” and “Geocaching” for “寻宝”. &lt;br /&gt;
&lt;br /&gt;
Based on the analysis of examples from lexical, syntactic and textual levels, some translation methods can be proposed. On one hand, when translating, some words in the target text can be converted into different parts of speech in the original text to make the language natural and idiomatic. On the other hand, when doing English – Chinese translation, in most cases, passive voice should be changed into active voice, personal subject is favored in Chinese, and subjects can also be omitted sometimes. Lastly, as English and Chinese have lots of differences in sentences, the translator should change the order of the sentences sometimes to make them smooth and fluent, and some words can be added to make the meaning coherent.&lt;br /&gt;
&lt;br /&gt;
====Limitations====&lt;br /&gt;
&lt;br /&gt;
Besides some major findings, there are also many limitations in this translation practice. Firstly, communicative translation focuses on the effect conveyed by the translation rather than the information, which can easily make the translator ignore some original. So, in the translation, other available translation theories should also be taken into account to achieve best translation. &lt;br /&gt;
&lt;br /&gt;
Then, when translating a text, whether it is a tourism text or a literary works, they cannot be translated immediately. Relevant information and background should be collected in advance, and otherwise some mistakes which should be avoided will be made. For example, “Snail Kite (蜗鸢)” might be translated as “蜗牛风筝” if the translator does not look it up in advance.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
[1] Newmark, Peter. About Translation[M]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
&lt;br /&gt;
[2] Newmark. Approaches to translation[M]. Shanghai Foreign Language Education Press, 2001. &lt;br /&gt;
&lt;br /&gt;
[3] Newmark, Peter. A New Theory of Translation[J]. Sborník Prací Filozofické Fakulty Brněnské Univerzity, 2007(13)&lt;br /&gt;
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[4] Newmark, Peter. A Textbook of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2001:39-42. &lt;br /&gt;
&lt;br /&gt;
[5] 贺学耘.汉英公示语翻译的现状及其交际翻译策略[J].外语与外语教学, 2006(03):57-59.&lt;br /&gt;
&lt;br /&gt;
[6] 侯莹莹.凯瑟琳娜·莱斯与彼得·纽马克文本类型翻译理论之比较研究[J].海外英语, 2020(22):49-50+60. &lt;br /&gt;
&lt;br /&gt;
[7] 金惠康.跨文化旅游翻译探讨[J].上海翻译, 2007(01):31-34.&lt;br /&gt;
&lt;br /&gt;
[8] 兰灵艳.交际翻译理论指导下《家庭生活》（节选）汉译实践报告[D].南昌大学, 2020.&lt;br /&gt;
&lt;br /&gt;
[9] 李道胜. 汉英语义对比分析[J]. 语言教育, 2000(4):4-5.&lt;br /&gt;
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[10] 连淑能.《英汉对比研究》[M]. 北京：高等教育出版社, 1993.&lt;br /&gt;
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[11] 刘安洪.跨文化交际视角下的旅游文本翻译策略研究[J].中华文化论坛, 2013(10):160-163. &lt;br /&gt;
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[12] 刘军平，西方翻译理论通史[M]. 武汉：武汉大学出版社, 2009.&lt;br /&gt;
&lt;br /&gt;
[13] 马忱.交际翻译策略对汉英旅游翻译的启示[J].郑州航空工业管理学院学报(社会科学版), 2010,29(06):119-121.&lt;br /&gt;
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=3 刘越 Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
[[Trans_Type_EN_3]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
There are many translation practices under the guidance of communicative translation theory, but there are not many translation practices in Korean novels. Through this translation practice, we hope to summarize the translation methods and strategies adopted in the translation of novel subject matter under the guidance of communicative translation theory in terms of vocabulary, sentence and rhetoric. In this paper, under the guidance of communicative translation theory of Korean novels &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; to analyze translation strategies and translation methods, let us hope that through the work of human changes in temperature to realize that the most warm affection and the most simple human feelings, seems to be the fact that more and more far from us, let us together to explore the history of the &amp;quot;family&amp;quot; gradually forgotten by us and meaning, Wake up our sense of affection, cause our emotional resonance.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
Communicative translation theory; Korean novels; Translation methods and strategies&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
===The emergence and development of communicative translation===&lt;br /&gt;
According to the function of language, that is, the purpose of language use, Newmark proposed the following three text types: Expression function, information function, Vocative function.&lt;br /&gt;
The core of the expressive function is that the speaker or author uses some words to express his thoughts and feelings. The author's unique form of language is as important as its content.&lt;br /&gt;
Expressive functional texts emphasize the authority of the original author, and translation should follow the principle of &amp;quot;original author first&amp;quot;, which should be faithful to both the ideological content expressed by the original author and the language style of the original author, without considering the reaction of the target readers.The core of the information function is the external situation, that is, all the information about a topic, or the reality beyond words. The core of informational text is the &amp;quot;authenticity&amp;quot; of the content, and the author's language is secondary. The principle of &amp;quot;authenticity first&amp;quot; should be followed in translation.Vocative text emphasizes reader-centered, with the purpose of &amp;quot;calling on readers to act, think and feel&amp;quot;. Translation should follow the principle of &amp;quot;reader first&amp;quot; and put the target language readers in the first place. The translator can make full use of the advantages of the target language and not stick to the way of expression of the original text, so that the target language can achieve the same effect as the original language.&lt;br /&gt;
&lt;br /&gt;
On this basis, two translation concepts, communicative translation and semantic translation, are proposed. Newmark said that communicative translation theory focuses on the understanding and response of the recipient and focuses on the reader of the target text, paying more attention to the effect of the expression of the target text than the content. Translators can give full play to the advantages of the target language and introduce foreign elements into the target language culture, which has the advantages of naturalization, free translation and idiomatic translation. Semantic translation attaches great importance to the original text, focuses on the semantic content of the original text, strives to preserve the culture of the source language, and has the advantages of word-for-word translation, literal translation and faithful translation. Communicative translation applies to informative and appealing texts, such as autobiographies, personal emotional venting, important political statements (or other statements), most non-literary articles, news, intellectual articles and books, textbooks, reports, scientific and technological literature, official correspondence, propaganda, advertisements, bulletins, popular novels. His communicative translation and semantic translation have enriched the theoretical study of translation to a great extent, and also influenced the field of translation.&lt;br /&gt;
&lt;br /&gt;
===The applicability of communicative translation theory to the translation of popular novels===&lt;br /&gt;
First of all, the core content of communicative translation theory is that on the basis of being faithful to the content of the original text, it focuses on the readers' understanding ability and feelings, and pays more attention to the expression effect of the target text than the content. For the translator, the translator can give full play to the advantages of the target language and get rid of the constraints of the language structure of the original text. If the original text is illogical, ambiguous, and there are redundant words and ambiguities in the sentence, as well as dialects, coarse slang and other phenomena in the article, the translator has the right to reorganize the syntax and improve it by using collocation and common sentence patterns in accordance with the habits of the target language, so as to make the language more standardized. Translators also have the right to correct errors and omissions in the original text.&lt;br /&gt;
&lt;br /&gt;
Secondly, according to Newmark's text type, communicative translation theory is applicable to vocative texts, which focus on the inspiring effect and take the target readers as the center. The purpose of translation is to elicit the desired response, including popular books and best-selling novels. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. The novel is mainly composed of characters, plots and descriptions of the environment to reflect the social reality. Novel is a literary genre that conveys thoughts and feelings and arouses readers' resonance. It belongs to appeal text, so communicative translation theory is suitable for novel translation.&lt;br /&gt;
&lt;br /&gt;
The most important thing in novel translation is to convey the content of the original text and the author's thoughts and feelings to the readers, and to arouse the readers' deep thinking and empathy. When translating a novel, we should describe the plot of the original text to the readers and try to get close to the literary image described by the author and the literary artistic conception created in the novel.&lt;br /&gt;
&lt;br /&gt;
If only follow the content style and text structure of the original text, it will violate the original intention of translation, making the translation obscure and unclear. Under the guidance of communicative translation theory, the translator can give full play to the advantages of the target language, modify and polish the original text, adjust the logic of expression, eliminate the differences between the original text and the target text, and get a smooth translation. At the same time, the translator can also pay more attention to the target readers, fully consider the reading habits and thinking mode of the target readers, and use easy to understand language vocabulary to convey the information of the source text and the thoughts and feelings of the source text author to the readers, so that the target text readers and the source text readers get the same effect.&lt;br /&gt;
&lt;br /&gt;
=== Case study under the guidance of communicative translation theory===&lt;br /&gt;
Guided by Peter Newmark's communicative translation theory, the author carries out translation practice on two short stories &amp;quot;The Innocent Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. Under the guidance of communicative translation theory, this section adopts the strategies of translation modification and meaning extension to solve the problems of ambiguous and implicit sentences in novels. At the sentence level, the strategy of paraphrase, syntactic and translation is adopted. In the aspect of rhetoric, this paper adopts the translation strategies of addition and repetition, and makes a case study to explore and summarize the translation methods and strategies applicable to novel subject matter under the guidance of communicative translation theory.&lt;br /&gt;
&lt;br /&gt;
=== The application of communicative translation theory at lexical level===&lt;br /&gt;
'''Transliteration'''&lt;br /&gt;
&lt;br /&gt;
The translation method refers to the conversion of parts of speech in the original text, such as changing nouns into verbs, adjectives into verbs, etc., so as to make the translation conform to the expression habits of the target language. Different languages have different linguistic phenomena and cultural backgrounds. In order to make the translation more in line with the language expression habits of The Chinese people and convey the correct meaning of the original text to The Chinese readers, every word in the Korean sentence cannot be translated dead, and some parts of speech in The Korean language have to be changed in translation.&lt;br /&gt;
&lt;br /&gt;
The following is a case study of translating a part of speech in the original text into another part of speech in Chinese.&lt;br /&gt;
&lt;br /&gt;
Eg.1 그럴 때의 아이는 이제 노인이 아니라 소년가장 같았다.&lt;br /&gt;
First translation：那一刻我觉得孩子不像老人，而像少年家长。&lt;br /&gt;
Retranslation：那一刻我觉得他不像一个历经沧桑的老人，而像一个饱经世故的孩子。&lt;br /&gt;
&lt;br /&gt;
&amp;quot;소 년 가 장&amp;quot; is a noun, the author looked up Chinese dictionary, found &amp;quot;소 년 가 장&amp;quot; in Korean means &amp;quot;가 정 의 생 계 를 실 질 적 으 로 책 임 지 고, 어 렵 게 생 계 를 유 지 하 는 소 년&amp;quot;, at the beginning of translation, in accordance with the original literal translation is &amp;quot;young parents&amp;quot;, but is not in conformity with the Chinese expression habit, it is not easy to let Chinese readers understand, The author in the guidance of communicative translation theory, through the network search and found the dictionary lookup &amp;quot;소 년 가 장&amp;quot; and Chinese proverb &amp;quot;the poor children early master&amp;quot; has the same effect, but here can make statements impassability, in order not to cause the reader to understand the problems, the author give full play to the advantages of the Chinese, the author by using the method of adaptation, Phrases collocation and considering the Chinese habit, the term &amp;quot;소 년 가 장&amp;quot; divided &amp;quot;소 년&amp;quot; and &amp;quot;가 장&amp;quot; two nouns, and the term &amp;quot;가 장&amp;quot; translated into adjectives &amp;quot;world&amp;quot;, the &amp;quot;소 년&amp;quot; translated into &amp;quot;children&amp;quot;, both to convey the meaning of the original, and can make readers easily understand the content.&lt;br /&gt;
&lt;br /&gt;
Eg.2：거기에 아이가 자신을 만나려 하지 않기 때문에 돈을 주지 않는 것이라는 비난의 말이 반복해서 쓰여 있었기 때문이다.&lt;br /&gt;
Translation ：文件上反复指责说孩子不想认他这个父亲，所以不给抚养费。&lt;br /&gt;
In the original text 비 난&amp;quot; is a noun, the author according to the original text in translation translated into &amp;quot;document and is accused of child, father didn't want to see him the accused, so not to support&amp;quot;, at the same time with the two accused, groundwork or at the back of the verb &amp;quot;blame&amp;quot;, also make the repetitive, so the author under the guidance of communicative translation theory, When translated again, the noun &amp;quot;비 project-oriented&amp;quot; is translated into the verb &amp;quot;blame&amp;quot;, so that the translation is easy to understand.&lt;br /&gt;
&lt;br /&gt;
'''Extension of meaning&lt;br /&gt;
Extension translation method is refers to according to the specific context of contact and words in the original context, starting from the basic meaning of Korean original words, through the letter of the word or phrase in the sentence, its excellent implied meaning appropriately, use some conforms to the Chinese expression habit of character words, the content of the original essence of accurate expression.&lt;br /&gt;
&lt;br /&gt;
Eg.3：①텔레비전을 쳐다보던 아이가 대뜸 내밷었다.&lt;br /&gt;
②동식이 집을 나서자마자 엄마는 휴이히히히, 하는 기괴한 한숨을 길게 내뱉었다.&lt;br /&gt;
Translation：①正在看电视的儿子突然吐槽道：“妈，你快看，电视里那个人真像我爸”。&lt;br /&gt;
②母亲就“唉！”长长地叹了一口气。&lt;br /&gt;
&lt;br /&gt;
The author by looking up the dictionary, in the original &amp;quot;내 밷 다&amp;quot; has two meanings: (1) 입 안 에 있 던 것 을 입 밖 으 로 뱉 어 내 보 내 다. (2) 마 음 에 내 키 지 아 니 하 거 나 못 마 땅 한 어 조 로 불 쑥 말 하 다. Chinese meaning is &amp;quot;vomit, and said,&amp;quot; the author under the guidance of communicative translation theory, reader's expressions and words in Chinese habit as the center, contact the original context and context, considering the words collocation, adopt the method of the extension, the &amp;quot;내 밷 다&amp;quot; translated into &amp;quot;fun&amp;quot; and &amp;quot;sigh&amp;quot;, not only conforms to the present context, and in accordance with the Chinese language habits.&lt;br /&gt;
&lt;br /&gt;
Eg.4: ①그러니까 엄마는 내가 돈 얘기 할 것을 미리 알고서 지금 차단막을 치는&lt;br /&gt;
것이리라.&lt;br /&gt;
②형이 옆구리를 툭 치며.&lt;br /&gt;
③까지는 살큼 익혀서 찬지름 치고 조선간장으로 조물조물 무쳐노면 고기반찬보다 낫드라.&lt;br /&gt;
Translation：①但母亲好像早已看透了我的心思，先堵住了我的口。&lt;br /&gt;
②大哥用胳膊肘戳了我一下。&lt;br /&gt;
③蒸个七八分熟的时候撒上香油好好拌一下就行了，这样比那些荤食都好吃。&lt;br /&gt;
&lt;br /&gt;
The verb &amp;quot;치&amp;quot; would give many different meanings with different words, such as ①&amp;quot;beating, beating, beating, playing&amp;quot;.② take, base, wrap, erect, ③ feed, feed, etc. On the basis of communicative translation theory, and fully understand the original meaning, context, and considering Chinese words collocation is used, depending on the context, the extension method was adopted, will &amp;quot;치 다&amp;quot; translated into &amp;quot;blocking&amp;quot;, &amp;quot;stamp&amp;quot;, &amp;quot;and&amp;quot; verb, such as to conform to the Chinese habits of expression.&lt;br /&gt;
&lt;br /&gt;
===The expression of communicative translation theory at the sentence level===&lt;br /&gt;
Communicative translation theory is pointed out that to the readers, the translator should give full play to the advantages of the target language, to make the translation conform to the target language expression of habit, not to leave any arcane to readers, while Korean and Chinese belong to different language families, there are differences in expression habit, this summary is mainly under the guidance of communicative translation theory, This paper analyzes the translation of sentences in The Pure Man and The Goat Family by means of paraphrase, syntactic and combined translation.&lt;br /&gt;
&lt;br /&gt;
'''Interpretation method'''&lt;br /&gt;
&lt;br /&gt;
Hermeneutic method is also an interpretative translation method. Because Chinese and Korean have different expression habits, in the process of translation, we can use the paraphrase method to explain some ambiguous sentences, which can not only make the translation clear, but also accurately convey the original purpose.&lt;br /&gt;
&lt;br /&gt;
Eg.5：어느날, 아이가 눈에 보이는 사물들을 가리켜 얼마짜리냐고 물었을 때, 어떤 행위를 가리켜 얼마 받느냐고 물었을 때, 나는 어린것이 별걸다 궁금해한다고 면박을 줬다. 면박을 주는 것으로 마음에 이는 민망함을 무마시켰다. 아이의 입에서 처음 돈 얘기가 나왔을 때, 그때 나는 이미 알아챘어야 했는지도 모른다.&lt;br /&gt;
First Translation: 当某一天，孩子们指着各种东西问花了多少钱，挣了多少钱时，我当面斥责说“小孩子家家的，真是什么都好奇”。我以这种当面驳斥的方式来掩饰心中的尴尬。当我第一次从孩子嘴里听到关于钱的话题时,我可能就已经觉察到了些什么。&lt;br /&gt;
Retranslation: 当某一天，孩子们指着各种东西问价格时，我当面斥责说‘小孩子家的，问这个做什么’，以此来掩饰我内心的尴尬。当我第一次从孩子嘴里听到关于钱的话题时，我可能已经觉察到时代变了，我那‘不知钱为何物’的时代过去了。&lt;br /&gt;
&lt;br /&gt;
The author at the beginning of the translation of &amp;quot;그 때 나 는 이 미 알 아 챘 어 야 했 는 지 도 모 른 다&amp;quot;, literal translation is &amp;quot;I may already have noticed what&amp;quot;, but the specific perceive what is not clear, causing distress to Chinese readers, by contacting the above learned that the &amp;quot;I&amp;quot; as a child is the hairpin, objects such as pottery fragments, But now the child is the &amp;quot;money&amp;quot;, the author under the guidance of communicative translation theory, to the readers, adopting the tactics of interpretation method, interpreted &amp;quot;I perceived that the&amp;quot; content &amp;quot;I might have been aware of The Times have changed, I that 'I don't know the money was the era of the past&amp;quot;, thus the author want to convey the original concept of the era of the change of the clear expression come out.&lt;br /&gt;
&lt;br /&gt;
Eg.6：영호야, 명절 때만이라도 꼭 아빠한데 가봐, 가기 싫으면 연락이라도 드리고.아빠가 아무리 네 맘에 안 들더라도 너는 네 할 도리를 해야 떳떳한 사람이 되는 거야,알았지?&lt;br /&gt;
First Translation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。只有做了自已应该做的才能做一个光明磊落的人，知道吗？&lt;br /&gt;
Retranslation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。为人处事和忠孝贤良是亘古不变的，要想做一个光明磊落的人，就要做好自己的分内之事，知道吗？阿姨的话要记住哦。&lt;br /&gt;
&lt;br /&gt;
Early in the translation of &amp;quot;너 는 네 할 도 리 를 해 야 떳 떳 한 사 람 이 되 는 거 야&amp;quot;, the corresponding Chinese literal translation is &amp;quot;only do oneself should do can do a aboveboard person&amp;quot;, but &amp;quot;할 도 리&amp;quot; what, did not explain clearly in the original, need the reader to consider, in order not to leave readers obscure place, The author puts the advantage of Chinese into full play and interprets &amp;quot;up 도 wish to be good&amp;quot; into English by means of context and translation theory. At the same time, I also think that this is the advice of adults. It is necessary to tell him this truth in a soft and powerful tone. After this sentence, &amp;quot;Remember what aunt said&amp;quot; is added to make the original meaning clearly conveyed to readers, so that readers can better understand the original content.&lt;br /&gt;
&lt;br /&gt;
'''demolition syntax'''&lt;br /&gt;
Deconstruction is the breaking down of a long sentence into several shorter sentences. As Korean and Chinese belong to different language families, there are many differences in syntax. The word order of Korean sentences is the structure of SOV, and narration is the main body and focus of the sentence, and there are a large number of long sentences, which rely on word endings to express various grammatical meanings. No amount of sentence elements will cause meaning confusion.&lt;br /&gt;
&lt;br /&gt;
However, the word order of Chinese sentences is the SVO structure, which depends on vocabulary, function words and word order to distinguish sentence components, so the sentence structure is simple, mainly short sentences. The translation of Korean long sentences into Chinese sentence groups can make the translation logical, smooth and accurate.&lt;br /&gt;
&lt;br /&gt;
Eg.7：동식의 이혼에 책임이 없다고 할 수는 없는 형제들이 돈을 모아 동식에게 새집을 지어줬는데 집안 새것이면 뭐 하냐고 동식이 폭력을 휘두를 조짐을 보이자 그 팔아 종류의 폭력을 아버지에게 당해본 엄마는 지레 겁을 먹고 소를 팔아 동식에게 새장가 갈 자금을 쥐여줄 수밖에 없었다.&lt;br /&gt;
First Translation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子。挨过父亲打的母亲因为对东植这种动不动就挥拳头打人的行为心有余悸，并觉得只有新房子没用，就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
Retranslation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子，母亲因为挨过父亲的打，所以对东植这种动不动就挥拳头打人的行为心有余悸，觉得只有新房子无济于事，改不了他的暴力行为，索性就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
&lt;br /&gt;
The original text Is a long sentence, &amp;quot;는 데&amp;quot; is a long attributive clause, behind the author under the guidance of communicative translation theory, using the translation, in the resolution of a sentence, adjust the structure of the sentence, but his father mother &amp;quot;dragged&amp;quot; compared to read man translationese is too heavy, have the taste of Korean Chinese, is not in conformity with the Chinese expression habit, the author on the basis of this, The translation has been revised and polished to make it smooth and smooth.&lt;br /&gt;
&lt;br /&gt;
'''Cotranslation'''&lt;br /&gt;
Cotranslation refers to the combined translation of two or more sentences in the original text. Using the combined translation method to translate, will reduce the long winded translation, obtain a smooth and smooth translation.&lt;br /&gt;
&lt;br /&gt;
Eg.8 ：나는 큰오빠와 작은오빠가 아버지가 남긴 논을 가져간 것을 알고 있었다. 큰언니, 작은언니가 결혼할 때 밭을 가져 갔다는 것도. 동식은 제 몫이 논도 밭도 아닌 집인 것에 불만을 품고 쓰러져가는 슬레이트집에 불을 질렀다.&lt;br /&gt;
First Translation：我知道大哥和二哥结婚时分走了家里的水田，大姐和二姐结婚时分走了家里的旱地，东植因为分到的不是田和地，而是即将坍塌的的石板屋，一气之下就在屋里放了火。&lt;br /&gt;
Retranslation：哥哥姐姐们结婚时把家里的水田和旱地都分走了。而东植分到的是即将坍塌的的石板屋，他对此很不满，一气之下就放火烧了房子。&lt;br /&gt;
&lt;br /&gt;
Are two sentences in the original, the author first translation, according to the original text translated into two other subject-predicate bin structure of the sentence, but &amp;quot;big sister&amp;quot; &amp;quot;big brother&amp;quot; &amp;quot;sister&amp;quot; &amp;quot;second brother&amp;quot; will be read repetitive, so the author under the guidance of communicative translation theory, adopt the method of r the appellation of original elements became the &amp;quot;brothers and sisters&amp;quot;, and the two sentence elements into a simple sentence, Reduce redundant redundant.&lt;br /&gt;
&lt;br /&gt;
===The embodiment of communicative translation at the rhetorical level===&lt;br /&gt;
Communicative translation theory points out that should take the readers as heavy, compared to convey to the readers the article content, pay more attention to the expression effect, good expression effect can cause the resonance of the readers, caused the reader's thinking, and good expression effect depends on the use of rhetoric, this summary is mainly under the guidance of communicative translation theory, adopt different translation strategies, The rhetorical translation in The Innocent Man and The Goat Family is analyzed.&lt;br /&gt;
&lt;br /&gt;
'''Addition'''&lt;br /&gt;
&lt;br /&gt;
Addition is a translation method that adds content to the target text in order to accurately express the meaning of the source text, meet the needs of the target text readers and make the target text conform to the expression habits of the target language. Since Chinese and Korean have different pragmatic ways and expressive habits, some words or sentences should be added in the translation to make the translation more consistent with the Chinese context, the reader's expressive habits and the exact meaning of the original text.&lt;br /&gt;
&lt;br /&gt;
Eg.9：나는 아이 아빠의 돈을 ‘그깟 돈’이라고 표현했다.&lt;br /&gt;
First Translation：我把孩子爸爸的钱称为“那么点儿钱”。&lt;br /&gt;
Retranslation：我把孩子爸爸给的钱称为“塞牙缝的钱”。&lt;br /&gt;
&lt;br /&gt;
&amp;quot;그깟&amp;quot; is a contraction of &amp;quot;그까짓&amp;quot;. It means so little, so little. The amount of money given by the father of the child is very small. The author under the guidance of communicative translation theory, give full play to the advantages of target language, adopt the method of thickening of translation, the use of metaphor, the &amp;quot;그 깟 돈&amp;quot; translated into accord with the readers expression habit &amp;quot;for all of the money&amp;quot;, making it easy to understand, more intuitive said the little amount, so as to impress the reader.&lt;br /&gt;
&lt;br /&gt;
'''Repetition'''&lt;br /&gt;
&lt;br /&gt;
Repetition refers to the translation technique of appropriately repeating a part of words or sentences in translation. The repetition method can make the meaning of the translation more clear, further strengthen the appeal of the article, highlight the thoughts and feelings of the article, and achieve a good rhetorical effect.&lt;br /&gt;
&lt;br /&gt;
Eg.10：아비를 한번도 찾지 않다가 돈 달라고, 그것도 법정에서 애 얼굴을 봐야 하는 아비 된 자의 참담한 심정을 당신들이 아느냐고.&lt;br /&gt;
First Translation：孩子一次也没来看过我这个父亲，却开口要钱？而且只有上了法院，我才好不容易看孩子一眼，你们理解我这个做父亲的心情和处境吗！&lt;br /&gt;
Retranslation：孩子一次也没来看过我就跟我开口要钱，只有上了法院，我才好不容易看孩子一眼，我这个做父亲的苦楚，悲凉的的心情，你们理解吗！理解吗！&lt;br /&gt;
&lt;br /&gt;
The author by contacting the specific context, as a father, no contact for many years but children themselves to court, the state of mind should be both angry and sad, based on the theory of communicative translation, using the skill of verb repetition, to &amp;quot;알 다&amp;quot; repeated translation, to emphasize my angry tone, in order to make the article more vivid and accurate meaning.&lt;br /&gt;
&lt;br /&gt;
=== conclusion===&lt;br /&gt;
This paper selected the south Korean writer Kong Shanyu stories &amp;quot;well bead film&amp;quot; in the two novel &amp;quot;pure people&amp;quot; and &amp;quot;the goat family&amp;quot; has carried on the translation practice, the two novels are using the simple nature of language and a small amount of dialect vocabulary, shape lifelike characters, are described by family members of the past, let the past and reality contrast, It reflects the social reality that with the development of society, people have become selfish and indifferent, and the most simple family and human feelings seem to be more and more far away from us, so as to explore the history and significance of the &amp;quot;family&amp;quot; and the simple social atmosphere, which are gradually forgotten by Koreans.&lt;br /&gt;
&lt;br /&gt;
The core of Peter Newmark's communicative translation theory is that on the basis of being faithful to the content of the original text, the translator can give full play to the advantages of the target language, get rid of the constraints of the language structure of the original text, and pay attention to the effect of the expression of the target text. According to Newmark's text type, communicative translation theory applies to appeal texts, which focus on the target reader and aim to elicit the desired response, including popular books, popular novels and so on. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. Under the guidance of Peter Newmark's communicative translation theory, the author analyzes and discusses the translation strategies in the Pure Man and The Goat Family, which are complicated sentences, ambiguous meanings and implicit expressions.&lt;br /&gt;
&lt;br /&gt;
From the lexical level analysis, the author mainly combined with the context, to Chinese readers as the center, to comply with the Chinese expression and language habits, consider the reader's understanding ability, on the basis of Chinese used to translation and translation methods of extension, so as to satisfy the to the original readers and the translation of the original dual need of the readers have the same effect, At the same time, it also ensures the accuracy and flexibility of the translation words, so as to conform to the translator's lexical habits.&lt;br /&gt;
From the statement level analysis, &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; appeared in the text of the long sentence and attributive clause, at the same time, some relatively obscure sentences substance, so the author adopted the method of interpretation, syntax and translation of translation strategies, to explain the sentence, split, reorganization, thus reducing the sentence's mad outages and ideographic unclear, The translation is in line with the habits of Chinese readers and effectively conveys the essence of the original text. From the rhetoric analysis, communicative translation theory points out that compared with the content, should attach great importance to the expression of the translation effect, good expression effect depends on the use of rhetoric, so the author USES the translation strategy of work and repetition, has carried on the modification to the original and polishing, to strengthen the artistic effect and influence of the translation, make readers for the characters vivid impression, Arouse readers' reflection and emotional resonance.&lt;br /&gt;
&lt;br /&gt;
Therefore, the results of this study indicate that the communicative translation theory is of guiding significance to the Chinese translation of Korean novels and can provide a reference for similar translation practices. Communicative translation theory is pointed out that to the reader as the center, the translator can get rid of the original text, giving full play to the advantages of target language to adjust the structure and logic, to make the translation easy to understand, but there may be lack of scattering situation, so the translator should properly our subjective initiative, to insure the effect of readers in at the same time, also used to avoid the above situation. In addition, there are also shortcomings in the translation, but the author still hopes that this translation practice can provide reference for the future Korean-Chinese translation practice. At the same time, through this translation practice, the author has realized his own shortcomings. In the future, the author will continue to learn, accumulate practical experience, and strive to improve his literary accomplishment and language foundation, and improve his translation level.&lt;br /&gt;
&lt;br /&gt;
===Reference===&lt;br /&gt;
'''English Literature:'''&lt;br /&gt;
&lt;br /&gt;
[1]. GAO Chang. The Application of Peter Newmark's Communicative Translation Theory to the Translation of Chinese Historical Allusions [J]. Overseas English, 2013(11).&lt;br /&gt;
&lt;br /&gt;
[2]. LI xin, ZHANG zhe. On Peter Newmark’s Semanic Translation &amp;amp; Communicative Translation[J]. Overseas English, 2015（03）.&lt;br /&gt;
&lt;br /&gt;
[3]. JIAN fang. Newmark's Translation Theory and Film Names [J]. Overseas English, 2010(08).&lt;br /&gt;
&lt;br /&gt;
'''Korean literature:'''&lt;br /&gt;
&lt;br /&gt;
[4]. 강영미. 1970-1980 년대 노래운동에 대한 예비적 고찰 [J]. 정신문화연구41(3), 2018.(09).&lt;br /&gt;
&lt;br /&gt;
[5]. 공선옥. 80 년대와 나의 문학 광주,그리고 내인생의 수난기 [J]. 역사비평사,1995(08)&lt;br /&gt;
&lt;br /&gt;
[6]. 김영희. 근대체험과 여성--박완서ㆍ김인숙ㆍ공선옥의 소설 [J]. 창작과비평23(3),1995(09).&lt;br /&gt;
&lt;br /&gt;
[7]. 오순방. 中國 近代의 小說 飜譯과 中韓小說의 雙方向 飜譯 硏究 [J]. 서울 :숭실대학교 출판부,2008.&lt;br /&gt;
&lt;br /&gt;
'''Chinese Literature:'''&lt;br /&gt;
&lt;br /&gt;
[8] 冯庆华.实用翻译教程[M].上海：上海外语教育出版社，2002.&lt;br /&gt;
&lt;br /&gt;
[9] 芒迪（著），李德凤（译）.《翻译学导论：理论与应用》[M].北京：外语教学与研究出版社，2018.&lt;br /&gt;
&lt;br /&gt;
[10] 张敏.《韩国语翻译概论》[M].北京：外语教学与研究出版社，2017.&lt;br /&gt;
&lt;br /&gt;
[11] 蔡萍.纽马克翻译理论浅析[J].电子科技大学学报(社科版)，2009(06)：78-81.&lt;br /&gt;
&lt;br /&gt;
[12] 陈琳.尤金A·奈达和彼得·纽马克翻译理论之比较[J].湘潭大学学报(社会科学版)，1994,(08)：87-91.&lt;br /&gt;
&lt;br /&gt;
=毛雅文On Translation Strategies and Methods in Chinese Translation of English Prose --- Chinese Translation of Robert Lynd’s ''Pleasures of Ignorance'' as an example=&lt;br /&gt;
[[Trans_Type_EN_4]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Prose, together with poetry, novel and drama, is a kind of literary form. It is not limited to rhythm, plot and characters, flexible in form, real and natural. English prose has a long history and various types, so it becomes an important object in translation practice and research. In China, the most famous English prose writers are Francis Bacon and Charles Lamb, hence, their works can be regarded as the focus of studies on Chinese translation of English prose. In fact, Chinese translation of English prose draws less attention in translation circle of China, compared with that of English poetry and drama. With English prose as the starting point, this paper will introduce the characteristics of English prose and the domestic studies on its Chinese translation, and take the Chinese translation of ''Pleasures of Ignorance'', the representative work of English modern prose writer Robert Lynd, as an example to analyze its translation strategies and methods.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
&lt;br /&gt;
''Pleasures of Ignorance''; Chinese translation of English prose; translation strategies; translation methods; translation techniques&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
This chapter will point to the research background and its significance, and briefly set forth the structure of this paper and the methods used.&lt;br /&gt;
&lt;br /&gt;
'''Research Background and Significance'''&lt;br /&gt;
&lt;br /&gt;
In recent years, with the deepening of the reform and opening-up, the channels of international cultural exchange have become increasingly unblocked, and China's translation industry has also flourished. The studies on translation theory, drawing lesson from western translation studies, have yielded fruitful results, and more noteworthily, remarkable achievements have been made in studies on literary translation for all to see.&lt;br /&gt;
Prose is a basic literary form in written or spoken language that typically exhibits a natural flow of speech and grammatical structure. A large number of works in philosophy, history, economics, journalism, etc, are examples of works written in prose. It can be seen that prose, which is widely used for creation, occupies an important position in literature. However, there are few researchers majoring in prose translation, still fewer ones who specialize in Chinese translation of English prose. In view of the above, this paper, based on previous studies, will study the Chinese translation of English prose, and take the Chinese translation by Liu Bingshan of ''The Pleasures of Ignorance'' created by the English prose writer Robert Lynd, exploring its characteristics in translation strategies and methods, so as to provide better understanding and some reference for the appreciation and translation of English prose.&lt;br /&gt;
&lt;br /&gt;
'''Methodology and Structure'''&lt;br /&gt;
&lt;br /&gt;
This paper will employ the methods of literature research and case analysis. The paper consists of three parts. The first section is literature review, explicating the distinctive properties and linguistic features of English prose, and the prose translation with its principles, as well as introducing the previous studies on Chinese translation of English prose at home. The second part, the core of this paper, will take Liu Bingshan's Chinese translation version of Robert Lynd's prose work ''Pleasures of Ignorance'' as an example, carry out the interpretation of this translation in terms of its types, styles as well as strategies and methods employed. Lastly, the conclusion will point to the findings in this study and the weaknesses in the paper.&lt;br /&gt;
&lt;br /&gt;
===Literature Review===&lt;br /&gt;
&lt;br /&gt;
This part will draw into the domestic previous studies on Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
With regard to Chinese translation of English prose, at present, there are few domestic scholars dedicated to its systematic research. According to the different perspectives,  the relevant researches at home can be roughly divided into three categories.&lt;br /&gt;
&lt;br /&gt;
First, concerning research on the theory of Chinese translation of English prose into Chinese, there are relatively small number of studies in this direction. One of the most fruitful works is ''The Study and Translation of British and American Prose'' co-authored by Zhao Xiuming and Zhao Zhangjin (2010), which makes a detailed investigation of the literary characteristics, historical evolution and style evolution of British and American prose. The work also discusses the basic principles of English prose translation in terms of pre-translation text analysis, historical and cultural context, artistic principles, and styles, etc., which can offer a reference for the further study of the theories and practices of English prose translation.&lt;br /&gt;
&lt;br /&gt;
Second, regarding research on the famous translators of English and American prose with their translation styles and skills, Xia Ying explored the style of Professor Cao's translation of Francis Bacon with the essay titled &amp;quot;Research on Professor Cao Minglunss Chinese translation of bacon prose&amp;quot;. (Xia Ying, 2012:165-166) Some others probed into Liu Bingshanss and Li Shicong’s thoughts on prose translation which have guiding significance for prose translation practice.&lt;br /&gt;
&lt;br /&gt;
Third, as regards research on the practice of Chinese translation English prose based on translation theory, Huang Jianling (2021) analyzed the Chinese translation of Bacon's essays from the perspective of translation aesthetics. Hu Hongyun (2013) translates and elaborates on the British prose Farewell in vocabulary, semantics, style and cultural transmission, on the basis of Eugene Nida's Functional Equivalence theory.&lt;br /&gt;
&lt;br /&gt;
===Overview of English Prose===&lt;br /&gt;
&lt;br /&gt;
Prose can be defined in broad sense and in narrow sense. In broad sense, prose refers to all the written and oral works in a loose form free from parallelism; and in narrow sense, it specifically means the writings with certain literary qualities, such as essays, and a literary genre juxtaposed with poetry, novel, drama and movie-television literature.&lt;br /&gt;
&lt;br /&gt;
'''Distinctive Features of English Prose'''&lt;br /&gt;
&lt;br /&gt;
As an independent literary genre, English prose has its own distinctive characteristics.&lt;br /&gt;
&lt;br /&gt;
The first characteristic is its expression of sincere feeling. Prose mostly depicts the real people, things and scenery, and is generated based on record and recollection of life. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. So in this sense, prose can be considered as an earnest conversation between the author and the readers.&lt;br /&gt;
&lt;br /&gt;
Secondly, English prose is characterized by the wide material selection. In English prose, one detail, episode and facet of life can be used to display the author’s specific emotions and circumstances, and all materials related to the theme can also be employed. It places no emphasis on rhythm and rhyme, like poetry, as well as to plot and characters, like drama.&lt;br /&gt;
&lt;br /&gt;
Besides, English prose features the free and loose structure. The structure of prose writings is free and flexible. Prose is elastic and natural and boasts descriptive, argumentative and lyrical qualities, thereof constituting its most distinctive advantage. There are no strict restrictions and fixed patterns in the prose structure, but its flexibility and randomness is not tantamount to disorder and scatter, and its choice of theme and expression of feelings should be closely centered on one main line.&lt;br /&gt;
&lt;br /&gt;
'''Linguistic Features of English Prose'''&lt;br /&gt;
&lt;br /&gt;
Compared with other literary forms, prose has no more skills to resort to. Therefore, as regards the form of artistic expression, English prose mainly has recourse to its own language features.&lt;br /&gt;
&lt;br /&gt;
First and foremost, succinctness and fluency characterize English prose language. The concise prose language not only fully delivers the content that the author intends to convey, but effectively shows the author's emotions and attitude towards persons and things. This is not the result of the author's deliberate elaboration, but the natural overflow of his or her plain and pure emotion. The fluency of prose language refers to both the informal use of words and phrases, and the author's sound expression of feelings.&lt;br /&gt;
&lt;br /&gt;
Meanwhile, colloquial style and literary grace are characteristic of prose language. As prose mainly focuses on description of the author's personal stories and sentiments, thus, he speaks or writes with his own posture, style and tone, as if he is confiding to the readers, so as to highlight the agreeable conversation style and unique colloquial style. Colloquial prose language is natural due to its simplicity, friendly owing to its ease of communication, and true thanks to its individuality.&lt;br /&gt;
&lt;br /&gt;
Furthermore, another linguistic feature of English prose is the smooth rhythm and reading. The rhythmic beauty of prose language is reflected in phonetic respect and in sentence patterns. The prose reading is catchy, with no obstacles and awkwardness, and its rhythm is in line with the natural law of oral breathing pauses as well as with the ups and downs of feelings.&lt;br /&gt;
&lt;br /&gt;
'''Principles of English Prose Translation'''&lt;br /&gt;
&lt;br /&gt;
The beauty of prose lies in its language and artistic conception, the two permeating each other and jointly creating the artistic charm of prose. In prose translation practice, the following principles can be observed to reproduce the artistic appeal.&lt;br /&gt;
&lt;br /&gt;
Keep an eye on sound and rhythm. Despite that the sound and rhythm of prose are often internal, not as obvious, regular and musical as that of poetry, they are not disordered with no aesthetic purpose. On the contrary, they effectively represent the variation of emotion in the prose, and are consistent with its unique aesthetic interest. This illustrates that in prose translation, on the one hand, the translators should recognize the great value and significance of prose sound and rhythm; on the other hand, with the intention of reproducing the linguistic subtleties of the original text, the translators can fully touch its aesthetic interest from the cadence between the lines, and perceive its inner rhythm from sentence length and speech speed.&lt;br /&gt;
&lt;br /&gt;
Pay attention to personalized mode of discourse. Different writers with various discourse modes bring about manifold writing styles. Not only is the personalized mode of discourse reflected in the author's choice of words and sentences as well as layout of the prose, but also in his thoughts and aesthetic interest. As a result, the translators can start with analyzing the original writer's one classic work and then his anthology and even look closely at the literary features of his age, in order to grasping the writer's personalized discourse mode, which is of particular importance to reproduce his artistic personality and the characteristics of his emotional expression in translation practice.&lt;br /&gt;
&lt;br /&gt;
Place a premium on the unity of scene and emotion. The unity of scene and interest in prose is embodied in diverse ways of language expression and structure, as well as the images or settings created by the author. In translation practice, based on the unity of scene and interest in the prose, it is beneficial to preserve and reproduce the overall aesthetic orientation of the original text through aesthetic reconstruction in word selection and layout, so that the translated text can obtain the aesthetic taste similar to the original prose.&lt;br /&gt;
&lt;br /&gt;
===Case Study of Chinese Translation of ''Pleasures of Ignorance''===&lt;br /&gt;
&lt;br /&gt;
The selected source text is ''The Pleasures of Ignorance'', written by Robert Lynd. &lt;br /&gt;
&lt;br /&gt;
Robert Lynd (1879-1949), born in Belfast, Northern Ireland, was a modern critic and prose writer. He, together with E. V. Lucas, was a pioneer in reviving the tradition of Charles Lamb's prose. And The Pleasures of Ignorance is one of his notable prose works.&lt;br /&gt;
&lt;br /&gt;
This prose points out that it is because ignorance that people are interested in the nature and the world and their pursue knowledge, and the process of seeking knowledge is full of pleasure, by which the author emphasizes the importance of learning more and gaining insight. The article reveals somewhat erudition and aesthetic sensibility, as well as love for nature and and passion for life. From his leisurely writing, the author's maturity of thought and capability in usage of words is unveiled. Though the tone of the original text makes the readers feel that the author is chatting with them, giving people familiarity and closeness, it is not particularly colloquial. On the contrary, there is a kind of exactness and elegance of the learned between the lines, thus it can be seen that the case text is a typical scholar prose.&lt;br /&gt;
&lt;br /&gt;
The translator Professor Liu Bingshan firmly grasps these features of the original text and conveys the original style by carefully choosing words and sentences, with the principles of faithfulness, smoothness and expressiveness. His Chinese translation of ''The Pleasures of Ignorance'' will be analyzed in terms of translation strategies and methods.&lt;br /&gt;
&lt;br /&gt;
There is the natural connection between translation strategies and translation methods, but the two concepts are often confused. It is generally believed that translation strategies (such as foreignization and domestication) are at the cultural level, while the translation methods (such as literal translation and free translation) are at the textual level. According to Xiong Bing, (2014: 83-86) translation methods are the approaches, steps and techniques used to achieve a specific translation purpose based on a certain translation strategy in translation activities, whereas translation strategies are a collection of principles and methods. Consequently, this paper will enunciate the translation text on the basis of translation methods under foreignization strategy and domestication strategy respectively.&lt;br /&gt;
&lt;br /&gt;
====Translation Methods under Foreignizing Strategy====&lt;br /&gt;
&lt;br /&gt;
Foreignization is a strategy in which a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. This strategy is &amp;quot;an ethnodeviant pressure on target-language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad&amp;quot; to have alien reading experience. (Venuti, 1995: 20) The translation methods under foreignization employed in Professor Liu's target text include literal translation, zero-translation and transliteration.&lt;br /&gt;
&lt;br /&gt;
=====Literal Translation=====&lt;br /&gt;
&lt;br /&gt;
Literal translation is in fact looser renditions that replace individual source language words with individual target language wors wherever possible, and cling as closely as possible to the source language word order in the target language. Specifically, in the case translation text, the translator faithfully retains some personal pronouns and demonstrative pronouns in the original text. For example, &lt;br /&gt;
&lt;br /&gt;
(1)It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance.&lt;br /&gt;
&lt;br /&gt;
同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
&lt;br /&gt;
(2)This ignorance, however, is not altogether miserable.&lt;br /&gt;
&lt;br /&gt;
不过，这种无知也并非全然不幸。&lt;br /&gt;
&lt;br /&gt;
(3)But your and my ignorance is not confined to cuckoos.&lt;br /&gt;
&lt;br /&gt;
但是，你我的无知并不仅限于杜鹃这一方面。&lt;br /&gt;
&lt;br /&gt;
(4)A contemporary English novelist was once asked by a foreigner what was the most important crop in England.&lt;br /&gt;
&lt;br /&gt;
一个外国人问一位当代英国小说家，英国最重要的农作物是什么。&lt;br /&gt;
&lt;br /&gt;
The translation of these sentences, though properly altering the word order and voice with the adherence to the target-language syntactic norms, does not adopt the usage of transferred meaning in dealing with lexical sense.&lt;br /&gt;
&lt;br /&gt;
The use of literal translation, especially the retaining of the personal pronouns, like &amp;quot;we&amp;quot; and &amp;quot;you and I&amp;quot;, conveys the style of the original text, showing friendliness and intimacy.&lt;br /&gt;
&lt;br /&gt;
=====Zero-Translation=====&lt;br /&gt;
&lt;br /&gt;
Zero translation refers to the translation in which the translators do not use the ready-made words in the target language to translate the source language words. This translation phenomenon occurs when adjustments must be made due to the differences in the syntactic structures of the two languages. For example, some articles and personal pronouns are not translated in E-C translation. In Professor Liu’s Translation, zero-translation is particularly displayed by omission, a translation technique. For instance,&lt;br /&gt;
&lt;br /&gt;
Omission of the expletives ''It'' and ''There'':&lt;br /&gt;
&lt;br /&gt;
(5)''It'' is impossible to take a walk in the country oneself without being amazed at the vast continent of one's own ignorance.&lt;br /&gt;
&lt;br /&gt;
任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
&lt;br /&gt;
(6)''There'' are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy.&lt;br /&gt;
&lt;br /&gt;
这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。&lt;br /&gt;
&lt;br /&gt;
Omission of English articles:&lt;br /&gt;
&lt;br /&gt;
(7)Thousands of men and women live and die without knowing the difference between ''a'' beech and ''an'' elm, between ''the'' song of ''a'' thrush and ''the'' song of ''a'' blackbird.&lt;br /&gt;
&lt;br /&gt;
成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
&lt;br /&gt;
Omission of pronouns:&lt;br /&gt;
&lt;br /&gt;
(8)... as she (the cuckoo) lays ''her'' egg on the ground and takes it in ''her'' bill to the nest in which it is destined to breed infanticide.&lt;br /&gt;
&lt;br /&gt;
把蛋下到地面上，然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。&lt;br /&gt;
&lt;br /&gt;
The application of zero-translation can render the translation text concise, neat and fluent, and make the rhythm of the prose more natural and flexible, conforming to the principle of prose translation.&lt;br /&gt;
&lt;br /&gt;
=====Transliteration=====&lt;br /&gt;
&lt;br /&gt;
Proper names such as the names of persons and places of foreign countries, are, as a rule, to be transliterated, i.e., to be translated by using Chinese characters to represent the sound in articulating these names.&lt;br /&gt;
&lt;br /&gt;
In transliteration, the translators should follow the original pronunciation of proper names, in Liu's translation, for example,&lt;br /&gt;
&lt;br /&gt;
(9)Hamlet 哈姆雷特 Pickwick 匹克威克 (both transliterated from English)&lt;br /&gt;
&lt;br /&gt;
Besides, in transliteration, the translators sometimes should also use the standard pronunciation of the Chinese characters. One of the difficulties in transliterating a foreign name in Chinese characters lies in the lack of many foreign sounds in Chinese, and the variation in the pronunciation of the Chinese characters causes confusion. The remedy is to fix certain Chinese characters for a certain syllable of foreign names. And many long-standing translated names, though not named after the original sounds, have been recognized by the world and are generally invariable. For example, in the translation in case study. For example, in the translation in case study,&lt;br /&gt;
&lt;br /&gt;
(10)Montaigne 蒙田 (not 蒙泰涅)&lt;br /&gt;
&lt;br /&gt;
Transliteration plays a crucial role in translation of proper nouns and technical terms, which ensures the correct conveyance of information.&lt;br /&gt;
&lt;br /&gt;
The translation methods under foreignization are able to make the translation process more visible, by means of showing how translators are deeply involved in the construction of culture and ideology. The use of these methods can retain the foreignness of the source text and produce on the target-language readers an effect as close as possible to that obtained on the readers of the original, through which the readers can further understand the foreign expressions and cultures, realizing the differences between the two countries.&lt;br /&gt;
&lt;br /&gt;
====Translation Methods under Domesticating Strategy====&lt;br /&gt;
&lt;br /&gt;
Domestication is a strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for target language readers. This strategy is &amp;quot;an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home&amp;quot; (Venuti, 1995: 20). In other words, as regards the use of domesticating strategy, the translators are required to make target-language readers feel familiar and close through conveying the content of the original text with the expressions to which TL readers are accustomed. And in Liu Bingshan's Chinese translation of ''Pleasures of Ignorance'', free translation method and imitation method under domestication are used and displayed in several translation techniques.&lt;br /&gt;
&lt;br /&gt;
=====Free Translation=====&lt;br /&gt;
&lt;br /&gt;
Free translation, also known as sense-for-sense translation, emphasizes transfer of the meaning or &amp;quot;spirit&amp;quot; of a source text over accurate reproduction of the original wording. The purpose of this method is to accommodate the needs of the target-language readers by producing a text which conforms to the linguistic and textual norms of the target language and culture which does not therefore sound 'foreign&amp;quot; (Shuttleworth &amp;amp; Cowie, 1997: 151). Such a method, in this case study, is specifically embodied in the choice of words packed with Chinese characteristics, that is, diction, also a translation technique. For example,&lt;br /&gt;
&lt;br /&gt;
(11)Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is ''the exception''.&lt;br /&gt;
&lt;br /&gt;
在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是''凤毛麟角''。&lt;br /&gt;
&lt;br /&gt;
(12)It is not that we have not seen the birds. It is simply that we ''have not noticed'' them.&lt;br /&gt;
&lt;br /&gt;
所以如此，并不是因为这些鸟我们没有见过，而只是因为我们''习焉不察''。&lt;br /&gt;
&lt;br /&gt;
(13)When in the oak’s green arms the cuckoo ''sings'', &lt;br /&gt;
&lt;br /&gt;
And first delights men in the ''lovely springs''.&lt;br /&gt;
&lt;br /&gt;
杜鹃在橡树的绿色怀抱里''啭啼''，&lt;br /&gt;
&lt;br /&gt;
第一个为人们带来''欢欣、美好的春意''。&lt;br /&gt;
&lt;br /&gt;
In translating these sentences, the translator transfers some words into vocabulary or phrases with conspicuously Chinese features. For instance, the transfer of &amp;quot;the exception&amp;quot; and &amp;quot;have not noticed&amp;quot; to Chinese idioms &amp;quot;凤毛麟角&amp;quot; (that describes rare and precious items) and &amp;quot;习焉不察&amp;quot; (which means that one is too accustomed to something to call it in questions), respectively, exemplifies the typical Chinese four-character structure. Moreover, the verb &amp;quot;sings&amp;quot; is transferred to &amp;quot;啭啼&amp;quot; (that describes birds' melodious chirp), a Chinese term composed of two words with the same left side, which is one of common and special linguistic phenomena in Chinese language. Meanwhile, &amp;quot;the lovely springs&amp;quot; is transferred to &amp;quot;欢欣、美好的春意&amp;quot; (a joyful and wonderful feeling brought by the spring) through abstraction.&lt;br /&gt;
Thus, it can be seen that the application of free translation can reproduce the sense of the original text more smoothly and idiomatically. And the wide adoption of the four-character structures enhance the academic atmosphere of the translation version.&lt;br /&gt;
&lt;br /&gt;
=====Imitation=====&lt;br /&gt;
&lt;br /&gt;
With regard to the use of imitation, the translators do not stick to the meaning details of the original text, let alone its vocabulary and syntactic structure, but take the original text as a reference model, either by deleting and condensing to only translate its gist and key information, or by adding and expanding to deliver more information than that in the original text. For instance,&lt;br /&gt;
&lt;br /&gt;
(14)Thousands of ''men and women'' ''live and die'' ''without knowing'' the difference between a beech and an elm, between the song of a thrush and the song of a blackbird.&lt;br /&gt;
 &lt;br /&gt;
成千上万的''男男女女''，''从生到死''，''一辈子''也''说不出''山毛榉和榆树有什么区别，''听不出''画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
&lt;br /&gt;
In the translation of this sentence, a variety of translation techniques are employed. &lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
The translator uses conversion to alter the syntactic structure of the original sentence. &lt;br /&gt;
&lt;br /&gt;
The predicate &amp;quot;live and die&amp;quot; is converted into the preposition phrase &amp;quot;从生到死&amp;quot; as the adverbial in Chinese.&lt;br /&gt;
&lt;br /&gt;
And the adverbial preposition phrase in the source text &amp;quot;without knowing&amp;quot; is converted into the predicate in Chinese translation.&lt;br /&gt;
&lt;br /&gt;
②　Division:&lt;br /&gt;
&lt;br /&gt;
In accordance with the need of Chinese expression, &amp;quot;without knowing&amp;quot; is divided into two verb phrases &amp;quot;说不出&amp;quot; and &amp;quot;听不出&amp;quot; in Chinese as the predicate.&lt;br /&gt;
&lt;br /&gt;
③　Addition:&lt;br /&gt;
&lt;br /&gt;
With the addition of the expression &amp;quot;一辈子&amp;quot;, the translator highlights the long time between life and death.&lt;br /&gt;
&lt;br /&gt;
④　Repetition:&lt;br /&gt;
&lt;br /&gt;
The plural form &amp;quot;men and women&amp;quot; is translated into the reiterative locution &amp;quot;男男女女&amp;quot; by repetition. &lt;br /&gt;
&lt;br /&gt;
The change of sentence structure via techniques such as conversion and division as well as of vocabulary via repetition and addition render the translation natural and smooth, showing the translator's superb handling of the original text.&lt;br /&gt;
&lt;br /&gt;
(15)...we are all the ''more'' delighted ''at the spectacle of'' its runaway flight as it (the cuckoo) ''hurries'' from wood to wood conscious of its crimes ...&lt;br /&gt;
&lt;br /&gt;
一日''看见''它（杜鹃）因为自己犯了罪而''煌惶不安地''从这个林子飞''逃''向那个林子 ... 我们才会觉得''大大''开心。&lt;br /&gt;
&lt;br /&gt;
In this example, there are also various translation techniques used.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
Firstly, the preposition phrase &amp;quot;at the spectacle of&amp;quot; is converted into the verb &amp;quot;看见&amp;quot; in Chinese. &lt;br /&gt;
&lt;br /&gt;
Secondly, the noun phrase &amp;quot;runaway flight&amp;quot; is converted into Chinese verbs &amp;quot;飞&amp;quot; (fly) and &amp;quot;逃&amp;quot; (escape). &lt;br /&gt;
&lt;br /&gt;
Besides, the verb &amp;quot;hurries&amp;quot; (that means to move quickly in a particular direction) is converted into &amp;quot;惶惶不安地&amp;quot; (which means to feel panic, afraid and utterly uneasy), a Chinese adverb to modify the verbs &amp;quot;飞&amp;quot; and &amp;quot;逃&amp;quot;, which endows the subject cuckoo with somewhat human characteristic.&lt;br /&gt;
&lt;br /&gt;
②　Repetition:&lt;br /&gt;
&lt;br /&gt;
The adjective &amp;quot;more&amp;quot; is translated into the reiterative locution &amp;quot;大大&amp;quot;, a Chinese adverb equivalent to &amp;quot;very&amp;quot; or &amp;quot;extremely&amp;quot; in English to modify the adjective &amp;quot;delighted&amp;quot;.&lt;br /&gt;
 &lt;br /&gt;
In this example, the adjustment of the sentence order and conversion of parts of speech make the translation more consistent with the word sequence in Chinese. Meanwhile, the choice of words such as the Chinese four-character structure &amp;quot;惶惶不安&amp;quot; conveys the romantic charm beyond the original text. And there are also indicators of use of repetition embodied in the typical Chinese reiterative locutions like &amp;quot;惶惶&amp;quot; and &amp;quot;大大&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
(16)I have myself a ''capricious'' and ''leaking'' memory.&lt;br /&gt;
&lt;br /&gt;
我自己的记忆力也是''漏洞百出''、''不听使唤''。&lt;br /&gt;
&lt;br /&gt;
Although this is a short sentence, it still contains the flexible use of translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
At first, the original object &amp;quot;memory&amp;quot; is converted to the subject in the Chinese translation.&lt;br /&gt;
&lt;br /&gt;
And then, the subject &amp;quot;I&amp;quot; with its appositive &amp;quot;myself&amp;quot; is converted into the attribute &amp;quot;我自己的&amp;quot; to modify the subject in the translation &amp;quot;记忆&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
On account of the conversion of the subject and the verb, the original predicate &amp;quot;have&amp;quot; is inappropriate. The addition of &amp;quot;也是&amp;quot; that is equivalent to the verb &amp;quot;be&amp;quot; in English enforces the completeness of sentence structure. And this is a structural addition mainly due to the structural difference between Chinese and English.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The two vivid adjective &amp;quot;capricious&amp;quot; and &amp;quot;leaking&amp;quot; are translated as &amp;quot;不听使唤&amp;quot; and &amp;quot;漏洞百出&amp;quot; respectively which are typical Chinese four-character structures. The Chinese adjective &amp;quot;漏洞百出(的)&amp;quot; means that the loopholes appear one after another, which is often used to describe that one's writing or speech is untenable because of lack of sufficient reasons and grounds. And here, this word shows the author's weak memory with which he forgets things time and again. And the other adjective &amp;quot;不听使唤(的)&amp;quot; generally depicts that someone loses control and is not obedient to the rules or instructions. Here, the word properly demonstrates that the author cannot manipulate his memory well and also cannot preclude it from being weaker. The use of these two words conforms to the choice of affective and stylistic meanings.&lt;br /&gt;
&lt;br /&gt;
In this example, the conversion of the subject and object as well as the change of the predicate enable the translation to be more closely accord with the Chinese sentential structure. Moreover, the two figurative adjectives packed with personified traits not only fully  convey the author's intention, but also enhance literariness of the translation and even display a lively mood beyond the original text.&lt;br /&gt;
&lt;br /&gt;
(17)We know, again, that, the blossom precedes and ''not succeeds'' the fruit of the apple-tree, but ''this does not lessen our amazement at'' the beautiful holiday of a May orchard.&lt;br /&gt;
&lt;br /&gt;
另外，我们知道苹果树''先''开花，''后''结果，可是五月''一旦''到来，果园里一片欢闹的花海。''我们不是仍然惊为奇观吗？''&lt;br /&gt;
&lt;br /&gt;
This is a typical example of the imitation method embodied in the use of diverse translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
Regarding the conversion of word classes, the noun &amp;quot;blossom&amp;quot; is converted into the Chinese verb &amp;quot;开花&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Concerning the conversion of sentence members, the object in the clause &amp;quot;apple-tree&amp;quot; is converted into the subject &amp;quot;苹果树&amp;quot; in the Chinese translation. And the attribute &amp;quot;May&amp;quot; is converted into the adverbial in Chinese as &amp;quot;五月一旦到来&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Considering the conversion of sentence patterns, the negative sentence &amp;quot;this does not lessen our amazement at...&amp;quot; is converted into a interrogative sentence &amp;quot;我们不是仍然惊为奇观吗？&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Negation:&lt;br /&gt;
&lt;br /&gt;
The negative form &amp;quot;not succeeds&amp;quot; in English is translated into the affirmative form &amp;quot;后结果&amp;quot; in Chinese, intensifying a positive tone on which Chinese language often places emphasis.&lt;br /&gt;
&lt;br /&gt;
③　Division:&lt;br /&gt;
&lt;br /&gt;
The original complicated sentence in English is divided into several simplex clauses and phrases in Chinese, which underlines the &amp;quot;chronicle style&amp;quot; of Chinese language with frequent use of shorter or composite structures.&lt;br /&gt;
&lt;br /&gt;
④　Addition:&lt;br /&gt;
&lt;br /&gt;
Now that the original sentence is divided into smaller components, it is necessary to supply connectors for better cohesion. The addition of the logical connectors in Chinese such as &amp;quot;先&amp;quot;, &amp;quot;后&amp;quot;, &amp;quot;一旦&amp;quot; and &amp;quot;仍然&amp;quot; render the translation more smooth and expressive.&lt;br /&gt;
&lt;br /&gt;
In this instance, the translator flexibly takes advantage of the techniques such as conversion, negation and division, not only contributing to the diversity of sentence patterns but also adding sense of warmth and vividness of the translation. Additionally, the semantic addition of logical connectors render the translation more cohesive and coherent.&lt;br /&gt;
&lt;br /&gt;
(18)Once more I shall see the world as a garden through the eyes of a stranger, my breath taken away with surprise by the painted fields.&lt;br /&gt;
&lt;br /&gt;
那时，我像一个陌生者进人大花园，放眼四望，五色缤纷的原野再一次使我''目不暇接''，''心迷神醉''。&lt;br /&gt;
&lt;br /&gt;
As regards this example, the translator enriches the meaning of the original text and creates a more balmy atmosphere by employing various translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Division:&lt;br /&gt;
&lt;br /&gt;
The long complex sentence, composed of two clauses, is divided into several separated clauses in arranged in a certain order, which renders the translation rhythmic and highlights the focus of expression.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
The addition of the Chinese set phrase &amp;quot;目不暇接&amp;quot; (which means that so many wonderful things and so swift change of scenery come into sight that the eyes are kept fully occupied) makes the context more coherent, as it echoes &amp;quot;see&amp;quot; and &amp;quot;the eyes&amp;quot; in the preceding and connects the &amp;quot;painted fields&amp;quot; in the following that greet the author's eyes and take his breath away.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The verb &amp;quot;see&amp;quot; is translated into &amp;quot;放眼四望” (to look around), the noun phrase &amp;quot;breath taken away with surprise&amp;quot; into &amp;quot;心醉神迷&amp;quot; (to be thrown into ecstasies), and the adjective &amp;quot;painted&amp;quot; into &amp;quot;五彩缤纷&amp;quot; (colorful). These recurring four-character structures in translation are loaded with positive meanings, and proper to depict the attractive scenery and to be used in scholar prose.&lt;br /&gt;
&lt;br /&gt;
④　Conversion:&lt;br /&gt;
&lt;br /&gt;
The original clause &amp;quot;my breath taken away with surprise by the painted fields&amp;quot; is in passive voice, and is converted into the active voice in Chinese translation &amp;quot;五色缤纷的原野再一次使我目不暇接，心迷神醉&amp;quot;. This kind of conversion is due to the fact that the Chinese passive form marked by &amp;quot;被&amp;quot; is traditionally felt to be an &amp;quot;inflictive voice&amp;quot;, mainly expressing things unpleasant or undesirable, contrasted with the cheerful aura overflowing the original text. &lt;br /&gt;
&lt;br /&gt;
The translator employs short clauses separated from the original complex sentence to  bestow smoothness and naturalness on the translation and strengthen its artistic appeal. Furthermore, the translator selects the words that tally with the affective, contextual and stylistic meanings of the original. And the opportune addition of words and change of voice also polish the translation.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
This paper makes an analysis of translation strategies and translation methods in English prose, with translator Liu Bingshan's Chinese translation of ''Pleasures of Ignorance'' created by Robert Lynd as an example. With translation strategies and methods as the starting point, this paper considers Chinese translation of English prose as the research subject. The paper first introduces English prose along with its distinctive properties, linguistics features and principles of its translation. And then this paper carries out the interpretation of translation strategies and methods in Liu Bingshan's Chinese translation of ''Pleasures of Ignorance'' in which the application of translation methods as well as techniques under foreignizing and domesticating strategies are elaborated, and the concrete effects they exert are also elucidated.&lt;br /&gt;
&lt;br /&gt;
====Major Findings====&lt;br /&gt;
&lt;br /&gt;
Based on the above study of translation strategies and methods employed in Liu Bingshan's Chinese translation of ''Pleasures of Ignorance'', the features or common ground of Chinese translation of English prose in terms of translation strategies and methods can be generally summarized.&lt;br /&gt;
&lt;br /&gt;
In Chinese translation of English prose, foreignization strategy and domestication strategy are both used in the light of the style, linguistic features, and syntactic structures of the source text.&lt;br /&gt;
&lt;br /&gt;
But, on the whole, the domesticating translation strategy which includes translation methods such as free translation and imitation is applied more frequently compared with foreignization. This is because that prose translation actually falls into literary translation that is special on the grounds of the unique characteristics of the original literary works. In literary works, or specifically, in English prose, some words are not used with their literal meanings but their connotative or extension meanings, so literal translation under foreignization may not correctly convey the real significance of the original text. Meanwhile, in English prose, there are complex syntactic structures whose translation cannot be carried out with no proper conversion and alteration. Additionally, multiple rhetoric devices such as metaphor, metonymy and allusion are used in English literary works, and the literal translation of these figures of speech may elude the target-language readers because of the cultural differences and the obscurity of the translation. However, the appropriate adoption of translation methods under domestication strategy, to some extent, can give the target-language readers a sense of closeness and deliver the aesthetic charm with the premise that the real meaning of the original text can be ensured.&lt;br /&gt;
&lt;br /&gt;
In terms of translation methods under foreignizing strategy, literal translation is used when the lexical meaning of the source text is lucid and the syntactic structures in it are relatively simple and clear, so the translators need not find a new path in the mode of expression in order to be faithful to the source text. And the use of literal translation can convey the information more objectively and avoid the interference of translators' subjective factors. Meanwhile, in Chinese translation of English prose, the use of zero-translation is frequent but imperceptible, with the omission of some words peculiar to English, such as expletives it and there, English articles and pronouns, but sometimes the English pronouns can also be retained to show a sense of closeness and friendliness. Besides, transliteration is used for the translation of proper nouns and technical terms not only in English prose but also in almost all text types, with conforming to the principles of being named after the original sound and of the translated names accepted through common practice. In a word, translation methods under foreignization can ensure the objective conveyance of information of the original text and preserve its foreignness and unique cultural values that can enrich the target-language readers' knowledge and their languages.&lt;br /&gt;
&lt;br /&gt;
With regard to translation methods under domesticating strategy, in Chinese translation English prose, free translation and imitation method are oftentimes employed. English prose, as one of the English literary genres, boasts distinctive features of literature, such as aesthetic value, language with hidden meanings and the usual use of figures of speech as well as culturally loaded images, which may not be shown vividly and be easily understood by target-language readers via literal or word-for-word translation. Thus, translation methods under domestication, with careful choice of words, proper adjustment of syntactic structures and sentence sequence, and appropriate sublimation of the original text, can express the original author's feelings more lively, render the translation more fluent, idiomatic and expressive, and display the aesthetic charm of the source text.&lt;br /&gt;
&lt;br /&gt;
At the lexical level, in Chinese translation of English prose, the translation techniques --- diction, addition, conversion and repetition --- are usually used. The typical Chinese four-character structures appear time from time in Chinese translation, and the translators choose the words in line with the affectionate, contextual and stylistic meanings of the original prose, which intensify literariness and satisfy the characteristics of scholar prose. Moreover, the addition of Chinese conjunctive words and logical connectors by which sentences in translation are connected into a text can create better cohesion. Furthermore, the conversion of word classes in translation is based on the contrastive studies of English and Chinese, viz., English with its nominal style is static whereas Chinese with its verbal style is dynamic. Besides, it is one of the peculiarities of Chinese to reduplicate characters or words in word-formation and to repeat the similar or same word or expression in a discourse for expressiveness and parallelism, which can render translation more appealing to Chinese readers and produce rhetorical and grammatical effect.&lt;br /&gt;
&lt;br /&gt;
At the syntactic level, the translation techniques --- conversion and division--- are often employed in Chinese translation of English prose. To start with, conversion in the syntactic respect involves conversions of sentence members, sentence patterns and the voice. The conversion of word classes often results in the conversion of sentence members, and the alteration of sentences patterns like the inter-conversion between assertive or negative sentences and question sentences can variegate sentence types in translation. The conversion of passive voice in English prose into active voice in Chinese translation is due to the preference for active forms that can produce positive effect in Chinese language. What's more, part of sentences in English prose are longer and complicated because of subordination, a fundamental feature of English, and it may be hard to reproduce the original thought with following the original sentence structure in translation, hence the division of complex English sentences into word-groups, clauses or simplex sentences in Chinese can endow Chinese translation of English prose with more naturalness, fluency and sense of rhythm.&lt;br /&gt;
&lt;br /&gt;
The research on the features of translation strategies and methods in Chinese translation of English prose, theoretically can offer a deeper insight into English prose and its translation, and practically can help to some extent improve the quality of Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
====Limitations and Suggestions====&lt;br /&gt;
&lt;br /&gt;
There are drawbacks in this paper: firstly, the paper takes only one piece of English prose as an example in case study, so it lacks strong persuasiveness; secondly, since there are few researchers on prose translation at home and abroad, especially those specializing in Chinese translation of English prose, this paper resorts to insufficient literature guidance and reference; thirdly, owing to the confined conditions and narrow academic capacity, this paper is devoid of enough depth and breadth as well as favorable insight and acuity, thus the theoretical support and practical assistance it provides are bound to be limited. As a consequence, it is expected that researchers in this field can cooperate well to build up a system to minimize the possible errors and create more thorough and holistic works to enunciate and improve Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
[1] Lawrence Venuti. Rethinking Translation: Discourse, Subjectivity, Ideology [C]. London and New York: Routledge, 1992: 5-20.&lt;br /&gt;
&lt;br /&gt;
[2] Lawrence Venuti. The Translator's Invisibility: A History of Translation [M]. 上海: 上海教育出版社, 2004: 7-25.&lt;br /&gt;
&lt;br /&gt;
[3] Mark Shuttleworth. Moira Cowie. Dictionary of Translation Studies [M]. London and New York: Routledge, 2014: 59-163.&lt;br /&gt;
&lt;br /&gt;
[4] 方梦之. 中国译学大辞典 [M]. 上海: 上海教育出版社, 2011: 96-118.&lt;br /&gt;
&lt;br /&gt;
[5] 侯强. 英语散文汉译策略研究 --- 以“韩素音青年翻译奖”参赛文本为例 [D]. 厦门: 厦门大学, 2014.&lt;br /&gt;
&lt;br /&gt;
[6] 何秀琴. 期待视角下的英语散文汉译研究 --- 以《散文佳作108篇》 为例 [D]. 南昌: 南昌大学, 2018.&lt;br /&gt;
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[7] 连淑能. 英译汉教程 [M]. 北京: 高等教育出版社, 2006: 67-262,&lt;br /&gt;
&lt;br /&gt;
[8] 宋颉. 翻译美学视角下的民国散文英译风格研究 [D]. 上海: 上海外国语大学, 2018.&lt;br /&gt;
&lt;br /&gt;
[9] 熊兵. 翻译研究中的概念混淆 [J]. 中国翻译, 2014(3): 82-88.&lt;br /&gt;
&lt;br /&gt;
[10] 张保红. 文学翻译 [M]. 北京: 外语教学与研究出版社, 2011: 28-88.&lt;br /&gt;
&lt;br /&gt;
[11] 朱明炬. 英汉名篇名译 [M]. 南京: 译林出版社, 2007: 319-328.&lt;br /&gt;
&lt;br /&gt;
===Appendix===&lt;br /&gt;
&lt;br /&gt;
(The original text:)&lt;br /&gt;
&lt;br /&gt;
The Pleasures of Ignorance&lt;br /&gt;
&lt;br /&gt;
By Robert Lynd&lt;br /&gt;
&lt;br /&gt;
It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance. It is impossible to take a walk in the country oneself without being amazed at the vast continent of one’s own ignorance. Thousands of men and women live and die without knowing the difference between a beech and an elm, between the song of a thrush and the song of a blackbird. Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is the exception. It is not that we have not seen the birds. It is simply that we have not noticed them. We have been surrounded by birds all our lives, yet so feeble is our observation that many of us could not tell whether or not the chaffinch sings, or the colour of the cuckoo. We argue like small boys as to whether the cuckoo always sings as he flies or sometimes in the branches of a tree-whether Chapman drew on his fancy or his knowledge of nature in the lines:&lt;br /&gt;
&lt;br /&gt;
When in the oak's green arms the cuckoo sings, &lt;br /&gt;
&lt;br /&gt;
And first delights men in the lovely springs.&lt;br /&gt;
&lt;br /&gt;
This ignorance, however, is not altogether miserable. Out of it we get the constant pleasure of discovery. Every fact of nature comes to us each spring, if only we are sufficiently ignorant, with the dew still on it. If we have lived half a lifetime without having ever seen a cuckoo, and know it only as a wandering voice, we are all the more delighted at the spectacle of its runaway flight as it hurries from wood to wood conscious of its crimes and at the way in which it halts hawk-like in the wind, its long tail quivering, before it dares descend on a hillside of fir-trees where avenging presences may lurk. It would be absurd to pretend that the naturalist does not also find pleasure in observing the life of the birds, but his is a steady pleasure, almost a sober and plodding occupation, compared to the morning enthusiasm of the man who sees a cuckoo for the first time, and, behold, the world is made new.&lt;br /&gt;
&lt;br /&gt;
And, as to that, the happiness even of the naturalist depends in some measure upon his ignorance,which still leaves him new worlds of this kind to conquer. He may have reached the very Z of knowledge in the books, but he still feels half ignorant until he has confirmed each bright particular with his eyes. He wishes with his own eyes to see the female cuckoo—rare spectacle!—as she lays her egg on the ground and takes it in her bill to the nest in which it is destined to breed infanticide. He would sit day after day with a field-glass against his eyes in order personally to endorse or refute the evidence suggesting that the cuckoo does lay on the ground and not in a nest.And, if he is so far fortunate as to discover this most secretive of birds in the very act of laying, there still remain for him other fields to conquer in a multitude of such disputed questions as whether the cuckoo’s egg is always of the same colour as the other eggs in the nest in which she abandons it. Assuredly the men of science have no reason as yet to weep over their lost ignorance. If they seem to know everything, it is only because you and I know almost nothing. There will always be a fortune of ignorance waiting for them under every fact they turn up. They will never know what song the Sirens sang to Ulysses any more than Sir Thomas Browne did.&lt;br /&gt;
&lt;br /&gt;
If I have called in the cuckoo to illustrate the ordinary man's ignorance, it is not because I can speak with authority on that bird. It is simply because, passing the spring in a parish that seemed to have been invaded by all the cuckoos of Africa, I realized how exceedingly little I, or anybody else I met, knew about them. But your and my ignorance is not confined to cuckoos. It dabbles in all created things, from the sun and moon down to the names of the flowers. I once heard a clever lady asking whether the new moon always appears on the same day of the week. She added that perhaps it is better not to know, because, if one does not know when or in what part of the sky to expect it,its appearance is always a pleasant surprise. I fancy, however, the new moon always comes as a surprise even to those who are familiar with her time-tables. And it is the same with the coming-in of spring and the waves of the flowers. We are not the less delighted to find an early primrose because we are sufficiently learned in the services of the year to look for it in March or April rather than in October. We know, again, that, the blossom precedes and not succeeds the fruit of the apple-tree, but this does not lessen our amazement at the beautiful holiday of a May orchard.&lt;br /&gt;
&lt;br /&gt;
At the same time there is, perhaps, a special pleasure in relearning the names of many of the flowers every spring. It is like rereading a book that one has almost forgotten. Montaigne tells us that he had so bad a memory that he could always read an old book as though he had never read it before. I have myself a capricious and leaking memory. I can read Hamlet itself and The Pickwick Papers as though they were the work of new authors and had come wet from the press, so much of them fades between one reading and another. There are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy. But this is only when life has an object beyond entertainment. In respect of mere luxury, it may be doubted whether there is not as much to be said for a bad memory as for a good one. With a bad memory one can go on reading Plutarch and The Arabian Nights all one's life. Little shreds and tags, it is probable, will stick even in the worst memory, just as a succession of sheep cannot leap through a gap in a hedge without leaving a few wisps of wool on the thorns. But the sheep themselves escape,and the great authors leap in the same way out of an idle memory and leave little enough behind.&lt;br /&gt;
&lt;br /&gt;
And, if we can forget books, it is as easy to forget the months and what they showed us, when once they are gone. Just for a moment I tell myself that I know May like the multiplication table and could pass an examination on its flowers, their appearance and their order. Today I can affirm confidently that the buttercup has five petals. (Or is it Six? I knew for certain last week.) But next year I shall probably have forgotten my arithmetic, and may have to learn once more not to confuse the buttercup with the celandine. Once more I shall see the world as a garden through the eyes of a stranger, my breath taken away with surprise by the painted fields. I shall find myself wondering whether it is science or ignorance which affirms that the swift (that black exaggeration of the swallow and yet a kinsman of the humming-bird) never settles even on a nest, but disappears at night into the heights of the air. I shall learn with fresh astonishment that it is the male, and not the female,cuckoo that sings. I may have to learn again not to call the champion a wild geranium, and to rediscover whether the ash comes early or late in the etiquette of the trees. A contemporary English novelist was once asked by a foreigner what was the most important crop in England. He answered without a moment's hesitation: &amp;quot;Rye&amp;quot;. Ignorance so complete as this seems to me to be touched with magnificence; but the ignorance even of illiterate persons is enormous. The average man who uses a telephone could not explain how a telephone works. He takes for granted the telephone, the railway train, the linotype, the aeroplane, as our grandfathers took for granted the miracles of the gospels. He neither questions nor understands them. It is as though each of us investigated and made his own only a tiny circle of facts. Knowledge outside the day's work is regarded by most men as a gewgaw. Still we are constantly in reaction against our ignorance. We rouse ourselves at intervals and speculate. We revel in speculations about anything at all—about life after death or about such questions as that which is said to have puzzled Aristotle, &amp;quot;why sneezing from noon to midnight was good, but from night to noon unlucky.&amp;quot; One of the greatest joys known to man is to take such a flight into ignorance in search of knowledge. The great pleasure of ignorance is, after all, the pleasure of asking questions. The man who has lost this pleasure or exchanged it for the pleasure of dogma, which is the pleasure of answering, is already beginning to stiffen. One envies so inquisitive a man as Jowett, who sat down to the study of physiology in his sixties. Most of us have lost the sense of our ignorance long before that age. We even become vain of our squirrel’s hoard of knowledge and regard increasing age itself as a school of omniscience. We forget that Socrates was famed for wisdom not because he was omniscient but because he realized at the age of seventy that he still knew nothing.&lt;br /&gt;
&lt;br /&gt;
(Liu Bingshan's Chinese translation:)&lt;br /&gt;
&lt;br /&gt;
无知常乐&lt;br /&gt;
&lt;br /&gt;
刘炳善 译&lt;br /&gt;
&lt;br /&gt;
同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是凤毛麟角。所以如此，并不是因为这些鸟我们没有见过，而只是因为我们习焉不察。在我们一生中，鸟类始终就在我们周围，然而我们对于它们的观察总是那样马马虎虎，所以我们当中许多人都说不清花鸡到底会不会知，也不知道杜鹃究竟是什么颜色。对于有些问题、我们像小孩子一样争论不休、譬如说，杜鹃在飞着或栖身于树枝间的时候，是否一直不停地鸣，而查普曼下面两行诗的灵感究竟是来自他的想像还是来自他的自然知识∶&lt;br /&gt;
&lt;br /&gt;
杜鹃在橡树的绿色怀抱里啭啼，&lt;br /&gt;
&lt;br /&gt;
第一个为人们带来欢欣、美好的春意。&lt;br /&gt;
&lt;br /&gt;
不过，这种无知也并非全然不幸，因为正是由于它，我们才能不断尝到发现的乐趣。只要我们是的的确确地无知，那么每年大地春回，自然界的每一种事物都会带着它那清新的露珠重新出现在我们面前。如果我们活了半辈子，对于杜鹃除了听过它那飘忽不定的叫声，从来没有见过它是什么模样，那么，一日看见它因为自己犯了罪而煌惶不安地从这个林子飞逃向那个林子。或是看见它顶着风、像老鹰似的停留在半空中，它那长长的尾巴颤动着，不敢落下来，生怕有什么鸟儿藏在那山坡上的枞树林里等着要找它报仇。我们才会觉得大大开心。有人想着，博物学家整天观察鸟类，大概就不会觉得有什么趣儿了吧？其实大谬不然--他那持续不断的乐趣几平已经变成一种安详的职业习惯了，不像有人某天早晨突然第一次看见一只杜鹃，不胜雀跃之至，于是，看哪，天地也为之焕然一新了。&lt;br /&gt;
&lt;br /&gt;
说到这儿，甚至连博物学家的快乐在一定程度上也有赖于自己的无知；只有如此。才能给他留出一些新的领域有待他去征服。即使他已经攀登了书本知识的顶峰，他仍会感到自己不过是半通不通，每一个引人注目的细节还必须用自己的亲眼观察来加以一一证实。他盼着能亲眼看到雌杜鹃（这可是个稀罕物儿！）把蛋下到地面上。然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。因此，博物学家就要戴上望远镜，日复一日地坐在那里等待着亲眼证实或者否定那种认为杜鹃确实是在地面上而非在窠里下蛋的说法。而日，即使他很幸运，能够发现杜鹃下蛋实况，这个在鸟类来说算是极大的秘密，其他一大批有争议的问题还依然存在。就像新的领土有待他去开拓，例如，杜鹃的蛋跟它占用的窠里其他鸟的蛋是否总是一样颜色？自然，科学家没有理由为了自己失去无知而哭泣。如果他们看起来似乎是精通一切的话，那也不过因为你我差不多是一无所知罢了。实际上，当他们要把一件事实的盖子揭开的时候，某种命定的无知就在等待着他们。海妖们向尤利塞斯唱的究竟是什么歌儿？——他们永远不可能知道，正像托马斯·勃朗爵士也不知道一样。&lt;br /&gt;
&lt;br /&gt;
我请杜鹃来做例子以说明普通人的无知，并不是因为我有什么权威可以对这种鸟儿发发议论。不过，我曾在某个教区暂住，而那年春天从非洲飞来的杜鹃似乎全集合在那个地方，因此我也就有机会了解到我自己以及我所碰见的每一个人对于这种鸟儿的知识是如何地微不足道。但是，你我的无知并不仅限于杜鹃这一方面。它涉及到宇宙万物，从太阳、月亮一直到花卉的名字。有一天，我听见一位聪明伶俐的太太提出了这样一个问题∶新月是不是总在星期几露面？她接着又说：不知道倒好，正因为人不知道在什么时候、在天空的哪一带能看见它，新月一出现才给人带来一场惊喜。然而我想、哪怕入把月亮盈亏时间表记得再熟。看见新月出现还是不免又惊又喜，春回大地，花开花落，也莫不如此。尽管我们对一年四季草本节令了如指掌，知道樱草开花在三月四月而不在十月，不过看见一株早开花的樱草，我们还是照样地高兴。另外，我们知道苹果树先开花，后结果，可是五月一旦到来，果园里一片欢闹的花海。我们不是仍然惊为奇观吗？&lt;br /&gt;
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倘在每年春天，把许多花卉之名重温一遍，还另有一番风味。那就像把一本差不多忘得干干净净的书再重新念一遍。蒙田说过，他的记忆力很坏，所以他随时都能拿起一本旧书，像从未读过的新书一样地念。我自己的记忆力也是漏洞百出、不听使唤。我甚至能拿起《哈姆雷特》和《匹克威克外传》，当作是初登文坛的新作家刚刚印成白纸黑字的作品来念，因为自从上回念过以后，这两部书在我脑子里的印象已经模模糊糊了。这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。不过，在这种时候，人不仅想得到娱乐，还追求着什么目的。如果只讲享受的话，记忆力坏比记忆力好究竟差到哪里去，还真是大可怀疑哩。记忆力坏的人可以一辈子不断地念普卢塔克的《英雄传》和《天方夜谭》，而永远感到新鲜。很可能，最坏的记忆力也难免粘粘连连地留下一星半点的印象，恰如一只只绵羊从篱笆洞里接连通过，总不免在那刺条上留下一丝半缕的羊毛。然而，绵羊终归逃出去了，正像伟大的作家从我们不争气的记忆中消失。所留下的东西简直微不足道。&lt;br /&gt;
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既然读过的书我们可以忘得一干二净，那么一年十二个月以及每个月的风物，一旦时过境迁。我们同样可以轻而易举地把它们忘在脑后。在某个短暂时刻，我可以说自己对于五月就像对于乘法表那样熟悉，关于五月里的花木、开花时间乃至前后次序，我能通过考试。今天，我就敢肯定金凤花有五瓣。（难道是六瓣吗？上个礼拜我还记得清清楚楚来着。）可是，到了明年，我也许连算术也忘个干干净净;我得从头学起，以免把金凤花误认成白屈菜。那时，我像一个陌生者进人大花园，放眼四望，五色缤纷的原野再一次使我目不暇接，心迷神醉。那时，我也许要对这么一个问题拿不定注意，就是; 认为雨燕（那种简直像大号小燕子、又和蜂鸟沾点儿亲戚的黑鸟儿）从来不在窠里歇着，一到夜里就飞向高高的天空，到底是一种科学论断，还是一种无知妄说？当我知道了会唱歌的并不是雌杜鹃，而是雄杜鹃。我还要再次感到惊讶。我得重新学习，以免把剪秋罗当作野大竺葵；还要去重新发现白杨在树木生长的习惯法中究章算是早成材还是晚成材。某天。一个外国人问一位当代英国小说家，英国最重要的农作物是什么。他毫不犹豫地回答：“稞麦。”在我看来，这是一种堂而皇之派头的彻头彻尾的无知；不过，大大无知的也包括那些没有文化的人。普通人只会使用电话，却无法解释电话的工作原理。他把电话、火车、铸造排字机、飞机都看作当然之事，就像我们的祖父一代把福音书里的奇迹故事视为理所当然一样。对于这些事，他既不去怀疑，也不去了解。我们每个人似乎只对很小范围内的某几件事才真正下工夫去了解、弄清楚。大部分人把日常工作以外的一切知识统统当作花哨无用的玩意儿。然面，对于我们的无知，我们还是时时抗拒着，我们}有时振作起来，进行思索。我们随便找一个什么题目，对之思考，甚至入迷——关于死后的生命，或者关于某些据说亚里士多德也感到大惑不解的问题，例如“打喷嚏，从中午到子夜则吉，从夜晚至中午则凶，其故安在？”为求知识而陷入无知，这是人类所欣赏的最大乐事之一。归根结底，无知的极大乐趣即在于提出问题。一个人，如果失去了这种提问的乐趣，或者把它换成了教条的答案，并且以此为乐，那么，他的头脑已经开始僵化了。我们羡慕像裘伊特这样勤学好问之人，他到了六十多岁居然还能坐下来研究生理学。我们多数人不到他这么大的岁数就早已丧失了自己无知的感觉了。我们甚全像松鼠似的对自己小小的知识储存感到沾沾自喜，把与日俱增的年龄看作是培养无所不知的天然学堂。我们忘记了∶苏格拉底之所以以智慧名垂后世，并非因为他无所不知，而是因为他到了七十高龄还能明白自己仍然一无所知。&lt;br /&gt;
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=毛优Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
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毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
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=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
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从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。	&lt;br /&gt;
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Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
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Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
翻译风格，巴黎的忧郁，郭宏安，亚丁&lt;br /&gt;
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==Introduction==&lt;br /&gt;
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The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
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Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations. Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
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==Liu Miqing’s theory of translation style==&lt;br /&gt;
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Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
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Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.&lt;br /&gt;
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In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
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==Form Markers==&lt;br /&gt;
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According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
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===Register Markers===&lt;br /&gt;
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“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
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The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
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Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
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Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
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Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
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This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
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===Lexical Markers===&lt;br /&gt;
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Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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'''Eg. (b)'''&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence, translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
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==Non-formal Markers==&lt;br /&gt;
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The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
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Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
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According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
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Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
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The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
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The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
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Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
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Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.&lt;br /&gt;
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==References==&lt;br /&gt;
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[1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[3] 刘宓庆 Liu Mingqing. 新编当代翻译理论[M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp;amp; Publishing Corporation, 2005.&lt;br /&gt;
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[4] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.&lt;br /&gt;
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[5] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.&lt;br /&gt;
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=秦建安 A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
[[Trans_Type_EN_7]]&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Lu Xun, chief commander of China's modern cultural revolution, is not only a great thinker and political commentator but the founder of modern Chinese literature. Kong I-Chi is one of the masterpieces of Lu Xun's novels. Although the total number of characters is less than 3,000 words, Lu Xun exposes the nature of feudal ethics and its negative influence through his character portrayal, which is loved by many readers home and aboard. The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but so as close as possible to the original text in terms of syntactic structure and wording. Therefore, his translations once became the authoritative version of Lu Xun's novels. From the perspective of Nida’s functional equivalence theory, this thesis conducts translation research on the English translation of the famous writer Yang Xianyi, analyzing whether the translation is functionally equivalent to the original text and construe the English translation of prose from the lexical, syntactic, and semantic level to try to explore the translation strategies, styles and methods of Kong I-Chi which aims to explain the functional equivalents in Lu Xun's short novel translation.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Functional Equivalence Theory; Lu Xun; Kong I-Chi;translation method&lt;br /&gt;
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===Introduction===&lt;br /&gt;
This chapter will be expanded with respect to the research background, its significance and the methodology. The literature review will also be included which describes the previous studies on the Functional Equivalence Theory and previous translation versions of ''Kong I-Chi''.&lt;br /&gt;
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'''Research Background and Significance'''&lt;br /&gt;
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As the most famous writer in modern China, Lu Xun has a decisive bearing on the modern history of Chinese literature. Lu Xun settled in a period of transformation in Chinese literature. His short stories are different from modern short stories in terms of text and expression. ''Kong I-Chi'' was written in 1918 when there was a turmoil in China. At that time, although the imperial examination system had been abolished, the education system had not changed, and many scholars had not shaken off the shackles of feudal tenets. &lt;br /&gt;
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''Kong I-Chi'' enjoys high reputation at home and abroad and has been translated into English, Japanese, French, Russian and other languages. Compared with other language versions, the English versions enjoy a wider spread and have deeper influence. In 1954, the couple Yang and Dai translated it into English and published Selected Stories of Lu Xun in which ''Kong I-Chi'' was included. Yang Xianyi and his wife Gladys Yang are great translator beyond all doubt. They are knowledgeable and familiar with Chinese and Western cultures also have devoted their life to translating excellent Chinese and Western literary works. Through their translation, we can better master the author's own novel intentions.&lt;br /&gt;
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'''Methodology'''&lt;br /&gt;
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In recent years, the translation of traditional Chinese literary works was attached great significance by both Chinese and foreign scholars. As an important part of ancient Chinese culture, though, it is a common genre in Chinese and foreign literature, the short novels cannot be neglected. For translators, how to deal with the modern and balance Chinese and Western cultural differences has become a salient problem. It is not only necessary to understand the characteristics of modern Chinese literature, but also to be very familiar with Chinese and Western cultures for the translator. Functional Equivalence Theory is put forward by American linguists Eugene Nida. According to him, two different languages represent two different cultures which will never be the same, but translation is a kind of communication between the two cultures and translators should try their best to achieve functional equivalence between the two languages rather than seek for rigid correspondence when making translation, which can accurately reproduce the source culture in the target language and eliminate cultural differences. It puts forward a new attitude to treat different languages and cultures, promoting language communication and mutual understandings among people. Thus, taking Nida’s theory as guidance, this research is meaningful not only for translation studies, but also for cultural exchanges.&lt;br /&gt;
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'''Literature Review'''&lt;br /&gt;
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As one of Nida’s major contribution to contemporary translation studies, Functional Equivalence Theory has brought about heated discussion among scholars at home and abroad since its birth. Many momentous works of Nida also have been translated and introduced into China, such as Nida on Translation edited and translated by Tan Zaixi (1999) and Language and Translation translated by Cai Yi (1985) which of them aroused great repercussions in Chinese translation field. As the prototypical member of Functional Equivalence Theory, receptor’s response theory draws scholars’ attention. Zhang Xiujuan (2015) points out that “receptor’s response theory breaks the tradition of Chinese translation that translators pay much attention to the text but may ignore the response of readers, and provides a new perspective for Chinese scholars to make studies on translation theories”.&lt;br /&gt;
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Kong I-Chi, as the most typical character in Lu Xun's novels in the teaching textbooks of Chinese junior high school students, has left an indelible impression in the hearts of Chinese people. The most recognized translators of ''Kong I-Chi'' include Yang and Dai, Lyle William and Edgar Snow. The translation of Lu Xun's novels during the period of Yang and Dai reach its heyday. For a long time, domestic and foreign publishing houses have published works translated by the couple. Since Edgar Snow lived in the same age as Lu Xun, his translation is closer to Lu Xun's life background. It wasn't until 1990 that the American scholar William Lyell's new American translation was published, and the new stage of the English translation of Lu Xun's novels began. The British English version translated by Yang and Dai is elegant and idiomatic, giving readers the good impression of pure British English.&lt;br /&gt;
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=== Theoretical Framework: Nida’s Functional Equivalence Theory ===&lt;br /&gt;
==== Introduction of Functional Equivalence Theory ==== &lt;br /&gt;
===== The Original of Functional Equivalence Theory  =====&lt;br /&gt;
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Nida's main academic activities unfold around the translation of the Bible. In the process of &amp;quot;Bible&amp;quot; translation, Nida started from reality and developed a set of his own translation theory, which eventually became one of the classics in translation studies. In 1964, Nida (1964) put forward “dynamic equivalence” in ''Toward a Science of Translating'', and gave it specific definition in ''The Theory and Practice of Translation'' (1969). In the mid-1980s, “dynamic equivalence” was replaced by “functional equivalence” to avoid misunderstandings on the term “dynamic”, which was the origin of Functional Equivalence Theory.&lt;br /&gt;
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=====The Development of Functional Equivalence Theory  =====&lt;br /&gt;
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The most important and the most intractable part in Functional Equivalence Theory is the disposal of message. The theory requires that the message in receptor’s language must be consistent with the source language. In such a translation, translators should strive to “reproduce as literally and meaningfully as possible the form and content of the original” (Nida 1964:159). Later he successfully applied the research results of modern linguistics to translation theory which also reciprocally pushed his theory forward. There are three stages in the development of Functional Equivalence Theory.&lt;br /&gt;
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The first stage is that starting from the essence of language; he used semantic theory to make an objective and accurate analysis of the referent and associative meaning of words. In Nida's point of view, various language structures have great similarities, and the deep structure is far more common than the surface structure. Therefore, the translation of the deep structure between languages can ensure the fidelity of the translation to the greatest extent. At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensue smoothness of the translation as much as possible. The faithful and fluent translation presupposes conditions for the equivalence of receptor’s response, which makes it possible to realize functional equivalence.&lt;br /&gt;
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The second stage is that the theory was prone to lay its foundation on information theory. Nida held the view that translation is the activity of converting information expressed in one language into information in another language, which is, converting information of one code into information of another code. The translation plays a communicative role in transmitting information. Only when the target reader obtains the same amount of information as the original reader can the relationship between the target language recipient and the target language information be basically the same as the relationship between the original language recipient and the original source information. Nida noticed that there is a receptive gap between the original reader and target reader especially when the original language and the target language belong to different language families and different cultures. Thus, in order to improve the amount of the receptor’s information as much as the original reader’s, Nida emphasizes the translator can moderately change the form of the original text to provide a better understanding for receptors.&lt;br /&gt;
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On third stage, Nida tended to embellish his theory from the perspective of social semiotics. Nida insisted that the translation means translation meaning, and semiotics is the most comprehensive system for analyzing meaning. In the book &amp;quot;''Language, Culture, and Translation''&amp;quot;, Nida pointed out that social semiotics studies all codes and codes of human society, and its focus is on the most comprehensive and complex symbol system used by mankind-Language. Therefore, in terms of decoding and encoding, no translation method is as comprehensive as the social semiotic translation method.&lt;br /&gt;
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Nida also recognized that there would never be complete equivalence and it was just a quaesitum. With further development of Functional Equivalence Theory, he thought that it has different degrees of adequacy and on that basis he put forward two levels of functional equivalence — the maximal level and the minimal level of equivalence. The former refers to “the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did” (Nida 1993:118), but this is just an ideal state which cannot be achieved especially when there are huge cultural and aesthetic differences between the two languages. While the latter means “the readers of a translated text should be able to comprehend it to point that they can conceive of how the original readers of the text must have understood and appreciated it” (Nida 1993: 118), and translation below this level can never be accepted. According to Nida, if a translation is between these two levels, it can be regarded as a good one.&lt;br /&gt;
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==== Basics of Functional Equivalence Theory  ==== &lt;br /&gt;
=====Receptor’s Response  =====&lt;br /&gt;
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In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s responce. When translators are working on translation, they are increasingly unable to ignore the reader's feedback on the translation. From the perspective of reception aesthetics, translation theorist Nida said that only when the reader accepts the translation can the translation be truly completed. Therefore, when translating, the translator cannot ignore the acceptability of the translation. The translator builds a bridge between the original author and the reader of the target language through translation, and it is the translation that can clearly reflect this bridge role.&lt;br /&gt;
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Receptor’s Response Theory draws attention to the reader and the reading process, rather than the author or the text. Pat Mora and James Welch define it as: &amp;quot;The theory emphasizes the importance of the reader's role in text understanding.&amp;quot; The same description also appears in many of Nida’s works in which the importance of “receptor’s response” is emphasized repeatedly. &lt;br /&gt;
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There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which was pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information need to be filled in by the reader himself. Such uncertainty occupies another very important position in this theory. This concept includes those vague factors, such as gaps and blanks. This kind of uncertainty encourages readers to add their own ideas when reading, so there is usually more than one understanding of a literal work. The third point is implicit reader also proposed by Isel, as opposed to the actual reader, which refers to the intended reader set by the writer himself who can concretize the text. Isel points out that the implicit reader is not the actual reader, but a reader that the author expects to design in the creative process, that is, the implicit recipient. It is a certain character that the artist conceives and pre-sets based on his experience or hobbies. The forth part is the identity theme. In other words, the work itself has no fixed objective meaning; only when the reader reshapes the work out of his own identity theme and the reader replicates his own fantasies during the reading process, the work can be given meaning. The last point is the interpretative group which was put forward by Stanley Fish. It refers to people who share the same interpretation strategy as we have. In a known context or reader group, the interpretation of the work meaning is the product from the group.&lt;br /&gt;
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===== Principles for Producing Functional Equivalence  =====&lt;br /&gt;
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To achieve the closest natural equivalence between the source language and target language, Nida put forward six principles as the guidance of different kinds and degrees of adjustments:&lt;br /&gt;
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1.	When the translation that strictly keeps the form of the source text makes receptors misunderstand the designative meaning, changes need to be made in the translated text, or a footnote should be added for further explanation if literal translation is still be selected.&lt;br /&gt;
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2.	When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aim to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.&lt;br /&gt;
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3.	When the translation that strictly keeps the form of the source text is so semantically and syntactically difficult that average readers may give up the attempt to understand it, changes should be made in the translated text and the nature of the changes needs to be indicated in the introduction or footnote.&lt;br /&gt;
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4.	When the translation that strictly keeps the form of the source text causes significant misconceptions on the associative meanings of the source text or huge loss in the appreciation for the stylistic values of the source text, changes should be made to reflect the associative meanings of the source text.&lt;br /&gt;
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5.	The way that a translation is to be used (such as a drama to be read or acted on the stage) is of great significance to the extent to which changes are to be made.&lt;br /&gt;
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6.	A source text that must be translated together with accompanying codes (such as songs and operas) generally requires numerous adjustments in all aspects, including phonology, lexicon, syntax, and discourse. (Nida 1993: 125-128).&lt;br /&gt;
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=== Introduction to Lu Xun and ''Kong I-Ch''i  === &lt;br /&gt;
==== Lu Xun and the values of ''Kong I-Chi'' ====&lt;br /&gt;
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To read and translate Kong I-Chi, you must first understand its author-Lu Xun.&lt;br /&gt;
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Lu Xun is a great writer. Mentioning classical literary works, no matter what innovative methods are adopted, whether realistic, romantic, or magical, the content should be close to life, reflect the reality of times and speak for the people. In terms of form, literary works should conform to the inherent rules of literary creation-forming a unique artistic style and achieving the perfect unity of truth, goodness, and beauty. Lu Xun's works fully meet the above requirements. &lt;br /&gt;
Lu Xun is also a famous thinker. Indeed, Lu Xun did not specifically study thinking or modes of thinking, nor did he have advanced theoretical monographs, but he, like thinkers in ancient and modern times, both at home and abroad, used suspicion and criticism as spiritual swords to explore truth and reveal. He held the view that it was his duty to awaken the sleeping souls of the Chinese people with literary works of various genres. The depth and breadth of his thinking is even higher than that of some contemporary thinkers. This is well reflected in his work Kong I-Chi.&lt;br /&gt;
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Lu Xun, who is a revolutionary, has a precious characteristic, that is, the purity of his revolutionary original intention. Lu Xun leaned towards socialism under the white horror of the low ebb of the Chinese revolution. What's more commendable is that as a sober realist, Lu Xun never conceives any romantic illusions about the revolution. No matter what difficulties the revolution encounters, Lu Xun always has an optimistic belief in the prospects of the revolution.&lt;br /&gt;
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From a general perspective, Lunatic's Diary is more macro and image specific than Kong I-Chi, while Kong I-Chi starts from the micro level, depicting the poor people at the bottom of society who was bullied and oppressed and lost their dignity as human beings. In addition, there are many opinions in the critics. For example, Mr. Lu Xun's Kong I-Chi was written to criticize the feudal imperial examination system, and some people think that it was sent out to criticize the “dark” old society. The famous critic Lin Zhihao believes that this novel is not only to assail at the corruption of the feudal imperial examination system, but also to reveal the persecution of people’s spiritual and ideology by the feudal education system in the dark old society. The social reality was that most scholars had been ruthlessly “eaten” up by the environment. When the shackles of thinking have been broken, we can dig into the deep meaning under the surface of Kong I-Chi, that is, the process of literati's loss of personality and the process of redemption under the background of the dark society of feudalism. Although the tragedy is redemptive, the process is also accompanied by a fall.&lt;br /&gt;
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==== Study on the Translation of ''Kong I-Chi''  ====&lt;br /&gt;
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''Kong I-Chi'' is a masterpiece of Lu Xun. The novel was created in the winter of 1918, published in the sixth volume of &amp;quot;''Italic text''New Youth&amp;quot; in April 1919. (刘家鸣1992: 15). ''Kong I-Chi'' is Lu Xun's most satisfying work (孙伏园等2000: 58), and it is also one of Lu Xun's novels that English translators are vying to translate resulting in an amount of English translation. &lt;br /&gt;
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So far, there are eight translations of ''Kong I-Chi'': 1)A British man E.H.F.Mills translated ''Con Y Ki'' from Jing Yinyu's French translation (Mills 1930: 42-50), included in ''The Tragedy of Ah Q and Other Contemporary Chinese Short Stories'' published by George Rutridge Bookstore in London in 1930; 2) The English translation of ''K’ung I-chi'' by the American Jin Shouzhuo (G.A.Kennedy 1932: 14-15), which was later included in ''Isaacs'' (Isaacs 1974: 25-32) edited by Yi Luosheng; 3) ''K’ung I-chi'' translated by Lin Jijin (Lin 1935:3-4); 4) Unsigned version of The Tragedy of ''K'ung I-Chi'' (Anonymous 1936: 2-3); 5) ''K’ung I-chi'' was co-translated by American journalists Edgar Snow and Yao Xinnong; 6) later comes to Yang Xianyi and Gladys's translation ''K'ung I-chi'' (hereinafter referred to as &amp;quot;Yang Translation&amp;quot;) (Yang &amp;amp; Gladys 1960: 40-46); 7)Then, famous American sinologist William Lyell translated ''Kong Yiji'' (Lyell 1990: 42-48); 8) other translation of ''Kong Yiji'' was produced by British sinologist Lan Shiling ( Lovell 2009: 32-36).&lt;br /&gt;
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This article focuses on Yang's translation, trying to explore Yang and Dai's translation strategies, styles and methods of ''Kong I-Chi'' from the lexical, syntactic and semantic levels, and aims to explain the functional equivalence in the English translation of Lu Xun's short stories.&lt;br /&gt;
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=== Analysis of the Translation of ''Kong I-Chi'' from the Perspective of Functional Equivalence  === &lt;br /&gt;
==== Lexical Analysis ====&lt;br /&gt;
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There are many cultural-loaded words in the original Kong I-Chi text, such as this. Culture-loaded words are deeply imprinted by the region and era of a certain language society which express things and concepts peculiar to a certain culture. Such words as “进学” and “秀才” not only carry rich cultural connotations, but also exist only in a certain culture which may be blank in another culture. It is this characteristic which is “I have and you do not have” that often becomes an obstacle to cross-cultural communication and translation. From the perspective of Functional Equivalence, this thesis will analyze how these words are handled in Yang's translation.&lt;br /&gt;
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In the sentence “幸亏荐头的情面大，辞退不得”, the word “荐头” was translated into “someone influential” by Yang and Dai. “荐头” is the person who introduces works to other people in ancient China. Such person is absolutely influential. But for reader, such influential people may be a nobleman or someone who is very authoritative in the area which may result in discrimination. The job introducers also can be regarded as common people instead of the influential. From the perspective of Functional Equivalence, Yang’s translation explicitly showed the deep meaning with loss of cultural characteristic.&lt;br /&gt;
The phrase “之乎者也” was translated into “archaisms” which stands for the use of an archaic expression. In Chinese, the original meaning of “之乎者也” is four auxiliary words commonly used in classical Chinese. Therefore, the word &amp;quot;之乎&amp;quot; also refers to the basic abilities that a scholar should possess. Later, it is used to ridicule the scholar who only knows how to analyze words while cannot solve practical problems. Functional equivalence theory requires efforts to create translations that not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. The word “archaisms” corresponds exactly to the description of Kong I-Chi in Lu Xun’s story who is a nerd.&lt;br /&gt;
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Other prototypical cultural-loaded word is “进学”. Yang translated it into “pass the official examination”. As a link in the imperial examination system in ancient China, “进学” means that the children of the Qing dynasties who can pass the examination will be admitted to the prefectural and county schools. Such system is unique to China. To achieve functional equivalence, that is, to allow non-native readers to understand this special cultural mark, the translator must explain this cultural phenomenon as much as possible or find a corresponding expression in the foreign language culture. The same in the word “秀才” on this sentence “你怎的连半个秀才也捞不到呢?” “秀才” also belong to the imperial system. “秀才” is a subject for selecting officials in ancient China, and it was once used as a special name for school students. Yang translated it into “passed the lowest official examination”. As the minimum requirement of the ancient imperial examination system, those who passed the selection examination were called  “秀才”. According to Nida’s theory, it perfectly expresses the ancient Chinese imperial examination system, and at the same time allows foreign language readers to understand Kong I-Chi’s knowledge background.&lt;br /&gt;
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==== Syntax Analysis ====&lt;br /&gt;
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In terms of syntax, the differences in sentence patterns between English and Chinese are the most salient. English emphasizes hypothesis while Chinese emphasizes parataxis, which leads to the conversion of sentence patterns in the process of translation. According to Nida's Functional Equivalence Theory, if the change in form is still insufficient to express the meaning and culture of the original text, the translation technique of &amp;quot;reconstruction&amp;quot; can be used to resolve cultural differences and make the source language and the target language equal in meaning. &amp;quot;Reconstruction&amp;quot; refers to the conversion of the deep structure of the source language into the surface structure of the target language (郭建中,2000 , P67), that is, the cultural connotation of the source language article is explained by the vocabulary of the target language.&lt;br /&gt;
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In ''Kong I-Chi'', when Kong I-Chi took our his money and ordered some food, other people started to sneer at his revenue sources and said “你一定又偷了人家东西了!” The exclamatory sentence in the original text showed others' affirmation of Kong I-Chi's theft. Yang translated it into “You must have been stealing again!” Here we can notice the tense of the two sentences. Lu Xun used the past tense in original text, which expresses that Kong I-Chi's stealing is an established fact. However, Yang used the present perfect continuous tense when translating. In English, the present perfect continuous tense manifests that something the subject has done in the past is still being done, and may continue in the future, expressing the continuation of an action. There is no need to add any other additional descriptions, just from this tense, readers can realize everyone's thoughts on Kong I-Chi's theft. Such reconstruction of tense verifies the application of Functional Equivalence Theory in turn.&lt;br /&gt;
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Afterwards, these people who deprecated him refuted Kong I-Chi's maintenance of himself, saying: “什么清白?” In Yang's translation, it is translated as “Pooh, good name indeed!” In the original text, it is originally an interrogative sentence, but Yang transformed it into an exclamation sentence, added English slang “pooh” in it and translated “清白” into good name. If the interrogative sentence in the original text is literally translated into &amp;quot;what’s the innocence&amp;quot;, the comic effect, that is, everyone's disdain for Kong I-Chi in the exclamatory sentence will not be achieved. The sentiment contained in the original text is successfully conveyed through the conversion of sentence patterns.&lt;br /&gt;
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When describing Kong I-Chi’s knowledge background, the original text mentioned: “幸而写得一笔好字，便替人家钞钞书”. In Yang’s translation, he didn’t directly translate it into a verb phrase instead of into a noun phrase which was “Happily, he was a good calligrapher.” Knowing the characteristics of English and Chinese languages, he metonymically recreated dynamic Chinese verb clauses into static noun clauses.&lt;br /&gt;
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==== Semantic Analysis ====&lt;br /&gt;
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How to eliminate cultural differences as much as possible so that the semantics of the original language can be perfectly embodied? From the perspective of Functional Equivalence Theory, the translator needs to transform the deep structure of the source language into the surface structure of the target language which requires translator to use the corresponding vocabulary in the target language to directly explain the connotation of the original text, so that the target readers can accept the translation more easily. For example, in the original text, the sentence “因为他姓孔，别人便从描红纸上的 ‘上大人孔乙己’这半懂不懂的话里，替他取下一个绰号，叫作孔乙己” includes an allusion: 上大人孔乙己 which refers to a character in the card game popular in ancient China. In such card game, the characters always are drawn in a red paper. For children in ancient China, the card game was easy to play and was a childhood memory.&lt;br /&gt;
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In Yang’s translation, he translated it into “As his surname was Kung, he was nicknamed ‘Kung I-chi’, the first three characters in a children's copybook.” Such translation omits a lot of information from the original text, such as “描红纸上” and “半懂不懂”. But Yang gave a substitute for the omission: he explained the game allusion about children which can be regarded as a strategy that helps foreign readers better understand how Kong I-Chi comes. &lt;br /&gt;
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Another illustration is the translation of this sentence: “孔乙己，你当真认识字么？” It seems fairly easy for common people to translate it with “Kong I-Chi, do you really know words?” , while Yang gave a different version: “Kung I-chi, do you really know how to read?” In our cognitive concepts, if a man knows how to read a word, then he must know this word. But if he knows the word, he may not only know how to read it, but even know how to write it. Such special mechanism is called conceptual metonymy. Yang metonymically narrowed the scope of the meaning of the word “认识”and accurately positioned the meaning of this understanding according to the context. The translator abandons the equivalence of form and achieves the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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This article selects Yang’s translation of &amp;quot;''Kong I-Chi''&amp;quot; as the study case, and analyzes the translation effect from three aspects: lexicon, syntax and semantics, combined with Nida’s Functional Equivalence Theory. It is believed that the translator flexibly uses a variety of translation methods to deal with the differences between English and Chinese languages, and the translation has realized functional equivalence as a whole.&lt;br /&gt;
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At the lexical level, the translator adopts the naturalization method when translating the proper nouns of &amp;quot; ''Kong I-Chi'' &amp;quot;, adding notes to individual words. The translation perfectly conveys the meaning of the original vocabulary. &lt;br /&gt;
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At the syntactic level, when there are differences in the expression of English and Chinese sentences, the translator will split the sentence, adjust the subject and object of the sentence, change the sentence structure and the sentence order to make the translation conform to the expression of the target language where the translation is smooth and natural. When translating the allusions of &amp;quot; ''Kong I-Chi'' &amp;quot;, the translator adopts literal translation and annotations. &lt;br /&gt;
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In terms of semantics, the translator uses the mechanism of conceptual metaphors to accurately show the original flavor.&lt;br /&gt;
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This article believes that the success of Yang’s English translation of &amp;quot;''Kong I-Chi''&amp;quot; lies in its fluent, natural language and exotic flavor. The author and translator of &amp;quot; ''Kong I-Chi'' &amp;quot; are both famous artists. The translation case from the English translation of &amp;quot;''Kong I-Chi''&amp;quot; reflects the practical application of the Functional Equivalence Theory in Lu Xun's novels. The writer also hopes that this thesis can provide ideas and inspirations for the English translation of other Lu Xun's novels.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Nida E.A. ''Language and Culture: Contexts in translating''. Shanghai: Shanghai Foreign Language Education Press.2001. &lt;br /&gt;
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[2]Nida, Eugene A.1964. Towardsa ''Science of Translating'', Leiden: E.J.Brill. &lt;br /&gt;
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[3]Nida, Eugene A.&amp;amp;Charles R.Taber, 1969, ''The Theory and Practice of Translation'', Leiden: E.J.Brill&lt;br /&gt;
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[4]鲁迅Lu Xun.鲁迅全集(第一卷)Selected Work of Lu Xun(volume Ⅰ）[M].北京Beijing:人民文学出版社People's Literature Publishing House ,1982.&lt;br /&gt;
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[5]谭载喜Tan Zaixi．新编奈达论翻译New Nida's Translation[M]．北京Beijing：中国对外翻译出版公司China Translation &amp;amp; Publishing Corporation，1999.&lt;br /&gt;
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[6]杨坚定Yang Jianding，孙鸿仁Sun Hongren．鲁迅小说英译版本综述A Summary of the English Versions of Lu Xun's Novels[J]．鲁迅研究月刊Lu Xun Research Monthly，2021(4)．&lt;br /&gt;
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[7]伊塞尔Iser.本文中的读者 Readers in this article[A]．二十世纪西方美学名著选（下）Selected Works of Western Aesthetics in the Twentieth Century (Part 2)[C]．上海Shanghai：复旦大学出版社Fudan University press,1998.&lt;br /&gt;
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[8]杨宪益.Yang Xianyi,戴乃迭 Dai Naidie译.鲁迅选集英文版(一) Selected Works of Lu Xun (1)[M].北京:外文出版社 Beijing: Foreign Languages Press,1980.&lt;br /&gt;
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[9]https://baike.baidu.com/item/%E5%8A%9F%E8%83%BD%E5%AF%B9%E7%AD%89%E7%90%86%E8%AE%BA/3373397?fr=aladdin&lt;br /&gt;
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[10]https://www.zhihu.com/question/29965932&lt;br /&gt;
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=颜子涵 Translation methods and strategies applicable to the style of biographical literature -- Taking Incidents in Life of Slave Girl (excerpt) as an example=&lt;br /&gt;
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[[Trans_Type_EN_8]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
The translated text of this article is a part of the English biography Incidents in Life of Slave Gir. The author of this work is Harriet Jacobs. This translation mainly takes the translation functional equivalence theory of American linguist Eugene A.Nida as the theoretical framework, adopts some translation skills in translation practice, and discusses the translation skills and Strategies of Chinese translation of such texts by analyzing the stylistic characteristics of biographical literature, especially African American autobiography. Through the Chinese translation of this autobiography, we can have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Autobiographical Literature; Black female slaves; Translation methods and Strategies&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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This paper is divided into four parts. The first part is an overview of the translation project, which mainly introduces the relevant situation of the translation project, the author and works of the translated text; The second part is the preliminary preparation of translation, including project text analysis and translation plan formulation; The third part, translation theory and case analysis, including functional equivalence theory, translation strategies and case analysis; The fourth part is the summary of the project, mainly on the problems encountered in translation, the experience and inspiration gained in the process of translation.&lt;br /&gt;
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This work belongs to the category of biographical literature. Biographical literature is a literary genre in which the author reproduces the characters' life stories and experiences, shows the characters' spiritual outlook and values, and depicts the characters' distinct love and hate and vivid personality through documentary writing and a variety of literary and artistic techniques. There are more than 50 characters involved in the biography. In the author's works, these characters are very vivid, such as the forbearance of a strong grandmother to the slave owner, the loyalty of a hard-working aunt to the slave owner, the oppression of female slaves by a crafty and sinister doctor, and the wit of Linda Brent, the heroine who pursues freedom and courage. In particular, the author's description of the heroine's seven years spent in a &amp;quot;cage&amp;quot; like cabin before she fled to the North more ruthlessly castigates the evil of slavery. The heroine's experience deeply moved her relatives and friends, including white slave owners. With the help of her relatives and friends, the heroine was able to escape to the north.&lt;br /&gt;
Taking the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework, this paper adopts the following translation skills in the process of translation: 1. The translation methods of foreignization and domestication are used to achieve partial functional equivalence between the source language and the target language, so as to reduce the lack of culture after translation. 2. According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to make the translation conform to the expression habits of the target language. 3. The methods of addition and subtraction are adopted to make the translation consistent with the original in grammar and language form, as well as in cultural background and word association. 4. The Conversion Transformation is adopted to make the translation more acceptable to the target language readers. By analyzing the stylistic characteristics of biographical literature, especially African American autobiography, the author discusses the translation skills and Strategies of Chinese translation of such texts.&lt;br /&gt;
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=== Text background===&lt;br /&gt;
From the beginning of the British northern colony to the early 20th century, blacks were brutally exploited and oppressed by the slavery system. In particular, female slaves not only had to bear heavy labor, but also suffered the destruction and abuse of supervisors. Since the publication of the first Autobiography of black slaves in 1760, some advanced elements in black slaves denounced and denounced the evils of slavery with their own experience, and made outstanding contributions to the abolition movement. The author of this work is Harriet Jacobs, whose pseudonym is Linda Brent. Born in a slave family, she fought tirelessly because she could not bear the persecution of slave owners on her and her children. After fleeing to the north, the author wrote a biography of his personal experience of being enslaved, exploited, persecuted, fleeing to the north and realizing freedom, which was published in 1861. Through the Chinese translation of this autobiography, more people have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves.&lt;br /&gt;
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===Research Purpose and Significance===&lt;br /&gt;
This autobiography of black women starts from the experience of childhood from the perspectives of black slaves and women. In the process of growing up, the author experienced different masters of good and evil. When she was a child, her hostess let the author learn to read and write. Later, she died of illness. Then the new owner, Dr. flint and his wife tortured and framed her. Later, for the freedom of her children, the author resolutely decided to flee to the north and enjoy the right to freedom with her children. In the process of pursuing freedom, he went through escape, pursuit, hiding until he went north by boat. The author selects simple but typical examples in daily life, through the description of characters' psychology and language, the contradictory struggle between the interests of opposite classes, the criminal complaint of slave trafficking, and the process of slaves fleeing to the north, reveals the slave owner's naked exploitation and fraud of slaves, and reveals the slave's sincerity, courage and longing for freedom. The simple language and narrative techniques of the work fully shape the tenacity, courage, intelligence and clear love and hate of the female slave Linda Brent, and show the readers the misfortune and suffering of many slaves.&lt;br /&gt;
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=== Translation theory and case analysis===&lt;br /&gt;
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3.1 functional equivalence theory&lt;br /&gt;
This translation practice report takes the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework. Eugene Nida is an American linguist and a famous translation theorist. From the perspective of etymology, according to the essence of translation, he put forward the famous dynamic equivalence translation theory, namely &amp;quot;functional equivalence&amp;quot;. In this theory, he pointed out that &amp;quot;translation is to reproduce the information of the source language from semantics to style in the most appropriate, natural and equivalent language&amp;quot;. He believes that translation is not only the equivalence of lexical meaning, but also the equivalence of semantic style and style. The information conveyed by translation includes both surface lexical information and deep cultural information. Equivalence in dynamic equivalence includes lexical equivalence, syntactic equivalence, textual equivalence and stylistic equivalence. Nida pointed out that the translation should be functionally equivalent to the original text. Judging whether the translation is equivalent to the original text should be based on the psychological response of the readers, that is, the translator should not only stay in the equivalence of structure and semantics, but strive to make the target readers produce the functions and effects that the original author wants to achieve through his works, so as to make the target readers after reading the translation, Get the same feelings as the original readers, and make translation really become a converter of thoughts, feelings and cultural information. Therefore, in literary translation, according to Nida's theory, the translator should take the four aspects of dynamic equivalence as the translation principle to accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
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The core of Nida's functional equivalence theory is &amp;quot;content is greater than form&amp;quot;, which emphasizes that when there is a conflict between content and form, content must precede form (Nida, 2004:203). Due to the differences between Chinese and Western ways of thinking and logical habits, in order to make the translation conform to the habits of readers in the target country and make it easier for readers in the target country to accept, the author has adopted different translation methods and strategies. According to the specific content of Nida theory, this paper intends to analyze its application in English-Chinese translation practice from four aspects. 1、 According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to achieve lexical semantic equivalence between the source language and the target language; second, addition and subtraction and part of speech conversion are used to make the translation conform to the expression habits of target slogans in grammar and language form and consistent with the original text in terms of cultural background and word association; third, forward and reverse translation is used to reproduce the original text Fourth, for the long and difficult sentences of the original text, the translation methods such as reorganization, sentence splitting and merging are adopted to make the language expression forms of the translation more rich and diverse, and more easily accepted by the target language readers.&lt;br /&gt;
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3.2 translation skills and case analysis&lt;br /&gt;
When translating vocabulary, the author mostly adopts the literal translation method to convey the information of the original text more accurately. If the meaning of the translation is not accurate enough or does not conform to the Chinese expression habits after the literal translation, the author adopts the free translation method, while for the long and difficult sentences with complex structure, the translational translation method and split method are adopted to make them conform to the Chinese expression habits and more acceptable to the readers.&lt;br /&gt;
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=== Translation skills, methods and case studies===&lt;br /&gt;
Case 1: literal translation and free translation to achieve semantic equivalence in vocabularyIn the process of translation, it is the basic quality of every translator to correctly express the source language in the target language. In order to achieve this goal, the translator must start with the smallest unit of the source language—vocabulary. In project translation, the author follows the functional translation theory and pursues semantic equivalence. First, we must ensure the equivalence of lexical meaning. The author mainly discusses the semantic equivalence of words from two aspects: literal translation and free translation.&lt;br /&gt;
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1. Literal translation  &lt;br /&gt;
Literal translation emphasizes the consistency between the original text and the translation in form and content, which helps to maintain the style of the original text. Literal translation is not a dead translation, a hard translation, or a literal translation. Literal translation emphasizes retaining its form and reaching its meaning.&lt;br /&gt;
The example 1:&lt;br /&gt;
“Nothing could please her better than to see me humbled and trampled upon” is literally translated as ”没有什么比看到我恭顺谦卑、任人践踏更让她快活啦。”&lt;br /&gt;
Analysis: in this sentence, humbled and trampled upon is used to express the due psychology and living state of slaves in the eyes of slave owners. Here, it can be translated into obedience, humility and trampling, which can reflect the coldness of slave owners and the misery of slaves.&lt;br /&gt;
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2. Free translation&lt;br /&gt;
Paraphrase emphasizes divine similarity. When the original text is quite different from the translation in terms of lexical meaning, syntactic structure and style, it can not be confined to the original text. Free translation should be adopted to explain the form of the original language in another language form, so as to correctly express the ideological thrust of the original text. Free translation should conform to the grammatical norms and expression habits of the target language, so as to make the translation more fluent and natural. Free translation is not arbitrary addition and deletion, nor random translation. Free translation emphasizes &amp;quot;preaching its spirit&amp;quot; rather than &amp;quot;retaining its shape&amp;quot;. The work belongs to biographical literature. There are great differences between the source language culture and the target language culture. The translator can not adhere to literal translation from beginning to end, but should carry out free translation according to needs, so as to achieve better translation effect.&lt;br /&gt;
The example 2:&lt;br /&gt;
I resolved to give him no cause to accuse me of being too much of a lady, so far as work was concerned.&lt;br /&gt;
literal translation: 就工作而言，我决心让他找不到口实指责我过分淑女。&lt;br /&gt;
free translation: 就工作而言，我决心让他找不到口实指责我养尊处优。&lt;br /&gt;
Analysis: a lady originally means 女士或优雅的女子. Too much of a lady is often understood as 十分优雅. Because the author could read and write and looked dignified, he had not done heavy work like other slaves before, &amp;quot;I&amp;quot; guessed that the young master was disgusted with it. Here, too much of a lady is translated by free translation, which reflects the inner contempt of the young master for &amp;quot;me&amp;quot;.&lt;br /&gt;
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Case 2: addition, subtraction and part of speech conversion make the translation achieve sentence meaning equivalence, which is in line with the expression habit of the target language.&lt;br /&gt;
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3. Additional translation&lt;br /&gt;
The example 4:&lt;br /&gt;
One day, she sat under the window where I was at work, crying that weary cry which makes a mother's heart bleed. &lt;br /&gt;
&lt;br /&gt;
一天，她就坐在我干活的那个房间的窗户外哭，哭得声嘶力竭让任何一个做母亲的心里流血。&lt;br /&gt;
Analysis: A mother literally means &amp;quot;一个母亲&amp;quot;, but the following clause is translated into &amp;quot;哭得声嘶力竭让一个母亲的心里流血&amp;quot;. The emotion of the translation is weak. In this article, &amp;quot;I&amp;quot; as a slave must work and can't take into account children and family affection, because in the slave owner's view, slaves are low animals and don't deserve feelings. Although I heard my daughter crying, I couldn't get over it. Any mother would be distressed to hear her daughter's cry. In order to make up for the lack of emotion in literal translation, the method of additional translation should be adopted here, which is translated as &amp;quot;任何一个母亲&amp;quot;&lt;br /&gt;
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4. Omission &lt;br /&gt;
The example 5:&lt;br /&gt;
The doctor stamped his foot at him in a rage, and exclaimed, &amp;quot;Get out of the way, you little damned rascal! If you don't, I'll cut off your head.&amp;quot;&lt;br /&gt;
translated text：医生愤怒地跺了他一脚，厉声说道：“滚开!他妈的小坏蛋，如果不听话，我把你的头砍下来!”&lt;br /&gt;
&lt;br /&gt;
Analysis: Dr. flint twice went to the north to pursue the fugitive slave &amp;quot;I&amp;quot; without success. He spent a lot of money and was full of anger. At this time, my son asked him if he had brought his mother back. Dr. flint stamped his feet angrily, scolded and threatened the child. Through the vivid description of Dr. Flint's body movements and language, his angry image jumped onto the paper,In order to achieve the same effect and achieve the equivalence of language style, the author uses even verbs according to the original &amp;quot;stamped his foot at him in a rage, and exclaimed&amp;quot; and translates it into &amp;quot;stamp his foot angrily and say&amp;quot; you little damned rascal!!! &amp;quot;It is also a typical strong adult's words towards weak children. In order to be concise and powerful, the author omits &amp;quot;you&amp;quot; and translates it into &amp;quot;他妈的小坏蛋&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
The example 6:&lt;br /&gt;
But when winter came, the cold penetrated through the thin shingle roof, and I was dreadfully chilled.&lt;br /&gt;
translated text：上次遭遇蛇咬，现在我对蛇更惧怕了，踏上这个藏身的地方，我不由心惊胆颤。&lt;br /&gt;
&lt;br /&gt;
Analysis: My fear of snakes is literally translated as &amp;quot;我对蛇的恐惧&amp;quot;, and the subject of the following clause is &amp;quot;我&amp;quot;. In order to give the target readers a unified reading perspective, my fear of snakes had been increased is translated as: 我对蛇更惧怕了. By transforming the noun of fear into a verb, the translation is more concise and more in line with Chinese expression habits than literal translation.&lt;br /&gt;
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Case 3: The stylistic style of the original text is reproduced by positive and negative translation.&lt;br /&gt;
5.The Positive and Negative Translation&lt;br /&gt;
The example 7:Nobody respects a mother who forsakes her children; and if you leave them, you will never have a happy moment.&lt;br /&gt;
translated text 1：没有人尊重抛弃孩子的母亲，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
translated text 2：抛弃孩子的母亲会遭人唾弃，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
&lt;br /&gt;
Analysis: This sentence contains a negative indefinite pronoun—nobody. In translation text 1, the first half of the original text (Nobody respects a mother who forsakes her children) is translated into &amp;quot;没有人尊重抛弃孩子的母亲&amp;quot;. Although the meaning is translated, the expression is not authentic. Translation text 2 uses the positive and negative translation method to change negative into positive, and “Nobody respects” into &amp;quot;being despised&amp;quot; can better express the speaker's (my grandmother's) eagerness to oppose &amp;quot;I&amp;quot; to escape.&lt;br /&gt;
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Case 4:The translation methods of reorganization, sentence splitting and merging are adopted to make the translation conform to the expression habits of the target language&lt;br /&gt;
There are great differences between English and Chinese syntactic structures. English is a linear language. Its syntax takes the subject predicate structure as the central axis, while other components form branch lines in the form of branches and connect with the main axis through connectives. The logical relationship between sentences tends to be explicit,; Chinese is more parataxis, and the combination between the components in a sentence or between sentences mostly depends on the connection of semantics and uses fewer connectives. Chinese sentences are arranged under the command of theme, that is, the structure of &amp;quot;topic description&amp;quot; has various forms and free combination. The logical relationship between sentences is more implicit (Yang Lin, 2007: Preface). There are few logical relational words between clauses and between sentences. Therefore, the author adopts the reorganization method, combining syntax and disassembling syntax to realize the semantic equivalence of sentences, and studies the influence of sentence structure on the translation. The significance is to better guide the translation practice.&lt;br /&gt;
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5.Recasting&lt;br /&gt;
The example 7: This was the good old lady who paid fifty dollars for my grandmother, for the purpose of making her free, when she stood on the auction block.&lt;br /&gt;
translated text：这个老太太是个好人，当年外祖母站在拍卖台上，为了让外祖母获得自由她花五十美元买下了我的外祖母。&lt;br /&gt;
&lt;br /&gt;
Analysis: The original text contains two compound structures, one is an attributive clause, the other is a time adverbial clause. Because Chinese sentences are constructed according to the law of logical order, the word order is arranged according to the actual sequence and event order, which is divided into sequence in time, and pay attention to the causality in logic. The author adjusts the time adverbial clause to the front, first explain the time, then explain the reason, and finally the result. This reorganized translation plays an important role in shaping the relationship between sentences, which is in line with the characteristics of Chinese sentence structure.&lt;br /&gt;
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6.Sentence-combining&lt;br /&gt;
The example 8: There was joy and there was sadness in the sound. It made my tears flow.&lt;br /&gt;
translated text：无论是哭声还是笑声都会让我泪流满面。&lt;br /&gt;
&lt;br /&gt;
Analysis: The original text is two sentences. Considering the close causal relationship between the two sentences, the author adopts the translation method of combined sentence to translate it into one sentence, so that the target language readers can read it more naturally.&lt;br /&gt;
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&lt;br /&gt;
7.Dismantle the syntactic&lt;br /&gt;
The example 9: My hope was that the doctor would get discouraged, and, for fear of losing my value, and also of subsequently finding my children among the missing, he would consent to sell us; and I knew somebody would buy us.&lt;br /&gt;
translated text：损失一个女奴，再赔上我的两个孩子，这正是弗林特医生所担心的。他会泄气并同意卖掉我们，我知道有人会买下我们，而这正是我所希望的！  &lt;br /&gt;
&lt;br /&gt;
Analysis: When dealing with long English sentences, the method of splitting is generally used to divide the original sentence into several parts and combine them according to their internal logical relationship. The adverbial clause after the subject of “My hope” consists of three parallel sentences, the second of which has a more complex cause adverbial. The author first takes apart the subject clause, first translates the clause, and then presents the subject at the end, which is in line with the characteristics of Chinese presentation before topic.&lt;br /&gt;
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Case 5: Stylistic equivalence&lt;br /&gt;
The basic task of translation is to faithfully present the original text, so it is necessary for the translator to pursue the style of the original text. To achieve stylistic equivalence, the translator needs to analyze and identify the stylistic markers in the original. The original text contains national language characteristics, historical allusions and religious beliefs, so it has cultural differences. In translation, it should reflect the style of the original text and optimize it accordingly, so as to realize the re creation of style and adapt to the communication of the target language.&lt;br /&gt;
The original text has strong religious and cultural content, simple and pious faith, and shows their enthusiasm and passion for them. In translation, we should not only show the feeling of religious belief and culture, but also optimize the sentence style and deal with alienation appropriately, so that readers can feel the piety and understand the author's writing intention.&lt;br /&gt;
The key to shaping the problem role lies in its adaptability to the style of the original language. Only by adopting appropriate translation methods, deeply understanding the cultural background of the original text and skillfully changing the style of the original text, can the style meaning of the original text be reproduced in the target language and better reflect its charm and artistic conception.&lt;br /&gt;
In a word, a biographical text should be well expressed first to make it conform to the expression habits of the target language. First, we should deeply understand the creative intention of the original author and think of what we think from the perspective of the original author, so as to realize the central idea of the original text. The premise of translation is that the translator should have profound language and cultural skills and deeply understand the particularity of different background cultures, Have a good command of the target language, and then use it flexibly.&lt;br /&gt;
&lt;br /&gt;
The example 10: She hasn't so much feeling for her children as a cow has for its calf. If she had, she would have come back long ago, to get them out of jail, and save all this expense and trouble. &lt;br /&gt;
translated text：她对孩子的感情还不如母牛呢，母牛还知道护犊子。如果她有感情，她很久以前就会回来把他们救出去了，也就没有这些代价和麻烦了。&lt;br /&gt;
&lt;br /&gt;
Analysis: This sentence is a complaint made by Dr. Flint's wife—my mistress, about my escape. Considering that cows in Chinese culture also have the image of caring for their cubs, The author translates call “feeling for her children as a cow has for its calf” as：“母牛还知道护犊子”, This not only achieves cultural equivalence, but also sounds colloquial. On the other hand, it is in line with the speaker's identity as a mean slave owner.[He was &amp;quot;a chip of the old block.&amp;quot; If he found any slave out after nine o'clock, he could whip him as much as he liked; and that was a privilege to be coveted.如果他发现任何人九点后（宵禁时刻）跑出去，他就会抓住并鞭打此人，直到他满意为止。这是别人垂涎三尺的特权。]&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
&lt;br /&gt;
Through the development of this project, the author believes that the translation of biographical works needs to have a full understanding of the differences between Chinese and English languages and cultures, thinking habits and expression methods. Only after having an accurate understanding and grasp of the language characteristics and contents of the original text, can words and sentences be carefully selected and constantly modified and polished in the process of translation, Make it an excellent translation. The author summarizes the following points in the whole translation process:&lt;br /&gt;
The translation method of biographical text. Biographical text has both information function and expression function (Zhang Meifang, 2006). Therefore, in translation, the translator should not only correctly express the information of the original text, but also reflect the literariness of biographical literature. In view of the differences in thinking and logic between Chinese and English, different translation methods should be adopted in the translation process. For example, literal translation can be used in terms of vocabulary, so as to simply, clearly and accurately convey the meaning of the original text. If literal translation is not possible, free translation, addition or subtraction, positive and negative translation, such transformation and other methods should be adopted to strive to achieve literal semantic equivalence. In terms of sentences, according to the respective characteristics of Chinese and English sentence structures, translation skills such as reorganization, disassembly and combination of syntax are adopted in order to meet the reading habits of target language readers. Experience the language style of biographical literature. In this project, the author's narrative language is simple and simple, and do a good job in the analysis of the characteristics of biographical literature materials. For a translator, the types of material translation can be diverse, literary or scientific, so the translator must do a good job in the analysis of text materials when he gets a relatively unfamiliar translated text, Only after analyzing the materials thoroughly and finding out the characteristics can the preparatory work be done adequately. This project adopts biographical text, which is characterized by many names and place names and strong local cultural characteristics. Therefore, in order to improve the accuracy of translation, the author has made a lot of preparations before translation, including finding the author's relevant background information, relevant historical facts, as well as the folk customs at that time. With reference to the new English Chinese dictionary, the names of people and places in the text are translated uniformly. Due to sufficient preparation, these problems encountered in translation have been solved.&lt;br /&gt;
The author has two experiences in maintaining problem awareness in the translation process. &lt;br /&gt;
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First, if you encounter an uncertain word and sentence in the translation process, you should consult the relevant reference books in time or use the Internet. &lt;br /&gt;
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Second, when dealing with cultural problems, I often ask my classmates or experts in this field for advice, so as to solve the problems in time.&lt;br /&gt;
At the same time, there are some problems in the process: My translation experience is still shallow and the cultural knowledge reserve is insufficient. There are some disadvantages in this project.Because my Chinese level needs to be further improved, the translated language is still immature and not concise enough. Second, the lack of relevant knowledge leads to the fact that the unique things of foreign culture can only be translated directly and hard in translation, resulting in the stiff and rigid translation. Such as a box, covered with sheepskin, is called the gumbo box. A dozen beat on this, while other strike triangles and jawbones, to which bands of dancers keep time.&lt;br /&gt;
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Third, in translation, we should not only maintain the meaning of the original text, but also reflect the style of the original text. We can't have both fish and bear's paw—鱼和熊掌不可兼得。Therefore, I believe that only through a lot of translation practice and summing up experience can we improve our translation level.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Beardslee, Karen E. Through Slave Culture's Lens Comes the Abundant Source: Harriet A. Jacobs's Incidents in the Life of a Slave Girl.&amp;quot; MELUS 24 (1999): 37-58.&lt;br /&gt;
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[2]Jacobs Incidents in the life of a Slave Girl: Written by herself.&amp;quot; Languages &amp;amp;Literature 15(2001):314-336.&lt;br /&gt;
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[3]Incidents in Life of a Slave Girl chapters 16 to 30&lt;br /&gt;
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[4]李小春. (2016). 浅析英语翻译技巧及方法的应用. 读天下(20), 1.&lt;br /&gt;
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[5]李亚云.《一名女奴的人生际遇》之黑人女性身份建构[J].文学教育(上),2015(07):30-31.p&lt;br /&gt;
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[6]李亚云. 《一名女奴的人生际遇》之黑人母性分析[D].中央民族大学,2016.&lt;br /&gt;
&lt;br /&gt;
[7]付娟. 英汉翻译中拆句法和合并法的有机结合探析[J]. 好家长, 2016(38):1.&lt;br /&gt;
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=邝艳丽 On the Translation Strategies of English Version of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hong-Ming and Xu Yuanchong=&lt;br /&gt;
[[Trans_Type_EN_9]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
''Lun Yu'', one of Chinese classics, records behavior and thoughts of Confucius and his disciples. ''Lun Yu'', intensively reflecting Chinese Confucianism, plays a significant role in Chinese culture. Dating from 1809, there are about sixty translations of ''Lun Yu'' during the two hundred years. This paper will study the two English versions of ''Lun Yu'' by Ku Hung-ming and Xu Yuanchong from the the theory of Horizon Fusion proposed by Hans-Georg Gadamer, mainly the core conceptual words in ''Lun Yu''. Besides, the paper will explore the translation strategies adopted by the two translators from different visions such as the horizons of the original text, the translator and the target culture. The better translation of core conceptual words will come to a conclusion through the contrastive analysis.&lt;br /&gt;
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===Keywords===&lt;br /&gt;
Fusion of horizons; Ku Hong-Ming; ''Lun Yu''; Xu Yuanchong&lt;br /&gt;
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===Introduction===&lt;br /&gt;
&lt;br /&gt;
''Lun Yu'', as a carrier of Confucianism, has profound influence on the culture all over the world. Confucianism has largely influenced the development of European philosophy, which provide new theoretical basis for European Enlightenment in the eighteenth century (Li Zongzheng 2016: 112-116). In Voltaire’s opinion, the discovery of Chinese culture is important to the process of European society, just as what what has been discovered by Vasco da Dagama and Magellan to the nature (Bao Xiankuo 2001: 62-67). With the continuing development of China in the recent years, China exerts more and more significant influence on the world. In the meanwhile, more and more people would like to learn Chinese language and cultures. When it comes to Chinese culture, all the people, Chinese and foreigners, nearly think of Confucianism, which is generally regarded as the important components of Chinese traditional culture, as well as the mainstream of the spirit of national modern culture. Moreover, Confucianism is intensively embodied in the ancient work called ''Lun Yu'', which records the behaviors and thoughts of Confucius and his disciples mainly in the form of dialogues. ''Lun Yu'' involves so many aspects such as politics, education and so on. The wide and profound influence of Confucianism on the world attributes the success to the development of translations of ''Lun Yu'' by Chinese or foreign translators.&lt;br /&gt;
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''Lun Yu'' is a classic work. The reason why classics remains classics is that it can be translated and re-translated. The language itself of ''Lun Yu'' is difficult to be understood, and what are reflected by ''Lun Yu'' such as history, thoughts, culture and culture is also hard to be understood. Therefore, translators in different times produce different translations of ''Lun Yu'' due to different constrictions of subjective or objective factors. Derrida, holding the point of hermeneutics, considers that the understanding of works is open and that the understanding of text by the readers is always unfinished and uncertain for reading is the process of creation. ''Lun Yu'', acclaimed as one of the leading classics in the course of Chinese literature’s development, is always given new life by the scholars. Therefore, every translation version of classics deserves to be studiedin the different times. Moreover, the employment of fusion of horizons may not only be a reference for English translation of ancient Chinese classics, but also be beneficial foe the spread of traditional culture. &lt;br /&gt;
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This paper chooses two English translation versions of ''Lun Yu'', one by Ku Hung-ming, the other one by Xu Yuanchong. The paper mainly makes a contrastive study of different translation strategies adopted by the two translators from the perspective of fusion of horizons. In order to make an in-depth study, the thesis will focus on the analysis of the translation of core conceptual words of ''Lun Yu'', and aim to present a more appropriate translation to both fully express the content of Chinese culture and make western readers easier to understand.&lt;br /&gt;
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===Overview on the Theory of Fusion of Horizons===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====Fusion of Hrizons====&lt;br /&gt;
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Hans-Georg Gadamer is the greatest thinker in 20th century when his academic work ''Truth and Method'' was published. The publishment brought about widespread attention in the world and helped him reach the immortal status in the field of philosophy. Actually, the theory used in this paper is originated from ''Truth and Method''. “Horizon” was first proposed by Edmund Husserl, a great German philosopher. For the concept of “Horizon”, Husserl believed that “everything worldly giving is given under the horizon. Finally, everything given by the world itself has the horizon of the world, and it is only for this reason that it is realized as the world.” (Wei Fangyuan 2013: 134-136)&lt;br /&gt;
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It can be seen that “Horizon” in Husserl’s eye is related to consciousness. Husserl’s “Horizon” includes two ones, internal horizon and external horizon. Internal horizon refers to what previous knowledge people have grasped or not. External horizon refers to grasp or experience of another open horizon when people have internal horizon. Martin Heidegger, from the respective of Ontology, believed that “Horizon” is something real which has been known by human and exists previously. This becomes precondition of our understanding. Inspired by Martin Heidegger and Edmund Husserl, Hans-Georg Gadamer affirmed the importance of “Horizon”. In his Hermeneutic, “Horizon” refers to the process of understanding from a specific standpoint. And “Fusion of Horizons” means that the process of understanding in nature is open without fixed pattern and answer. “Fusion of Horizon is not onlly diachronic, but also synchronic. History and present, object and subject, self and other, all form an infinite unified entirety. (Wei Fangyuan 2013: 134-136 ) &lt;br /&gt;
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Gadamer thinks that, both the translator and the object which is explained by the translator have their own horizons. The object-- history, classics, personal life, philosophy or work of art—has its own historical horizons. When we understand historical classical works, philosophy or certain culture with the horizons given by the history, the conflict of two different horizons and historical background will inevitably happen. Translation neither demands the translator to totally give up his own horizon in order to get into the text’s horizons, nor allows the interpreter simply includes the text into his own horizons. Translator, starting from his original horizons, ceaselessly test his own “prejudice” and open his own horizons, in the contact with the object which is interpreted by the interpreter, then two different horizons forming a new horizon. This process is called “fusion of horizons”. The reason why it is possible to interpret historical text is the fusion of horizons of the readers and writers of the original text.&lt;br /&gt;
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====Fusion of Horizons in translation study====&lt;br /&gt;
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In the view of Hans-Georg Gadamer, any understandings is carried out in the stream of history for any interpreter and reader lives in the history in his or her own way. Historicity is the basic fact of human existence. People’s historical particularity and limitations cannot be eliminated and avoided. Both subject and object exist in historicity. History determines that people cannot get rid of historicity. Such question faced by Hermeneutics is not what we carry out but what caused on us by something beyond our willing and behavior. In the research of translation Gadamer’s “Fusion of Horizons” can be borrowed and reformed into views or perspective available to the translation study. (Li Ge 2020:50-63)&lt;br /&gt;
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To achieve such a horizon, means that we learn to see something beyond its restricted horizon. However, the reason why we do this is for watching the things in a more correct angle and in a bigger unity, rather than for avoid seeing it.(Gadamer, H. G. 2004: 304) We need to study translation from a higher point and in a more overall angle. Only in this way can we “full see” the parts of the integrity, which is the enlightenment brought by “fusion of horizons”. The precondition of translation is that the translator and the original text have the common horizons. If the translator does not know medicine, he cannot interpret some books about medicine, and vice versa. The translator need to understand the original text’s meanings at first, which means that he will get into the horizon of the original text, and overcome the difference to form a new horizon. This is the first fusion of horizons. The second one is that the translator gets into the horizons of the target readers. Then the third fusion of horizons, the final interpretation of the translator, is the fusion of the two texts after the first two fusions. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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During the process of translation, the horizons are produced in the history rather than in isolation. In the fusion of horizons, the past and the present, the subject and the object, form a unity. Everything exists in the point of history, and all the interpretation cannot be finished for good. The original text itself is historical. The language, content, thoughts and etc. in it are marked by characteristics of the times. The translator is also historical. He will be influenced by his identity, status and tradition. There does not exist “perfectness” and “standard” in the translation. It will vary with different historical period. So the study of translation also goes on. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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===Overview on the Translations of ''Lun Yu''===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====The history of translations of ''Lun Yu====&lt;br /&gt;
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''Lun Yu'' is as important to Chinese is the Bible is to Westerners. So ''Lun Yu''’s translation is hot in western countries. ''Lun Yu'', whose translation can be traced back as early as the end of 16th century, has been translated by lots of missionary, sinologist, philosopher, litterateur and other scholars. There have been more than 40 translation versions of ''Lun Yu'' so far. Its English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. In 1861 James Legge’s The Confucian Analects became the mark of the English translation of ''Lun Yu''. A Companion for Chinese Translators makes comments on the translation version that James Legge can roughly understand the meaning of the original text and that his enormous notes can show his serious and careful attitude to the translation of our Chinese classics. (Wang Hui 2003: 39-43) &lt;br /&gt;
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In 1898, Ku Hong-ming’s translation of Lun Yu was published in Shanghai. The reason why he retranslated Lun Yu is that he was not content with James Legge’s. Ku Hong-ming use the strategy of foreignization, trying to translate Lun Yu in the same way an educated British express his thoughts. And Ku thought the Chinese proper nouns should be omitted and some European writers’ saying in order to remove the feeling of strangeness of British readers. In 1938, Arthur Waley’s version of Lun Yu was published. Waley wrote long-winded introduction for the translation, which was accompanied by detailed notes for readers and was followed by the footnotes for in-depth discussion on the text. Cui Yonglu thought that Waley’s translation, retaining the original text’s meaning and culture and paying attention to the detail, is beneficial to scholars. In 1998, Roger Ames’ translation of Lun Yu was published. His retranslation, which is based on a philosophical perspective, exerted great influence in the world of translation at home and abroad. In 2005, Xu Yuanchong’s Thus Spoke the Master was published. The book’s title borrowed the name of well-known philosophical translation called Thus Spoke Zarathustra, which shows Chinese translators’ creative spirits. In addition, there are still so many translators, such as Ezra Pound, James Ware, Din Cheuk Lau, Lin Yu tang and so on. (Wang Hui 2003: 39-43) &lt;br /&gt;
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====Different angles of the study on the translations of ''Lun Yu''====&lt;br /&gt;
In the nearly 30 years, the study of ''Lun Yu''’s translation has become hot in the translation studies. Scholars have made lot of studies of ''Lun Yu''’s translation from different angles and theories. From the linguistic point of view, scholars focus on the equivalence of lexicon, syntax, text and style. Professor Liu Chongde wrote “A research into Waley’s English version of The Analects—And some comments on its English versions by Legge and D. C. Lau”. Professor Liu summarized the language features and style of the two translations by Waley and Legge. Besides, he compared James Legge’s version and D. C. Lau’s, and made a conclusion that the former one preferred the written English, complicated sentences and archaic words which were quite similar to the style of the original, while the latter one preferred using spoken English and simple sentences.(Liu Chongde 2001:15-17) &lt;br /&gt;
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From the cultural point of view, Yao Shun in Southwest Jiaotong University did “On English translation of Confucius notions from the perspective of Skopos theory—A case study on Legge’s and Waley’s Translation of ''Lun Yu''”. Yao concluded that translation cannot be measured only by the equivalence with the source text, other elements such as translators’ purposes and expectation of target readers should be taken allowance for and that amongst these factors, the intention of the target text ranks the first.(Yao Shun 2014: 42-43)&lt;br /&gt;
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From the sociological point of view, Zhang Xin in Jiangnan University did “A study on Xu Yuanchong’s English Translation of ''Lun Yu'' from the Sociological Perspective of Bourdieu”.   Zhang draw some tentative conclusions. Firstly, the original text must be valuable and unique with an international reputation to facilitate its dissemination in the world. Secondly, translators should pay full attention to the readability and acceptability of target readers to meet their anticipation. Thirdly, the success of a work is the combination of various social factors.(Zhang Xi 2020:80-89)&lt;br /&gt;
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=== The Translation of ''Lun Yu'' from Fusion of Horizons===&lt;br /&gt;
''Lun Yu'' has always been translated or retranslated into many languages. Before interpretation, interpreters are supposed to try to totally understand ''Lun Yu'' in the first step. However, in the matter of fact, the language of a text is really hard for translators to totally understand. Different cultural background and different translators may produce different translation version.&lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》） [8]”. In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. &lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
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Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》）”.In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. (Yao Sshun 2014:42-43) &lt;br /&gt;
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====Horizon of the translator====&lt;br /&gt;
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Ku Hung-ming (1857-1928) is not only a famous literary figure in modern China, but also a great translator. He became an influential scholar at the turn of the 20th century because of his works that advocated Confucianism. Ku’s traslated works, including Lun Yu and Zhong Yong, played a significant role in spreading traditional Chinese culture to the western world. Ku, well-versed in both Chinese and Western cultures, has a good command of nine languages such as English, French, Germany and so on. He is the first one was proficient in Western science and language in the late Qing Dynasty. Special background of growth and education makes his thoughts combine advantages between Chinese and Western cultures. He tried to translate Lun Yu as a work written by a educated English man in order to promote Chinese traditional culture to spread in Western countries. At the meanwhile, he added his thinking and understanding of Confucianism in order to express the truth and spirit of Confucian classics and Chinese belief system. In order to make Western readers accept to the most extent the Confucian culture, Ku adopted some special methods, such as using extreme translation strategy of Domestication to translate Chinese special expression; borrowing the expression in Western literature to translate some words; applying the strategy of combination of omission and addition.(Niu Xiyu 2021: 89-90)&lt;br /&gt;
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When translating Lun Yu, Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. Western readers are not familiar with Confucian core words whose total equivalence can not be found in the Wesern culture. Ku did not translate the core words according to the literal meaning, but according to his deep understanding of Confucian classics he adopted flexible methods to translate the words in different situation. Besides, in order to make the translation of Lun Yu more readable to Western readers, Ku adopted the stratedy of domestication to interprete Confucian thoughts in Western way of mind. On the one hand, Ku used Western terms to translate those Confucian concept words which is difficult to Western readers. For example, he translates “天” as “God”. On the other hand, he quoted those well-known writers and thinkers who are familiar to Western readers, such as Johann Wolfgang von Goethe, Ralph Waldo Emersonand so on. Ku tries to make the content and form of the translation to accord with the way of thinking and cognitive structure of Western people. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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Xu Yuanchong, professor in Peking University, has been devoting himself in Literature translation study. He accomplished numerous classical translations and proposed many translation theories. He makes contribution to the development of Chinese traditional career.In 1921, Xu Yuanchong was born in Jiangxi Province in China. Since he was a child, Xu Yuanchong had been deeply influenced by his families. His mother was well educated and his uncle worked as a translator. All of these inspired his passion of enjoying literature and going after beauty, as we can see the three-beauty-concept-concept proposed in his later books. His uncle succeeded in translating the play called Wang Baochuan into English, which caused a sensation when it was performed in England. Later on the British dramatist George Bernard Shaw interviewed his uncle, which inspired the great interests of Xu Yuanchong in learning English well. In 1938, he was admitted to the Foreign Languages Department of National Southwest United University with the seventh place. In 1939, he translated the book “别丢掉” written by Lin Huiyin at the first time in order to express his love for a girl. Then he fell in love with translation ever after. Although suffering a lot, he still insisted to be himself. Xu made a great contribution to the development of Chinese translation. Xu introduces the three-beauty-concept to translation theory. The theory of three beauty advocates that a translation should be as beautiful as the original in sense, in sound and in font. These three aspects call also be respectively called Beauty of Sense, Beauty of Sound, and Beauty of Form. Beauty of Sense, emphasizing the deeper meaning, is of the first-rate importance. Beauty of Sound, emphasizing rhyme and rhythm, is of the second-importance. Beauty of Form, emphasizing length, is of the third-rate importance. All of these have great influence on his translation. (Li Mi 2004: 83-84)&lt;br /&gt;
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====Horizon of the target language culture====&lt;br /&gt;
The purpose of translation is to be read by the target readers. However, the target individual is different. They differ from historical background, education, knowledge, and so on. Some foreign readers read Lun Yu just for broaden his vision and know Chinese culture, some study the translation just for doing academic researches. The ages of target readers also influence the translation. Some young readers with less knowledge need translation which can be easily understood. For those aged readers the sophisticated translations are needed. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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===Contrastive Analysis===&lt;br /&gt;
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As Confucian classics recording the words and deeds between Confucius and his disciples, Lun Yu deeply influences generations of Chinese people. Lun Yu combines Chinese rich culture from thousands of years and gathers immortal spirit of Eastern philosophy. Therefore, a number of scholars at home or abroad want to translate Lun Yu. Especially, the various academic conference that has taken place in the recent years attract many scholars to absorb Confucian wisdom and explore Chinese wisdom from the old classics.&lt;br /&gt;
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====Description of key conceptual words====&lt;br /&gt;
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''Lun Yu''’s English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. Since that many other scholars have thrown themselves in the wave of translation of ''Lun Yu''. The scholars at home and abroad attempt to know more about the Chinese society, language, and Chinese culture through ''Lun Yu''. However, in order to really understand and interpret ''Lun Yu'', we must be clear about the meaning of the core conceptual words in ''Lun Yu''. Whether the translation of the core conceptual words is right or not has something to do with whether the readers abroad can understand the real meaning of the classics ''Lun Yu''. The translation of core conceptual words is so critical that has drawn many scholars’ attention. However, in the present situation of translation, one core conceptual word has so many Chinese translation, and some translation is not very accurate, which will cause trouble for foreigner readers to understand the original meaning and its cultural meaning. For those core words concerning Chinese culture, if wrongly translated, will not cause foreigners’ misunderstanding Chinese traditional culture, but also influence the improvement of national cultural soft power. Thus, the discussion of the translation of ''Lun Yu'', especially that of the core words, is very important to the circles of translation and culture. There are lots of core conceptual words in Lun Yu, but This thesis will mainly discuss the five core words: “''ren''”, “''li''”, and “''junzi''”. &lt;br /&gt;
“''Ren''” is the supreme state of moral ideal advocated by Confucius, and the spirit and centre of Confucian theory. Xu Shen in the Eastern Han Dynasty made an explanation of the word “''ren''” in “Shuo-wen chieh-tzu”. He thought “''ren''” is combined by “''ren''”(man) and “er”(number 2), and that “''ren''” does not express the quantitative relation but the interpersonal relationship, more accurately the interpersonal relationship close to friendship. (Xu Shen 2013: 1458) According to The Notes of ''Lun Yu'' by Yang Bojun, “''ren''” appears 109 times in ''Lun Yu'' . (Yang Bojun, 2009)&lt;br /&gt;
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“''Li''” is another important concept in ''Lun Yu'' after “''ren''”. According to The Notes of ''Lun Yu'' by Yang Bojun, “''li''” appears 74 times. Obviously, “''li''” is one of main ideas repeated by Confucius. Its connotation has become one of the objects the scholars of every dynasty attempt to study and understand since the ''Lun Yu'' came out. Both “''ren''” and “''li''” work as the centre of Confucianism. They complement and perfect each other. Just as the saying in Lun Yu, “To Subdue Oneself and Return to the Proprieties is Perfect Virtue”. “Li” refers to external behavior, while “ren” refers to internal morality. “''Li''” is a general term the rules and regulation according to the moral demanding. “''Li''” can restrict personal behavior, improve interpersonal relationship and help building a harmony and orderly society. However, Confucius does not give an accurate explanation of “''li''”, but its meanings can be analyzed from the concrete sentences concerning “''li''”. (Yang Bojun 2009: 23)&lt;br /&gt;
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“''Junzi''”, first found in The Book of Songs, was roughly referred to noble man. Thereafter, “''junzi''” was widely used in many ancient classics such as The Book of Changes, Shangshu and so on. Based on the original meaning “the noble man”, “''junzi''”’s meaning was extended and expanded. In Lun Yu, the word “''junzi''” got extended meaning of morality. The core conceptual word “''junzi''” mainly placed emphasis on moral deeds, then developed into the important cultural icon in Confucianism. According to The Notes of ''Lun Yu'' by Yang Bojun, “''junzi''” appears 107 times in ''Lun Yu'' .(Yang Bojun 2009: 11)&lt;br /&gt;
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====Different translations of key conceptual words====&lt;br /&gt;
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Different translators will have different translation. &lt;br /&gt;
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“Ren” has rich meanings. Its translation will to the certain degree influence the understanding of Lun Yu and Chinese traditional culture. For example:&lt;br /&gt;
子曰：“巧言令色，鲜矣仁！”《学而》&lt;br /&gt;
Ku: Confucius remarked, “With plausible speech and fine manners will seldom be found moral character.” &lt;br /&gt;
Xu: A good man, said the Master, would rarely say what he does not believe, or pretend to appear better than he is.&lt;br /&gt;
From the translation above, it is seen that Ku adopts free translation, and the English sentence is in formal grammer and syntax which accords with Western readers’ language habits. While Xu’s translation is not in the form of direct speech and he changes the order of the target text and use the parenthesis so as to conform to the habits of target language readers. It can be easily seen that Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. And Xu employs free translation to make target readers better understand the meanings. For the translation of “ren”, Ku translated it into “moral character”. He thought “ren” is refers to all the morality, and that “ren” is the highest realm of life. The translation “moral character” is more in line with Western language habits. While Xu interpreted it into “a good person”, of which “good” has broad meanings just like “ren” which is a kind of moral category of extremely broad meanings in ancient China. By comparison, “mental character” is better translation for “ren”. (Yang Bojun 2009: 23) (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Li” is generally thought to have three main meanings. The first one is worshiping the God. The second one refers to a ceremony held to show respect or solemnity. The third one refers to the social and moral norms of the aristocratic hierarchy in slave society of feudal society. For example, &lt;br /&gt;
道之以道，齐之以礼，有耻且格 。（《为政》）&lt;br /&gt;
Ku: If, on the other hand, in government you depend upon the moral sentiment, and maintain order by encouragung education and good manners, the people will have a sense of shame for wrong – doing and, moreover, wil emulate what is good. &lt;br /&gt;
Xu: If they are led by virtue and order is kept by the rites, they would be conscientious and act in agreement with what is right. &lt;br /&gt;
Generally, “li” is rendered as “rites,” “customs,” “propriety,” “ritual,” “moral,” “rules of proper behavior,” and “worship.” However, Ku did not literally translated “li” but to fully understand its original meaning in such concrete situation to translated it into “education and good manners”. While Xu translated it into “rites”. In the Oxford dictionary, “rite” means a ceremony performed by a particular group, often for religious purpose. In Spring and Autumn and Warring States periods of China, the social order was in chaos. Actually, “rite” is a proper word full of Chinese speciality, which is really hard for Western readers to understand. Therefore, Ku’s translation “education and good manners” is better one. It not only convey Confucian thoughts but also make it readable to Western readers. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Junzi” is Confucian ideal character standard. Then what is “junzi”? In Confucian point of view, “junzi” should be erudite, which is an important standard of being “junzi”. First and the most, “junzi” should be a benevolent man. In addition, “junzi” and “xiaoren” form contrast. For example,&lt;br /&gt;
人不知，而不愠，不亦君子乎？（《学而》）&lt;br /&gt;
Ku: But he is truly a wise and good man who fees no discomposure even when he is not noticed of men.&lt;br /&gt;
Xu: Is he not an intelligentleman, who is careless alike of being known or unknown?&lt;br /&gt;
According to Oxford dictionary, the term “exemplary” refers to providing a good example for people to copy. Ku adopted free translation to interprete one word “junzi” into several words “wide and good man”, which is easy for Western peple to understand what “junzi” is. It can be seen that Ku had a thoroungh understanding of Confucian thoughts as well as well-versed in English. While, Xu translated it into “intelligentleman”, which cannot be found in dictionaries. It is a new word created by Xu. “Interlligentleman” is combined by “intelligent” and “gentleman”. In the Oxford dictionary, the term “intelligent” means good at learning, understanding and thinking in a logical way about things. “gentleman” refers to a man who is polite and well educated and who has excellent manners and always behaves well. “Intelligentlemen” seemly attempt to achieve formal equivalence with “junzi”. However, it is unfamiliar to Wetern readers. So Ku’s translation “a wise and goood man”. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
In this paper, we have talked over two translation versions of ''Lun Yu'' written by Ku Hung-ming and Xu Yuanchong, especially the core conceptual words in ''Lun Y''u. In the matter of fact, both of them had good command of Chinese and western cultures. But their interpretation of Lun Yu were quite different from each other. Here we use Gadamer’s “fusion of horizons” to explain why they had different understandings of Lun Yu. Understanding is regarded as the fusion of horizons between translator and the text in the hermeneutics, however, besides, the target readers should also be taken into consideration. Thus, in the paper, the horizons of the original text, two translators and target readers are expounded in detail. Under the contrast between the two translation versions, we could find out that Ku Hung-ming’s translation is better one which can more convey the meaning of original text and can be easier for the readers of the target culture from the perspective of the fusion of horizons. &lt;br /&gt;
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However, this paper could not give an in-depth research on the transaltion of ''Lun Yu'' because of the author’s limited knowledge and not thorough understanding of the theory of “fusion of horizons”. In addition, Confucianism has got more and more important influence on the world in the recent years. However, the study of translation of ''Lun Yu'' has not gone far enough. Though lots of scholars have achieved a lot in the field, there is still much work to do in the future. Written by --[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 03:41, 9 December 2021 (UTC)&lt;br /&gt;
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Ku Hungming 辜鸿铭.(2011)《辜鸿铭英译&amp;lt;论语&amp;gt;》[M]. [The Discourses And Sayings of Confucius] 2011&lt;br /&gt;
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Yuanchong, Xu. (2013) Thus Spoke the Master[M]. Beijing: Dolphin Books, 2013: 12, 18.&lt;br /&gt;
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=杨柳青 Bian Zhilin's Literary Translation Theories and Practice  ——Take His Translation of Romantic Poems as examples=&lt;br /&gt;
[[Trans_Type_EN_10]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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Bian Zhilin is a famous Chinese translator and poet. He absorbed traditional translation theories dialectically and created translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; from the perspective of literary translation. Specifically, &amp;quot;Replacing foot with dun&amp;quot; is his poetry translation strategy. This paper will analyze Bian Zhilin translations of some romantic poems and shows some critical thinking about his literary translation theories.&lt;br /&gt;
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===Key words===&lt;br /&gt;
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&amp;quot;Faithfulness, Similarity and Translation&amp;quot;; &amp;quot;Replacing Foot with Dun&amp;quot;; Romantic Poetry&lt;br /&gt;
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===题目===&lt;br /&gt;
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卞之琳文学翻译理论和实践 ——以其浪漫主义诗歌译作为例&lt;br /&gt;
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===摘要===&lt;br /&gt;
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卞之林是著名的中国翻译家、诗人。他辩证地吸收传统翻译理论，从文学翻译的角度创立了“信、似、译”的翻译理论。 具体而言，“以顿代步”是他的诗歌翻译策略。本文将对卞之琳的浪漫主义诗歌译作进行分析，并对其文学翻译理论提出一些批判性性思考。&lt;br /&gt;
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===关键词===&lt;br /&gt;
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“信、似、译”；“以顿代步”；浪漫主义诗歌&lt;br /&gt;
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===Chapter 1 Introduction of Bian Zhilin and Romanticism===&lt;br /&gt;
====Introduction of Bian Zhilin====&lt;br /&gt;
Bian Zhilin is a representative of Chinese modernist poetry, a famous literary critic and literary translator. He translated foreign literature especially poetry and Shakespeare's plays. He has devoted his whole life to the literature and cultural exchanges between China and foreign countries. He is known as &amp;quot;the master of Poetry and the leading scholar in translation in China&amp;quot;. He dialectically absorbed previous translation theories and formed his unique translation thoughts. His famous works include ''Leaves of Three Autumns'' which is his first volume of Poetry and contains verses filled with the melancholy and despair, ''Fish Eyes Collection'', ''The Han Garden Collection'' and ''Poems of a Decade'' and so on.&lt;br /&gt;
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====Introduction of Romanticism====&lt;br /&gt;
Romanticism is a reaction against the Enlightenment and rationalism in 18th century, and a rejection of the precepts of order, calm, harmony, balance, idealization, and rationality that typified in classicism and neoclassicism. English Romanticism is generally defined to begin in 1798 with the publication of William Wordsworth and Samuel Taylor Coleridge's Lyrical Ballads and end in 1832 with Walter Scott's death. Romanticists place the individual at the center of art and make literature most valuable as an expression of his or her unique feelings and particular attitudes and make its accuracy a portraying the individual's experience. &lt;br /&gt;
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Romanticism is a period of poetry. During this period, many poets created plenty of wonderful poems which vividly show the beauty of nature and humanistic thoughts. English romantic poets contain the elder generation and the younger generation. The elder generation, also called &amp;quot;lake poets&amp;quot; includes William Wordsworth, Samuel Taylor Coleridge and Robert Southey and so on. The younger generation includes George Gordon Byron, Percy Bysshe Shelley and John Keats and so on. Besides, William Blake also deserves attention. He is a pre-romanticist and a forerunner of the romantic poetry of the 19th century. In this paper, I will analyze poems of William Blake, William Wordsworth and Percy Bysshe Shelly to show Bian Zhilin's translation theories.&lt;br /&gt;
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===Chapter 2 Bian Zhilin's Literary Translation Theories===&lt;br /&gt;
====&amp;quot;Faithfulness, Similarity and Translation&amp;quot;====&lt;br /&gt;
Bian Zhilin is a famous poet, translator and literary researcher in China. For decades, he not only made remarkable achievements in the field of poetry and Chinese and foreign literature studies, but also left a valuable fortune in literary translation, especially in poetry translation. Bian Zhilin has formed clear and instructive translation thoughts and theoretical views through her long-term translation practice. These translation thoughts and theoretical views influenced his translation behavior and effect, formed his exquisite translation art, and also had a great influence in the field of translation. He broke through the traditional translation theories and put forward the translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot; which is based on dialectically absorbing and reasonably sublating the traditional translation theories.&lt;br /&gt;
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=====Faithfulness=====&lt;br /&gt;
It is well-known that &amp;quot;faithfulness, expressiveness and elegance&amp;quot; created by a modern Chinese translator Yan Fu has become the most widely spread and popular translation standards in history of modern Chinese translation. And it has always been in the mainstream in the field of translation in China. There has been a long debate in Chinese translation field around &amp;quot;faithfulness, expressive and elegance&amp;quot;. However, &amp;quot;faithfulness&amp;quot; put forward by Bian Zhilin has achieved the transcendence and unification of this debate. &lt;br /&gt;
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======Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
According to Yan Fu, &amp;quot;faithfulness&amp;quot; means a translation should be faithful to the content of the original which is the first requirement of translation. &amp;quot;Expressiveness&amp;quot; means a translation should be fluent and articulate. &amp;quot;Elegance&amp;quot; means a translation should use elegant words so as to make the translation literary (Luo Xinzhang 136). Yan Fu believed that only elegant words can express the essence of original text. And he advocated translator used classical Chinese before Han Dynasty, namely, pre-Qin period. In fact, Yan Fu translated a lot of works in accordance with this criterion. &lt;br /&gt;
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======Debates around Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
Many speakers thought highly of Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, and this criterion once became the only standard for evaluating the quality of translation. Many literary translators like Liang Qichao, Lu Xun praised this criterion.&lt;br /&gt;
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Though &amp;quot;Faithfulness, expressiveness and elegance&amp;quot; has been widely accepted, there were still many doubts about this criterion. Most translators acknowledged Yan Fu's &amp;quot;faithfulness,expressiveness and elegance&amp;quot;, but they doubted &amp;quot;elegance&amp;quot;. For example, Chen Xiying, a famous Chinese female translator, opposed &amp;quot;elegance&amp;quot; because she thought &amp;quot;faithfulness and expressiveness&amp;quot; is quite enough for non-literary works and &amp;quot;elegance&amp;quot; is not necessary. Even for literary works, &amp;quot;elegance&amp;quot; is not necessary since some characters in literary works are from countryside and their speeches apparently couldn't be elegant (Luo Xinzhang 401-402). &lt;br /&gt;
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However, though these opinions are different they have one thing in common: all these opinions divide &amp;quot;faithfulness, expressiveness and elegance&amp;quot; up and judge them separately. &lt;br /&gt;
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======Bian Zhilin's &amp;quot;faithfulness&amp;quot;======&lt;br /&gt;
Unlike most translators, Bian Zhilin has his own unique view. Bian Zhilin believes there is only one advisable standard in &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, that is &amp;quot;faithfulness&amp;quot;. According to Bian Zhilin, &amp;quot;faithfulness&amp;quot; means being loyal to the original text comprehensively, not only to the content of the original text, but also to the form (Bian Zhilin 503). It seems that there is no apparent difference between Yan Fu's faithfulness and Bian Zhilin's faithfulness. But that's not the case. &lt;br /&gt;
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Firstly, Bian Zhilin doesn't totally deny the value of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. His faithfulness is mainly for literary translation which aims to highlight the artistic features of literary translation. Bian Zhilin believes that literary translation is an artistic and creative activity which not only includes language conversion but also involves the knowledge of literature, aesthetics, literature and art. He thinks &amp;quot;faithfulness, expressiveness and elegance&amp;quot; lays too much emphasis on the content and form of language which is not suitable for literary translation. &lt;br /&gt;
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Secondly, Bian Zhilin opposed the artificial separation of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. He thinks this separation is a kind of false perception which may cause the emphasis of one aspect and the neglect of the others. He thinks that artistic translation standard, strictly speaking, is only &amp;quot;faithfulness&amp;quot; which means the full fidelity to content and form. Actually, Bian Zhilin doesn't deny the existence value of expressiveness and elegance; instead, he seems &amp;quot;faithfulness, expressiveness and elegance&amp;quot; as a whole and &amp;quot;faithfulness&amp;quot; includes &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot;. Therefore, his faithfulness is comprehensive: both &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot; are internalized in &amp;quot;faithfulness&amp;quot;.&lt;br /&gt;
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Thirdly, Bian Zhilin believes &amp;quot;faithfulness&amp;quot; in literary translation means translation should be loyal to original text both in content and form. In others words, it's not desirable that translation be better or worse than the original. Besides, he holds that &amp;quot;faithfulness&amp;quot; in translation is not absolute but relative and it needs artistic creation of translators(Li Changshuan 57). What's more, literary translators should have the confidence in translating the &amp;quot;spirit&amp;quot; of the original so as to make translation vivid and expressive.&lt;br /&gt;
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All in all, Bian Zhilin believes the content and form of literary works are unified and indivisible, so is &amp;quot;faithfulness, expressiveness and elegance&amp;quot;.  At the same time, he admits &amp;quot;faithfulness&amp;quot; is relative rather than absolute considering difference between language and culture. Therefore, Bian Zhilin's faithfulness is inheritance and innovation of traditional translation theory and has important theoretical value.&lt;br /&gt;
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=====Similarity=====&lt;br /&gt;
======Formal Similarity and Spiritual Similarity======&lt;br /&gt;
Formal similarity means translation preserves the linguistic form of the original which includes words, grammar, sentence structure, figures of speech and types or forms of literature and so on. Any two languages have something both common and different. Those common features are the bases of formal similarity of translation. &lt;br /&gt;
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Spiritual similarity, on the contrary to formal similarity, means getting rid of the bondage of language form such as words, grammar when it is necessary. And translators should use authentic translation to convey the artistic features of the original. Spiritual similarity was first put forward by Mao Dun and was further advocated and practiced by Fu Lei. It has become one of the dominant theories in Chinese translation theories.&lt;br /&gt;
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======Debates around Formal Similarity and Spiritual Similarity======&lt;br /&gt;
In the field of Chinese translation, translators debated a lot around formal translation and spiritual translation. Many translators believe formal translation is more advisable than spirit translation. But others think differently. For instance, Chen Xiying believed there were three kinds of &amp;quot;faithfulness&amp;quot;, namely spiritual similarity, meaning similarity and formal similarity, among which spiritual similarity is superior, meaning similarity is the second and formal similarity is inferior. Chen Xiying held that formal similarity ignores the writing style of the original though it conveys the meaning of the original completely. Meaning translation is better than formal translation because it focuses on not only what the original writer says but also how he says it. But meaning translation is much more like imitation which cannot grasp the &amp;quot;spirit&amp;quot; of the original. Spirit translation, however, is the exact way to convey the &amp;quot;spirit&amp;quot; of the original. Besides, Yan Fu is another representative who pays more attention to spirit similarity than to formal similarity (Luo Xinzhang 694).&lt;br /&gt;
======Bian Zhilin's &amp;quot;Similarity&amp;quot;======&lt;br /&gt;
Bian Zhilin took a stand against the long-standing debate around formal similarity and spiritual similarity. In his opinion, there is only one word between formal similarity and spiritual similarity that is advisable——&amp;quot;Similarity&amp;quot;. Bian Zhilin holds that literary work is a unity of content and form; &amp;quot;form&amp;quot; and &amp;quot;spirit&amp;quot; in literary translation is complementary. On the one hand, &amp;quot;form&amp;quot; is the basis of &amp;quot;spirit&amp;quot; which means without concrete form, the spirit and artistic value of literary works can only be empty talk. On the other hand, &amp;quot;spirit&amp;quot; is the life of &amp;quot;form&amp;quot; which means literary works without &amp;quot;spirit&amp;quot; likes people without soul, which can only be empty body and meaningless form (Bian Zhilin 551).&lt;br /&gt;
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&amp;quot;Similarity&amp;quot; which was put forward by Bian Zhilin, actually contains the similarity both in formal similarity and spiritual similarity. In other words, ideal literary translation should achieve the unity of form and spirit. Bian Zhilin thinks literary translation can only achieve similarity with the original but not sameness (Bian Zhilin 8-9), which not only recognizes the difference between the original and the translation, but also acknowledges translators' creative efforts.&lt;br /&gt;
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=====Translation=====&lt;br /&gt;
======Literal Translation and Free Translation======&lt;br /&gt;
Literal Translation means expression forms and syntactic structure of the translated text should be as consistent as possible with the original when translators convey the meaning of the original text. Free translation, however, means translators should break the linguistic form of the original text and express the meaning of the original by using the customary expressions of the target language.&lt;br /&gt;
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======Debates around Literal Translation and Free Translation======&lt;br /&gt;
The debates between literal translation and free translation in the history of western translation can be date back to Cicero (106BC-43BC). Cicero opposed &amp;quot;word for word translation&amp;quot; (literal translation) which was deemed as &amp;quot;interpreter's translation&amp;quot; and advocated &amp;quot;sense for sense translation&amp;quot; (free translation) which was deemed as &amp;quot;orator's translation&amp;quot;(Tan Zaixi 24). Cicero's distinction about translation paved the way for following translators. For example, John Dryden published his views on literal translation and free translation. Dryden made distinction between metaphrase, phrase and imitation which was an extension of literal translation and free translation. What's more, Newmark thinks literal translation is preferred when the effect is the same (Newmark 39). And Nabokov holds that literal translation is true translation because it can convey the exact contextual meaning of the text as accurately as possible (Nabokov viii).&lt;br /&gt;
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======Bian Zhilin's Translation======&lt;br /&gt;
Bian Zhilin thinks only &amp;quot;translation&amp;quot; is advisable over the long-standing dispute over literal translation and free translation. Translation contains following meanings (Bian Zhilin 8).&lt;br /&gt;
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Firstly, literal translation and free translation are not contradictory but complementary. Too much emphasis on either side will only have a bad effect on literary translation. Bian Zhilin also criticizes translations that put too much emphasis on the source language or the target language.&lt;br /&gt;
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Secondly, translation cannot be creation. Translation should be based on the original text, not personal creation. But Bian Zhilin doesn't deny the creativity in translation and thinks the creativity is the life of translation as long as it is based on the original.&lt;br /&gt;
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====Bian Zhilin's Poetry Translation Strategies====&lt;br /&gt;
Absorbed thoughts from former and contemporary poets, Bian Zhilin created his poetry translation strategies. That is to translate English poetry in a poetical and metrical way and replace foot with dun. These strategies not only consider the western poetry patterns, but also considers the characteristics of Chinese, which has strong feasibility. Bian Zhilin's poetry translation strategies are closely related with his literary translation theory of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
=====Translating Poetry in A Poetical and Metrical Way=====&lt;br /&gt;
Bian Zhilin thinks that poetry is more a unity of content and form than other literary forms. Therefore, poetry translation includes both translation of poetry content and form. Bian Zhilin thinks poetry translation should be loyal to the original poem not only in content but also in form. Poems should be translated into the form of poem rather than prose. If the original poem is free verse, then translated version also should be free verse. If the original poem is metrical poem, then translation also should be a metrical one. (Bian Zhilin, 319) The coincidence between form and content in poetry translation is an embodiment of translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
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Meter is an important feature of poetry, including rhythm, rhythm and arrangement of words and stanzas. There are many differences in meter among poetry of different languages. And different poets and works use different meters. These become major factors of difficulties in poetry translation. &lt;br /&gt;
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Bian Zhilin thinks translators should preserve the metrical features of the original poems. In other words, translators should translate poetry in a metrical way. Therefore, poems should be translated by using equivalent meter. To be more specific, translators should translate foreign poems by using commonalities between Chinese traditional metrical basis and foreign metrical basis. It's not just simple application of foreign poetry patterns nor of Chinese traditional poetry patterns. Instead, it's the crossover of the two poetry patterns.&lt;br /&gt;
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=====Replacing Foot with Dun=====&lt;br /&gt;
The key to the metrical problem of poetry translation is what is the metrical unit of the line, &amp;quot;word&amp;quot; (a syllable) as a unit or &amp;quot;dun&amp;quot; (syllables) as a unit. Bian Zhilin believes metrical poems should be translated in equivalent &amp;quot;duns&amp;quot; which can replace meters and this kind of translation is without the limit of word numbers. This theory is well thought out and based on rhythmic characteristics of Chinese. As Bian Zhilin analyzed that when we speak Chinese, we usually say two or three Chinese characters as a &amp;quot;dun&amp;quot; in most cases, one character at least as a &amp;quot;dun&amp;quot; and four characters at most as a &amp;quot;dun&amp;quot;. This is the internal rules of Chinese. Chinese poems constitute stanzas, stanzas constitute lines and lines constitutes &amp;quot;duns&amp;quot;. Therefore, &amp;quot;dun&amp;quot; is the natural rhythmic units of Chinese poetry and reveals poems' &amp;quot;inherent music-like rhythm and beat&amp;quot;.&lt;br /&gt;
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However, that &amp;quot;dun&amp;quot; is the basic metrical unit of the Chinese poetry doesn't mean the number of duns in each line is exactly the same. Bian Zhilin advocates dun of two characters and dun of three characters should be arranged alternately and adjusted mutually to meet the needs of poetic expression and produce an effect similar to feet in western poetry.&lt;br /&gt;
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===Chapter 3 Analyses of Bian Zhilin's Translation Practice===&lt;br /&gt;
Bian Zhilin put his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and poetry translation strategies of &amp;quot;replacing foot with dun&amp;quot; into practice. Here are three poem excerpts of romantic poets and Bian Zhilin's translation of them.&lt;br /&gt;
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====William Blake's ''The Tiger'' in ''Songs of Experience''====&lt;br /&gt;
William Blake is a representative of English romantic literature. He was hailed by 20th century critics as &amp;quot;the great prophet&amp;quot; who was a pioneer of romanticism. He broke neoclassical traditions in the 18th century and emphasized instinct, passion and imagination. Besides, Blake is a revolutionary poet and expressed strong revolutionary passion and rebellious spirit in his poem. The Tiger is one of his earliest lyrical poems. It eulogizes the shape and strength of the tiger. Here is an excerpt of it:&lt;br /&gt;
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Tiger! Tiger! Burning bright&lt;br /&gt;
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In the forests of the night,&lt;br /&gt;
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What immortal hand or eye&lt;br /&gt;
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Could frame thy fearful symmetry?&lt;br /&gt;
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'''Bian Zhilin's Translation:'''&lt;br /&gt;
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老虎！|老虎！|火一样的辉煌，&lt;br /&gt;
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烧穿了|黑夜的|森林和|草莽，&lt;br /&gt;
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什么样|非凡的|手和|眼睛&lt;br /&gt;
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能塑造|你一身|惊人的|匀称？&lt;br /&gt;
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(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of dun.)&lt;br /&gt;
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The excerpt shows the praise for the tiger. In the poem, Blake uses symbolization and compares the tiger to a fire that destroys everything. Bian Zhilin represents the perfect creation of the creator with the symmetry of the tiger. &lt;br /&gt;
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Bian Zhilin translates the poem on the guidance of his theory of &amp;quot;faithfulness, similarity and translation&amp;quot;. In the first line of the excerpt, the use of &amp;quot;Tiger&amp;quot; with exclamation marks is a kind of call of the tiger——the king of the forest. Bian Zhilin translates them faithfully into &amp;quot;老虎！老虎！&amp;quot;. The third line is a rhetorical sentence that asks without answering, which reminds readers of the Creator——God, thus making the poetry profound. Bian Zhilin follows the rhythmic characteristics of the original poem and translates it artistically.  &lt;br /&gt;
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Bian Zhilin also makes his translation according to his theory of &amp;quot;replacing foot with dun”. The above stanza consists of four lines of trochaic tetrameter. Therefore, there are four feet in each line. And in translated version, there are four lines of four duns. Each duns contains two or three characters, thus make the structure of the translated poem neat and have a strong rhythm.&lt;br /&gt;
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====William Wordsworth's ''The“Lucy”Series''====&lt;br /&gt;
William Wordsworth is also an important poet in English romanticism. He was made poet laureate and he strongly promoted the innovation of English poetry and the development of the Romantic movement. He believes &amp;quot;Poetry is the spontaneous overflow of powerful feelings&amp;quot;. The following excerpt is taken from his &amp;quot;Lucy&amp;quot; series:&lt;br /&gt;
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A slumber did my spirit seal&lt;br /&gt;
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I had no human fears&lt;br /&gt;
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She seemed a thing that could not feel&lt;br /&gt;
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The touch of earthly years &lt;br /&gt;
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No motion has she now, no force&lt;br /&gt;
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She neither hears nor sees&lt;br /&gt;
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Rolled round in earth's diurnal course&lt;br /&gt;
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With rocks, and stones, and trees.&lt;br /&gt;
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'''Bian Zhilin's translation:'''&lt;br /&gt;
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迷糊|封住了|我的|精神；&lt;br /&gt;
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我没有|人世的|忧惶：&lt;br /&gt;
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她似乎|超然|物外，|不可能&lt;br /&gt;
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感觉到|岁月的|影响。&lt;br /&gt;
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现在|她无力了，|也不能|动弹；&lt;br /&gt;
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她不再|耳闻|目睹；&lt;br /&gt;
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卷在|地球的|日程里|滚转，&lt;br /&gt;
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混同了|岩石、|树木。&lt;br /&gt;
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(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
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The above poem was written when Wordsworth went and stayed in Germany with his sister Dorothy in 1798 and 1799. It uses simple words and the meaning of the poems is quite clear. And Bian Zhilin's translation of the poem is quite faithful and vivid. &amp;quot;Slumber&amp;quot; in the first line of the original is translated into &amp;quot;迷糊&amp;quot; rather than &amp;quot;沉睡&amp;quot;, which gives readers a sense of &amp;quot;lazy charm&amp;quot;. And &amp;quot;fears&amp;quot; in the second line was translated into &amp;quot;忧惶&amp;quot;；it’s quite vivid and pertinent. Besides, the original poem consists of two stanzas with four lines of iambus. In each stanza, the first and the third line have four feet and the second and the fourth line have three feet. The whole poem follows the rhyme scheme of &amp;quot;a-b-a-b, c-d-c-d&amp;quot;. Bian Zhilin replaces feet in the poem with duns. There are fours duns in the first and the third lines and three duns in the second and fourth lines in translation. And the translated version follows the same rhyme scheme with the original. The whole poem is translated and expressed in quite appropriate way.&lt;br /&gt;
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====Percy Bysshe Shelley's ''Song to the Men of England''====&lt;br /&gt;
Percy Bysshe Shelley, as one of the famous romantic poets, pursued freedom and resisted violence in his short life. He encouraged people to stand and fight for a better life and was branded a &amp;quot;complete revolutionary&amp;quot; by Marx. And Song to the Men of England was written by Shelley after &amp;quot;Peterloo incident&amp;quot; in Manchester in 1819 to reveal the cruel nature of reactionary rulers and call on people to revolt bravely. Here is an excerpt of Song to the Men of England:&lt;br /&gt;
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Men of England, wherefore plough&lt;br /&gt;
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For the lords who lay ye low?&lt;br /&gt;
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Wherefore weave with toil and care&lt;br /&gt;
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The rich robes your tyrants wear?&lt;br /&gt;
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Wherefore feed and clothe and save&lt;br /&gt;
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From the cradle to the grave&lt;br /&gt;
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Those ungrateful drones who would&lt;br /&gt;
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Drain your sweat——nay, drink your blood?&lt;br /&gt;
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'''Bian Zhilin's Translation:'''&lt;br /&gt;
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英国的|人民，|为什么|犁地&lt;br /&gt;
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报答|老爷们|踩你们|成泥？&lt;br /&gt;
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为什么|辛勤|劳苦|去织布，&lt;br /&gt;
&lt;br /&gt;
让那些|恶霸|穿华丽|衣服？&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
为什么|你们|从摇篮|到坟冢&lt;br /&gt;
&lt;br /&gt;
尽供给|和保养|那许多|雄峰？&lt;br /&gt;
&lt;br /&gt;
他们|不感激，|还非常|坚决，&lt;br /&gt;
&lt;br /&gt;
要喝干|你们的汗|——再加|血；&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
This excerpt is about the clash between two classes of society, the poor working class and the rich nobles. The major theme of this poem is exploitation. People plow for the sake of the lords, who are like drone bees that do no work but live off of the works of others. The narrator is urging the workers to make a stand as they are being treated unfairly. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin practices his poetry translation strategies of &amp;quot;translating poetry in metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; in this poem. In the original poem, each of two stanzas consists of four lines of iambic tetrameter, rhyming &amp;quot;a-a-b-b, a-a-b-b&amp;quot;. In the translated version, there are also two stanzas composed of four lines. And in each line, there are four duns which replaces the four feet in the original poem. The rhyme scheme in translated version is the same as that in the original.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translate the poem faithfully and vividly. For example, he translates &amp;quot;lay ye low&amp;quot; into &amp;quot;踩你们成泥&amp;quot; which well preserves the images of the original work. And &amp;quot;tyrants&amp;quot; in the fourth line of the first stanza is translated into &amp;quot;恶霸&amp;quot; which is concise and accurate. In the second stanza, &amp;quot;From the cradle to the grave&amp;quot; modifies &amp;quot;the men of England&amp;quot; rather than those &amp;quot;ungrateful drones&amp;quot;, Bian Zhilin understands the linguistic structure of the poem and translates it into &amp;quot;你们从摇篮到坟冢&amp;quot;. &amp;quot;坟冢&amp;quot; is more formal than &amp;quot;坟墓&amp;quot; and it's suitable for poetry, from which we can see the precision of Bian Zhilin's choose of words. In the last line, Bian Zhilin uses a dash and the words &amp;quot;再加&amp;quot; to highlight the brutal nature of the rulers. Actually, this translation is a good practice of his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===Chapter 4 Critical Thinking of Bian Zhilin's Translation Theories===&lt;br /&gt;
There is no doubt that Bian Zhilin's translation theories greatly promoted the development of English poetry translation in China. His &amp;quot;faithfulness, similarity and translation&amp;quot; is the inheritance and innovation of Chinese traditional translation theories. And it indeed provides a new way for poetry translation. Besides, Bian Zhilin thinks poetry should be translated into poetry rather than prose. In other words, translators should translate poetry in a poetical and metrical way. He stresses the importance of the unity between form and content and thinks high quality translation should be a unity of content and artistic style of the original text.&lt;br /&gt;
&lt;br /&gt;
Despite Bian Zhilin's great contribution to literary translation theories, I think there are still some problems existing in Bian Zhilin's translation strategies. In Bian Zhilin's opinion, translators can replace foot with dun thus achieving similar rhythmical effect in Chinese version with the English original. It seems that it is a quite advisable and feasible method. Bur actually, it cannot be practiced widely. In English poetry, each foot consists of two syllables, which is fixed and regular. But things are changed in Chinese. The character numbers in each dun in Chinese are not fixed. There may be one or two or three or four characters in each dun, so different people may have different divisions of duns based on their different understanding of context. Therefore, the division of duns may be disordered and random, which makes &amp;quot;replacing foot with dun&amp;quot; not advisable in many cases.&lt;br /&gt;
&lt;br /&gt;
Another problem in Bian Zhilin's translation theories is the ignorance of metrical patterns of foot. In English poetry, there are different metrical patterns like iambus, trochee, spondee and pyrrhic and so on. But there are no such meters in Chinese. &amp;quot;Replacing foot with dun&amp;quot; only considers the correspondence of foot but ignores the correspondence of metrical patterns of foot, so Bian Zhilin's &amp;quot;translating poetry in metrical way&amp;quot; actually is not adequate. We know Chinese is a kind of tone language which has four tones. We can use four tones to correspond the metrical patterns of foot in English. But it's quite difficult in so far and still needs more exploration.&lt;br /&gt;
&lt;br /&gt;
===Chapter 5 Conclusion===&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. His literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and &amp;quot;translating poems in a poetical and metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; give us a lot of enlightenment in the translation of poems. This paper analyzes Bian Zhilin's translation of romantic poems to show his translation strategies. However, there are still some problems in his theories, for example, the division of duns are disordered and random which are based on the understanding of translators and there is no correspondence in metrical patterns of foot. These are the problems that are needed to be considered and solved.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Blake, William. Songs of Experience[M]. New York: Dover Publications, Inc., 1971.&lt;br /&gt;
&lt;br /&gt;
Durrant, Geoffrey. William Wordsworth [M]. Cambridge: Cambridge University Press, 1979.&lt;br /&gt;
&lt;br /&gt;
Nabokov, Vladimir. &amp;quot;Forward&amp;quot;, A.S.Pushkin, Eugene Onegin, Nabokov, V.trans. London: Routledge &amp;amp; Kegan Paul, 1964/1975, p.viii.&lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. Approaches to Translation. Oxford: Pergamon, 1981, p39.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2002).《卞之琳文集》（中卷）. 安徽教育出版社, p503.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2000).《卞之琳文集》（上卷）. 安徽教育出版社, p8.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(1994).《从&amp;lt;西窗集&amp;gt;到&amp;lt;西窗小书&amp;gt;》.[英] 克里斯托弗·衣修伍德《紫罗兰姑娘》, 卞之琳译. 中国工人出版社, p8-9.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2007).《人与诗：忆旧说新》（增订本）. 安徽教育出版社, p319.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2005). 《英国诗选》. 商务印书馆, p156.&lt;br /&gt;
&lt;br /&gt;
Chen Xiying陈西滢(1984).《论翻译》. 罗新璋编《翻译论集》. 商务印书馆, p401-402.&lt;br /&gt;
&lt;br /&gt;
Fu Lei傅雷(1984).《论文学翻译书》. 罗新璋编《翻译论集》. 商务印书馆, p694.&lt;br /&gt;
&lt;br /&gt;
Li Changshuan李长栓(2004). 《非文学翻译理论与实践》. 中国对外翻译出版公司, p57.&lt;br /&gt;
&lt;br /&gt;
Shen Suru沈苏儒(1998).《论信达雅：严复翻译理论研究》. 商务印书馆, p8.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜(1991).《西方翻译简史》.商务印书馆, p24.&lt;br /&gt;
&lt;br /&gt;
Yan Fu严复(1984).《&amp;lt;天演论&amp;gt;译例言》.罗新璋编《翻译论集》. 商务印书馆, p136.&lt;br /&gt;
&lt;br /&gt;
=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday, 2012) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær, 2015; von Flotow, 2010). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh (2015) argues that translation is one of the traditional communicating methods between communities all around the world. Jothiraj (2004) states that “translation plays an important role in the inter-lingual process of communication” (p. 1). Translation is essential for cultures and languages to exchange information. Newmark (1988) defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects. Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
&lt;br /&gt;
Nida (1964) indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style. Larson (1998) has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context. &lt;br /&gt;
&lt;br /&gt;
Culture plays a considerable role, Snell-Hornby (1988, p. 33) assumed that “Culture refers to all socially conditioned aspects of human life”. Another definition of culture is formulated by Goodenough (1957, p. 167). For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term. By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
&lt;br /&gt;
The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline (2003, p.16) thought that “religion is an important institutional network that binds people to one another.” But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
&lt;br /&gt;
This study is aimed to probe Newmark's (1988) translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion (1988, p. 81), seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL. &lt;br /&gt;
&lt;br /&gt;
===Translation and Culture===&lt;br /&gt;
&lt;br /&gt;
2. Translation and Culture &lt;br /&gt;
&lt;br /&gt;
Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.  &lt;br /&gt;
The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988, 7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988, 5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988, 7).  &lt;br /&gt;
&lt;br /&gt;
In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford (1965) defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language” (Catford 1965, 20). According to Venuti’s translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader” (Venuti 1995, 18). Schjoldager stated that “a translation is a text that expresses what another text has expressed in another language” (Schjoldager 2008, 19). Culture is a complex whole which includes knowledge, belief, art, law, morals, customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan (2014), claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014, 2). Hermanns (1999) contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures. Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014, 2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark (2001), illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001, 328). &lt;br /&gt;
&lt;br /&gt;
Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
&lt;br /&gt;
2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
&lt;br /&gt;
Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora, fauna, food, clothes, housing, work, leisure, politics, law, and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988, 327) Christine Nord names them “culturemes” (Nord 1997, 9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012, 1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Aixela, 1997; Davies, 2003), others choose cultural words (Newmark, 2003) or culture-bound phenomena/concepts (Baker, 1992, Newmark, 2003, Robinson, 2003). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker, 1992, 21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988, 94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988, 95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988, 95).&lt;br /&gt;
&lt;br /&gt;
2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
&lt;br /&gt;
The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85, P. 22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003, 16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.&lt;br /&gt;
&lt;br /&gt;
===Types of Translation ===&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
Newmark (1988) determines 8 types of translation which are: &lt;br /&gt;
 &lt;br /&gt;
3.1 Word-for-Word Translation &lt;br /&gt;
&lt;br /&gt;
This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
&lt;br /&gt;
3.2 Literal translation &lt;br /&gt;
&lt;br /&gt;
In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
&lt;br /&gt;
3.4 Semantic Translation &lt;br /&gt;
&lt;br /&gt;
Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
&lt;br /&gt;
3.5 Adaptation &lt;br /&gt;
&lt;br /&gt;
This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015, 15). &lt;br /&gt;
&lt;br /&gt;
3.6 Free Translation &lt;br /&gt;
&lt;br /&gt;
The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
&lt;br /&gt;
3.7 Idiomatic Translation &lt;br /&gt;
&lt;br /&gt;
This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
&lt;br /&gt;
3.8 Communicative Translation &lt;br /&gt;
&lt;br /&gt;
This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
===Translation Strategies  ===&lt;br /&gt;
&lt;br /&gt;
4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
&lt;br /&gt;
4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela (1996), translators need to choose several strategies based on the source language culture and target culture.  He distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, he tries to command by the level of their intercultural intervention. He divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies). &lt;br /&gt;
&lt;br /&gt;
4.1.1. Conservation: &lt;br /&gt;
In conservation, the less compelling process includes repetition, orthographic adaptation, linguistic translation, extratextual gloss and intratextual gloss. &lt;br /&gt;
&lt;br /&gt;
4.1.1.1 Repetition: In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus, the translator keeps as much as possible the original reference (Aixela, 1996, p. 61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
&lt;br /&gt;
4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
&lt;br /&gt;
4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
&lt;br /&gt;
4.1.1.4 Extra-textual Gloss: Here, the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes, endings, words, ideas, translators in dictionaries, italics and so on. &lt;br /&gt;
&lt;br /&gt;
4.1.1.5 Intra-textual Gloss: It's like the past but the translator feels that he/she can include the globe as an indirect part of the text, not to distract the reader. &lt;br /&gt;
&lt;br /&gt;
4.2.1 Substitution &lt;br /&gt;
In substitution, According (Aixela, 1996) “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here”. &lt;br /&gt;
&lt;br /&gt;
4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
&lt;br /&gt;
4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
&lt;br /&gt;
4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela, 1997, p.63). &lt;br /&gt;
&lt;br /&gt;
4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Shokri, Ketabi, 2015, p.8). &lt;br /&gt;
&lt;br /&gt;
4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela, 1996, p. 64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
&lt;br /&gt;
4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela, 1997). &lt;br /&gt;
&lt;br /&gt;
4.3 Mona Baker’s Translation Strategies &lt;br /&gt;
Baker’s strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation. (Baker, 1992). He suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies, which are the following: &lt;br /&gt;
&lt;br /&gt;
4.3.1 Translation by a more general word: According to Baker, this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
&lt;br /&gt;
4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
&lt;br /&gt;
4.3.3 Translation by cultural substitution: This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
&lt;br /&gt;
4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
&lt;br /&gt;
4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
&lt;br /&gt;
4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
&lt;br /&gt;
4.3.7 Translation by omission: Losing phrases or words that are not vital to text development. &lt;br /&gt;
&lt;br /&gt;
4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view, however, Baker's (1992) translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
&lt;br /&gt;
===Cultural Categories  ===&lt;br /&gt;
5. Cultural categories &lt;br /&gt;
 &lt;br /&gt;
5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
5.1.2 Material culture &lt;br /&gt;
Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.” &lt;br /&gt;
5.1.3 Social culture &lt;br /&gt;
The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
5.1.4 Organisation &lt;br /&gt;
Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
 &lt;br /&gt;
5.2 Newmark Classification CSIs &lt;br /&gt;
Newmark (1988) established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items.&lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
 &lt;br /&gt;
Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
&lt;br /&gt;
2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
&lt;br /&gt;
3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
&lt;br /&gt;
4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
&lt;br /&gt;
5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
&lt;br /&gt;
6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
&lt;br /&gt;
7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
&lt;br /&gt;
8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
&lt;br /&gt;
9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
&lt;br /&gt;
10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
&lt;br /&gt;
11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
&lt;br /&gt;
12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
&lt;br /&gt;
13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
&lt;br /&gt;
14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
&lt;br /&gt;
16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
&lt;br /&gt;
17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
&lt;br /&gt;
18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
&lt;br /&gt;
19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
&lt;br /&gt;
20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
&lt;br /&gt;
21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
&lt;br /&gt;
22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
&lt;br /&gt;
23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
&lt;br /&gt;
24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996, 31), “translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by (Newmark 1988, 81), “translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.” &lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation, then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions. &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity, as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts, the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term, and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part, but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark (1988) has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9. &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark’s strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                           	 قرُۡءٰنًا	Quran &lt;br /&gt;
 	                         ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference               	 يعَۡقوُۡب	Yaqub &lt;br /&gt;
 	                            اِسۡحٰق	Ishaq &lt;br /&gt;
 	                         يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
===8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
===      This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
===8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
===8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
===The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark (1988) were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
===This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However, the translator must be competent in using the translation procedures to provide an accurate translation. &lt;br /&gt;
&lt;br /&gt;
===8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
===The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abdi, H. (2019). Translating culture-specific items (CSIs) as a conundrum for Iranian MA translation students: Considering the level of study. Journal of new advances in English Language Teaching and Applied Linguistics, 1(1), 88-109. &lt;br /&gt;
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Aguado-Gimenez, P., &amp;amp; Pérez-Paredes, P. F. (2005). Translation-strategies use: A classroombased examination of Baker’s taxonomy. Meta: journal des traducteurs/Meta: &lt;br /&gt;
Translators' Journal, 50(1), 294-311. &lt;br /&gt;
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Ahmadi, M. R.S and Nosrati, Fatemah. (2012). Domestication and Foreignization Strategies in Translation of Culture-Specific Items. Translations of English-Persian Children’s Literature. San Francisco: Grin Publishing. Google Books. &lt;br /&gt;
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Al Saleh, R. A. (2019). An Application of Newmark's Procedures to Muhammad Abul Quasem's Alleman, J. C. Bee. W. Ulitkin, I. Files, F., Zetzsche, J., Chatonnet-Marton, P. &amp;amp; y del Árbol, E. V. Translation Strategies. &lt;br /&gt;
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Al-Sofi, B. B. M. A., &amp;amp; Abouabdulqader, H. (2020). Bridging the gap between translation and culture: towards a cultural dimension of translation. International journal of linguistics, literature and culture, 6(1), 1-13. &lt;br /&gt;
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Baker, M., 1992. In Other Words: A Coursebook on Translation. London: Routledge, p.20–42. &lt;br /&gt;
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Blažytė, D., &amp;amp; Liubinienė, V. (2016). Culture-specific items (CSI) and their translation strategies in Martin Lindstrom’s&amp;quot; Brand sense&amp;quot;. Kalbų studijos, (29), 42-57. &lt;br /&gt;
&lt;br /&gt;
Bush, P. (1998) &amp;quot;Literary Translation.&amp;quot; In: M. Baker, ed. Routledge Encyclopedia of Translation Studies, London: Routledge, pp.127-130. &lt;br /&gt;
&lt;br /&gt;
Catford. J. C. (1965). A linguistic theory of translation. Oxford: Oxford University Press. &lt;br /&gt;
English Translation of Mohammad Al-Ghazali's Islamic Guidance.Literature and Culture, 6(1), 1-13. &lt;br /&gt;
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Gečaitė, L. (2020). Culture-Specific Items and Their Translation Strategies in Victoria Hislop's Novel The Sunrise.” (2020). &lt;br /&gt;
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Hassan, B. E. A. (2014). Between English and Arabic: A practical course in translation. &lt;br /&gt;
Cambridge Scholars Publishing. &lt;br /&gt;
&lt;br /&gt;
Hermans, T. (1999). Translation in systems. Manchester: St. Jerome Publication  House, J. (Ed.). (2014). Translation: a multidisciplinary approach. Springer. &lt;br /&gt;
Issa, A. L. S. M., &amp;amp; Hammood, L. H. R.- Quranic-Specific Phrases under the Study of Translation; Significance and Applications. &lt;br /&gt;
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Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. (33), p. 83-87). &lt;br /&gt;
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Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. 33, p. 83-87). &lt;br /&gt;
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Lambert, J. (1998) Literary Translation. In: M. Baker, ed. Routledge Encyclopedia of Translation Studies. London: Routledge, 130-134. &lt;br /&gt;
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Landers, Clifford E. (2001) Literary Translation: A practical guide. New Jersey University Press: Multilingual Maters. &lt;br /&gt;
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Lustig, Myron, W. and Koeser, Joline  (2003), Intercultural Competence: Interpersonal Communication Across Cultures, Boston: Allyn and Bacon. &lt;br /&gt;
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Malmkjær, K. (1993). Who Can Make Nice A Better Word Than Pretty? Collocation, Translation, and Psycholoinguistics. In: Baker, M., Francis, G. and Tognini-Bonelli, E. &lt;br /&gt;
eds. Text and Technology. Philadelphia/Amsterdam: John Benjamins Publishing Company. pp.213-32. &lt;br /&gt;
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Mosavat, S., &amp;amp; Rahimpour, S. (2016). The Most and Least Used Translation Strategies for &lt;br /&gt;
Conveying Culture-Specific-Items in Young Adult Literature from English into Persian. International Journal of Humanities and Cultural Studies (IJHCS) ISSN 23565926, 1853-1873. &lt;br /&gt;
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Munday, J. (1997). Systems in Translation: A computer-assisted systemic approach to the analysis of translation of García Márquez. Ph.D thesis, University of Bradford. &lt;br /&gt;
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Newmark, P. (2001). A Textbook of Translation. Shanghai: Shanghai Foreign Language &lt;br /&gt;
Education Press &lt;br /&gt;
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Newmark, Peter. (1988). A Textbook of Translation. New Jersey: Prentice-Halls &lt;br /&gt;
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Nord, Christiane. (1997). Translating as a Purposeful Activity: Functionalist Approaches &lt;br /&gt;
Explained. Manchester: St. Jerome. Accessed 10 November. 2018. Google Books Schjoldager, A. (2008). Understanding translation. Academica: Århus. &lt;br /&gt;
&lt;br /&gt;
Silalahi, M., &amp;amp; Lubis, S. (2013). Translation Procedures of Cultural Terms Found In Sejarah Bilingual For Students of Senior High School. &lt;br /&gt;
Valipoor, K., &amp;amp; andAzizeh Chalak, H. H. T. (2019). Cultural-specific items in translation of the Holy Quran by Irving: 43-51. &lt;br /&gt;
&lt;br /&gt;
Venuti, L. (1995). The translator’s invisibility: A history of translation. London and New York: &lt;br /&gt;
Routledge &lt;br /&gt;
&lt;br /&gt;
Widiarto, O. V. V. (2016). The translation procedures of cultural expressions applied in a game of thrones translated into Perebutan Tahta novel by Barokah Ruziati (Doctoral dissertation, Dian Nuswantoro University).&lt;br /&gt;
&lt;br /&gt;
=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
===An Overview on Translation Studies  ===&lt;br /&gt;
&lt;br /&gt;
===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
&lt;br /&gt;
=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the researcher wants to highlight the different concepts about the fundamental question &amp;quot;what is idiomatic expression&amp;quot; of different critics, theorists and linguistic experts, and prominent scholars of translation studies. Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
&lt;br /&gt;
Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda Corelli 2006, 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984, 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992, 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to (Newmark 1981, 11), “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”&lt;br /&gt;
.	The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to (Corelli 2006, 53), English has a sizeable idiomatic base.&lt;br /&gt;
About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.&lt;br /&gt;
The main issue that idiomatic and fixed expressions pose for translators, according to (Baker 1992, 65), is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.&lt;br /&gt;
&lt;br /&gt;
Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.&lt;br /&gt;
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===Literature Review ===&lt;br /&gt;
In this chapter, the author/researcher defines the strategy and its different definitions from the perspective of different subjects and fields. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented. Krings defines it as the content of the project, while Seguinet divided the term into three steps. However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. &lt;br /&gt;
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The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward.&lt;br /&gt;
Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint.&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to (Seguinot 1989, 27) (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.&lt;br /&gt;
 Furthermore, (Loescher 1991, 8) defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot; As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998, 4) claim moreover, (Bell 1998, 188) distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.&lt;br /&gt;
 According to (Venuti 1998, 240), &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot; He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to (Jaaskelainen 2005, 15), product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.&lt;br /&gt;
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Furthermore, (Jaaskelainen 2005, 16) distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making. (Newmark 1988, 221) distinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;&lt;br /&gt;
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Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016, 13).&lt;br /&gt;
The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010, 15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017, 54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985, 9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female.&lt;br /&gt;
Several research articles are found on translated work (license and khol do) of Urdu famous short stories writer Sadat Hassan Manto's from a different perspective like psychoanalysis, postcolonial, feminist approaches but to explore the problem of translations strategies face by translator Aatish Taseer during the process of translation has not been mention till date. To summarize this, the research includes a critical, in-depth, comprehensive analysis of issues that previously did not address.&lt;br /&gt;
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=== Theoritical Framework ===&lt;br /&gt;
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Different strategies have been used, like using an idiom of similar meaning and similar form, the idiom of similar meaning and different form, translation by Paraphrasing, translation by omission. The approach of employing idioms of similar meaning and form, according to Mona Baker, entails using an idiom in the target language that can express about the same meaning as the source language idiom, as well as having lexical similarity. On the other hand, this type of matching happens periodically as well as regularly.&lt;br /&gt;
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Similarly, employing idioms with similar meanings but different forms means that it is possible to locate an idiom or fixed expression in the target text language that has a similar meaning to the source idiom or expression but is made up of distinct lexical elements. Consider the case of English and French, both of which use the idiom mentioned above. In English, one good deed is rewarded with another, whereas in French, handsome deeds are rewarded with handsome deeds.&lt;br /&gt;
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Furthermore, we did not come across any idioms in the category mentioned above during translating idioms. To deal with this issue, the translators used the most popular approach, known as a translation by paraphrase, which is short, straightforward, and time-saving. When a match cannot be identified in the target language or when it appears improper to employ idiomatic language in target material due to aesthetic differences between the source and target languages, this is the most typical approach for translating an idiom from source to target language. However, one thing to keep in mind is that a perfect translation is not required is necessary or possible.&lt;br /&gt;
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Last but not least, to overcome the problem of idiom translation, the translator employs the strategy of translation by omission. This can be defined as an idiom being omitted entirely in the target text with a single word. This is done because the idiom has no close match in the target language; its meaning cannot be easily paraphrased or due to stylistic reasons. &lt;br /&gt;
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3.4 Data analysis Techniques:&lt;br /&gt;
Textual analysis is the method of data analysis in qualitative research that brings forth the hidden and potent message, structure, and function of research in giving text, Alan Mckee (defines textual analysis as whenever we perform textual analysis on the text, we make an educated guess at some time of the most likely interpretations that might be made of that text (Alan Mckee 2001, 3)&lt;br /&gt;
Analysis of the translation of short stories in light of Mona baker's theory &amp;quot;khol do and license&amp;quot; are short stories written by Sadat Hassan Manto and translated by many translators from Urdu into English. During translation, the translator adopted many strategies for translating idiomatic expression, sometimes by Paraphrasing, sometimes by omission, sometimes using similar idioms of form and meaning while sometimes using different words and the same form, the whole.&lt;br /&gt;
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===Discussion and Analysis===&lt;br /&gt;
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=== Findings===&lt;br /&gt;
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===Conclusion ===&lt;br /&gt;
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=== References ===&lt;br /&gt;
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= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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===Key words ===&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
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===Ambiguity===&lt;br /&gt;
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===Lexical and Structural Mismatches===&lt;br /&gt;
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===Multiword units: Idioms and Collocations===&lt;br /&gt;
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===Summary===&lt;br /&gt;
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===Further Reading===&lt;/div&gt;</summary>
		<author><name>Atta Ur Rahman</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=130870</id>
		<title>Translation types, strategies, styles, methods</title>
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		<updated>2021-12-10T14:23:50Z</updated>

		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* Literature Review */&lt;/p&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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==Abstract==&lt;br /&gt;
''Legend of Zhen Huan'', as an excellent Chinese TV series, has successfully entered the American market. However, the American version of Legend of Zhen Huan still has some shortcomings in translation. By comparing and analyzing the subtitle texts of the ''Legend of Zhen Huan'' in China and the United States, this paper aims to discuss the problems existing in the overseas translation of the ''legend of Zhen Huan'' and the translation strategies and methods adopted in the subtitle translation of the American version, so as to provide some enlightenment for Chinese costume dramas to reach the world in the future.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
Translation strategy and translation methods; ''Legend of Zhen Huan''; Subtitle translation&lt;br /&gt;
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==Introduction==&lt;br /&gt;
The TV series ''Legend of Zhen Huan'' is Imperial-harem competing play produced by the Beijing Television Arts Center in 2011. This play is adapted from a novel of the same name written by Liu Lianzi, which mainly tells the story of the young girl Zhen Huan growing up from an unsophisticated young girl to an empress dowager who is good at politics. Since its debut in China in 2012, ''the Legend of Zhen Huan'' has been a hit among Chinese audiences, with its ratings rising and even forming “Zhen Huan craze” for a time. The reason why the play has received so much praise, on the one hand, is that the film and television script is well-produced; on the other hand, it is because the plots and dialogues of the characters in the play cover a wealth of historical and cultural knowledge, embodying the profundity of Chinese culture.&lt;br /&gt;
Due to its great success in the domestic market, the series finally attracted the attention of foreign producers: the American team adapted the original ''Legend of Zhen Huan'', cutting the 76-episode original drama into six episodes,which was officially launched on Netflix’s paid website in the United States on March 15, 2015. It is the first Chinese TV series to be broadcast on mainstream TV stations in the United States. &lt;br /&gt;
However, the American version of the ''Legend of Zhen Huan'' failed to be sought after by audiences in the US, with most viewers abandoning the show after only one or two episodes.The English lines of the ''Legend of Zhen Huan''’s have ever been criticized by some Chinese audiences. After a deep study of the reason, in addition to the lack of content caused by a large amount of deletion and cutting, another important reason is the insufficiency of subtitle translation. This paper attempts to explore the translation strategies of the subtitle of ''Legend of Zhen Huan'', hoping to provide some inspiration for the subtitle translation of domestic film and television works of the same type.&lt;br /&gt;
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==Literature Review==&lt;br /&gt;
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===Previous studies in Subtitle Tranlation abroad===&lt;br /&gt;
In the early 1970s, Doller Up (1974) published a paper entitled “On Subtitle in TV Programs” on Babel, an authoritative journal of the International Association of Translators, which was the first time that scholars paid special attention to subtitle translation. In addition, he creatively pointed out the great value of TV subtitles to foreign language teaching, and then made contributions to the cause of education.&lt;br /&gt;
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In 1976, Istvan Fodor published a book called Film Dubbing: Aspects of Phonology, Semiotic Aesthetics, and Psychology, which centered on film dubbing from an acoustic perspective. Fodor argues that because each country’s language and culture are unique and irreplaceable, it is almost impossible to achieve perfect “synchronization” in all aspects of the translation of film(Fodor 1976:82).&lt;br /&gt;
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In 1982, Christopher Titford first proposed the concept of “restricted translation” in his article “Subtitling: Restricted Translation”. He believes that the limitations of film and television as a medium themselves are the main cause of problems encountered by translators in practice (Titford 1982:113).&lt;br /&gt;
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In 1992, Ivarsson, a Swedish subtitling translation scholar, published his book Subtitling for Media: A Handout of Art, which can be said to be the first comprehensive study of subtitling translation works in Europe. In this book, Ivarsson introduces the development of subtitle translation technology in detail. The most representative subtitle translation scholars are Gambill and Gottlieb, who are two translation theorists. Yves Gambill, a Finnish translator, is a very important expert in the field of film and television translation. Gambill has a wide range of research fields, he has compiled a large number of academic monographs, such as language transfer and Audiovisual Communication: bibliography, which discusses the classification of translation patterns, translation strategies, translation audience and so on (Gambill 1997).&lt;br /&gt;
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===Previous studies on Subtitle translation at home===&lt;br /&gt;
The research on subtitle translation in China mainly focuses on the English translation of Chinese films, and a large number of such papers and articles have been published, which are also the most representative research results of subtitle translation in China. In addition, with more and more domestic films moving toward the international stage, some attention has been paid to the study of Chinese subtitles.&lt;br /&gt;
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The study on Chinese and English subtitle translation can be divided into several fields, including film and television language characteristics, subtitle translation methods, subtitle translation history and so on.&lt;br /&gt;
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Subtitle translation methods can be broadly divided into two categories. One category refers to some practical translation methods and skills summed up by translators based on their years of translation experience, such as the seven kinds of experiences of film and television translation proposed by Qian Shaochang (2000), which stresses the importance of “translation” in the output of films and TV plays. The other is related to domestic MA papers. They usually start with some translation theories, such as German functional translation theory, Eugene Nida’s functional equivalence theory, relevance theory, and Susan Basnett’s cultural translation theory, and finally conclude translation methods such as domestication, foreignization, literal translation, free translation, omission and so on.&lt;br /&gt;
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In recent years, with the increasing popularity of American TV series in China, the phenomenon of online subtitle translation has begun to attract attention from all sides. As time went by, subtitle translation goes beyond the simple purpose of satisfying the entertainment needs of movie fans, and begin to be applied to teaching practice and students’ self-learning process. This phenomenon is bound to attract academic attention. For example, Wang Hui (2005) discussed this issue in his article “The Impact of Subtitling on Vocabulary Acquisition”. This paper draws some conclusions which are beneficial to foreign language teaching.&lt;br /&gt;
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However, there are still many deficiencies in the study on subtitle translation. The only literature we can refer to is few books on the translation of film and television subtitle. In other words, subtitle translation is not discussed in detail.&lt;br /&gt;
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==Subtitle translation features==&lt;br /&gt;
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===Subtitle translation needs to be brief and comprehensive===&lt;br /&gt;
Subtitle translation should not be lengthy for two reasons: First, because the screen keeps switching, each screen stay can not be very long, the scene with the character’s dialogue switches over more quickly, in a matter of seconds, which is fleeting. Second, whether it is the large screen in the cinema or the small screen in the home, due to space constraints, if the subtitle translation is not simple enough, it will lead to an increase in the number of words in the target language, not to mention the English words that take up more space than Chinese phrases. English words take up more space than Chinese phrases.&lt;br /&gt;
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Take the Chinese phrase “Computer”for example, the English equivalent word is computer. The Chinese verb “来”corresponds to the English word “Come”. In general, English words have more characters than their Chinese counterparts, except in rare cases. Since the length of the word can not be artificially controlled, subtitle translation will put a higher demand on the number of words. In a typical presentation, Chinese and English subtitles are displayed simultaneously at the bottom of the screen, up to two lines of Chinese and two lines of English.&lt;br /&gt;
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If there are too many words, the limited space can not accommodate in a few seconds, the audience will have a dazzling feeling as well. Therefore, one of the distinctive features of subtitle translation is its concise use of words.&lt;br /&gt;
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===Subtitling translation requires natural equivalence===&lt;br /&gt;
The subtitling of the target language should be as natural as the subtitling of the source language. The subtitle translation discussed in this paper is mainly about the dialogue of the characters in the play. On the one hand, the style of dialogue is colloquial, in this sense,It is important   for the translator to pay attention to whether the subtitle translation that the target language audience can hear and see is in line with their daily speaking style.If the original spoken language is translated formally and rigidly, the audience of the target language will feel less natural and fluent, and their movie-watching experience can not be comparable with that of the source language audience. On the other hand, the spoken language features of the characters can clearly shape the characters in the play. If the translator does not grasp the spoken features of the characters, the target audience can not understand the character’s connotation as well as the source audience.&lt;br /&gt;
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Therefore,if a character needs to say something filthy, or even taboo, to make the character stand out, the subtitle translator must also translate the same filthy and taboo.These taboos should inevitably appear in the subtitle translation, and we should not mince words about them. The same is true of English to Chinese subtitle translation and Chinese to English translation. Because these taboo words are the extension of the role connotation, improper handling will affect the target audience's understanding of the connotation of the role.&lt;br /&gt;
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===Subtitle translation needs to be easy to understand===&lt;br /&gt;
The film and Television Play is the Popular Entertainment Program, so subtitle translation should be clear at a glance. There are thousands of people watching TV dramas, and their knowledge and cultural level vary widely, and their appreciation level is naturally mixed.Film and TV series have such a wide audience, which requires subtitle translation to take care of the needs of the majority of the audience whether from the perspective of box office and Audience Rating, or from the perspective of cultural communication.&lt;br /&gt;
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==Theory of Domestication and Foreignization==&lt;br /&gt;
In the process of translation, the translator should determine the general direction of translation, cultivate a good sense of culture, and fully understand that translation is an important feature of information exchange across different languages and cultures. But how to achieve that? There are two opposite strategies in translation: foreignization and domestication. The terms of domestication and foreignization were put forward by Laurence Venutti in his book Translators’ invisibility in 1995:&lt;br /&gt;
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===Domestication===&lt;br /&gt;
The domestication strategy is to localize the source language, take the target language or target readers as the destination, and convey the content of the original text in the way that the target language readers are accustomed to.Domestication requires the translator to be closer to the target language reader, and the translator must speak like the native author.This translation strategy will often make the translation transparent, smooth, relaxed and natural, close to the reader to the greatest extent, so as to dilute the strangeness brought by the original text.In film and television subtitle translation, domestication is often used in order to make the audience understand the film smoothly.&lt;br /&gt;
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===Foreignization===&lt;br /&gt;
The foreignization strategy is completely opposite to the domestication strategy, which is oriented by the source language culture and that &amp;quot;the translator should not disturb the author as much as possible to make the reader close to the author&amp;quot;.Foreignization advocates believe that the main purpose of translation is cultural communication, so the translation should try its best to preserve the language and cultural information contained in the source language.Only in this way can the exchange and fusion of source and target cultures be achieved through translation. In addition, they believe that the translator should believe the reader’s imagination and intelligence to the utmost, and believe that when reading the translated version, the reader should not only understand the simple words, but also understand the foreign culture through the words, and they have the capacity to understand the culture. &lt;br /&gt;
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Of course, as two translation strategies, domestication and foreignization are the unity of opposites and they complement each other. Absolute domestication and absolute foreignization do not exist.&lt;br /&gt;
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==Case Study==&lt;br /&gt;
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===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
The essence of “foreignization”is “the tendency toward the original author”, that is, the translator tries to be close to the original author in his translation (Xiong Bing, 2014). In the words of the Friedrich Schleiermacher, this means that the translator“Tries not to disturb the original author, but to take the reader to the original author”(Robinson, 2006:229) . Specifically in Translation, the translator tries to retain the original language, literariness, cultural characteristics and exotic customs (Xiong Bing, 2014) . Therefore, the nature of foreignization strategy is mainly in favor of the original author, and its defects are mainly reflected in the readability of the translation. In other words, the translation may be blunt and not well received and understood by the audience. Therefore, the translation effect is not ideal for the target audience.&lt;br /&gt;
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====Literal Translation====&lt;br /&gt;
Literal translation means keeping both the content and the form of the original text in the translation when the language conditions permit, especially the metaphor, image, national and local color of the original text.The vast majority of subtitle translation of the Us version of ''Legend of Zhen Huan'' adopts literal translation. Look at the following example:&lt;br /&gt;
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Example 1&lt;br /&gt;
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Chinese version：嬛嬛一袅楚宫腰。&lt;br /&gt;
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American version：the slim waist of the concubines of the Chu palace.&lt;br /&gt;
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For the word “Huan”in the name of Zhen Huan, the American version uses the Foreignization method, which is translated literally as the slim waist of the concubines of the Chu palace.Western audiences may be confused by the subtitles,Western audiences may be confused by the subtitles, because Zhen Huan is clearly a woman from the Qing Dynasty, how come another Chu Palace? In terms of accuracy and the conveying of cultural context, this translation is well-done, but it creates a barrier for the audience to understand. Therefore, the translation can throw out on its real meaning, such as translated into As my name, Huan, means graceful women with slim waist, &amp;quot;Chu palace&amp;quot; here means can be omitted.&lt;br /&gt;
&lt;br /&gt;
Example 2&lt;br /&gt;
&lt;br /&gt;
Chinese version：一片冰心在玉壶&lt;br /&gt;
&lt;br /&gt;
American version：A jade vessel is the symbol of a pure heart.&lt;br /&gt;
&lt;br /&gt;
“Jade Vessel”in Chinese has a unique associative meaning, while the meaning of these words in English is vacant. Western audiences just think that Dr. Wen is evaluating his character, but they can’t hear his pure love for Zhen Huan, so on the basis of foreignization, it’s better to add some domestication translation to make it easier for the audience to understand.&lt;br /&gt;
&lt;br /&gt;
The American versions of examples 1 and 2 are very literal and concise translations, because the original subtitles have no hidden meaning.However, due to the wrong choice of translation methods, a small number of translated subtitles are just like translation cavities.If the cultural significance of the original text is lost, the translation may be regarded as a failure.In a sense, actors’ performances and lines are the &amp;quot;booster&amp;quot; of the plot development of the TV series.However, if the audience can not understand the original meaning, the story will be much less attractive in the eyes of the audience.For example:&lt;br /&gt;
&lt;br /&gt;
Example 3&lt;br /&gt;
&lt;br /&gt;
Chinese version：“赏你一丈红”&lt;br /&gt;
&lt;br /&gt;
American version：Then I will award Attendant Xia the Scarlet Red.&lt;br /&gt;
&lt;br /&gt;
In the original subtitle of example 3, “一丈红” (yi zhang hong,  literally “two-meter-long red”) is used to punish a palace maid or a  concubine who had done something wrong in China’s ancient imperial palace. The specific content of the penalty goes as follows: a two-meter-long and two-inch-thick board was used by the performer to give the guilty palace maid or concubine a good beating on their waist or the place below it until their bones were broken and the blood gushed out.   Looking from the distance, you will see that the blood covered a long distance. Thus, it is called “一丈红”. &lt;br /&gt;
&lt;br /&gt;
In the American version of Legend of Zhen Huan, it is translated into “the Scarlet Red”. the word Scarlet itself means “Lewd and sinful,”as in the Scarlet letter. It is very appropriate to translate &amp;quot;red&amp;quot; with scarlet. However, this partial literal translation runs counter to the American audience’s way of thinking, which they think it as nothing more than a horror show. In this way, the specific penalty content will be lost, and the target audience can't feel that the harem struggle is everywhere in the court, and can't get the equal effect for them.&lt;br /&gt;
&lt;br /&gt;
In this way, the specific content of the penalty will be lost, the target audience can not feel the Harem struggle existed everywhere in the imperial court and the equivalent effects cannot be obtained for them.&lt;br /&gt;
&lt;br /&gt;
====Zero Translation====&lt;br /&gt;
The so-called &amp;quot;zero translation&amp;quot; means that some elements of the source language are directly introduced into the target language without the ready-made words in the target language (Xiong Bing, 2014). This translation method is mainly used to translate the names of people and officials in the English version of the ''Legend of Zhen Huan''. That’s because in ancient China, there was a very strict patriarchal system with the ideas of three cardinal guides and the five constant virtues.&lt;br /&gt;
&lt;br /&gt;
In the eyes of the Chinese people, the distinction between the titles of concubines and concubines is clear at a glance, but it is difficult for foreigners to see these things, because medieval European monarchs were nominally allowed only one wife, there is no such complicated hierarchy of appellation among women. Therefore, such titles as &amp;quot;贵妃&amp;quot;, &amp;quot;妃&amp;quot;, &amp;quot;嫔&amp;quot;, &amp;quot;贵人&amp;quot;, &amp;quot;常在&amp;quot; and &amp;quot;答应&amp;quot; are presented in a dynamic equivalent way (words with similar functions in the source language), for example:&lt;br /&gt;
&lt;br /&gt;
Example 4&lt;br /&gt;
&lt;br /&gt;
熹贵妃——Noble Consort Xi    华妃——Consort Hua&lt;br /&gt;
&lt;br /&gt;
莞嫔 ——Concubine Huan       沈贵人——Lady Shen&lt;br /&gt;
&lt;br /&gt;
夏常在——Attendant Xia       小主——Young Mistress&lt;br /&gt;
&lt;br /&gt;
敦亲王：Prince Dun            舒太妃：Consort Dowager Shu&lt;br /&gt;
&lt;br /&gt;
Example 4 only shows a few official titles of the characters in the ''Legend of Zhen Huan''. However, the translation subtitles in this example reveal a subtitle rule that the American version of the ''Legend of Zhen Huan'' Uses Zero Translation for personal names and free translation for official titles. And we can clearly see the efforts of translators to represent this hierarchical culture in ancient China. However, this method of translation can not meet the needs of the current audience, because the ancient Chinese culture is broad and profound, and the official titles of emperors and concubines in the play conform to the traditional Chinese culture&lt;br /&gt;
&lt;br /&gt;
However, the cultural ideologies of the American people and the Chinese people are very different. Traditional translation can not convey the characteristics of the characters and the intensification of their contradictions. The American people have not experienced the five thousand years of slavery and feudalism in China, nor do English dictionaries or translation related books have Chinese cultural vocabulary. In addition, the current subtitle translation does not advocate the use of a large number of notes, which will have a negative impact on the effect of watching the drama.&lt;br /&gt;
&lt;br /&gt;
Therefore, notes are usually used only for the first appearance of a character, in order to provide the necessary introduction in enough subtitling space.When they appear a second time, the introduction will be omitted.As for the conflicts between the characters and the progress of the plot, it is difficult for the target audience unfamiliar with Chinese History to adapt to the culture and conflict in the play. Therefore, it is hard to arouse their interest in watching this drama.&lt;br /&gt;
&lt;br /&gt;
===Translation Methods under Domesticating Strategy===&lt;br /&gt;
Opposite to the foreignizing strategy, domestication is characterized by the “tendency toward the target recipients” (Xiong Bing, 2014). In other words, the translator tries to be as close to the target recipients in the translation as possible. In Schleiermacher’s words, it means that translators “try not to disturb the reader, but to bring the original author to the reader” (Robinson, 2006: 229). Specifically speaking, in the translation, the translator uses the language, literary devices, cultural elements that the target language readers love to replace the language, literary devices and cultural elements of the original language as much as possible, and abides by the language, literary devices and cultural norms of the original language (Xiong Bing, 2014). &lt;br /&gt;
&lt;br /&gt;
The domesticating strategy is a translation strategy just opposite to the foreignizing strategy. Its advantage is that the translation can be fluent, easy to understand, and easily accepted by the target recipients; or it tries to meet the specific needs of the target audience. However, the domesticating strategy also has some shortcomings. The first weakness of it is the loss of the language, literariness, culture and other important elements of the source text, so that the target audience cannot appreciate the exotic authentic language and cultural practices. This cannot help the cultural exchange and dissemination between different ethnic groups. The second weakness is that the domesticating strategy of the translated text may lead to semantic loss and semantic ambiguity in translated texts.&lt;br /&gt;
&lt;br /&gt;
====Omission====&lt;br /&gt;
Omission is a very important method in domestication strategy.The Syntactic structure of English emphasizes &amp;quot;hypotaxis&amp;quot;, and there are appropriate connecting elements between each component of a sentence to express their mutual relations, which emphasizes the consistency and coordination of grammatical relations.The structure of Chinese sentences is &amp;quot;parataxis&amp;quot;, and the relationship between each component of the sentence depends more on the intention, and less on the linking component. The structure form is relatively relaxed, and the words and sentences are relatively simple.Therefore, Omission is one of the most common methods in Chinese text translation.Word reduction means that in translation, the translator must grasp the differences between Chinese and English, omit the unnecessary linking elements in Chinese, make the translation smooth, avoid stiff and cumbersome, and eliminate unnecessary words and words as far as possible.There are many examples of reducing words in the translation of Legend of Zhen Huan.&lt;br /&gt;
&lt;br /&gt;
Example 1&lt;br /&gt;
&lt;br /&gt;
Chinese version:“先敬罗衣后敬人。” &lt;br /&gt;
&lt;br /&gt;
American version: “The clothing completes the person.”&lt;br /&gt;
&lt;br /&gt;
This Chinese idiom means that people will first look at the clothes they are wearing and judge their social status according to the clothes. There is a derogatory element in it.However, in the translation of this sentence, the translator adopted the word reduction method and did not translate every word.The word &amp;quot;complete&amp;quot; expresses the idea that &amp;quot;clothes make the man&amp;quot;, but fails to express the meaning intended in the original text.Therefore, the author thinks that can continue to use the Omission here, will change its translated into “According to clothing to estimate people’s status.”&lt;br /&gt;
&lt;br /&gt;
Example 2&lt;br /&gt;
&lt;br /&gt;
Chinese version: “花开堪折直须折，莫待无花空折枝。” &lt;br /&gt;
&lt;br /&gt;
American version: One must pick a flower at the prime of its bloom, Do not wait until the blossom fade and falls.&lt;br /&gt;
&lt;br /&gt;
There are three Chinese characters for &amp;quot;折&amp;quot; in this sentence, but the translator did not show any of them in the Process of English translation.Shall we say that he did not translate the Chinese meaning?Of course not. The translator must have noticed these three &amp;quot;fold&amp;quot; characters in the process of translation. If one of them is translated out, the sentence will appear too long-winded and not in line with the characteristics of subtitle translation.Therefore, the translator starts from the meaning of the original text to persuade people to cherish, and cleverly leaves out the word &amp;quot;折&amp;quot;, which not only avoids repetition, but also conveys the meaning of the original text.This reflects the three principles of Skopos theory: &amp;quot;Based on the source language, pay attention to the culture in the target language, the intention of translation activities and the acceptance state of the American audience&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
====Addition====&lt;br /&gt;
Addition is also an important translation method in domestication strategy.Augmentation refers to the use of structural and semantic augmentation to compensate for linguistic and cultural deficiencies in the target text.Structural supplement refers to the addition of omitted words or replaced words to make the content of translation more complete.Semantic supplement refers to the translator's addition of nouns, verbs, summative words, explanatory words and conjunctions to compensate for the lack of language and culture in the target text so that readers can understand the original text.&lt;br /&gt;
&lt;br /&gt;
Example 1&lt;br /&gt;
&lt;br /&gt;
Chinese version:“他不忍叫你明珠暗投。”  &lt;br /&gt;
&lt;br /&gt;
American version:&amp;quot;You will not be granted an ordinary life when you can live an extraordinary one.&lt;br /&gt;
&lt;br /&gt;
In this example, the translator adopted Addition method to make a explanatory translation for &amp;quot;明珠暗投&amp;quot; , the translation of &amp;quot;be granted an ordinary life when you can live an extraordinary one.&amp;quot;As we know, Chinese idioms are one of the wonders of The Han culture, and they often show rich implicit meanings in condensed four-character sentences.In the translation of this sentence, it is easy for us to understand the meaning of &amp;quot; 明珠暗投&amp;quot;&amp;quot;, but how to make the American audience understand, the translator needs to make an explanation, so that the American audience can understand the implicit meaning of the original text, so as to reduce the cultural burden.&lt;br /&gt;
&lt;br /&gt;
Example 2&lt;br /&gt;
&lt;br /&gt;
Chinese version：“臣妾一与社稷无功，二与龙脉无助。” &lt;br /&gt;
&lt;br /&gt;
American version:“Firstly, I have made no contribution to the nation. Secondly, I have begotten no heirs.&lt;br /&gt;
&lt;br /&gt;
In example 2, the translator interprets &amp;quot;社稷&amp;quot; as &amp;quot;nation&amp;quot; for readers to understand.&amp;quot;社稷&amp;quot; has always been a synonym for &amp;quot;nation&amp;quot; in Chinese, just as &amp;quot;White House&amp;quot; is a synonym for &amp;quot;America&amp;quot;. In addition, there is no English equivalent for &amp;quot;nation&amp;quot;, so it is appropriate for the translator to use &amp;quot;nation&amp;quot;.Heirs to dragon vein, a Feng shui concept meaning undulating mountains, succeed.Later, the royal family regarded it as the lifeblood of the country, so they would call the royal blood &amp;quot;dragon vein&amp;quot;.Heirs to dragon Vein, which in this case means heirs to the emperor's children, succeed in translating it into Heirs to the emperor.It's less common and more advanced than the word &amp;quot;children&amp;quot;, which is often thrown around.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
The subtitle translation strategy of Legend of Zhen Huan generally focuses on domestication, and tends to transform implicit meaning into explicit meaning.When the meaning of the source language is complex and difficult to be understood by the target language audience, the translation strategy of domestication is usually adopted, and the expressions used in the target language are adopted.If there is an equivalent or similar expression between the target language and the source language, alienation should be considered, and a concise explanation should be added if conditions permit, so that the cultural essence of the source language can be preserved and the audience can experience the charm and national characteristics of traditional Chinese culture.&lt;br /&gt;
&lt;br /&gt;
As a translation strategy, absolute domestication and absolute foreignization do not exist in translation practice.The task of the translator is to make the best use of the two strategies in practice according to the specific language characteristics, the purpose, the language characteristics of the source language and the target language, and the national culture, so as to bridge the cultural differences between the two countries.&lt;br /&gt;
&lt;br /&gt;
==Reference==&lt;br /&gt;
[１]Dollerup, Cay. On Subtitles in Television Programs[J]. Babel, 1974, (20): 197-202. &lt;br /&gt;
&lt;br /&gt;
[２]Ivstor, Fordor. Film Dubbing: Phonetic Semiotic, Esthetic and Psychological Aspects[C]. John Benjamins, 1976. &lt;br /&gt;
&lt;br /&gt;
[３]Schleiermacher, F. On the Different Methods of Translation[A]. In Robinson, D.(ed.). Western Translation Theory: From Herodotus to Nietzsche[C]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
&lt;br /&gt;
[４]Titford, Christopher.Subtitling: Constrained Translation[J]. Lebende Sprachen, 1982, 27(3):113-116.  &lt;br /&gt;
&lt;br /&gt;
[５]钱绍昌. 影视翻译──翻译园地中愈来愈重要的领域[J]. 中国翻译, 2000(1):61-65.&lt;br /&gt;
&lt;br /&gt;
[６]汪徽.字幕对伴随性词汇习得的影响[J].外语电化教学,2005(2):47-52. &lt;br /&gt;
&lt;br /&gt;
[７]熊兵. 翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J]. 中国翻译, 2014(3):82-88.&lt;br /&gt;
&lt;br /&gt;
=2 刘晓 The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
[[Trans_Type_EN_2]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
With the rapid growth of economy, people's pursuit of life quality is gradually increasing. Travelling abroad has become a hot topic nowadays. The rapid development of overseas travel has increased the market demand for tourism translation, and more stringent requirements for tourism translators. How to deal with the translation problems caused by the cultural differences between Chinese and English during the translation process is of great importance to improve the quality of tourism translation. The communicative translation strategy in Newmark's translation theory focuses on the effect that the translation brings to the target language readers, which is of certain guiding significance to the E-C translation of tourism texts. Therefore, this paper takes ''Everglades National Park, Florida (Excerpt)'' as an example to analyze the specific translation strategies and methods in the application of Newmark's translation theory in tourism texts, so as to provide reference for other translators.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Translation strategy and translation methods; Peter Newmark; Tourism texts&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
This paper is based on the English-Chinese translation of ''Everglades National Park, Florida (Excerpt)''. By analyzing the application of Peter Newmark's communicative transaltion in the translation, the author proposes some translation methods, which can be provided for future references.  This chapter mainly introduces the background information and significance of the report, and the domestic research status.&lt;br /&gt;
&lt;br /&gt;
====Research background====&lt;br /&gt;
&lt;br /&gt;
With the development of the world, various kinds of tourism appear in people’s life, and has unprecedentedly, extremely widely spread a variety of culture and lifestyle. Tourism has become a rising sunrise industry in modern society (Jin Huikang, 2007). To a foreign country to enjoy the beautiful scenery can make people know the colorful world and further know what they want. And this activity also has made tourism translation a reality and a thriving discipline.&lt;br /&gt;
&lt;br /&gt;
However, due to the different geographical environments, cultural differences and historical backgrounds in different countries, many translators often ignore the disadvantages brought by differences in language and cultural habits in the process of translation, so that the original meaning of the original text will be lost in the process of transmission, which may cause confusion for tourists and cannot achieve the purpose of offering them accurate information and stimulating their interest.&lt;br /&gt;
&lt;br /&gt;
Therefore, in order to make it more convenient for domestic citizens to travel abroad, translators should choose appropriate translation strategies and methods according to the cultural differences between China and foreign countries in the process of tourism English translation, so that tourists can form an objective and correct understanding of scenic spots. The semantic translation and communicative translation strategies in Peter Newmark’s Theories respectively focus on whether the meaning of the original text is exactly reproduced and the effect and influence that the translation brings to the target language readers, which are of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
&lt;br /&gt;
====Research significance====&lt;br /&gt;
&lt;br /&gt;
In theory, based on Peter Newmark’s translation theories, this paper chooses the semantic translation strategy and puts forward appropriate translation methods for the English-Chinese translation of tourist text -- the ''Everglades National Park, Florida (Excerpt)'', which is of certain guiding significance for English - Chinese translation of tourist texts.&lt;br /&gt;
Based on the practice of the ''Everglades National Park, Florida (Excerpt)'' English - Chinese translation and the analysis of Newmark’s communicative translation strategy’s application, this paper sums up some translation methods, such as voice change, objective and personal subject changing, adding conjunctions, etc. And these methods can be provided for future references in the translation study and practice of others, which has a certain practical significance.&lt;br /&gt;
&lt;br /&gt;
====Literature review====&lt;br /&gt;
&lt;br /&gt;
Through the analysis of Newmark’s communicative translation in recent years, it can be found that there are many references for the guidance of communicative translation on tourism translation texts. He Xueyun (2005) proposes that the public notices and signs should belong to the vocative functional text and focus on the reader-centered communicative translation, which can give foreigners a better environment for travel, study and work in China. For such a style, the communicative translation theory should be chosen, the target readers put in the first place and always in mind, and their culture and receptivity taken into account. Jin Huikang (2006) believes that tour guide words must have a specific expected function, which are a kind of texts that integrate informative, expressive and vocative functions. Therefore, tourism translation should aim at effective attraction for overseas tourists, and the translator should grasp the group characteristics of overseas tourists and audiences when carrying out tourism propaganda or translating tourism materials. Ma Chen (2010) points out that the tourism text is a kind of article mainly based on vocative function, and the core of which is to accurately convey information for readers. Liu Anhong (2013) proposes tourism text as a kind of publicity material, aiming to stimulate tourists’ interest in visiting. According to the division of Newmark, the tourism text should belong to the text with the vocative function as its main function and the informative function as its secondary function. Therefore, the translation of tourism text should effectively achieve the effects similar to the original text.&lt;br /&gt;
&lt;br /&gt;
From the combing of previous literatures, it can be found that there are many studies on the translation of tourism texts guided by Newmark’s communicative translation strategy. However, at present, there are few studies on the translation of tourism texts from English to Chinese, and more studies focus on the Chinese- English translation. For this reason, this paper is based on the translation practice of ''Everglades National Park, Florida (Excerpt)'' to provide some reference for future English – Chinese translation of tourism.&lt;br /&gt;
&lt;br /&gt;
===Tourism Texts===&lt;br /&gt;
&lt;br /&gt;
====General Introduction====&lt;br /&gt;
&lt;br /&gt;
Tourism text is an important carrier for readers to obtain scenic spot information, and Tourism text is to stimulate readers' desire to travel by introducing tourist attractions and resources, and its ultimate purpose is to meet readers' expectations and arouse readers' enthusiasm by delivering tourism information. In other words, the dominant function of tourism text is vocative function. At the same time, tourism texts also provide readers with information they like, from which people can acquire relevant knowledge such as culture and customs, natural geography, etc. Therefore, informative function is also its important feature. It can be seen that the two most important functions of tourism texts are respectively informative and vocative one, whose premise is to provide information and purpose is to attract tourists. &lt;br /&gt;
&lt;br /&gt;
In addition, we should realize that translation of tourism texts is a professional translation of tourist attractions and resources for target readers, and its essence is a communicative behavior. If the translator fails to properly deal with the differences between cultures, it will often fail to achieve the expected results. Therefore, during the translation process, more attention should be paid to the accuracy and effectiveness of the information, so as to make the translation conform to the target readers’ reading habits and aesthetic expectation (Li Daosheng, 2000). This requires the translator to put the reader's acceptance first in the process of translation. That is, tourism text translation should not only realize the conversion from one language to another, but also take language barriers and cultural differences into account. Therefore, in order to achieve the goal of successful communication, translators should flexibly apply various translation strategies and adopt appropriate translation methods according to the text types of tourism texts.&lt;br /&gt;
&lt;br /&gt;
====Introduction to the ''Everglades National Park, Florida (Excerpt)''====&lt;br /&gt;
&lt;br /&gt;
Established in 1974, Everglades National Park covers 2,354 square miles, or 6,097 square kilometers (1.4 million acres). Located at the tip of southern Florida, it is the largest subtropical wildlife sanctuary in the continental United States. Everglades National Park protects an unparalleled landscape which provides important habitat for numerous rare and endangered species such as the manatee, American crocodile, and the elusive Florida panther.&lt;br /&gt;
&lt;br /&gt;
''Everglades National Park, Florida (Excerpt)'' is excerpted from a notice from U.S. National Park Service about the phased reopening of the park, including alerts of the reopening, activities, safety and accessibility. It can also be regarded as a travel guide, which describes the journey towards people and offers help to the tourists who want to go there, and which often includes the description of the best travel time, transportation, accommodation, scenic spots and matters needing attention. As a practical text, its main purpose is to introduce and promote tourist scenic spots, that is the Everglades National Park in Florida. Its vocative and informative function are very prominent, and it has the characteristics of reader-orientation, the effectiveness of information transmission and timeliness.&lt;br /&gt;
&lt;br /&gt;
===Newmark's Translation Theory===&lt;br /&gt;
&lt;br /&gt;
====General introduction of Peter Newmark's translation theories====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark, a well-known translation theorist, is one of the main figures in the founding of translation studies in the English-speaking world in 20th century. Newmark devoted himself to studying the past and present of Western translation, and put forward his own views on this basis. Newmark’s translation theories mainly include three parts, that is, the classification of text types, translation approaches, and the lately correlative theory of translation.&lt;br /&gt;
&lt;br /&gt;
According to Karl Buhler’s knowledge of language features and Jacobson’s classification of them, Newmark proposed six functions of language informative function, expressive function, vocative function, phatic function, aesthetic function, and lastly metalingual function. (Hou Yingying, 2020) Then Newmark divided text types into three: expressive-functional texts, informative-functional texts, vocative-functional texts.&lt;br /&gt;
&lt;br /&gt;
After putting forward these three text types, Peter Newmark suggested eight translation approaches or strategies. Firstly, from the perspective of focusing on the source language, he suggested word-for-word translation, literal translation, faithful translation and semantic translation; Secondly, from the perspective of focusing on the target language, he suggested adaptation, free translation, idiomatic translation and communicative translation (Newmark, 2001:45).&lt;br /&gt;
&lt;br /&gt;
In 2007, Newmark came up with a new theory, that is, correlative theory of translation, which means that “The more serious and important the language of the original or source text, the more closely it should be translated.” (Newmark, 2007)&lt;br /&gt;
&lt;br /&gt;
In conclusion, Peter Newmark has proposed many significant theories and made extensive discussion on those concepts, which will have a great influence on the translation practice.&lt;br /&gt;
&lt;br /&gt;
====Semantic translation and communicative translation====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark divided text genres into “expressive text”, “informative text” and “vocative text” in his classic work ''Approaches to Translation''. Imaginative literary works, such as poems, songs, novels and dramas, authoritative statements, autobiographies, essays and personal correspondence, etc. are expressive texts. All the formatted texts with science and technology, industry and commerce, and economy as themes belong to informative texts. And vocative text refers to all texts that can infect readers and make them “get information”.&lt;br /&gt;
&lt;br /&gt;
With reference to these three kinds of texts, Newmark further creatively proposed the concepts of semantic translation and communicative translation: “communicative translation” means that the effect of the target text on the reader of the target language is as much as the effect of the original text on the reader of the source language; “semantic translation” refers to the reproduction of the context of the source text as accurately as possible under the premise of the semantic and syntactic structure of the target language. He believed that only communicative translation and semantic translation can achieve the two major goals of translation: being accurate, and being economic (effective).&lt;br /&gt;
&lt;br /&gt;
In ''About Translation'', Newmark made a detailed comparison of the characteristics of semantic translation and communicative translation from different aspects, and pointed out that the fundamental difference between them lies in that when the information and the effect are in conflict, communicative translation lays more emphasis on effect than content, while semantic translation lays more emphasis on content than effect. Communicative translation can give the translator full freedom, the translator can reorganize the syntax, eliminate the original obscure places in the source language, and make the language conform to the standard of the target language. However, semantic translation emphasizes the content of the information itself, tries to make the form of the target text similar to the form of the original text, and retains the language characteristics and expressive style of the original author. Therefore, compared with semantic translation, communicative translation is more subjective and can better reflect the translator’s creativity and it attaches great importance to the communicative effect of translation, the key to which is to convey information, make readers of the target language think, act and feel, and play an inductive role in making the translation natural and smooth, and more readable. &lt;br /&gt;
&lt;br /&gt;
Newmark pointed out that the translation of expressive texts should employ semantic translation, while informative and vocative texts communicative translation which is reader-centered. The most direct purpose of tourism texts translation is to convey information to readers on the premise of attracting readers’ attention and leaving readers with deep memories, so that readers can take actions -- to visit tourist attractions and pay attention to matters that should be paid attention to. Thus, it can be seen that the tourism text belongs to the vocative text and the communicative translation should be applied. &lt;br /&gt;
&lt;br /&gt;
To sum up, Newmark’s communicative translation focus on the effect that the translation brings to the target language readers, which is of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
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===Case Study===&lt;br /&gt;
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The purpose of communicative translation is to try to make the translation have the same effect on the target reader as the original does on the source reader. That is to say, the key point of communicative translation is to be loyal to the target language and the target text reader, that is, the source language is required to obey the target language and culture, leaving no doubt or obscurity to the reader, and eliminating difficulties and obstacles in reading or communication for the reader as far as possible.&lt;br /&gt;
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Because the translator wants to achieve a certain communicative purpose, emphasizes the effect and has a specific target audience, the translation has inevitably broken the restrictions of the original text, pursuing smoothness, clarity, directness and conformity with conventions. In this part, the author analyzes the specific application of communicative translation in the translation practice of the ''Everglades National Park, Florida (Excerpt)'' from three aspects: lexical, syntactic and textual analysis.&lt;br /&gt;
&lt;br /&gt;
====At Lexical Level====&lt;br /&gt;
&lt;br /&gt;
Generally speaking, there is partial equivalence between English and Chinese, that is, similar expressions in Chinese can replace the meaning of English words or phrases (Liu Junping, 2009). In the following, two translation methods used in lexical translation will be introduced: conversion of part of speech and the translation of public signs.&lt;br /&gt;
&lt;br /&gt;
1)Conversion of part of speech&lt;br /&gt;
&lt;br /&gt;
Example 1:&lt;br /&gt;
&lt;br /&gt;
ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors.''&lt;br /&gt;
&lt;br /&gt;
TT: 个人、团体或家庭都能在这找到适合的户外活动。&lt;br /&gt;
&lt;br /&gt;
Analysis: As we all know, English belongs to the Indo-European language family, while Chinese the Sino-Tibetan language family. Many differences exist between English and Chinese in terms of vocabulary and grammatical structure. Therefore, in the process of translating English into Chinese, due to the different ways of expression between English and Chinese some sentences can be translated word by word, while most sentences cannot. In order to make the Chinese translation smooth and natural, some words in the original text need to be converted into different parts of speech in the target text without sticking to the surface structure of the original text. In other words, some words in the original text can be converted into other parts of speech in Chinese on the premise of being faithful to the original meaning and retaining the original effect. &lt;br /&gt;
&lt;br /&gt;
The original sentence uses a nominal phrase “no shortage of” to express the meaning that no matter how many people come together for outdoor activities, there are always options. The translator translates it into a verbal phrase, that is, everyone can find a suitable outdoor activity here, so that the meaning gets across and the whole sentence flows naturally.&lt;br /&gt;
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Example 2:&lt;br /&gt;
&lt;br /&gt;
ST: ''Accessibility: No immediate trails.''&lt;br /&gt;
&lt;br /&gt;
TT: 如何前往：没有路径可直接到达。&lt;br /&gt;
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Analysis: As English tends to use more nouns with static narratives, while Chinese tends to use more verbs with dynamic ones. The static tendency of English mainly comes from nominalization, a common phenomenon in English. Nominalization mainly refers to the use of nouns (phrases) to express the information originally expressed by verbs (phrases), such as the use of abstract nouns to express actions, behaviors, changes, states, etc (Lian Shuneng, 1993). For example, “accessibility” in Example 2 is an abstract noun, which is used to show the way to one place. Chinese, on the other hand, tends to use verbs. So, in order to better convey the effect and let the reader read without any doubt or discomfort, the translator converted the noun into a verb phrase, that is “如何前往”. Likewise, in the noun phrase “no immediate trails”, the author wants to say that there is no direct way (to arrive at the destination). When translating, if it is directly translated into a noun phrase “没有直达路”, the reader may feel difficult to read. So, if it is translated into “there is no direct path can reach that place”, the sentence will be more smoothly and convey the original information and the effect is also retained.&lt;br /&gt;
&lt;br /&gt;
2)Public signs&lt;br /&gt;
&lt;br /&gt;
Example 3 &amp;amp; 4:&lt;br /&gt;
&lt;br /&gt;
ST: ''Things To Do'' &lt;br /&gt;
&lt;br /&gt;
TT: 活动介绍&lt;br /&gt;
&lt;br /&gt;
ST: ''What you can do''&lt;br /&gt;
&lt;br /&gt;
TT: 解决措施&lt;br /&gt;
&lt;br /&gt;
Analysis: As mentioned in the theoretical framework above, tourism text belongs to vocative text. As a kind of tourism text, public signs are a special style for specific people to achieve a certain communicative purpose. Its application scope is very wide, almost involved in every aspect of our daily life, such as street signs, billboards, road signs, shop signs, warnings, propaganda, travel briefs and so on. As a communicative tool, it conveys necessary and useful information to the public by means of a few words, simple and easy to understand icons or the combination of both (He Xueyun, 2006). Therefore, it can be seen that public signs feature lots of nouns, verbs, phrases and abbreviations and more often, fixed expression, which means in translation, only concise and idiomatic expression can fully convey the effect of the original text.&lt;br /&gt;
&lt;br /&gt;
Just as the example 3, once the original text is translated literally, that is “要做的事情”, it sounds rather awkward, which not only does not convey the meaning of the source text that was intended as an introduction to the activities that can be done, but also may lead the reader to believe that this section is about what is required. However, if it is translated into “活动介绍”, readers can clearly know the main content of this part and can find out the activities they are interested in. This expression is very concise and also in line with the Chinese language habits. The same is true of example 4.&lt;br /&gt;
&lt;br /&gt;
Example 5 &amp;amp; 6:&lt;br /&gt;
&lt;br /&gt;
ST: ''Alligators and crocodiles - Crocodilians are one of the reasons people visit the park, however, these are wild animals that can be dangerous to humans.''&lt;br /&gt;
&lt;br /&gt;
TT: 小心短吻鳄和鳄鱼——鳄鱼是人们参观公园的原因之一，然而，这些野生动物对人类会很危险。&lt;br /&gt;
&lt;br /&gt;
ST: ''Poisonous plants - The park’s ecosystems support a variety of plant life including some that cause reactions to human skin.''&lt;br /&gt;
&lt;br /&gt;
TT: 警惕有毒植物——公园的生态系统支持多种植物的生长，包括一些会对是人类皮肤过敏的植物。&lt;br /&gt;
&lt;br /&gt;
Analysis: Tourist texts belong to the vocative text, emphasizing the transfer of the effect of the information and the empathy of the reader. This requires the translator to pay attention to the internal logic of the text, modify the translated text to make it clear in the process of tourism translation without sticking to the original form and give full consideration to the core position of readers. &lt;br /&gt;
Examples 5 and 6 are in the same sentence structure -- firstly species are given, and then that the species could be in some danger is pointed out. If it is translated in accordance with the original text word by word, then the front part is just posing out that species. However, if such warning words as “小心” or “警惕” are added, it can let the reader know before he continues reading that this species may be dangerous when visiting, and then with reading below, the reader will know why it is dangerous. This will prepare the reader mentally, and the reading will be smoother.&lt;br /&gt;
&lt;br /&gt;
====At Syntactical Level====&lt;br /&gt;
&lt;br /&gt;
Two aspects are included in syntactic analysis, which are change of subjects and passive voice, and the punctuation.&lt;br /&gt;
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1)Change of subjects and passive voice&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: ''Wading birds, cormorants, Purple Gallinules, and nesting Anhingas may be found along the path anytime of the day during the winter (dry) season.''&lt;br /&gt;
&lt;br /&gt;
TT: 在冬季（旱季），任何时候您都可以在沿路发现涉水鸟类、鸬鹚、紫雀和筑巢的美洲蛇鸟。&lt;br /&gt;
&lt;br /&gt;
Analysis: English tends to use more impersonal subjects, which means it rarely uses the personal subject to describe but expresses how objective things act on people’s perception to things appear in an objective tone. So, the structure is often like this: inanimate subject + animate subject (Lian Shuneng, 2010). Chinese pays more attention to subjective thinking, and often describes objective things from the point of view of oneself, or tends to describe people and their behavior or state, so the personal subject is often used. When the personal subject is clear, Chinese often implies or omits it.&lt;br /&gt;
Passive voice is a common grammatical phenomenon in English. In some styles, the use of passive sentences has almost become a habit of expression. Passive sentences give rise to the tendency of using impersonal subjects, and vice versa. Chinese uses fewer passive forms. The main reason for this difference is that the use of passive forms in Chinese is limited, and the mark of the passive voice, such as “让”, “给”, “受”, mostly expresses displeasure.&lt;br /&gt;
&lt;br /&gt;
Therefore, in example 7, the translator transformed the passive voice into the active voice and the impersonal subjects “Wading birds, cormorants, Purple Gallinules, and nesting Anhingas” into the personal subjects “您”. What’s more, as this tourism text is written for readers, the use of the second person subject can shorten the distance. &lt;br /&gt;
&lt;br /&gt;
Example 8 &amp;amp; 9: &lt;br /&gt;
&lt;br /&gt;
ST: ''Wading birds, American Coots, Osprey, White-crowned Pigeons, warblers, Red-shouldered Hawks, Anhingas, rails, Painted Buntings and other transients are best viewed here in the morning.''&lt;br /&gt;
&lt;br /&gt;
TT: 早晨在这里观赏涉禽、美洲骨顶鸡、鱼鹰、白头鸽、莺、赤肩鹫、美洲蛇鸟、秧鸡、彩绘鹀和其他过路的鸟类的效果最好。&lt;br /&gt;
&lt;br /&gt;
ST: ''In the summer, fewer programs are offered.''&lt;br /&gt;
&lt;br /&gt;
TT: 夏季提供的项目较少。&lt;br /&gt;
&lt;br /&gt;
Analysis: Just as what has been said above, English has a tendency to use impersonal subjects and passive voice, while Chinese is exactly the opposite. And when the subject is clear, Chinese often implies or omits it, which is just like example 8 the personal subject “you” is omitted. &lt;br /&gt;
In example 9, the omitted subject is the national park, and the temporal adverbial phrase “in the summer” becomes the subject in form, which is a common expression in Chinese. That is because subjects in Chinese are not only in various forms, but also dispensable: it can denote giving, receiving, time, place.&lt;br /&gt;
 &lt;br /&gt;
2)Punctuation&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: ''Connecting trails through the Pinelands run 7 miles (11 km) west from the Long Pine Key campground to Pine Glades Lake along the main park road.''&lt;br /&gt;
&lt;br /&gt;
TT: 这些小道从长松岛营地向西延伸7英里（11公里），穿过一片松林地，连通公园主路边松林湖。&lt;br /&gt;
&lt;br /&gt;
Analysis: English sentences are complicated, and subordination is one of the most important characteristics of modern English, which features right-branching, sentences long and complex, made in “architecture style”. Conversely, Chinese sentences are relatively short, and commonly use scattered sentences, loose sentences, tight sentences or composite sentences with parallel structure. Chinese features left-branching, and sentences are made in “chronicle style”, using clauses to streamline the thoughts. &lt;br /&gt;
&lt;br /&gt;
So, when there are many prepositional phrases in the original English sentence, the translator can divide the long sentence into several short sentences and recognize those by adding comma, which can help readers to sort out the logic of the original text and get the main information. By using communicative translation, the translator divided the original sentence into three sentences. The logical sequence is that “The trails run seven miles (11 kilometers) west from the Long Pine Key campground. Passing through the Pinelands, they lead to Pine Glades Lake along the main park road.”, which shows the location of both the Long Pine Key campground, the Pinelands and Pine Glades Lake correctly, leaving no doubt to readers of the target language.&lt;br /&gt;
&lt;br /&gt;
Example 11:&lt;br /&gt;
&lt;br /&gt;
ST: ''In keeping with Monroe County’s closure order for beaches, North Nest Key and all waters within 100 yards from the shore will be closed for protection of park resources during the holiday weekend. The closure will begin on Friday, July 3 at 6 a.m.''&lt;br /&gt;
&lt;br /&gt;
TT: 根据门罗县对海滩的关闭安排，为保护公园资源，北巢岛和离海岸100码以内的所有水域将自7月3日星期五早上6点起暂停对外开放。&lt;br /&gt;
&lt;br /&gt;
Analysis: In the original text there are two sentences, which can be combined to make the meaning complete and language pithy in the target language. And it can be taken into consideration to reconstruct them by replacing full stop with comma. By considering communicative translation, the translator put two prepositional phrases in advance as adverbials, which are “in keeping with Monroe County’s closure order for beaches” and “for protection of park resources during the holiday weekend”, and then turned the second sentence into a temporal adverbial phrase and put it in the main clause as an adverbial. So, the whole structure is “In keeping with Monroe County’s closure order for beaches and for protection of park resources during the holiday weekend, North Nest Key and all waters within 100 yards from the shore will be closed from Friday, July 3 at 6 a.m.” By doing so, the information is concisely conveyed, and Chinese readers can well understand it.&lt;br /&gt;
&lt;br /&gt;
====At Textual Level====&lt;br /&gt;
&lt;br /&gt;
Discourse refers to the actual language unit used and is the whole language constituted by a series of consecutive paragraphs or sentences in the communication process. In general, a text consists of words, phrases, sentences and sentence cluster (Lan Lingyan, 2020), among which the components were cohesion in form and coherence in semantics.&lt;br /&gt;
&lt;br /&gt;
Example 12:&lt;br /&gt;
&lt;br /&gt;
ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors. The diverse habitats allow for enjoyable activities ranging from hiking, canoeing, kayaking, biking, fresh and saltwater fishing, and camping in the ultimate wilderness.''&lt;br /&gt;
&lt;br /&gt;
TT: 个人、团体或家庭都能在这找到适合的户外活动。无论是步行、乘坐独木舟、划皮划艇、骑自行车，还是在淡水或海水钓鱼、在终极荒野地露营，您都可以饱览多样的自然环境、尽享快乐。&lt;br /&gt;
&lt;br /&gt;
Analysis: Coherence in a piece of writing refers to the principle that all paragraphs, sentences or ideas are combined so well that they form a united whole. Coherent translation has smooth structural, grammatical, and logical movement from one sentence or idea to the next and the reader does not have to pause and guess at the meaning caused by gaps in development between ideas, sentences and paragraphs. &lt;br /&gt;
&lt;br /&gt;
In example 12, the last topic of the fist sentence in the original sentence is outdoor activities, while the subject of the second sentence is the diverse habitats. This is a shift in the topic, which may make the readers pause and guess at the logical relation between them. Therefore, in translation, guided by communicative translation, the translator needs to mind the text coherence and to make proper adjustments. Out of this, the translator put the activities in the second sentences as the subject of the second sentence in the target text, so that the first sentence can pass through smoothly to the next one, so does the understanding of readers.&lt;br /&gt;
&lt;br /&gt;
Example 13:&lt;br /&gt;
&lt;br /&gt;
ST: ''Everglades National Park is a popular spot for saltwater and freshwater sport fishing. Boats can be chartered at Flamingo. Be sure to check a visitor center for park fishing regulations and closed areas.''&lt;br /&gt;
&lt;br /&gt;
TT: 大沼泽地国家公园是一个很受欢迎的钓海水鱼和淡水鱼的地方。在弗拉明戈可以租船。在钓鱼之前，一定要阅读游客中心的公园捕鱼规定和封闭区域。&lt;br /&gt;
&lt;br /&gt;
Analysis: Cohesion can be thought of as all the grammatical and lexical links that link one part of a text to another. This includes the use of synonyms, lexical sets, pronouns, verb tenses, time references, grammatical reference, etc. For example, ‘it’, ‘neither’ and ‘this’ all refer to an idea previously mentioned.&lt;br /&gt;
&lt;br /&gt;
In example 13, this paragraph mainly talks about fishing in the Everglades National Park, with a topic sentence and two explanatory sentences: one introducing the place for chartering and the other cautions. There are no grammatical or lexical links within these three sentences, and the logic is connected by semantics. Considering well understanding of readers in the target language, the translator added one lexical link “before fishing” between the last two sentences, to make the reader understand that he or she should read the rules and precautions of fishing before going fishing. Also, with repeating the key word “fishing”, the central idea of this whole paragraph is prominent, and the sentences are logically and smoothly linked to express the intended meaning, thus making this paragraph a cohesive group.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
====Major findings====&lt;br /&gt;
For the text, the tourism text belongs to the vocative text, which focuses on conveying the information and effect, so the communicative translation theory should be adopted to this kind of translation. As for this original text, the first part that introduces the outdoor activities belongs to the tourism advertisements, which are descriptive with vivid words. Tourism advertising is infective, with short and concise words, full of creativity, lively and concise sentence structure, and strong attraction. While the announcement that informs of the operating status of the park is a quite different style. The wording is formal, standard, accurate and stylized. Secondly, the source text involves a wide range of knowledge and large vocabulary. For example, “hardwood hammock” for “硬木吊床” and “Geocaching” for “寻宝”. &lt;br /&gt;
&lt;br /&gt;
Based on the analysis of examples from lexical, syntactic and textual levels, some translation methods can be proposed. On one hand, when translating, some words in the target text can be converted into different parts of speech in the original text to make the language natural and idiomatic. On the other hand, when doing English – Chinese translation, in most cases, passive voice should be changed into active voice, personal subject is favored in Chinese, and subjects can also be omitted sometimes. Lastly, as English and Chinese have lots of differences in sentences, the translator should change the order of the sentences sometimes to make them smooth and fluent, and some words can be added to make the meaning coherent.&lt;br /&gt;
&lt;br /&gt;
====Limitations====&lt;br /&gt;
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Besides some major findings, there are also many limitations in this translation practice. Firstly, communicative translation focuses on the effect conveyed by the translation rather than the information, which can easily make the translator ignore some original. So, in the translation, other available translation theories should also be taken into account to achieve best translation. &lt;br /&gt;
&lt;br /&gt;
Then, when translating a text, whether it is a tourism text or a literary works, they cannot be translated immediately. Relevant information and background should be collected in advance, and otherwise some mistakes which should be avoided will be made. For example, “Snail Kite (蜗鸢)” might be translated as “蜗牛风筝” if the translator does not look it up in advance.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
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[1] Newmark, Peter. About Translation[M]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
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[2] Newmark. Approaches to translation[M]. Shanghai Foreign Language Education Press, 2001. &lt;br /&gt;
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[3] Newmark, Peter. A New Theory of Translation[J]. Sborník Prací Filozofické Fakulty Brněnské Univerzity, 2007(13)&lt;br /&gt;
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[4] Newmark, Peter. A Textbook of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2001:39-42. &lt;br /&gt;
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[5] 贺学耘.汉英公示语翻译的现状及其交际翻译策略[J].外语与外语教学, 2006(03):57-59.&lt;br /&gt;
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[6] 侯莹莹.凯瑟琳娜·莱斯与彼得·纽马克文本类型翻译理论之比较研究[J].海外英语, 2020(22):49-50+60. &lt;br /&gt;
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[7] 金惠康.跨文化旅游翻译探讨[J].上海翻译, 2007(01):31-34.&lt;br /&gt;
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[8] 兰灵艳.交际翻译理论指导下《家庭生活》（节选）汉译实践报告[D].南昌大学, 2020.&lt;br /&gt;
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[9] 李道胜. 汉英语义对比分析[J]. 语言教育, 2000(4):4-5.&lt;br /&gt;
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[10] 连淑能.《英汉对比研究》[M]. 北京：高等教育出版社, 1993.&lt;br /&gt;
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[11] 刘安洪.跨文化交际视角下的旅游文本翻译策略研究[J].中华文化论坛, 2013(10):160-163. &lt;br /&gt;
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[12] 刘军平，西方翻译理论通史[M]. 武汉：武汉大学出版社, 2009.&lt;br /&gt;
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[13] 马忱.交际翻译策略对汉英旅游翻译的启示[J].郑州航空工业管理学院学报(社会科学版), 2010,29(06):119-121.&lt;br /&gt;
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=3 刘越 Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
[[Trans_Type_EN_3]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
There are many translation practices under the guidance of communicative translation theory, but there are not many translation practices in Korean novels. Through this translation practice, we hope to summarize the translation methods and strategies adopted in the translation of novel subject matter under the guidance of communicative translation theory in terms of vocabulary, sentence and rhetoric. In this paper, under the guidance of communicative translation theory of Korean novels &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; to analyze translation strategies and translation methods, let us hope that through the work of human changes in temperature to realize that the most warm affection and the most simple human feelings, seems to be the fact that more and more far from us, let us together to explore the history of the &amp;quot;family&amp;quot; gradually forgotten by us and meaning, Wake up our sense of affection, cause our emotional resonance.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
Communicative translation theory; Korean novels; Translation methods and strategies&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
===The emergence and development of communicative translation===&lt;br /&gt;
According to the function of language, that is, the purpose of language use, Newmark proposed the following three text types: Expression function, information function, Vocative function.&lt;br /&gt;
The core of the expressive function is that the speaker or author uses some words to express his thoughts and feelings. The author's unique form of language is as important as its content.&lt;br /&gt;
Expressive functional texts emphasize the authority of the original author, and translation should follow the principle of &amp;quot;original author first&amp;quot;, which should be faithful to both the ideological content expressed by the original author and the language style of the original author, without considering the reaction of the target readers.The core of the information function is the external situation, that is, all the information about a topic, or the reality beyond words. The core of informational text is the &amp;quot;authenticity&amp;quot; of the content, and the author's language is secondary. The principle of &amp;quot;authenticity first&amp;quot; should be followed in translation.Vocative text emphasizes reader-centered, with the purpose of &amp;quot;calling on readers to act, think and feel&amp;quot;. Translation should follow the principle of &amp;quot;reader first&amp;quot; and put the target language readers in the first place. The translator can make full use of the advantages of the target language and not stick to the way of expression of the original text, so that the target language can achieve the same effect as the original language.&lt;br /&gt;
&lt;br /&gt;
On this basis, two translation concepts, communicative translation and semantic translation, are proposed. Newmark said that communicative translation theory focuses on the understanding and response of the recipient and focuses on the reader of the target text, paying more attention to the effect of the expression of the target text than the content. Translators can give full play to the advantages of the target language and introduce foreign elements into the target language culture, which has the advantages of naturalization, free translation and idiomatic translation. Semantic translation attaches great importance to the original text, focuses on the semantic content of the original text, strives to preserve the culture of the source language, and has the advantages of word-for-word translation, literal translation and faithful translation. Communicative translation applies to informative and appealing texts, such as autobiographies, personal emotional venting, important political statements (or other statements), most non-literary articles, news, intellectual articles and books, textbooks, reports, scientific and technological literature, official correspondence, propaganda, advertisements, bulletins, popular novels. His communicative translation and semantic translation have enriched the theoretical study of translation to a great extent, and also influenced the field of translation.&lt;br /&gt;
&lt;br /&gt;
===The applicability of communicative translation theory to the translation of popular novels===&lt;br /&gt;
First of all, the core content of communicative translation theory is that on the basis of being faithful to the content of the original text, it focuses on the readers' understanding ability and feelings, and pays more attention to the expression effect of the target text than the content. For the translator, the translator can give full play to the advantages of the target language and get rid of the constraints of the language structure of the original text. If the original text is illogical, ambiguous, and there are redundant words and ambiguities in the sentence, as well as dialects, coarse slang and other phenomena in the article, the translator has the right to reorganize the syntax and improve it by using collocation and common sentence patterns in accordance with the habits of the target language, so as to make the language more standardized. Translators also have the right to correct errors and omissions in the original text.&lt;br /&gt;
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Secondly, according to Newmark's text type, communicative translation theory is applicable to vocative texts, which focus on the inspiring effect and take the target readers as the center. The purpose of translation is to elicit the desired response, including popular books and best-selling novels. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. The novel is mainly composed of characters, plots and descriptions of the environment to reflect the social reality. Novel is a literary genre that conveys thoughts and feelings and arouses readers' resonance. It belongs to appeal text, so communicative translation theory is suitable for novel translation.&lt;br /&gt;
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The most important thing in novel translation is to convey the content of the original text and the author's thoughts and feelings to the readers, and to arouse the readers' deep thinking and empathy. When translating a novel, we should describe the plot of the original text to the readers and try to get close to the literary image described by the author and the literary artistic conception created in the novel.&lt;br /&gt;
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If only follow the content style and text structure of the original text, it will violate the original intention of translation, making the translation obscure and unclear. Under the guidance of communicative translation theory, the translator can give full play to the advantages of the target language, modify and polish the original text, adjust the logic of expression, eliminate the differences between the original text and the target text, and get a smooth translation. At the same time, the translator can also pay more attention to the target readers, fully consider the reading habits and thinking mode of the target readers, and use easy to understand language vocabulary to convey the information of the source text and the thoughts and feelings of the source text author to the readers, so that the target text readers and the source text readers get the same effect.&lt;br /&gt;
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=== Case study under the guidance of communicative translation theory===&lt;br /&gt;
Guided by Peter Newmark's communicative translation theory, the author carries out translation practice on two short stories &amp;quot;The Innocent Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. Under the guidance of communicative translation theory, this section adopts the strategies of translation modification and meaning extension to solve the problems of ambiguous and implicit sentences in novels. At the sentence level, the strategy of paraphrase, syntactic and translation is adopted. In the aspect of rhetoric, this paper adopts the translation strategies of addition and repetition, and makes a case study to explore and summarize the translation methods and strategies applicable to novel subject matter under the guidance of communicative translation theory.&lt;br /&gt;
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=== The application of communicative translation theory at lexical level===&lt;br /&gt;
'''Transliteration'''&lt;br /&gt;
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The translation method refers to the conversion of parts of speech in the original text, such as changing nouns into verbs, adjectives into verbs, etc., so as to make the translation conform to the expression habits of the target language. Different languages have different linguistic phenomena and cultural backgrounds. In order to make the translation more in line with the language expression habits of The Chinese people and convey the correct meaning of the original text to The Chinese readers, every word in the Korean sentence cannot be translated dead, and some parts of speech in The Korean language have to be changed in translation.&lt;br /&gt;
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The following is a case study of translating a part of speech in the original text into another part of speech in Chinese.&lt;br /&gt;
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Eg.1 그럴 때의 아이는 이제 노인이 아니라 소년가장 같았다.&lt;br /&gt;
First translation：那一刻我觉得孩子不像老人，而像少年家长。&lt;br /&gt;
Retranslation：那一刻我觉得他不像一个历经沧桑的老人，而像一个饱经世故的孩子。&lt;br /&gt;
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&amp;quot;소 년 가 장&amp;quot; is a noun, the author looked up Chinese dictionary, found &amp;quot;소 년 가 장&amp;quot; in Korean means &amp;quot;가 정 의 생 계 를 실 질 적 으 로 책 임 지 고, 어 렵 게 생 계 를 유 지 하 는 소 년&amp;quot;, at the beginning of translation, in accordance with the original literal translation is &amp;quot;young parents&amp;quot;, but is not in conformity with the Chinese expression habit, it is not easy to let Chinese readers understand, The author in the guidance of communicative translation theory, through the network search and found the dictionary lookup &amp;quot;소 년 가 장&amp;quot; and Chinese proverb &amp;quot;the poor children early master&amp;quot; has the same effect, but here can make statements impassability, in order not to cause the reader to understand the problems, the author give full play to the advantages of the Chinese, the author by using the method of adaptation, Phrases collocation and considering the Chinese habit, the term &amp;quot;소 년 가 장&amp;quot; divided &amp;quot;소 년&amp;quot; and &amp;quot;가 장&amp;quot; two nouns, and the term &amp;quot;가 장&amp;quot; translated into adjectives &amp;quot;world&amp;quot;, the &amp;quot;소 년&amp;quot; translated into &amp;quot;children&amp;quot;, both to convey the meaning of the original, and can make readers easily understand the content.&lt;br /&gt;
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Eg.2：거기에 아이가 자신을 만나려 하지 않기 때문에 돈을 주지 않는 것이라는 비난의 말이 반복해서 쓰여 있었기 때문이다.&lt;br /&gt;
Translation ：文件上反复指责说孩子不想认他这个父亲，所以不给抚养费。&lt;br /&gt;
In the original text 비 난&amp;quot; is a noun, the author according to the original text in translation translated into &amp;quot;document and is accused of child, father didn't want to see him the accused, so not to support&amp;quot;, at the same time with the two accused, groundwork or at the back of the verb &amp;quot;blame&amp;quot;, also make the repetitive, so the author under the guidance of communicative translation theory, When translated again, the noun &amp;quot;비 project-oriented&amp;quot; is translated into the verb &amp;quot;blame&amp;quot;, so that the translation is easy to understand.&lt;br /&gt;
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'''Extension of meaning&lt;br /&gt;
Extension translation method is refers to according to the specific context of contact and words in the original context, starting from the basic meaning of Korean original words, through the letter of the word or phrase in the sentence, its excellent implied meaning appropriately, use some conforms to the Chinese expression habit of character words, the content of the original essence of accurate expression.&lt;br /&gt;
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Eg.3：①텔레비전을 쳐다보던 아이가 대뜸 내밷었다.&lt;br /&gt;
②동식이 집을 나서자마자 엄마는 휴이히히히, 하는 기괴한 한숨을 길게 내뱉었다.&lt;br /&gt;
Translation：①正在看电视的儿子突然吐槽道：“妈，你快看，电视里那个人真像我爸”。&lt;br /&gt;
②母亲就“唉！”长长地叹了一口气。&lt;br /&gt;
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The author by looking up the dictionary, in the original &amp;quot;내 밷 다&amp;quot; has two meanings: (1) 입 안 에 있 던 것 을 입 밖 으 로 뱉 어 내 보 내 다. (2) 마 음 에 내 키 지 아 니 하 거 나 못 마 땅 한 어 조 로 불 쑥 말 하 다. Chinese meaning is &amp;quot;vomit, and said,&amp;quot; the author under the guidance of communicative translation theory, reader's expressions and words in Chinese habit as the center, contact the original context and context, considering the words collocation, adopt the method of the extension, the &amp;quot;내 밷 다&amp;quot; translated into &amp;quot;fun&amp;quot; and &amp;quot;sigh&amp;quot;, not only conforms to the present context, and in accordance with the Chinese language habits.&lt;br /&gt;
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Eg.4: ①그러니까 엄마는 내가 돈 얘기 할 것을 미리 알고서 지금 차단막을 치는&lt;br /&gt;
것이리라.&lt;br /&gt;
②형이 옆구리를 툭 치며.&lt;br /&gt;
③까지는 살큼 익혀서 찬지름 치고 조선간장으로 조물조물 무쳐노면 고기반찬보다 낫드라.&lt;br /&gt;
Translation：①但母亲好像早已看透了我的心思，先堵住了我的口。&lt;br /&gt;
②大哥用胳膊肘戳了我一下。&lt;br /&gt;
③蒸个七八分熟的时候撒上香油好好拌一下就行了，这样比那些荤食都好吃。&lt;br /&gt;
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The verb &amp;quot;치&amp;quot; would give many different meanings with different words, such as ①&amp;quot;beating, beating, beating, playing&amp;quot;.② take, base, wrap, erect, ③ feed, feed, etc. On the basis of communicative translation theory, and fully understand the original meaning, context, and considering Chinese words collocation is used, depending on the context, the extension method was adopted, will &amp;quot;치 다&amp;quot; translated into &amp;quot;blocking&amp;quot;, &amp;quot;stamp&amp;quot;, &amp;quot;and&amp;quot; verb, such as to conform to the Chinese habits of expression.&lt;br /&gt;
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===The expression of communicative translation theory at the sentence level===&lt;br /&gt;
Communicative translation theory is pointed out that to the readers, the translator should give full play to the advantages of the target language, to make the translation conform to the target language expression of habit, not to leave any arcane to readers, while Korean and Chinese belong to different language families, there are differences in expression habit, this summary is mainly under the guidance of communicative translation theory, This paper analyzes the translation of sentences in The Pure Man and The Goat Family by means of paraphrase, syntactic and combined translation.&lt;br /&gt;
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'''Interpretation method'''&lt;br /&gt;
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Hermeneutic method is also an interpretative translation method. Because Chinese and Korean have different expression habits, in the process of translation, we can use the paraphrase method to explain some ambiguous sentences, which can not only make the translation clear, but also accurately convey the original purpose.&lt;br /&gt;
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Eg.5：어느날, 아이가 눈에 보이는 사물들을 가리켜 얼마짜리냐고 물었을 때, 어떤 행위를 가리켜 얼마 받느냐고 물었을 때, 나는 어린것이 별걸다 궁금해한다고 면박을 줬다. 면박을 주는 것으로 마음에 이는 민망함을 무마시켰다. 아이의 입에서 처음 돈 얘기가 나왔을 때, 그때 나는 이미 알아챘어야 했는지도 모른다.&lt;br /&gt;
First Translation: 当某一天，孩子们指着各种东西问花了多少钱，挣了多少钱时，我当面斥责说“小孩子家家的，真是什么都好奇”。我以这种当面驳斥的方式来掩饰心中的尴尬。当我第一次从孩子嘴里听到关于钱的话题时,我可能就已经觉察到了些什么。&lt;br /&gt;
Retranslation: 当某一天，孩子们指着各种东西问价格时，我当面斥责说‘小孩子家的，问这个做什么’，以此来掩饰我内心的尴尬。当我第一次从孩子嘴里听到关于钱的话题时，我可能已经觉察到时代变了，我那‘不知钱为何物’的时代过去了。&lt;br /&gt;
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The author at the beginning of the translation of &amp;quot;그 때 나 는 이 미 알 아 챘 어 야 했 는 지 도 모 른 다&amp;quot;, literal translation is &amp;quot;I may already have noticed what&amp;quot;, but the specific perceive what is not clear, causing distress to Chinese readers, by contacting the above learned that the &amp;quot;I&amp;quot; as a child is the hairpin, objects such as pottery fragments, But now the child is the &amp;quot;money&amp;quot;, the author under the guidance of communicative translation theory, to the readers, adopting the tactics of interpretation method, interpreted &amp;quot;I perceived that the&amp;quot; content &amp;quot;I might have been aware of The Times have changed, I that 'I don't know the money was the era of the past&amp;quot;, thus the author want to convey the original concept of the era of the change of the clear expression come out.&lt;br /&gt;
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Eg.6：영호야, 명절 때만이라도 꼭 아빠한데 가봐, 가기 싫으면 연락이라도 드리고.아빠가 아무리 네 맘에 안 들더라도 너는 네 할 도리를 해야 떳떳한 사람이 되는 거야,알았지?&lt;br /&gt;
First Translation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。只有做了自已应该做的才能做一个光明磊落的人，知道吗？&lt;br /&gt;
Retranslation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。为人处事和忠孝贤良是亘古不变的，要想做一个光明磊落的人，就要做好自己的分内之事，知道吗？阿姨的话要记住哦。&lt;br /&gt;
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Early in the translation of &amp;quot;너 는 네 할 도 리 를 해 야 떳 떳 한 사 람 이 되 는 거 야&amp;quot;, the corresponding Chinese literal translation is &amp;quot;only do oneself should do can do a aboveboard person&amp;quot;, but &amp;quot;할 도 리&amp;quot; what, did not explain clearly in the original, need the reader to consider, in order not to leave readers obscure place, The author puts the advantage of Chinese into full play and interprets &amp;quot;up 도 wish to be good&amp;quot; into English by means of context and translation theory. At the same time, I also think that this is the advice of adults. It is necessary to tell him this truth in a soft and powerful tone. After this sentence, &amp;quot;Remember what aunt said&amp;quot; is added to make the original meaning clearly conveyed to readers, so that readers can better understand the original content.&lt;br /&gt;
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'''demolition syntax'''&lt;br /&gt;
Deconstruction is the breaking down of a long sentence into several shorter sentences. As Korean and Chinese belong to different language families, there are many differences in syntax. The word order of Korean sentences is the structure of SOV, and narration is the main body and focus of the sentence, and there are a large number of long sentences, which rely on word endings to express various grammatical meanings. No amount of sentence elements will cause meaning confusion.&lt;br /&gt;
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However, the word order of Chinese sentences is the SVO structure, which depends on vocabulary, function words and word order to distinguish sentence components, so the sentence structure is simple, mainly short sentences. The translation of Korean long sentences into Chinese sentence groups can make the translation logical, smooth and accurate.&lt;br /&gt;
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Eg.7：동식의 이혼에 책임이 없다고 할 수는 없는 형제들이 돈을 모아 동식에게 새집을 지어줬는데 집안 새것이면 뭐 하냐고 동식이 폭력을 휘두를 조짐을 보이자 그 팔아 종류의 폭력을 아버지에게 당해본 엄마는 지레 겁을 먹고 소를 팔아 동식에게 새장가 갈 자금을 쥐여줄 수밖에 없었다.&lt;br /&gt;
First Translation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子。挨过父亲打的母亲因为对东植这种动不动就挥拳头打人的行为心有余悸，并觉得只有新房子没用，就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
Retranslation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子，母亲因为挨过父亲的打，所以对东植这种动不动就挥拳头打人的行为心有余悸，觉得只有新房子无济于事，改不了他的暴力行为，索性就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
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The original text Is a long sentence, &amp;quot;는 데&amp;quot; is a long attributive clause, behind the author under the guidance of communicative translation theory, using the translation, in the resolution of a sentence, adjust the structure of the sentence, but his father mother &amp;quot;dragged&amp;quot; compared to read man translationese is too heavy, have the taste of Korean Chinese, is not in conformity with the Chinese expression habit, the author on the basis of this, The translation has been revised and polished to make it smooth and smooth.&lt;br /&gt;
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'''Cotranslation'''&lt;br /&gt;
Cotranslation refers to the combined translation of two or more sentences in the original text. Using the combined translation method to translate, will reduce the long winded translation, obtain a smooth and smooth translation.&lt;br /&gt;
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Eg.8 ：나는 큰오빠와 작은오빠가 아버지가 남긴 논을 가져간 것을 알고 있었다. 큰언니, 작은언니가 결혼할 때 밭을 가져 갔다는 것도. 동식은 제 몫이 논도 밭도 아닌 집인 것에 불만을 품고 쓰러져가는 슬레이트집에 불을 질렀다.&lt;br /&gt;
First Translation：我知道大哥和二哥结婚时分走了家里的水田，大姐和二姐结婚时分走了家里的旱地，东植因为分到的不是田和地，而是即将坍塌的的石板屋，一气之下就在屋里放了火。&lt;br /&gt;
Retranslation：哥哥姐姐们结婚时把家里的水田和旱地都分走了。而东植分到的是即将坍塌的的石板屋，他对此很不满，一气之下就放火烧了房子。&lt;br /&gt;
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Are two sentences in the original, the author first translation, according to the original text translated into two other subject-predicate bin structure of the sentence, but &amp;quot;big sister&amp;quot; &amp;quot;big brother&amp;quot; &amp;quot;sister&amp;quot; &amp;quot;second brother&amp;quot; will be read repetitive, so the author under the guidance of communicative translation theory, adopt the method of r the appellation of original elements became the &amp;quot;brothers and sisters&amp;quot;, and the two sentence elements into a simple sentence, Reduce redundant redundant.&lt;br /&gt;
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===The embodiment of communicative translation at the rhetorical level===&lt;br /&gt;
Communicative translation theory points out that should take the readers as heavy, compared to convey to the readers the article content, pay more attention to the expression effect, good expression effect can cause the resonance of the readers, caused the reader's thinking, and good expression effect depends on the use of rhetoric, this summary is mainly under the guidance of communicative translation theory, adopt different translation strategies, The rhetorical translation in The Innocent Man and The Goat Family is analyzed.&lt;br /&gt;
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'''Addition'''&lt;br /&gt;
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Addition is a translation method that adds content to the target text in order to accurately express the meaning of the source text, meet the needs of the target text readers and make the target text conform to the expression habits of the target language. Since Chinese and Korean have different pragmatic ways and expressive habits, some words or sentences should be added in the translation to make the translation more consistent with the Chinese context, the reader's expressive habits and the exact meaning of the original text.&lt;br /&gt;
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Eg.9：나는 아이 아빠의 돈을 ‘그깟 돈’이라고 표현했다.&lt;br /&gt;
First Translation：我把孩子爸爸的钱称为“那么点儿钱”。&lt;br /&gt;
Retranslation：我把孩子爸爸给的钱称为“塞牙缝的钱”。&lt;br /&gt;
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&amp;quot;그깟&amp;quot; is a contraction of &amp;quot;그까짓&amp;quot;. It means so little, so little. The amount of money given by the father of the child is very small. The author under the guidance of communicative translation theory, give full play to the advantages of target language, adopt the method of thickening of translation, the use of metaphor, the &amp;quot;그 깟 돈&amp;quot; translated into accord with the readers expression habit &amp;quot;for all of the money&amp;quot;, making it easy to understand, more intuitive said the little amount, so as to impress the reader.&lt;br /&gt;
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'''Repetition'''&lt;br /&gt;
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Repetition refers to the translation technique of appropriately repeating a part of words or sentences in translation. The repetition method can make the meaning of the translation more clear, further strengthen the appeal of the article, highlight the thoughts and feelings of the article, and achieve a good rhetorical effect.&lt;br /&gt;
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Eg.10：아비를 한번도 찾지 않다가 돈 달라고, 그것도 법정에서 애 얼굴을 봐야 하는 아비 된 자의 참담한 심정을 당신들이 아느냐고.&lt;br /&gt;
First Translation：孩子一次也没来看过我这个父亲，却开口要钱？而且只有上了法院，我才好不容易看孩子一眼，你们理解我这个做父亲的心情和处境吗！&lt;br /&gt;
Retranslation：孩子一次也没来看过我就跟我开口要钱，只有上了法院，我才好不容易看孩子一眼，我这个做父亲的苦楚，悲凉的的心情，你们理解吗！理解吗！&lt;br /&gt;
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The author by contacting the specific context, as a father, no contact for many years but children themselves to court, the state of mind should be both angry and sad, based on the theory of communicative translation, using the skill of verb repetition, to &amp;quot;알 다&amp;quot; repeated translation, to emphasize my angry tone, in order to make the article more vivid and accurate meaning.&lt;br /&gt;
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=== conclusion===&lt;br /&gt;
This paper selected the south Korean writer Kong Shanyu stories &amp;quot;well bead film&amp;quot; in the two novel &amp;quot;pure people&amp;quot; and &amp;quot;the goat family&amp;quot; has carried on the translation practice, the two novels are using the simple nature of language and a small amount of dialect vocabulary, shape lifelike characters, are described by family members of the past, let the past and reality contrast, It reflects the social reality that with the development of society, people have become selfish and indifferent, and the most simple family and human feelings seem to be more and more far away from us, so as to explore the history and significance of the &amp;quot;family&amp;quot; and the simple social atmosphere, which are gradually forgotten by Koreans.&lt;br /&gt;
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The core of Peter Newmark's communicative translation theory is that on the basis of being faithful to the content of the original text, the translator can give full play to the advantages of the target language, get rid of the constraints of the language structure of the original text, and pay attention to the effect of the expression of the target text. According to Newmark's text type, communicative translation theory applies to appeal texts, which focus on the target reader and aim to elicit the desired response, including popular books, popular novels and so on. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. Under the guidance of Peter Newmark's communicative translation theory, the author analyzes and discusses the translation strategies in the Pure Man and The Goat Family, which are complicated sentences, ambiguous meanings and implicit expressions.&lt;br /&gt;
&lt;br /&gt;
From the lexical level analysis, the author mainly combined with the context, to Chinese readers as the center, to comply with the Chinese expression and language habits, consider the reader's understanding ability, on the basis of Chinese used to translation and translation methods of extension, so as to satisfy the to the original readers and the translation of the original dual need of the readers have the same effect, At the same time, it also ensures the accuracy and flexibility of the translation words, so as to conform to the translator's lexical habits.&lt;br /&gt;
From the statement level analysis, &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; appeared in the text of the long sentence and attributive clause, at the same time, some relatively obscure sentences substance, so the author adopted the method of interpretation, syntax and translation of translation strategies, to explain the sentence, split, reorganization, thus reducing the sentence's mad outages and ideographic unclear, The translation is in line with the habits of Chinese readers and effectively conveys the essence of the original text. From the rhetoric analysis, communicative translation theory points out that compared with the content, should attach great importance to the expression of the translation effect, good expression effect depends on the use of rhetoric, so the author USES the translation strategy of work and repetition, has carried on the modification to the original and polishing, to strengthen the artistic effect and influence of the translation, make readers for the characters vivid impression, Arouse readers' reflection and emotional resonance.&lt;br /&gt;
&lt;br /&gt;
Therefore, the results of this study indicate that the communicative translation theory is of guiding significance to the Chinese translation of Korean novels and can provide a reference for similar translation practices. Communicative translation theory is pointed out that to the reader as the center, the translator can get rid of the original text, giving full play to the advantages of target language to adjust the structure and logic, to make the translation easy to understand, but there may be lack of scattering situation, so the translator should properly our subjective initiative, to insure the effect of readers in at the same time, also used to avoid the above situation. In addition, there are also shortcomings in the translation, but the author still hopes that this translation practice can provide reference for the future Korean-Chinese translation practice. At the same time, through this translation practice, the author has realized his own shortcomings. In the future, the author will continue to learn, accumulate practical experience, and strive to improve his literary accomplishment and language foundation, and improve his translation level.&lt;br /&gt;
&lt;br /&gt;
===Reference===&lt;br /&gt;
'''English Literature:'''&lt;br /&gt;
&lt;br /&gt;
[1]. GAO Chang. The Application of Peter Newmark's Communicative Translation Theory to the Translation of Chinese Historical Allusions [J]. Overseas English, 2013(11).&lt;br /&gt;
&lt;br /&gt;
[2]. LI xin, ZHANG zhe. On Peter Newmark’s Semanic Translation &amp;amp; Communicative Translation[J]. Overseas English, 2015（03）.&lt;br /&gt;
&lt;br /&gt;
[3]. JIAN fang. Newmark's Translation Theory and Film Names [J]. Overseas English, 2010(08).&lt;br /&gt;
&lt;br /&gt;
'''Korean literature:'''&lt;br /&gt;
&lt;br /&gt;
[4]. 강영미. 1970-1980 년대 노래운동에 대한 예비적 고찰 [J]. 정신문화연구41(3), 2018.(09).&lt;br /&gt;
&lt;br /&gt;
[5]. 공선옥. 80 년대와 나의 문학 광주,그리고 내인생의 수난기 [J]. 역사비평사,1995(08)&lt;br /&gt;
&lt;br /&gt;
[6]. 김영희. 근대체험과 여성--박완서ㆍ김인숙ㆍ공선옥의 소설 [J]. 창작과비평23(3),1995(09).&lt;br /&gt;
&lt;br /&gt;
[7]. 오순방. 中國 近代의 小說 飜譯과 中韓小說의 雙方向 飜譯 硏究 [J]. 서울 :숭실대학교 출판부,2008.&lt;br /&gt;
&lt;br /&gt;
'''Chinese Literature:'''&lt;br /&gt;
&lt;br /&gt;
[8] 冯庆华.实用翻译教程[M].上海：上海外语教育出版社，2002.&lt;br /&gt;
&lt;br /&gt;
[9] 芒迪（著），李德凤（译）.《翻译学导论：理论与应用》[M].北京：外语教学与研究出版社，2018.&lt;br /&gt;
&lt;br /&gt;
[10] 张敏.《韩国语翻译概论》[M].北京：外语教学与研究出版社，2017.&lt;br /&gt;
&lt;br /&gt;
[11] 蔡萍.纽马克翻译理论浅析[J].电子科技大学学报(社科版)，2009(06)：78-81.&lt;br /&gt;
&lt;br /&gt;
[12] 陈琳.尤金A·奈达和彼得·纽马克翻译理论之比较[J].湘潭大学学报(社会科学版)，1994,(08)：87-91.&lt;br /&gt;
&lt;br /&gt;
=毛雅文On Translation Strategies and Methods in Chinese Translation of English Prose --- Chinese Translation of Robert Lynd’s ''Pleasures of Ignorance'' as an example=&lt;br /&gt;
[[Trans_Type_EN_4]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Prose, together with poetry, novel and drama, is a kind of literary form. It is not limited to rhythm, plot and characters, flexible in form, real and natural. English prose has a long history and various types, so it becomes an important object in translation practice and research. In China, the most famous English prose writers are Francis Bacon and Charles Lamb, hence, their works can be regarded as the focus of studies on Chinese translation of English prose. In fact, Chinese translation of English prose draws less attention in translation circle of China, compared with that of English poetry and drama. With English prose as the starting point, this paper will introduce the characteristics of English prose and the domestic studies on its Chinese translation, and take the Chinese translation of ''Pleasures of Ignorance'', the representative work of English modern prose writer Robert Lynd, as an example to analyze its translation strategies and methods.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
&lt;br /&gt;
''Pleasures of Ignorance''; Chinese translation of English prose; translation strategies; translation methods; translation techniques&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
This chapter will point to the research background and its significance, and briefly set forth the structure of this paper and the methods used.&lt;br /&gt;
&lt;br /&gt;
'''Research Background and Significance'''&lt;br /&gt;
&lt;br /&gt;
In recent years, with the deepening of the reform and opening-up, the channels of international cultural exchange have become increasingly unblocked, and China's translation industry has also flourished. The studies on translation theory, drawing lesson from western translation studies, have yielded fruitful results, and more noteworthily, remarkable achievements have been made in studies on literary translation for all to see.&lt;br /&gt;
Prose is a basic literary form in written or spoken language that typically exhibits a natural flow of speech and grammatical structure. A large number of works in philosophy, history, economics, journalism, etc, are examples of works written in prose. It can be seen that prose, which is widely used for creation, occupies an important position in literature. However, there are few researchers majoring in prose translation, still fewer ones who specialize in Chinese translation of English prose. In view of the above, this paper, based on previous studies, will study the Chinese translation of English prose, and take the Chinese translation by Liu Bingshan of ''The Pleasures of Ignorance'' created by the English prose writer Robert Lynd, exploring its characteristics in translation strategies and methods, so as to provide better understanding and some reference for the appreciation and translation of English prose.&lt;br /&gt;
&lt;br /&gt;
'''Methodology and Structure'''&lt;br /&gt;
&lt;br /&gt;
This paper will employ the methods of literature research and case analysis. The paper consists of three parts. The first section is literature review, explicating the distinctive properties and linguistic features of English prose, and the prose translation with its principles, as well as introducing the previous studies on Chinese translation of English prose at home. The second part, the core of this paper, will take Liu Bingshan's Chinese translation version of Robert Lynd's prose work ''Pleasures of Ignorance'' as an example, carry out the interpretation of this translation in terms of its types, styles as well as strategies and methods employed. Lastly, the conclusion will point to the findings in this study and the weaknesses in the paper.&lt;br /&gt;
&lt;br /&gt;
===Literature Review===&lt;br /&gt;
&lt;br /&gt;
This part will draw into the domestic previous studies on Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
With regard to Chinese translation of English prose, at present, there are few domestic scholars dedicated to its systematic research. According to the different perspectives,  the relevant researches at home can be roughly divided into three categories.&lt;br /&gt;
&lt;br /&gt;
First, concerning research on the theory of Chinese translation of English prose into Chinese, there are relatively small number of studies in this direction. One of the most fruitful works is ''The Study and Translation of British and American Prose'' co-authored by Zhao Xiuming and Zhao Zhangjin (2010), which makes a detailed investigation of the literary characteristics, historical evolution and style evolution of British and American prose. The work also discusses the basic principles of English prose translation in terms of pre-translation text analysis, historical and cultural context, artistic principles, and styles, etc., which can offer a reference for the further study of the theories and practices of English prose translation.&lt;br /&gt;
&lt;br /&gt;
Second, regarding research on the famous translators of English and American prose with their translation styles and skills, Xia Ying explored the style of Professor Cao's translation of Francis Bacon with the essay titled &amp;quot;Research on Professor Cao Minglunss Chinese translation of bacon prose&amp;quot;. (Xia Ying, 2012:165-166) Some others probed into Liu Bingshanss and Li Shicong’s thoughts on prose translation which have guiding significance for prose translation practice.&lt;br /&gt;
&lt;br /&gt;
Third, as regards research on the practice of Chinese translation English prose based on translation theory, Huang Jianling (2021) analyzed the Chinese translation of Bacon's essays from the perspective of translation aesthetics. Hu Hongyun (2013) translates and elaborates on the British prose Farewell in vocabulary, semantics, style and cultural transmission, on the basis of Eugene Nida's Functional Equivalence theory.&lt;br /&gt;
&lt;br /&gt;
===Overview of English Prose===&lt;br /&gt;
&lt;br /&gt;
Prose can be defined in broad sense and in narrow sense. In broad sense, prose refers to all the written and oral works in a loose form free from parallelism; and in narrow sense, it specifically means the writings with certain literary qualities, such as essays, and a literary genre juxtaposed with poetry, novel, drama and movie-television literature.&lt;br /&gt;
&lt;br /&gt;
'''Distinctive Features of English Prose'''&lt;br /&gt;
&lt;br /&gt;
As an independent literary genre, English prose has its own distinctive characteristics.&lt;br /&gt;
&lt;br /&gt;
The first characteristic is its expression of sincere feeling. Prose mostly depicts the real people, things and scenery, and is generated based on record and recollection of life. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. So in this sense, prose can be considered as an earnest conversation between the author and the readers.&lt;br /&gt;
&lt;br /&gt;
Secondly, English prose is characterized by the wide material selection. In English prose, one detail, episode and facet of life can be used to display the author’s specific emotions and circumstances, and all materials related to the theme can also be employed. It places no emphasis on rhythm and rhyme, like poetry, as well as to plot and characters, like drama.&lt;br /&gt;
&lt;br /&gt;
Besides, English prose features the free and loose structure. The structure of prose writings is free and flexible. Prose is elastic and natural and boasts descriptive, argumentative and lyrical qualities, thereof constituting its most distinctive advantage. There are no strict restrictions and fixed patterns in the prose structure, but its flexibility and randomness is not tantamount to disorder and scatter, and its choice of theme and expression of feelings should be closely centered on one main line.&lt;br /&gt;
&lt;br /&gt;
'''Linguistic Features of English Prose'''&lt;br /&gt;
&lt;br /&gt;
Compared with other literary forms, prose has no more skills to resort to. Therefore, as regards the form of artistic expression, English prose mainly has recourse to its own language features.&lt;br /&gt;
&lt;br /&gt;
First and foremost, succinctness and fluency characterize English prose language. The concise prose language not only fully delivers the content that the author intends to convey, but effectively shows the author's emotions and attitude towards persons and things. This is not the result of the author's deliberate elaboration, but the natural overflow of his or her plain and pure emotion. The fluency of prose language refers to both the informal use of words and phrases, and the author's sound expression of feelings.&lt;br /&gt;
&lt;br /&gt;
Meanwhile, colloquial style and literary grace are characteristic of prose language. As prose mainly focuses on description of the author's personal stories and sentiments, thus, he speaks or writes with his own posture, style and tone, as if he is confiding to the readers, so as to highlight the agreeable conversation style and unique colloquial style. Colloquial prose language is natural due to its simplicity, friendly owing to its ease of communication, and true thanks to its individuality.&lt;br /&gt;
&lt;br /&gt;
Furthermore, another linguistic feature of English prose is the smooth rhythm and reading. The rhythmic beauty of prose language is reflected in phonetic respect and in sentence patterns. The prose reading is catchy, with no obstacles and awkwardness, and its rhythm is in line with the natural law of oral breathing pauses as well as with the ups and downs of feelings.&lt;br /&gt;
&lt;br /&gt;
'''Principles of English Prose Translation'''&lt;br /&gt;
&lt;br /&gt;
The beauty of prose lies in its language and artistic conception, the two permeating each other and jointly creating the artistic charm of prose. In prose translation practice, the following principles can be observed to reproduce the artistic appeal.&lt;br /&gt;
&lt;br /&gt;
Keep an eye on sound and rhythm. Despite that the sound and rhythm of prose are often internal, not as obvious, regular and musical as that of poetry, they are not disordered with no aesthetic purpose. On the contrary, they effectively represent the variation of emotion in the prose, and are consistent with its unique aesthetic interest. This illustrates that in prose translation, on the one hand, the translators should recognize the great value and significance of prose sound and rhythm; on the other hand, with the intention of reproducing the linguistic subtleties of the original text, the translators can fully touch its aesthetic interest from the cadence between the lines, and perceive its inner rhythm from sentence length and speech speed.&lt;br /&gt;
&lt;br /&gt;
Pay attention to personalized mode of discourse. Different writers with various discourse modes bring about manifold writing styles. Not only is the personalized mode of discourse reflected in the author's choice of words and sentences as well as layout of the prose, but also in his thoughts and aesthetic interest. As a result, the translators can start with analyzing the original writer's one classic work and then his anthology and even look closely at the literary features of his age, in order to grasping the writer's personalized discourse mode, which is of particular importance to reproduce his artistic personality and the characteristics of his emotional expression in translation practice.&lt;br /&gt;
&lt;br /&gt;
Place a premium on the unity of scene and emotion. The unity of scene and interest in prose is embodied in diverse ways of language expression and structure, as well as the images or settings created by the author. In translation practice, based on the unity of scene and interest in the prose, it is beneficial to preserve and reproduce the overall aesthetic orientation of the original text through aesthetic reconstruction in word selection and layout, so that the translated text can obtain the aesthetic taste similar to the original prose.&lt;br /&gt;
&lt;br /&gt;
===Case Study of Chinese Translation of ''Pleasures of Ignorance''===&lt;br /&gt;
&lt;br /&gt;
The selected source text is ''The Pleasures of Ignorance'', written by Robert Lynd. &lt;br /&gt;
&lt;br /&gt;
Robert Lynd (1879-1949), born in Belfast, Northern Ireland, was a modern critic and prose writer. He, together with E. V. Lucas, was a pioneer in reviving the tradition of Charles Lamb's prose. And The Pleasures of Ignorance is one of his notable prose works.&lt;br /&gt;
&lt;br /&gt;
This prose points out that it is because ignorance that people are interested in the nature and the world and their pursue knowledge, and the process of seeking knowledge is full of pleasure, by which the author emphasizes the importance of learning more and gaining insight. The article reveals somewhat erudition and aesthetic sensibility, as well as love for nature and and passion for life. From his leisurely writing, the author's maturity of thought and capability in usage of words is unveiled. Though the tone of the original text makes the readers feel that the author is chatting with them, giving people familiarity and closeness, it is not particularly colloquial. On the contrary, there is a kind of exactness and elegance of the learned between the lines, thus it can be seen that the case text is a typical scholar prose.&lt;br /&gt;
&lt;br /&gt;
The translator Professor Liu Bingshan firmly grasps these features of the original text and conveys the original style by carefully choosing words and sentences, with the principles of faithfulness, smoothness and expressiveness. His Chinese translation of ''The Pleasures of Ignorance'' will be analyzed in terms of translation strategies and methods.&lt;br /&gt;
&lt;br /&gt;
There is the natural connection between translation strategies and translation methods, but the two concepts are often confused. It is generally believed that translation strategies (such as foreignization and domestication) are at the cultural level, while the translation methods (such as literal translation and free translation) are at the textual level. According to Xiong Bing, (2014: 83-86) translation methods are the approaches, steps and techniques used to achieve a specific translation purpose based on a certain translation strategy in translation activities, whereas translation strategies are a collection of principles and methods. Consequently, this paper will enunciate the translation text on the basis of translation methods under foreignization strategy and domestication strategy respectively.&lt;br /&gt;
&lt;br /&gt;
====Translation Methods under Foreignizing Strategy====&lt;br /&gt;
&lt;br /&gt;
Foreignization is a strategy in which a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. This strategy is &amp;quot;an ethnodeviant pressure on target-language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad&amp;quot; to have alien reading experience. (Venuti, 1995: 20) The translation methods under foreignization employed in Professor Liu's target text include literal translation, zero-translation and transliteration.&lt;br /&gt;
&lt;br /&gt;
=====Literal Translation=====&lt;br /&gt;
&lt;br /&gt;
Literal translation is in fact looser renditions that replace individual source language words with individual target language wors wherever possible, and cling as closely as possible to the source language word order in the target language. Specifically, in the case translation text, the translator faithfully retains some personal pronouns and demonstrative pronouns in the original text. For example, &lt;br /&gt;
&lt;br /&gt;
(1)It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance.&lt;br /&gt;
&lt;br /&gt;
同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
&lt;br /&gt;
(2)This ignorance, however, is not altogether miserable.&lt;br /&gt;
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不过，这种无知也并非全然不幸。&lt;br /&gt;
&lt;br /&gt;
(3)But your and my ignorance is not confined to cuckoos.&lt;br /&gt;
&lt;br /&gt;
但是，你我的无知并不仅限于杜鹃这一方面。&lt;br /&gt;
&lt;br /&gt;
(4)A contemporary English novelist was once asked by a foreigner what was the most important crop in England.&lt;br /&gt;
&lt;br /&gt;
一个外国人问一位当代英国小说家，英国最重要的农作物是什么。&lt;br /&gt;
&lt;br /&gt;
The translation of these sentences, though properly altering the word order and voice with the adherence to the target-language syntactic norms, does not adopt the usage of transferred meaning in dealing with lexical sense.&lt;br /&gt;
&lt;br /&gt;
The use of literal translation, especially the retaining of the personal pronouns, like &amp;quot;we&amp;quot; and &amp;quot;you and I&amp;quot;, conveys the style of the original text, showing friendliness and intimacy.&lt;br /&gt;
&lt;br /&gt;
=====Zero-Translation=====&lt;br /&gt;
&lt;br /&gt;
Zero translation refers to the translation in which the translators do not use the ready-made words in the target language to translate the source language words. This translation phenomenon occurs when adjustments must be made due to the differences in the syntactic structures of the two languages. For example, some articles and personal pronouns are not translated in E-C translation. In Professor Liu’s Translation, zero-translation is particularly displayed by omission, a translation technique. For instance,&lt;br /&gt;
&lt;br /&gt;
Omission of the expletives ''It'' and ''There'':&lt;br /&gt;
&lt;br /&gt;
(5)''It'' is impossible to take a walk in the country oneself without being amazed at the vast continent of one's own ignorance.&lt;br /&gt;
&lt;br /&gt;
任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
&lt;br /&gt;
(6)''There'' are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy.&lt;br /&gt;
&lt;br /&gt;
这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。&lt;br /&gt;
&lt;br /&gt;
Omission of English articles:&lt;br /&gt;
&lt;br /&gt;
(7)Thousands of men and women live and die without knowing the difference between ''a'' beech and ''an'' elm, between ''the'' song of ''a'' thrush and ''the'' song of ''a'' blackbird.&lt;br /&gt;
&lt;br /&gt;
成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
&lt;br /&gt;
Omission of pronouns:&lt;br /&gt;
&lt;br /&gt;
(8)... as she (the cuckoo) lays ''her'' egg on the ground and takes it in ''her'' bill to the nest in which it is destined to breed infanticide.&lt;br /&gt;
&lt;br /&gt;
把蛋下到地面上，然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。&lt;br /&gt;
&lt;br /&gt;
The application of zero-translation can render the translation text concise, neat and fluent, and make the rhythm of the prose more natural and flexible, conforming to the principle of prose translation.&lt;br /&gt;
&lt;br /&gt;
=====Transliteration=====&lt;br /&gt;
&lt;br /&gt;
Proper names such as the names of persons and places of foreign countries, are, as a rule, to be transliterated, i.e., to be translated by using Chinese characters to represent the sound in articulating these names.&lt;br /&gt;
&lt;br /&gt;
In transliteration, the translators should follow the original pronunciation of proper names, in Liu's translation, for example,&lt;br /&gt;
&lt;br /&gt;
(9)Hamlet 哈姆雷特 Pickwick 匹克威克 (both transliterated from English)&lt;br /&gt;
&lt;br /&gt;
Besides, in transliteration, the translators sometimes should also use the standard pronunciation of the Chinese characters. One of the difficulties in transliterating a foreign name in Chinese characters lies in the lack of many foreign sounds in Chinese, and the variation in the pronunciation of the Chinese characters causes confusion. The remedy is to fix certain Chinese characters for a certain syllable of foreign names. And many long-standing translated names, though not named after the original sounds, have been recognized by the world and are generally invariable. For example, in the translation in case study. For example, in the translation in case study,&lt;br /&gt;
&lt;br /&gt;
(10)Montaigne 蒙田 (not 蒙泰涅)&lt;br /&gt;
&lt;br /&gt;
Transliteration plays a crucial role in translation of proper nouns and technical terms, which ensures the correct conveyance of information.&lt;br /&gt;
&lt;br /&gt;
The translation methods under foreignization are able to make the translation process more visible, by means of showing how translators are deeply involved in the construction of culture and ideology. The use of these methods can retain the foreignness of the source text and produce on the target-language readers an effect as close as possible to that obtained on the readers of the original, through which the readers can further understand the foreign expressions and cultures, realizing the differences between the two countries.&lt;br /&gt;
&lt;br /&gt;
====Translation Methods under Domesticating Strategy====&lt;br /&gt;
&lt;br /&gt;
Domestication is a strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for target language readers. This strategy is &amp;quot;an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home&amp;quot; (Venuti, 1995: 20). In other words, as regards the use of domesticating strategy, the translators are required to make target-language readers feel familiar and close through conveying the content of the original text with the expressions to which TL readers are accustomed. And in Liu Bingshan's Chinese translation of ''Pleasures of Ignorance'', free translation method and imitation method under domestication are used and displayed in several translation techniques.&lt;br /&gt;
&lt;br /&gt;
=====Free Translation=====&lt;br /&gt;
&lt;br /&gt;
Free translation, also known as sense-for-sense translation, emphasizes transfer of the meaning or &amp;quot;spirit&amp;quot; of a source text over accurate reproduction of the original wording. The purpose of this method is to accommodate the needs of the target-language readers by producing a text which conforms to the linguistic and textual norms of the target language and culture which does not therefore sound 'foreign&amp;quot; (Shuttleworth &amp;amp; Cowie, 1997: 151). Such a method, in this case study, is specifically embodied in the choice of words packed with Chinese characteristics, that is, diction, also a translation technique. For example,&lt;br /&gt;
&lt;br /&gt;
(11)Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is ''the exception''.&lt;br /&gt;
&lt;br /&gt;
在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是''凤毛麟角''。&lt;br /&gt;
&lt;br /&gt;
(12)It is not that we have not seen the birds. It is simply that we ''have not noticed'' them.&lt;br /&gt;
&lt;br /&gt;
所以如此，并不是因为这些鸟我们没有见过，而只是因为我们''习焉不察''。&lt;br /&gt;
&lt;br /&gt;
(13)When in the oak’s green arms the cuckoo ''sings'', &lt;br /&gt;
&lt;br /&gt;
And first delights men in the ''lovely springs''.&lt;br /&gt;
&lt;br /&gt;
杜鹃在橡树的绿色怀抱里''啭啼''，&lt;br /&gt;
&lt;br /&gt;
第一个为人们带来''欢欣、美好的春意''。&lt;br /&gt;
&lt;br /&gt;
In translating these sentences, the translator transfers some words into vocabulary or phrases with conspicuously Chinese features. For instance, the transfer of &amp;quot;the exception&amp;quot; and &amp;quot;have not noticed&amp;quot; to Chinese idioms &amp;quot;凤毛麟角&amp;quot; (that describes rare and precious items) and &amp;quot;习焉不察&amp;quot; (which means that one is too accustomed to something to call it in questions), respectively, exemplifies the typical Chinese four-character structure. Moreover, the verb &amp;quot;sings&amp;quot; is transferred to &amp;quot;啭啼&amp;quot; (that describes birds' melodious chirp), a Chinese term composed of two words with the same left side, which is one of common and special linguistic phenomena in Chinese language. Meanwhile, &amp;quot;the lovely springs&amp;quot; is transferred to &amp;quot;欢欣、美好的春意&amp;quot; (a joyful and wonderful feeling brought by the spring) through abstraction.&lt;br /&gt;
Thus, it can be seen that the application of free translation can reproduce the sense of the original text more smoothly and idiomatically. And the wide adoption of the four-character structures enhance the academic atmosphere of the translation version.&lt;br /&gt;
&lt;br /&gt;
=====Imitation=====&lt;br /&gt;
&lt;br /&gt;
With regard to the use of imitation, the translators do not stick to the meaning details of the original text, let alone its vocabulary and syntactic structure, but take the original text as a reference model, either by deleting and condensing to only translate its gist and key information, or by adding and expanding to deliver more information than that in the original text. For instance,&lt;br /&gt;
&lt;br /&gt;
(14)Thousands of ''men and women'' ''live and die'' ''without knowing'' the difference between a beech and an elm, between the song of a thrush and the song of a blackbird.&lt;br /&gt;
 &lt;br /&gt;
成千上万的''男男女女''，''从生到死''，''一辈子''也''说不出''山毛榉和榆树有什么区别，''听不出''画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
&lt;br /&gt;
In the translation of this sentence, a variety of translation techniques are employed. &lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
The translator uses conversion to alter the syntactic structure of the original sentence. &lt;br /&gt;
&lt;br /&gt;
The predicate &amp;quot;live and die&amp;quot; is converted into the preposition phrase &amp;quot;从生到死&amp;quot; as the adverbial in Chinese.&lt;br /&gt;
&lt;br /&gt;
And the adverbial preposition phrase in the source text &amp;quot;without knowing&amp;quot; is converted into the predicate in Chinese translation.&lt;br /&gt;
&lt;br /&gt;
②　Division:&lt;br /&gt;
&lt;br /&gt;
In accordance with the need of Chinese expression, &amp;quot;without knowing&amp;quot; is divided into two verb phrases &amp;quot;说不出&amp;quot; and &amp;quot;听不出&amp;quot; in Chinese as the predicate.&lt;br /&gt;
&lt;br /&gt;
③　Addition:&lt;br /&gt;
&lt;br /&gt;
With the addition of the expression &amp;quot;一辈子&amp;quot;, the translator highlights the long time between life and death.&lt;br /&gt;
&lt;br /&gt;
④　Repetition:&lt;br /&gt;
&lt;br /&gt;
The plural form &amp;quot;men and women&amp;quot; is translated into the reiterative locution &amp;quot;男男女女&amp;quot; by repetition. &lt;br /&gt;
&lt;br /&gt;
The change of sentence structure via techniques such as conversion and division as well as of vocabulary via repetition and addition render the translation natural and smooth, showing the translator's superb handling of the original text.&lt;br /&gt;
&lt;br /&gt;
(15)...we are all the ''more'' delighted ''at the spectacle of'' its runaway flight as it (the cuckoo) ''hurries'' from wood to wood conscious of its crimes ...&lt;br /&gt;
&lt;br /&gt;
一日''看见''它（杜鹃）因为自己犯了罪而''煌惶不安地''从这个林子飞''逃''向那个林子 ... 我们才会觉得''大大''开心。&lt;br /&gt;
&lt;br /&gt;
In this example, there are also various translation techniques used.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
Firstly, the preposition phrase &amp;quot;at the spectacle of&amp;quot; is converted into the verb &amp;quot;看见&amp;quot; in Chinese. &lt;br /&gt;
&lt;br /&gt;
Secondly, the noun phrase &amp;quot;runaway flight&amp;quot; is converted into Chinese verbs &amp;quot;飞&amp;quot; (fly) and &amp;quot;逃&amp;quot; (escape). &lt;br /&gt;
&lt;br /&gt;
Besides, the verb &amp;quot;hurries&amp;quot; (that means to move quickly in a particular direction) is converted into &amp;quot;惶惶不安地&amp;quot; (which means to feel panic, afraid and utterly uneasy), a Chinese adverb to modify the verbs &amp;quot;飞&amp;quot; and &amp;quot;逃&amp;quot;, which endows the subject cuckoo with somewhat human characteristic.&lt;br /&gt;
&lt;br /&gt;
②　Repetition:&lt;br /&gt;
&lt;br /&gt;
The adjective &amp;quot;more&amp;quot; is translated into the reiterative locution &amp;quot;大大&amp;quot;, a Chinese adverb equivalent to &amp;quot;very&amp;quot; or &amp;quot;extremely&amp;quot; in English to modify the adjective &amp;quot;delighted&amp;quot;.&lt;br /&gt;
 &lt;br /&gt;
In this example, the adjustment of the sentence order and conversion of parts of speech make the translation more consistent with the word sequence in Chinese. Meanwhile, the choice of words such as the Chinese four-character structure &amp;quot;惶惶不安&amp;quot; conveys the romantic charm beyond the original text. And there are also indicators of use of repetition embodied in the typical Chinese reiterative locutions like &amp;quot;惶惶&amp;quot; and &amp;quot;大大&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
(16)I have myself a ''capricious'' and ''leaking'' memory.&lt;br /&gt;
&lt;br /&gt;
我自己的记忆力也是''漏洞百出''、''不听使唤''。&lt;br /&gt;
&lt;br /&gt;
Although this is a short sentence, it still contains the flexible use of translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
At first, the original object &amp;quot;memory&amp;quot; is converted to the subject in the Chinese translation.&lt;br /&gt;
&lt;br /&gt;
And then, the subject &amp;quot;I&amp;quot; with its appositive &amp;quot;myself&amp;quot; is converted into the attribute &amp;quot;我自己的&amp;quot; to modify the subject in the translation &amp;quot;记忆&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
On account of the conversion of the subject and the verb, the original predicate &amp;quot;have&amp;quot; is inappropriate. The addition of &amp;quot;也是&amp;quot; that is equivalent to the verb &amp;quot;be&amp;quot; in English enforces the completeness of sentence structure. And this is a structural addition mainly due to the structural difference between Chinese and English.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The two vivid adjective &amp;quot;capricious&amp;quot; and &amp;quot;leaking&amp;quot; are translated as &amp;quot;不听使唤&amp;quot; and &amp;quot;漏洞百出&amp;quot; respectively which are typical Chinese four-character structures. The Chinese adjective &amp;quot;漏洞百出(的)&amp;quot; means that the loopholes appear one after another, which is often used to describe that one's writing or speech is untenable because of lack of sufficient reasons and grounds. And here, this word shows the author's weak memory with which he forgets things time and again. And the other adjective &amp;quot;不听使唤(的)&amp;quot; generally depicts that someone loses control and is not obedient to the rules or instructions. Here, the word properly demonstrates that the author cannot manipulate his memory well and also cannot preclude it from being weaker. The use of these two words conforms to the choice of affective and stylistic meanings.&lt;br /&gt;
&lt;br /&gt;
In this example, the conversion of the subject and object as well as the change of the predicate enable the translation to be more closely accord with the Chinese sentential structure. Moreover, the two figurative adjectives packed with personified traits not only fully  convey the author's intention, but also enhance literariness of the translation and even display a lively mood beyond the original text.&lt;br /&gt;
&lt;br /&gt;
(17)We know, again, that, the blossom precedes and ''not succeeds'' the fruit of the apple-tree, but ''this does not lessen our amazement at'' the beautiful holiday of a May orchard.&lt;br /&gt;
&lt;br /&gt;
另外，我们知道苹果树''先''开花，''后''结果，可是五月''一旦''到来，果园里一片欢闹的花海。''我们不是仍然惊为奇观吗？''&lt;br /&gt;
&lt;br /&gt;
This is a typical example of the imitation method embodied in the use of diverse translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
Regarding the conversion of word classes, the noun &amp;quot;blossom&amp;quot; is converted into the Chinese verb &amp;quot;开花&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Concerning the conversion of sentence members, the object in the clause &amp;quot;apple-tree&amp;quot; is converted into the subject &amp;quot;苹果树&amp;quot; in the Chinese translation. And the attribute &amp;quot;May&amp;quot; is converted into the adverbial in Chinese as &amp;quot;五月一旦到来&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Considering the conversion of sentence patterns, the negative sentence &amp;quot;this does not lessen our amazement at...&amp;quot; is converted into a interrogative sentence &amp;quot;我们不是仍然惊为奇观吗？&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Negation:&lt;br /&gt;
&lt;br /&gt;
The negative form &amp;quot;not succeeds&amp;quot; in English is translated into the affirmative form &amp;quot;后结果&amp;quot; in Chinese, intensifying a positive tone on which Chinese language often places emphasis.&lt;br /&gt;
&lt;br /&gt;
③　Division:&lt;br /&gt;
&lt;br /&gt;
The original complicated sentence in English is divided into several simplex clauses and phrases in Chinese, which underlines the &amp;quot;chronicle style&amp;quot; of Chinese language with frequent use of shorter or composite structures.&lt;br /&gt;
&lt;br /&gt;
④　Addition:&lt;br /&gt;
&lt;br /&gt;
Now that the original sentence is divided into smaller components, it is necessary to supply connectors for better cohesion. The addition of the logical connectors in Chinese such as &amp;quot;先&amp;quot;, &amp;quot;后&amp;quot;, &amp;quot;一旦&amp;quot; and &amp;quot;仍然&amp;quot; render the translation more smooth and expressive.&lt;br /&gt;
&lt;br /&gt;
In this instance, the translator flexibly takes advantage of the techniques such as conversion, negation and division, not only contributing to the diversity of sentence patterns but also adding sense of warmth and vividness of the translation. Additionally, the semantic addition of logical connectors render the translation more cohesive and coherent.&lt;br /&gt;
&lt;br /&gt;
(18)Once more I shall see the world as a garden through the eyes of a stranger, my breath taken away with surprise by the painted fields.&lt;br /&gt;
&lt;br /&gt;
那时，我像一个陌生者进人大花园，放眼四望，五色缤纷的原野再一次使我''目不暇接''，''心迷神醉''。&lt;br /&gt;
&lt;br /&gt;
As regards this example, the translator enriches the meaning of the original text and creates a more balmy atmosphere by employing various translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Division:&lt;br /&gt;
&lt;br /&gt;
The long complex sentence, composed of two clauses, is divided into several separated clauses in arranged in a certain order, which renders the translation rhythmic and highlights the focus of expression.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
The addition of the Chinese set phrase &amp;quot;目不暇接&amp;quot; (which means that so many wonderful things and so swift change of scenery come into sight that the eyes are kept fully occupied) makes the context more coherent, as it echoes &amp;quot;see&amp;quot; and &amp;quot;the eyes&amp;quot; in the preceding and connects the &amp;quot;painted fields&amp;quot; in the following that greet the author's eyes and take his breath away.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The verb &amp;quot;see&amp;quot; is translated into &amp;quot;放眼四望” (to look around), the noun phrase &amp;quot;breath taken away with surprise&amp;quot; into &amp;quot;心醉神迷&amp;quot; (to be thrown into ecstasies), and the adjective &amp;quot;painted&amp;quot; into &amp;quot;五彩缤纷&amp;quot; (colorful). These recurring four-character structures in translation are loaded with positive meanings, and proper to depict the attractive scenery and to be used in scholar prose.&lt;br /&gt;
&lt;br /&gt;
④　Conversion:&lt;br /&gt;
&lt;br /&gt;
The original clause &amp;quot;my breath taken away with surprise by the painted fields&amp;quot; is in passive voice, and is converted into the active voice in Chinese translation &amp;quot;五色缤纷的原野再一次使我目不暇接，心迷神醉&amp;quot;. This kind of conversion is due to the fact that the Chinese passive form marked by &amp;quot;被&amp;quot; is traditionally felt to be an &amp;quot;inflictive voice&amp;quot;, mainly expressing things unpleasant or undesirable, contrasted with the cheerful aura overflowing the original text. &lt;br /&gt;
&lt;br /&gt;
The translator employs short clauses separated from the original complex sentence to  bestow smoothness and naturalness on the translation and strengthen its artistic appeal. Furthermore, the translator selects the words that tally with the affective, contextual and stylistic meanings of the original. And the opportune addition of words and change of voice also polish the translation.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
This paper makes an analysis of translation strategies and translation methods in English prose, with translator Liu Bingshan's Chinese translation of ''Pleasures of Ignorance'' created by Robert Lynd as an example. With translation strategies and methods as the starting point, this paper considers Chinese translation of English prose as the research subject. The paper first introduces English prose along with its distinctive properties, linguistics features and principles of its translation. And then this paper carries out the interpretation of translation strategies and methods in Liu Bingshan's Chinese translation of ''Pleasures of Ignorance'' in which the application of translation methods as well as techniques under foreignizing and domesticating strategies are elaborated, and the concrete effects they exert are also elucidated.&lt;br /&gt;
&lt;br /&gt;
====Major Findings====&lt;br /&gt;
&lt;br /&gt;
Based on the above study of translation strategies and methods employed in Liu Bingshan's Chinese translation of ''Pleasures of Ignorance'', the features or common ground of Chinese translation of English prose in terms of translation strategies and methods can be generally summarized.&lt;br /&gt;
&lt;br /&gt;
In Chinese translation of English prose, foreignization strategy and domestication strategy are both used in the light of the style, linguistic features, and syntactic structures of the source text.&lt;br /&gt;
&lt;br /&gt;
But, on the whole, the domesticating translation strategy which includes translation methods such as free translation and imitation is applied more frequently compared with foreignization. This is because that prose translation actually falls into literary translation that is special on the grounds of the unique characteristics of the original literary works. In literary works, or specifically, in English prose, some words are not used with their literal meanings but their connotative or extension meanings, so literal translation under foreignization may not correctly convey the real significance of the original text. Meanwhile, in English prose, there are complex syntactic structures whose translation cannot be carried out with no proper conversion and alteration. Additionally, multiple rhetoric devices such as metaphor, metonymy and allusion are used in English literary works, and the literal translation of these figures of speech may elude the target-language readers because of the cultural differences and the obscurity of the translation. However, the appropriate adoption of translation methods under domestication strategy, to some extent, can give the target-language readers a sense of closeness and deliver the aesthetic charm with the premise that the real meaning of the original text can be ensured.&lt;br /&gt;
&lt;br /&gt;
In terms of translation methods under foreignizing strategy, literal translation is used when the lexical meaning of the source text is lucid and the syntactic structures in it are relatively simple and clear, so the translators need not find a new path in the mode of expression in order to be faithful to the source text. And the use of literal translation can convey the information more objectively and avoid the interference of translators' subjective factors. Meanwhile, in Chinese translation of English prose, the use of zero-translation is frequent but imperceptible, with the omission of some words peculiar to English, such as expletives it and there, English articles and pronouns, but sometimes the English pronouns can also be retained to show a sense of closeness and friendliness. Besides, transliteration is used for the translation of proper nouns and technical terms not only in English prose but also in almost all text types, with conforming to the principles of being named after the original sound and of the translated names accepted through common practice. In a word, translation methods under foreignization can ensure the objective conveyance of information of the original text and preserve its foreignness and unique cultural values that can enrich the target-language readers' knowledge and their languages.&lt;br /&gt;
&lt;br /&gt;
With regard to translation methods under domesticating strategy, in Chinese translation English prose, free translation and imitation method are oftentimes employed. English prose, as one of the English literary genres, boasts distinctive features of literature, such as aesthetic value, language with hidden meanings and the usual use of figures of speech as well as culturally loaded images, which may not be shown vividly and be easily understood by target-language readers via literal or word-for-word translation. Thus, translation methods under domestication, with careful choice of words, proper adjustment of syntactic structures and sentence sequence, and appropriate sublimation of the original text, can express the original author's feelings more lively, render the translation more fluent, idiomatic and expressive, and display the aesthetic charm of the source text.&lt;br /&gt;
&lt;br /&gt;
At the lexical level, in Chinese translation of English prose, the translation techniques --- diction, addition, conversion and repetition --- are usually used. The typical Chinese four-character structures appear time from time in Chinese translation, and the translators choose the words in line with the affectionate, contextual and stylistic meanings of the original prose, which intensify literariness and satisfy the characteristics of scholar prose. Moreover, the addition of Chinese conjunctive words and logical connectors by which sentences in translation are connected into a text can create better cohesion. Furthermore, the conversion of word classes in translation is based on the contrastive studies of English and Chinese, viz., English with its nominal style is static whereas Chinese with its verbal style is dynamic. Besides, it is one of the peculiarities of Chinese to reduplicate characters or words in word-formation and to repeat the similar or same word or expression in a discourse for expressiveness and parallelism, which can render translation more appealing to Chinese readers and produce rhetorical and grammatical effect.&lt;br /&gt;
&lt;br /&gt;
At the syntactic level, the translation techniques --- conversion and division--- are often employed in Chinese translation of English prose. To start with, conversion in the syntactic respect involves conversions of sentence members, sentence patterns and the voice. The conversion of word classes often results in the conversion of sentence members, and the alteration of sentences patterns like the inter-conversion between assertive or negative sentences and question sentences can variegate sentence types in translation. The conversion of passive voice in English prose into active voice in Chinese translation is due to the preference for active forms that can produce positive effect in Chinese language. What's more, part of sentences in English prose are longer and complicated because of subordination, a fundamental feature of English, and it may be hard to reproduce the original thought with following the original sentence structure in translation, hence the division of complex English sentences into word-groups, clauses or simplex sentences in Chinese can endow Chinese translation of English prose with more naturalness, fluency and sense of rhythm.&lt;br /&gt;
&lt;br /&gt;
The research on the features of translation strategies and methods in Chinese translation of English prose, theoretically can offer a deeper insight into English prose and its translation, and practically can help to some extent improve the quality of Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
====Limitations and Suggestions====&lt;br /&gt;
&lt;br /&gt;
There are drawbacks in this paper: firstly, the paper takes only one piece of English prose as an example in case study, so it lacks strong persuasiveness; secondly, since there are few researchers on prose translation at home and abroad, especially those specializing in Chinese translation of English prose, this paper resorts to insufficient literature guidance and reference; thirdly, owing to the confined conditions and narrow academic capacity, this paper is devoid of enough depth and breadth as well as favorable insight and acuity, thus the theoretical support and practical assistance it provides are bound to be limited. As a consequence, it is expected that researchers in this field can cooperate well to build up a system to minimize the possible errors and create more thorough and holistic works to enunciate and improve Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
[1] Lawrence Venuti. Rethinking Translation: Discourse, Subjectivity, Ideology [C]. London and New York: Routledge, 1992: 5-20.&lt;br /&gt;
&lt;br /&gt;
[2] Lawrence Venuti. The Translator's Invisibility: A History of Translation [M]. 上海: 上海教育出版社, 2004: 7-25.&lt;br /&gt;
&lt;br /&gt;
[3] Mark Shuttleworth. Moira Cowie. Dictionary of Translation Studies [M]. London and New York: Routledge, 2014: 59-163.&lt;br /&gt;
&lt;br /&gt;
[4] 方梦之. 中国译学大辞典 [M]. 上海: 上海教育出版社, 2011: 96-118.&lt;br /&gt;
&lt;br /&gt;
[5] 侯强. 英语散文汉译策略研究 --- 以“韩素音青年翻译奖”参赛文本为例 [D]. 厦门: 厦门大学, 2014.&lt;br /&gt;
&lt;br /&gt;
[6] 何秀琴. 期待视角下的英语散文汉译研究 --- 以《散文佳作108篇》 为例 [D]. 南昌: 南昌大学, 2018.&lt;br /&gt;
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[7] 连淑能. 英译汉教程 [M]. 北京: 高等教育出版社, 2006: 67-262,&lt;br /&gt;
&lt;br /&gt;
[8] 宋颉. 翻译美学视角下的民国散文英译风格研究 [D]. 上海: 上海外国语大学, 2018.&lt;br /&gt;
&lt;br /&gt;
[9] 熊兵. 翻译研究中的概念混淆 [J]. 中国翻译, 2014(3): 82-88.&lt;br /&gt;
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[10] 张保红. 文学翻译 [M]. 北京: 外语教学与研究出版社, 2011: 28-88.&lt;br /&gt;
&lt;br /&gt;
[11] 朱明炬. 英汉名篇名译 [M]. 南京: 译林出版社, 2007: 319-328.&lt;br /&gt;
&lt;br /&gt;
===Appendix===&lt;br /&gt;
&lt;br /&gt;
(The original text:)&lt;br /&gt;
&lt;br /&gt;
The Pleasures of Ignorance&lt;br /&gt;
&lt;br /&gt;
By Robert Lynd&lt;br /&gt;
&lt;br /&gt;
It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance. It is impossible to take a walk in the country oneself without being amazed at the vast continent of one’s own ignorance. Thousands of men and women live and die without knowing the difference between a beech and an elm, between the song of a thrush and the song of a blackbird. Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is the exception. It is not that we have not seen the birds. It is simply that we have not noticed them. We have been surrounded by birds all our lives, yet so feeble is our observation that many of us could not tell whether or not the chaffinch sings, or the colour of the cuckoo. We argue like small boys as to whether the cuckoo always sings as he flies or sometimes in the branches of a tree-whether Chapman drew on his fancy or his knowledge of nature in the lines:&lt;br /&gt;
&lt;br /&gt;
When in the oak's green arms the cuckoo sings, &lt;br /&gt;
&lt;br /&gt;
And first delights men in the lovely springs.&lt;br /&gt;
&lt;br /&gt;
This ignorance, however, is not altogether miserable. Out of it we get the constant pleasure of discovery. Every fact of nature comes to us each spring, if only we are sufficiently ignorant, with the dew still on it. If we have lived half a lifetime without having ever seen a cuckoo, and know it only as a wandering voice, we are all the more delighted at the spectacle of its runaway flight as it hurries from wood to wood conscious of its crimes and at the way in which it halts hawk-like in the wind, its long tail quivering, before it dares descend on a hillside of fir-trees where avenging presences may lurk. It would be absurd to pretend that the naturalist does not also find pleasure in observing the life of the birds, but his is a steady pleasure, almost a sober and plodding occupation, compared to the morning enthusiasm of the man who sees a cuckoo for the first time, and, behold, the world is made new.&lt;br /&gt;
&lt;br /&gt;
And, as to that, the happiness even of the naturalist depends in some measure upon his ignorance,which still leaves him new worlds of this kind to conquer. He may have reached the very Z of knowledge in the books, but he still feels half ignorant until he has confirmed each bright particular with his eyes. He wishes with his own eyes to see the female cuckoo—rare spectacle!—as she lays her egg on the ground and takes it in her bill to the nest in which it is destined to breed infanticide. He would sit day after day with a field-glass against his eyes in order personally to endorse or refute the evidence suggesting that the cuckoo does lay on the ground and not in a nest.And, if he is so far fortunate as to discover this most secretive of birds in the very act of laying, there still remain for him other fields to conquer in a multitude of such disputed questions as whether the cuckoo’s egg is always of the same colour as the other eggs in the nest in which she abandons it. Assuredly the men of science have no reason as yet to weep over their lost ignorance. If they seem to know everything, it is only because you and I know almost nothing. There will always be a fortune of ignorance waiting for them under every fact they turn up. They will never know what song the Sirens sang to Ulysses any more than Sir Thomas Browne did.&lt;br /&gt;
&lt;br /&gt;
If I have called in the cuckoo to illustrate the ordinary man's ignorance, it is not because I can speak with authority on that bird. It is simply because, passing the spring in a parish that seemed to have been invaded by all the cuckoos of Africa, I realized how exceedingly little I, or anybody else I met, knew about them. But your and my ignorance is not confined to cuckoos. It dabbles in all created things, from the sun and moon down to the names of the flowers. I once heard a clever lady asking whether the new moon always appears on the same day of the week. She added that perhaps it is better not to know, because, if one does not know when or in what part of the sky to expect it,its appearance is always a pleasant surprise. I fancy, however, the new moon always comes as a surprise even to those who are familiar with her time-tables. And it is the same with the coming-in of spring and the waves of the flowers. We are not the less delighted to find an early primrose because we are sufficiently learned in the services of the year to look for it in March or April rather than in October. We know, again, that, the blossom precedes and not succeeds the fruit of the apple-tree, but this does not lessen our amazement at the beautiful holiday of a May orchard.&lt;br /&gt;
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At the same time there is, perhaps, a special pleasure in relearning the names of many of the flowers every spring. It is like rereading a book that one has almost forgotten. Montaigne tells us that he had so bad a memory that he could always read an old book as though he had never read it before. I have myself a capricious and leaking memory. I can read Hamlet itself and The Pickwick Papers as though they were the work of new authors and had come wet from the press, so much of them fades between one reading and another. There are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy. But this is only when life has an object beyond entertainment. In respect of mere luxury, it may be doubted whether there is not as much to be said for a bad memory as for a good one. With a bad memory one can go on reading Plutarch and The Arabian Nights all one's life. Little shreds and tags, it is probable, will stick even in the worst memory, just as a succession of sheep cannot leap through a gap in a hedge without leaving a few wisps of wool on the thorns. But the sheep themselves escape,and the great authors leap in the same way out of an idle memory and leave little enough behind.&lt;br /&gt;
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And, if we can forget books, it is as easy to forget the months and what they showed us, when once they are gone. Just for a moment I tell myself that I know May like the multiplication table and could pass an examination on its flowers, their appearance and their order. Today I can affirm confidently that the buttercup has five petals. (Or is it Six? I knew for certain last week.) But next year I shall probably have forgotten my arithmetic, and may have to learn once more not to confuse the buttercup with the celandine. Once more I shall see the world as a garden through the eyes of a stranger, my breath taken away with surprise by the painted fields. I shall find myself wondering whether it is science or ignorance which affirms that the swift (that black exaggeration of the swallow and yet a kinsman of the humming-bird) never settles even on a nest, but disappears at night into the heights of the air. I shall learn with fresh astonishment that it is the male, and not the female,cuckoo that sings. I may have to learn again not to call the champion a wild geranium, and to rediscover whether the ash comes early or late in the etiquette of the trees. A contemporary English novelist was once asked by a foreigner what was the most important crop in England. He answered without a moment's hesitation: &amp;quot;Rye&amp;quot;. Ignorance so complete as this seems to me to be touched with magnificence; but the ignorance even of illiterate persons is enormous. The average man who uses a telephone could not explain how a telephone works. He takes for granted the telephone, the railway train, the linotype, the aeroplane, as our grandfathers took for granted the miracles of the gospels. He neither questions nor understands them. It is as though each of us investigated and made his own only a tiny circle of facts. Knowledge outside the day's work is regarded by most men as a gewgaw. Still we are constantly in reaction against our ignorance. We rouse ourselves at intervals and speculate. We revel in speculations about anything at all—about life after death or about such questions as that which is said to have puzzled Aristotle, &amp;quot;why sneezing from noon to midnight was good, but from night to noon unlucky.&amp;quot; One of the greatest joys known to man is to take such a flight into ignorance in search of knowledge. The great pleasure of ignorance is, after all, the pleasure of asking questions. The man who has lost this pleasure or exchanged it for the pleasure of dogma, which is the pleasure of answering, is already beginning to stiffen. One envies so inquisitive a man as Jowett, who sat down to the study of physiology in his sixties. Most of us have lost the sense of our ignorance long before that age. We even become vain of our squirrel’s hoard of knowledge and regard increasing age itself as a school of omniscience. We forget that Socrates was famed for wisdom not because he was omniscient but because he realized at the age of seventy that he still knew nothing.&lt;br /&gt;
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(Liu Bingshan's Chinese translation:)&lt;br /&gt;
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无知常乐&lt;br /&gt;
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刘炳善 译&lt;br /&gt;
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同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是凤毛麟角。所以如此，并不是因为这些鸟我们没有见过，而只是因为我们习焉不察。在我们一生中，鸟类始终就在我们周围，然而我们对于它们的观察总是那样马马虎虎，所以我们当中许多人都说不清花鸡到底会不会知，也不知道杜鹃究竟是什么颜色。对于有些问题、我们像小孩子一样争论不休、譬如说，杜鹃在飞着或栖身于树枝间的时候，是否一直不停地鸣，而查普曼下面两行诗的灵感究竟是来自他的想像还是来自他的自然知识∶&lt;br /&gt;
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杜鹃在橡树的绿色怀抱里啭啼，&lt;br /&gt;
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第一个为人们带来欢欣、美好的春意。&lt;br /&gt;
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不过，这种无知也并非全然不幸，因为正是由于它，我们才能不断尝到发现的乐趣。只要我们是的的确确地无知，那么每年大地春回，自然界的每一种事物都会带着它那清新的露珠重新出现在我们面前。如果我们活了半辈子，对于杜鹃除了听过它那飘忽不定的叫声，从来没有见过它是什么模样，那么，一日看见它因为自己犯了罪而煌惶不安地从这个林子飞逃向那个林子。或是看见它顶着风、像老鹰似的停留在半空中，它那长长的尾巴颤动着，不敢落下来，生怕有什么鸟儿藏在那山坡上的枞树林里等着要找它报仇。我们才会觉得大大开心。有人想着，博物学家整天观察鸟类，大概就不会觉得有什么趣儿了吧？其实大谬不然--他那持续不断的乐趣几平已经变成一种安详的职业习惯了，不像有人某天早晨突然第一次看见一只杜鹃，不胜雀跃之至，于是，看哪，天地也为之焕然一新了。&lt;br /&gt;
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说到这儿，甚至连博物学家的快乐在一定程度上也有赖于自己的无知；只有如此。才能给他留出一些新的领域有待他去征服。即使他已经攀登了书本知识的顶峰，他仍会感到自己不过是半通不通，每一个引人注目的细节还必须用自己的亲眼观察来加以一一证实。他盼着能亲眼看到雌杜鹃（这可是个稀罕物儿！）把蛋下到地面上。然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。因此，博物学家就要戴上望远镜，日复一日地坐在那里等待着亲眼证实或者否定那种认为杜鹃确实是在地面上而非在窠里下蛋的说法。而日，即使他很幸运，能够发现杜鹃下蛋实况，这个在鸟类来说算是极大的秘密，其他一大批有争议的问题还依然存在。就像新的领土有待他去开拓，例如，杜鹃的蛋跟它占用的窠里其他鸟的蛋是否总是一样颜色？自然，科学家没有理由为了自己失去无知而哭泣。如果他们看起来似乎是精通一切的话，那也不过因为你我差不多是一无所知罢了。实际上，当他们要把一件事实的盖子揭开的时候，某种命定的无知就在等待着他们。海妖们向尤利塞斯唱的究竟是什么歌儿？——他们永远不可能知道，正像托马斯·勃朗爵士也不知道一样。&lt;br /&gt;
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我请杜鹃来做例子以说明普通人的无知，并不是因为我有什么权威可以对这种鸟儿发发议论。不过，我曾在某个教区暂住，而那年春天从非洲飞来的杜鹃似乎全集合在那个地方，因此我也就有机会了解到我自己以及我所碰见的每一个人对于这种鸟儿的知识是如何地微不足道。但是，你我的无知并不仅限于杜鹃这一方面。它涉及到宇宙万物，从太阳、月亮一直到花卉的名字。有一天，我听见一位聪明伶俐的太太提出了这样一个问题∶新月是不是总在星期几露面？她接着又说：不知道倒好，正因为人不知道在什么时候、在天空的哪一带能看见它，新月一出现才给人带来一场惊喜。然而我想、哪怕入把月亮盈亏时间表记得再熟。看见新月出现还是不免又惊又喜，春回大地，花开花落，也莫不如此。尽管我们对一年四季草本节令了如指掌，知道樱草开花在三月四月而不在十月，不过看见一株早开花的樱草，我们还是照样地高兴。另外，我们知道苹果树先开花，后结果，可是五月一旦到来，果园里一片欢闹的花海。我们不是仍然惊为奇观吗？&lt;br /&gt;
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倘在每年春天，把许多花卉之名重温一遍，还另有一番风味。那就像把一本差不多忘得干干净净的书再重新念一遍。蒙田说过，他的记忆力很坏，所以他随时都能拿起一本旧书，像从未读过的新书一样地念。我自己的记忆力也是漏洞百出、不听使唤。我甚至能拿起《哈姆雷特》和《匹克威克外传》，当作是初登文坛的新作家刚刚印成白纸黑字的作品来念，因为自从上回念过以后，这两部书在我脑子里的印象已经模模糊糊了。这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。不过，在这种时候，人不仅想得到娱乐，还追求着什么目的。如果只讲享受的话，记忆力坏比记忆力好究竟差到哪里去，还真是大可怀疑哩。记忆力坏的人可以一辈子不断地念普卢塔克的《英雄传》和《天方夜谭》，而永远感到新鲜。很可能，最坏的记忆力也难免粘粘连连地留下一星半点的印象，恰如一只只绵羊从篱笆洞里接连通过，总不免在那刺条上留下一丝半缕的羊毛。然而，绵羊终归逃出去了，正像伟大的作家从我们不争气的记忆中消失。所留下的东西简直微不足道。&lt;br /&gt;
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既然读过的书我们可以忘得一干二净，那么一年十二个月以及每个月的风物，一旦时过境迁。我们同样可以轻而易举地把它们忘在脑后。在某个短暂时刻，我可以说自己对于五月就像对于乘法表那样熟悉，关于五月里的花木、开花时间乃至前后次序，我能通过考试。今天，我就敢肯定金凤花有五瓣。（难道是六瓣吗？上个礼拜我还记得清清楚楚来着。）可是，到了明年，我也许连算术也忘个干干净净;我得从头学起，以免把金凤花误认成白屈菜。那时，我像一个陌生者进人大花园，放眼四望，五色缤纷的原野再一次使我目不暇接，心迷神醉。那时，我也许要对这么一个问题拿不定注意，就是; 认为雨燕（那种简直像大号小燕子、又和蜂鸟沾点儿亲戚的黑鸟儿）从来不在窠里歇着，一到夜里就飞向高高的天空，到底是一种科学论断，还是一种无知妄说？当我知道了会唱歌的并不是雌杜鹃，而是雄杜鹃。我还要再次感到惊讶。我得重新学习，以免把剪秋罗当作野大竺葵；还要去重新发现白杨在树木生长的习惯法中究章算是早成材还是晚成材。某天。一个外国人问一位当代英国小说家，英国最重要的农作物是什么。他毫不犹豫地回答：“稞麦。”在我看来，这是一种堂而皇之派头的彻头彻尾的无知；不过，大大无知的也包括那些没有文化的人。普通人只会使用电话，却无法解释电话的工作原理。他把电话、火车、铸造排字机、飞机都看作当然之事，就像我们的祖父一代把福音书里的奇迹故事视为理所当然一样。对于这些事，他既不去怀疑，也不去了解。我们每个人似乎只对很小范围内的某几件事才真正下工夫去了解、弄清楚。大部分人把日常工作以外的一切知识统统当作花哨无用的玩意儿。然面，对于我们的无知，我们还是时时抗拒着，我们}有时振作起来，进行思索。我们随便找一个什么题目，对之思考，甚至入迷——关于死后的生命，或者关于某些据说亚里士多德也感到大惑不解的问题，例如“打喷嚏，从中午到子夜则吉，从夜晚至中午则凶，其故安在？”为求知识而陷入无知，这是人类所欣赏的最大乐事之一。归根结底，无知的极大乐趣即在于提出问题。一个人，如果失去了这种提问的乐趣，或者把它换成了教条的答案，并且以此为乐，那么，他的头脑已经开始僵化了。我们羡慕像裘伊特这样勤学好问之人，他到了六十多岁居然还能坐下来研究生理学。我们多数人不到他这么大的岁数就早已丧失了自己无知的感觉了。我们甚全像松鼠似的对自己小小的知识储存感到沾沾自喜，把与日俱增的年龄看作是培养无所不知的天然学堂。我们忘记了∶苏格拉底之所以以智慧名垂后世，并非因为他无所不知，而是因为他到了七十高龄还能明白自己仍然一无所知。&lt;br /&gt;
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=毛优Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
[[Trans_Type_EN_5]]&lt;br /&gt;
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毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
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=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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[[Trans_Type_EN_6]]&lt;br /&gt;
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彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
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从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。	&lt;br /&gt;
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Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
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Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
翻译风格，巴黎的忧郁，郭宏安，亚丁&lt;br /&gt;
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==Introduction==&lt;br /&gt;
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The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
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Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations. Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
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==Liu Miqing’s theory of translation style==&lt;br /&gt;
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Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
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Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.&lt;br /&gt;
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In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
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==Form Markers==&lt;br /&gt;
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According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
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===Register Markers===&lt;br /&gt;
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“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
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The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
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Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
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Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
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Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
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This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
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===Lexical Markers===&lt;br /&gt;
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Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence, translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
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==Non-formal Markers==&lt;br /&gt;
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The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
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Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
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According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
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Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
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The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
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The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
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Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
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Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.&lt;br /&gt;
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==References==&lt;br /&gt;
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[1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[3] 刘宓庆 Liu Mingqing. 新编当代翻译理论[M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp;amp; Publishing Corporation, 2005.&lt;br /&gt;
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[4] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.&lt;br /&gt;
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[5] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.&lt;br /&gt;
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=秦建安 A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
[[Trans_Type_EN_7]]&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Lu Xun, chief commander of China's modern cultural revolution, is not only a great thinker and political commentator but the founder of modern Chinese literature. Kong I-Chi is one of the masterpieces of Lu Xun's novels. Although the total number of characters is less than 3,000 words, Lu Xun exposes the nature of feudal ethics and its negative influence through his character portrayal, which is loved by many readers home and aboard. The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but so as close as possible to the original text in terms of syntactic structure and wording. Therefore, his translations once became the authoritative version of Lu Xun's novels. From the perspective of Nida’s functional equivalence theory, this thesis conducts translation research on the English translation of the famous writer Yang Xianyi, analyzing whether the translation is functionally equivalent to the original text and construe the English translation of prose from the lexical, syntactic, and semantic level to try to explore the translation strategies, styles and methods of Kong I-Chi which aims to explain the functional equivalents in Lu Xun's short novel translation.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Functional Equivalence Theory; Lu Xun; Kong I-Chi;translation method&lt;br /&gt;
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===Introduction===&lt;br /&gt;
This chapter will be expanded with respect to the research background, its significance and the methodology. The literature review will also be included which describes the previous studies on the Functional Equivalence Theory and previous translation versions of ''Kong I-Chi''.&lt;br /&gt;
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'''Research Background and Significance'''&lt;br /&gt;
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As the most famous writer in modern China, Lu Xun has a decisive bearing on the modern history of Chinese literature. Lu Xun settled in a period of transformation in Chinese literature. His short stories are different from modern short stories in terms of text and expression. ''Kong I-Chi'' was written in 1918 when there was a turmoil in China. At that time, although the imperial examination system had been abolished, the education system had not changed, and many scholars had not shaken off the shackles of feudal tenets. &lt;br /&gt;
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''Kong I-Chi'' enjoys high reputation at home and abroad and has been translated into English, Japanese, French, Russian and other languages. Compared with other language versions, the English versions enjoy a wider spread and have deeper influence. In 1954, the couple Yang and Dai translated it into English and published Selected Stories of Lu Xun in which ''Kong I-Chi'' was included. Yang Xianyi and his wife Gladys Yang are great translator beyond all doubt. They are knowledgeable and familiar with Chinese and Western cultures also have devoted their life to translating excellent Chinese and Western literary works. Through their translation, we can better master the author's own novel intentions.&lt;br /&gt;
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'''Methodology'''&lt;br /&gt;
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In recent years, the translation of traditional Chinese literary works was attached great significance by both Chinese and foreign scholars. As an important part of ancient Chinese culture, though, it is a common genre in Chinese and foreign literature, the short novels cannot be neglected. For translators, how to deal with the modern and balance Chinese and Western cultural differences has become a salient problem. It is not only necessary to understand the characteristics of modern Chinese literature, but also to be very familiar with Chinese and Western cultures for the translator. Functional Equivalence Theory is put forward by American linguists Eugene Nida. According to him, two different languages represent two different cultures which will never be the same, but translation is a kind of communication between the two cultures and translators should try their best to achieve functional equivalence between the two languages rather than seek for rigid correspondence when making translation, which can accurately reproduce the source culture in the target language and eliminate cultural differences. It puts forward a new attitude to treat different languages and cultures, promoting language communication and mutual understandings among people. Thus, taking Nida’s theory as guidance, this research is meaningful not only for translation studies, but also for cultural exchanges.&lt;br /&gt;
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'''Literature Review'''&lt;br /&gt;
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As one of Nida’s major contribution to contemporary translation studies, Functional Equivalence Theory has brought about heated discussion among scholars at home and abroad since its birth. Many momentous works of Nida also have been translated and introduced into China, such as Nida on Translation edited and translated by Tan Zaixi (1999) and Language and Translation translated by Cai Yi (1985) which of them aroused great repercussions in Chinese translation field. As the prototypical member of Functional Equivalence Theory, receptor’s response theory draws scholars’ attention. Zhang Xiujuan (2015) points out that “receptor’s response theory breaks the tradition of Chinese translation that translators pay much attention to the text but may ignore the response of readers, and provides a new perspective for Chinese scholars to make studies on translation theories”.&lt;br /&gt;
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Kong I-Chi, as the most typical character in Lu Xun's novels in the teaching textbooks of Chinese junior high school students, has left an indelible impression in the hearts of Chinese people. The most recognized translators of ''Kong I-Chi'' include Yang and Dai, Lyle William and Edgar Snow. The translation of Lu Xun's novels during the period of Yang and Dai reach its heyday. For a long time, domestic and foreign publishing houses have published works translated by the couple. Since Edgar Snow lived in the same age as Lu Xun, his translation is closer to Lu Xun's life background. It wasn't until 1990 that the American scholar William Lyell's new American translation was published, and the new stage of the English translation of Lu Xun's novels began. The British English version translated by Yang and Dai is elegant and idiomatic, giving readers the good impression of pure British English.&lt;br /&gt;
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=== Theoretical Framework: Nida’s Functional Equivalence Theory ===&lt;br /&gt;
==== Introduction of Functional Equivalence Theory ==== &lt;br /&gt;
===== The Original of Functional Equivalence Theory  =====&lt;br /&gt;
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Nida's main academic activities unfold around the translation of the Bible. In the process of &amp;quot;Bible&amp;quot; translation, Nida started from reality and developed a set of his own translation theory, which eventually became one of the classics in translation studies. In 1964, Nida (1964) put forward “dynamic equivalence” in ''Toward a Science of Translating'', and gave it specific definition in ''The Theory and Practice of Translation'' (1969). In the mid-1980s, “dynamic equivalence” was replaced by “functional equivalence” to avoid misunderstandings on the term “dynamic”, which was the origin of Functional Equivalence Theory.&lt;br /&gt;
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=====The Development of Functional Equivalence Theory  =====&lt;br /&gt;
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The most important and the most intractable part in Functional Equivalence Theory is the disposal of message. The theory requires that the message in receptor’s language must be consistent with the source language. In such a translation, translators should strive to “reproduce as literally and meaningfully as possible the form and content of the original” (Nida 1964:159). Later he successfully applied the research results of modern linguistics to translation theory which also reciprocally pushed his theory forward. There are three stages in the development of Functional Equivalence Theory.&lt;br /&gt;
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The first stage is that starting from the essence of language; he used semantic theory to make an objective and accurate analysis of the referent and associative meaning of words. In Nida's point of view, various language structures have great similarities, and the deep structure is far more common than the surface structure. Therefore, the translation of the deep structure between languages can ensure the fidelity of the translation to the greatest extent. At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensue smoothness of the translation as much as possible. The faithful and fluent translation presupposes conditions for the equivalence of receptor’s response, which makes it possible to realize functional equivalence.&lt;br /&gt;
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The second stage is that the theory was prone to lay its foundation on information theory. Nida held the view that translation is the activity of converting information expressed in one language into information in another language, which is, converting information of one code into information of another code. The translation plays a communicative role in transmitting information. Only when the target reader obtains the same amount of information as the original reader can the relationship between the target language recipient and the target language information be basically the same as the relationship between the original language recipient and the original source information. Nida noticed that there is a receptive gap between the original reader and target reader especially when the original language and the target language belong to different language families and different cultures. Thus, in order to improve the amount of the receptor’s information as much as the original reader’s, Nida emphasizes the translator can moderately change the form of the original text to provide a better understanding for receptors.&lt;br /&gt;
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On third stage, Nida tended to embellish his theory from the perspective of social semiotics. Nida insisted that the translation means translation meaning, and semiotics is the most comprehensive system for analyzing meaning. In the book &amp;quot;''Language, Culture, and Translation''&amp;quot;, Nida pointed out that social semiotics studies all codes and codes of human society, and its focus is on the most comprehensive and complex symbol system used by mankind-Language. Therefore, in terms of decoding and encoding, no translation method is as comprehensive as the social semiotic translation method.&lt;br /&gt;
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Nida also recognized that there would never be complete equivalence and it was just a quaesitum. With further development of Functional Equivalence Theory, he thought that it has different degrees of adequacy and on that basis he put forward two levels of functional equivalence — the maximal level and the minimal level of equivalence. The former refers to “the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did” (Nida 1993:118), but this is just an ideal state which cannot be achieved especially when there are huge cultural and aesthetic differences between the two languages. While the latter means “the readers of a translated text should be able to comprehend it to point that they can conceive of how the original readers of the text must have understood and appreciated it” (Nida 1993: 118), and translation below this level can never be accepted. According to Nida, if a translation is between these two levels, it can be regarded as a good one.&lt;br /&gt;
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==== Basics of Functional Equivalence Theory  ==== &lt;br /&gt;
=====Receptor’s Response  =====&lt;br /&gt;
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In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s responce. When translators are working on translation, they are increasingly unable to ignore the reader's feedback on the translation. From the perspective of reception aesthetics, translation theorist Nida said that only when the reader accepts the translation can the translation be truly completed. Therefore, when translating, the translator cannot ignore the acceptability of the translation. The translator builds a bridge between the original author and the reader of the target language through translation, and it is the translation that can clearly reflect this bridge role.&lt;br /&gt;
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Receptor’s Response Theory draws attention to the reader and the reading process, rather than the author or the text. Pat Mora and James Welch define it as: &amp;quot;The theory emphasizes the importance of the reader's role in text understanding.&amp;quot; The same description also appears in many of Nida’s works in which the importance of “receptor’s response” is emphasized repeatedly. &lt;br /&gt;
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There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which was pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information need to be filled in by the reader himself. Such uncertainty occupies another very important position in this theory. This concept includes those vague factors, such as gaps and blanks. This kind of uncertainty encourages readers to add their own ideas when reading, so there is usually more than one understanding of a literal work. The third point is implicit reader also proposed by Isel, as opposed to the actual reader, which refers to the intended reader set by the writer himself who can concretize the text. Isel points out that the implicit reader is not the actual reader, but a reader that the author expects to design in the creative process, that is, the implicit recipient. It is a certain character that the artist conceives and pre-sets based on his experience or hobbies. The forth part is the identity theme. In other words, the work itself has no fixed objective meaning; only when the reader reshapes the work out of his own identity theme and the reader replicates his own fantasies during the reading process, the work can be given meaning. The last point is the interpretative group which was put forward by Stanley Fish. It refers to people who share the same interpretation strategy as we have. In a known context or reader group, the interpretation of the work meaning is the product from the group.&lt;br /&gt;
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===== Principles for Producing Functional Equivalence  =====&lt;br /&gt;
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To achieve the closest natural equivalence between the source language and target language, Nida put forward six principles as the guidance of different kinds and degrees of adjustments:&lt;br /&gt;
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1.	When the translation that strictly keeps the form of the source text makes receptors misunderstand the designative meaning, changes need to be made in the translated text, or a footnote should be added for further explanation if literal translation is still be selected.&lt;br /&gt;
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2.	When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aim to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.&lt;br /&gt;
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3.	When the translation that strictly keeps the form of the source text is so semantically and syntactically difficult that average readers may give up the attempt to understand it, changes should be made in the translated text and the nature of the changes needs to be indicated in the introduction or footnote.&lt;br /&gt;
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4.	When the translation that strictly keeps the form of the source text causes significant misconceptions on the associative meanings of the source text or huge loss in the appreciation for the stylistic values of the source text, changes should be made to reflect the associative meanings of the source text.&lt;br /&gt;
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5.	The way that a translation is to be used (such as a drama to be read or acted on the stage) is of great significance to the extent to which changes are to be made.&lt;br /&gt;
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6.	A source text that must be translated together with accompanying codes (such as songs and operas) generally requires numerous adjustments in all aspects, including phonology, lexicon, syntax, and discourse. (Nida 1993: 125-128).&lt;br /&gt;
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=== Introduction to Lu Xun and ''Kong I-Ch''i  === &lt;br /&gt;
==== Lu Xun and the values of ''Kong I-Chi'' ====&lt;br /&gt;
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To read and translate Kong I-Chi, you must first understand its author-Lu Xun.&lt;br /&gt;
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Lu Xun is a great writer. Mentioning classical literary works, no matter what innovative methods are adopted, whether realistic, romantic, or magical, the content should be close to life, reflect the reality of times and speak for the people. In terms of form, literary works should conform to the inherent rules of literary creation-forming a unique artistic style and achieving the perfect unity of truth, goodness, and beauty. Lu Xun's works fully meet the above requirements. &lt;br /&gt;
Lu Xun is also a famous thinker. Indeed, Lu Xun did not specifically study thinking or modes of thinking, nor did he have advanced theoretical monographs, but he, like thinkers in ancient and modern times, both at home and abroad, used suspicion and criticism as spiritual swords to explore truth and reveal. He held the view that it was his duty to awaken the sleeping souls of the Chinese people with literary works of various genres. The depth and breadth of his thinking is even higher than that of some contemporary thinkers. This is well reflected in his work Kong I-Chi.&lt;br /&gt;
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Lu Xun, who is a revolutionary, has a precious characteristic, that is, the purity of his revolutionary original intention. Lu Xun leaned towards socialism under the white horror of the low ebb of the Chinese revolution. What's more commendable is that as a sober realist, Lu Xun never conceives any romantic illusions about the revolution. No matter what difficulties the revolution encounters, Lu Xun always has an optimistic belief in the prospects of the revolution.&lt;br /&gt;
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From a general perspective, Lunatic's Diary is more macro and image specific than Kong I-Chi, while Kong I-Chi starts from the micro level, depicting the poor people at the bottom of society who was bullied and oppressed and lost their dignity as human beings. In addition, there are many opinions in the critics. For example, Mr. Lu Xun's Kong I-Chi was written to criticize the feudal imperial examination system, and some people think that it was sent out to criticize the “dark” old society. The famous critic Lin Zhihao believes that this novel is not only to assail at the corruption of the feudal imperial examination system, but also to reveal the persecution of people’s spiritual and ideology by the feudal education system in the dark old society. The social reality was that most scholars had been ruthlessly “eaten” up by the environment. When the shackles of thinking have been broken, we can dig into the deep meaning under the surface of Kong I-Chi, that is, the process of literati's loss of personality and the process of redemption under the background of the dark society of feudalism. Although the tragedy is redemptive, the process is also accompanied by a fall.&lt;br /&gt;
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==== Study on the Translation of ''Kong I-Chi''  ====&lt;br /&gt;
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''Kong I-Chi'' is a masterpiece of Lu Xun. The novel was created in the winter of 1918, published in the sixth volume of &amp;quot;''Italic text''New Youth&amp;quot; in April 1919. (刘家鸣1992: 15). ''Kong I-Chi'' is Lu Xun's most satisfying work (孙伏园等2000: 58), and it is also one of Lu Xun's novels that English translators are vying to translate resulting in an amount of English translation. &lt;br /&gt;
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So far, there are eight translations of ''Kong I-Chi'': 1)A British man E.H.F.Mills translated ''Con Y Ki'' from Jing Yinyu's French translation (Mills 1930: 42-50), included in ''The Tragedy of Ah Q and Other Contemporary Chinese Short Stories'' published by George Rutridge Bookstore in London in 1930; 2) The English translation of ''K’ung I-chi'' by the American Jin Shouzhuo (G.A.Kennedy 1932: 14-15), which was later included in ''Isaacs'' (Isaacs 1974: 25-32) edited by Yi Luosheng; 3) ''K’ung I-chi'' translated by Lin Jijin (Lin 1935:3-4); 4) Unsigned version of The Tragedy of ''K'ung I-Chi'' (Anonymous 1936: 2-3); 5) ''K’ung I-chi'' was co-translated by American journalists Edgar Snow and Yao Xinnong; 6) later comes to Yang Xianyi and Gladys's translation ''K'ung I-chi'' (hereinafter referred to as &amp;quot;Yang Translation&amp;quot;) (Yang &amp;amp; Gladys 1960: 40-46); 7)Then, famous American sinologist William Lyell translated ''Kong Yiji'' (Lyell 1990: 42-48); 8) other translation of ''Kong Yiji'' was produced by British sinologist Lan Shiling ( Lovell 2009: 32-36).&lt;br /&gt;
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This article focuses on Yang's translation, trying to explore Yang and Dai's translation strategies, styles and methods of ''Kong I-Chi'' from the lexical, syntactic and semantic levels, and aims to explain the functional equivalence in the English translation of Lu Xun's short stories.&lt;br /&gt;
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=== Analysis of the Translation of ''Kong I-Chi'' from the Perspective of Functional Equivalence  === &lt;br /&gt;
==== Lexical Analysis ====&lt;br /&gt;
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There are many cultural-loaded words in the original Kong I-Chi text, such as this. Culture-loaded words are deeply imprinted by the region and era of a certain language society which express things and concepts peculiar to a certain culture. Such words as “进学” and “秀才” not only carry rich cultural connotations, but also exist only in a certain culture which may be blank in another culture. It is this characteristic which is “I have and you do not have” that often becomes an obstacle to cross-cultural communication and translation. From the perspective of Functional Equivalence, this thesis will analyze how these words are handled in Yang's translation.&lt;br /&gt;
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In the sentence “幸亏荐头的情面大，辞退不得”, the word “荐头” was translated into “someone influential” by Yang and Dai. “荐头” is the person who introduces works to other people in ancient China. Such person is absolutely influential. But for reader, such influential people may be a nobleman or someone who is very authoritative in the area which may result in discrimination. The job introducers also can be regarded as common people instead of the influential. From the perspective of Functional Equivalence, Yang’s translation explicitly showed the deep meaning with loss of cultural characteristic.&lt;br /&gt;
The phrase “之乎者也” was translated into “archaisms” which stands for the use of an archaic expression. In Chinese, the original meaning of “之乎者也” is four auxiliary words commonly used in classical Chinese. Therefore, the word &amp;quot;之乎&amp;quot; also refers to the basic abilities that a scholar should possess. Later, it is used to ridicule the scholar who only knows how to analyze words while cannot solve practical problems. Functional equivalence theory requires efforts to create translations that not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. The word “archaisms” corresponds exactly to the description of Kong I-Chi in Lu Xun’s story who is a nerd.&lt;br /&gt;
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Other prototypical cultural-loaded word is “进学”. Yang translated it into “pass the official examination”. As a link in the imperial examination system in ancient China, “进学” means that the children of the Qing dynasties who can pass the examination will be admitted to the prefectural and county schools. Such system is unique to China. To achieve functional equivalence, that is, to allow non-native readers to understand this special cultural mark, the translator must explain this cultural phenomenon as much as possible or find a corresponding expression in the foreign language culture. The same in the word “秀才” on this sentence “你怎的连半个秀才也捞不到呢?” “秀才” also belong to the imperial system. “秀才” is a subject for selecting officials in ancient China, and it was once used as a special name for school students. Yang translated it into “passed the lowest official examination”. As the minimum requirement of the ancient imperial examination system, those who passed the selection examination were called  “秀才”. According to Nida’s theory, it perfectly expresses the ancient Chinese imperial examination system, and at the same time allows foreign language readers to understand Kong I-Chi’s knowledge background.&lt;br /&gt;
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==== Syntax Analysis ====&lt;br /&gt;
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In terms of syntax, the differences in sentence patterns between English and Chinese are the most salient. English emphasizes hypothesis while Chinese emphasizes parataxis, which leads to the conversion of sentence patterns in the process of translation. According to Nida's Functional Equivalence Theory, if the change in form is still insufficient to express the meaning and culture of the original text, the translation technique of &amp;quot;reconstruction&amp;quot; can be used to resolve cultural differences and make the source language and the target language equal in meaning. &amp;quot;Reconstruction&amp;quot; refers to the conversion of the deep structure of the source language into the surface structure of the target language (郭建中,2000 , P67), that is, the cultural connotation of the source language article is explained by the vocabulary of the target language.&lt;br /&gt;
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In ''Kong I-Chi'', when Kong I-Chi took our his money and ordered some food, other people started to sneer at his revenue sources and said “你一定又偷了人家东西了!” The exclamatory sentence in the original text showed others' affirmation of Kong I-Chi's theft. Yang translated it into “You must have been stealing again!” Here we can notice the tense of the two sentences. Lu Xun used the past tense in original text, which expresses that Kong I-Chi's stealing is an established fact. However, Yang used the present perfect continuous tense when translating. In English, the present perfect continuous tense manifests that something the subject has done in the past is still being done, and may continue in the future, expressing the continuation of an action. There is no need to add any other additional descriptions, just from this tense, readers can realize everyone's thoughts on Kong I-Chi's theft. Such reconstruction of tense verifies the application of Functional Equivalence Theory in turn.&lt;br /&gt;
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Afterwards, these people who deprecated him refuted Kong I-Chi's maintenance of himself, saying: “什么清白?” In Yang's translation, it is translated as “Pooh, good name indeed!” In the original text, it is originally an interrogative sentence, but Yang transformed it into an exclamation sentence, added English slang “pooh” in it and translated “清白” into good name. If the interrogative sentence in the original text is literally translated into &amp;quot;what’s the innocence&amp;quot;, the comic effect, that is, everyone's disdain for Kong I-Chi in the exclamatory sentence will not be achieved. The sentiment contained in the original text is successfully conveyed through the conversion of sentence patterns.&lt;br /&gt;
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When describing Kong I-Chi’s knowledge background, the original text mentioned: “幸而写得一笔好字，便替人家钞钞书”. In Yang’s translation, he didn’t directly translate it into a verb phrase instead of into a noun phrase which was “Happily, he was a good calligrapher.” Knowing the characteristics of English and Chinese languages, he metonymically recreated dynamic Chinese verb clauses into static noun clauses.&lt;br /&gt;
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==== Semantic Analysis ====&lt;br /&gt;
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How to eliminate cultural differences as much as possible so that the semantics of the original language can be perfectly embodied? From the perspective of Functional Equivalence Theory, the translator needs to transform the deep structure of the source language into the surface structure of the target language which requires translator to use the corresponding vocabulary in the target language to directly explain the connotation of the original text, so that the target readers can accept the translation more easily. For example, in the original text, the sentence “因为他姓孔，别人便从描红纸上的 ‘上大人孔乙己’这半懂不懂的话里，替他取下一个绰号，叫作孔乙己” includes an allusion: 上大人孔乙己 which refers to a character in the card game popular in ancient China. In such card game, the characters always are drawn in a red paper. For children in ancient China, the card game was easy to play and was a childhood memory.&lt;br /&gt;
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In Yang’s translation, he translated it into “As his surname was Kung, he was nicknamed ‘Kung I-chi’, the first three characters in a children's copybook.” Such translation omits a lot of information from the original text, such as “描红纸上” and “半懂不懂”. But Yang gave a substitute for the omission: he explained the game allusion about children which can be regarded as a strategy that helps foreign readers better understand how Kong I-Chi comes. &lt;br /&gt;
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Another illustration is the translation of this sentence: “孔乙己，你当真认识字么？” It seems fairly easy for common people to translate it with “Kong I-Chi, do you really know words?” , while Yang gave a different version: “Kung I-chi, do you really know how to read?” In our cognitive concepts, if a man knows how to read a word, then he must know this word. But if he knows the word, he may not only know how to read it, but even know how to write it. Such special mechanism is called conceptual metonymy. Yang metonymically narrowed the scope of the meaning of the word “认识”and accurately positioned the meaning of this understanding according to the context. The translator abandons the equivalence of form and achieves the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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This article selects Yang’s translation of &amp;quot;''Kong I-Chi''&amp;quot; as the study case, and analyzes the translation effect from three aspects: lexicon, syntax and semantics, combined with Nida’s Functional Equivalence Theory. It is believed that the translator flexibly uses a variety of translation methods to deal with the differences between English and Chinese languages, and the translation has realized functional equivalence as a whole.&lt;br /&gt;
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At the lexical level, the translator adopts the naturalization method when translating the proper nouns of &amp;quot; ''Kong I-Chi'' &amp;quot;, adding notes to individual words. The translation perfectly conveys the meaning of the original vocabulary. &lt;br /&gt;
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At the syntactic level, when there are differences in the expression of English and Chinese sentences, the translator will split the sentence, adjust the subject and object of the sentence, change the sentence structure and the sentence order to make the translation conform to the expression of the target language where the translation is smooth and natural. When translating the allusions of &amp;quot; ''Kong I-Chi'' &amp;quot;, the translator adopts literal translation and annotations. &lt;br /&gt;
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In terms of semantics, the translator uses the mechanism of conceptual metaphors to accurately show the original flavor.&lt;br /&gt;
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This article believes that the success of Yang’s English translation of &amp;quot;''Kong I-Chi''&amp;quot; lies in its fluent, natural language and exotic flavor. The author and translator of &amp;quot; ''Kong I-Chi'' &amp;quot; are both famous artists. The translation case from the English translation of &amp;quot;''Kong I-Chi''&amp;quot; reflects the practical application of the Functional Equivalence Theory in Lu Xun's novels. The writer also hopes that this thesis can provide ideas and inspirations for the English translation of other Lu Xun's novels.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Nida E.A. ''Language and Culture: Contexts in translating''. Shanghai: Shanghai Foreign Language Education Press.2001. &lt;br /&gt;
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[2]Nida, Eugene A.1964. Towardsa ''Science of Translating'', Leiden: E.J.Brill. &lt;br /&gt;
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[3]Nida, Eugene A.&amp;amp;Charles R.Taber, 1969, ''The Theory and Practice of Translation'', Leiden: E.J.Brill&lt;br /&gt;
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[4]鲁迅Lu Xun.鲁迅全集(第一卷)Selected Work of Lu Xun(volume Ⅰ）[M].北京Beijing:人民文学出版社People's Literature Publishing House ,1982.&lt;br /&gt;
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[5]谭载喜Tan Zaixi．新编奈达论翻译New Nida's Translation[M]．北京Beijing：中国对外翻译出版公司China Translation &amp;amp; Publishing Corporation，1999.&lt;br /&gt;
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[6]杨坚定Yang Jianding，孙鸿仁Sun Hongren．鲁迅小说英译版本综述A Summary of the English Versions of Lu Xun's Novels[J]．鲁迅研究月刊Lu Xun Research Monthly，2021(4)．&lt;br /&gt;
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[7]伊塞尔Iser.本文中的读者 Readers in this article[A]．二十世纪西方美学名著选（下）Selected Works of Western Aesthetics in the Twentieth Century (Part 2)[C]．上海Shanghai：复旦大学出版社Fudan University press,1998.&lt;br /&gt;
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[8]杨宪益.Yang Xianyi,戴乃迭 Dai Naidie译.鲁迅选集英文版(一) Selected Works of Lu Xun (1)[M].北京:外文出版社 Beijing: Foreign Languages Press,1980.&lt;br /&gt;
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[9]https://baike.baidu.com/item/%E5%8A%9F%E8%83%BD%E5%AF%B9%E7%AD%89%E7%90%86%E8%AE%BA/3373397?fr=aladdin&lt;br /&gt;
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[10]https://www.zhihu.com/question/29965932&lt;br /&gt;
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=颜子涵 Translation methods and strategies applicable to the style of biographical literature -- Taking Incidents in Life of Slave Girl (excerpt) as an example=&lt;br /&gt;
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[[Trans_Type_EN_8]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
The translated text of this article is a part of the English biography Incidents in Life of Slave Gir. The author of this work is Harriet Jacobs. This translation mainly takes the translation functional equivalence theory of American linguist Eugene A.Nida as the theoretical framework, adopts some translation skills in translation practice, and discusses the translation skills and Strategies of Chinese translation of such texts by analyzing the stylistic characteristics of biographical literature, especially African American autobiography. Through the Chinese translation of this autobiography, we can have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Autobiographical Literature; Black female slaves; Translation methods and Strategies&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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This paper is divided into four parts. The first part is an overview of the translation project, which mainly introduces the relevant situation of the translation project, the author and works of the translated text; The second part is the preliminary preparation of translation, including project text analysis and translation plan formulation; The third part, translation theory and case analysis, including functional equivalence theory, translation strategies and case analysis; The fourth part is the summary of the project, mainly on the problems encountered in translation, the experience and inspiration gained in the process of translation.&lt;br /&gt;
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This work belongs to the category of biographical literature. Biographical literature is a literary genre in which the author reproduces the characters' life stories and experiences, shows the characters' spiritual outlook and values, and depicts the characters' distinct love and hate and vivid personality through documentary writing and a variety of literary and artistic techniques. There are more than 50 characters involved in the biography. In the author's works, these characters are very vivid, such as the forbearance of a strong grandmother to the slave owner, the loyalty of a hard-working aunt to the slave owner, the oppression of female slaves by a crafty and sinister doctor, and the wit of Linda Brent, the heroine who pursues freedom and courage. In particular, the author's description of the heroine's seven years spent in a &amp;quot;cage&amp;quot; like cabin before she fled to the North more ruthlessly castigates the evil of slavery. The heroine's experience deeply moved her relatives and friends, including white slave owners. With the help of her relatives and friends, the heroine was able to escape to the north.&lt;br /&gt;
Taking the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework, this paper adopts the following translation skills in the process of translation: 1. The translation methods of foreignization and domestication are used to achieve partial functional equivalence between the source language and the target language, so as to reduce the lack of culture after translation. 2. According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to make the translation conform to the expression habits of the target language. 3. The methods of addition and subtraction are adopted to make the translation consistent with the original in grammar and language form, as well as in cultural background and word association. 4. The Conversion Transformation is adopted to make the translation more acceptable to the target language readers. By analyzing the stylistic characteristics of biographical literature, especially African American autobiography, the author discusses the translation skills and Strategies of Chinese translation of such texts.&lt;br /&gt;
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=== Text background===&lt;br /&gt;
From the beginning of the British northern colony to the early 20th century, blacks were brutally exploited and oppressed by the slavery system. In particular, female slaves not only had to bear heavy labor, but also suffered the destruction and abuse of supervisors. Since the publication of the first Autobiography of black slaves in 1760, some advanced elements in black slaves denounced and denounced the evils of slavery with their own experience, and made outstanding contributions to the abolition movement. The author of this work is Harriet Jacobs, whose pseudonym is Linda Brent. Born in a slave family, she fought tirelessly because she could not bear the persecution of slave owners on her and her children. After fleeing to the north, the author wrote a biography of his personal experience of being enslaved, exploited, persecuted, fleeing to the north and realizing freedom, which was published in 1861. Through the Chinese translation of this autobiography, more people have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves.&lt;br /&gt;
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===Research Purpose and Significance===&lt;br /&gt;
This autobiography of black women starts from the experience of childhood from the perspectives of black slaves and women. In the process of growing up, the author experienced different masters of good and evil. When she was a child, her hostess let the author learn to read and write. Later, she died of illness. Then the new owner, Dr. flint and his wife tortured and framed her. Later, for the freedom of her children, the author resolutely decided to flee to the north and enjoy the right to freedom with her children. In the process of pursuing freedom, he went through escape, pursuit, hiding until he went north by boat. The author selects simple but typical examples in daily life, through the description of characters' psychology and language, the contradictory struggle between the interests of opposite classes, the criminal complaint of slave trafficking, and the process of slaves fleeing to the north, reveals the slave owner's naked exploitation and fraud of slaves, and reveals the slave's sincerity, courage and longing for freedom. The simple language and narrative techniques of the work fully shape the tenacity, courage, intelligence and clear love and hate of the female slave Linda Brent, and show the readers the misfortune and suffering of many slaves.&lt;br /&gt;
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=== Translation theory and case analysis===&lt;br /&gt;
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3.1 functional equivalence theory&lt;br /&gt;
This translation practice report takes the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework. Eugene Nida is an American linguist and a famous translation theorist. From the perspective of etymology, according to the essence of translation, he put forward the famous dynamic equivalence translation theory, namely &amp;quot;functional equivalence&amp;quot;. In this theory, he pointed out that &amp;quot;translation is to reproduce the information of the source language from semantics to style in the most appropriate, natural and equivalent language&amp;quot;. He believes that translation is not only the equivalence of lexical meaning, but also the equivalence of semantic style and style. The information conveyed by translation includes both surface lexical information and deep cultural information. Equivalence in dynamic equivalence includes lexical equivalence, syntactic equivalence, textual equivalence and stylistic equivalence. Nida pointed out that the translation should be functionally equivalent to the original text. Judging whether the translation is equivalent to the original text should be based on the psychological response of the readers, that is, the translator should not only stay in the equivalence of structure and semantics, but strive to make the target readers produce the functions and effects that the original author wants to achieve through his works, so as to make the target readers after reading the translation, Get the same feelings as the original readers, and make translation really become a converter of thoughts, feelings and cultural information. Therefore, in literary translation, according to Nida's theory, the translator should take the four aspects of dynamic equivalence as the translation principle to accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
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The core of Nida's functional equivalence theory is &amp;quot;content is greater than form&amp;quot;, which emphasizes that when there is a conflict between content and form, content must precede form (Nida, 2004:203). Due to the differences between Chinese and Western ways of thinking and logical habits, in order to make the translation conform to the habits of readers in the target country and make it easier for readers in the target country to accept, the author has adopted different translation methods and strategies. According to the specific content of Nida theory, this paper intends to analyze its application in English-Chinese translation practice from four aspects. 1、 According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to achieve lexical semantic equivalence between the source language and the target language; second, addition and subtraction and part of speech conversion are used to make the translation conform to the expression habits of target slogans in grammar and language form and consistent with the original text in terms of cultural background and word association; third, forward and reverse translation is used to reproduce the original text Fourth, for the long and difficult sentences of the original text, the translation methods such as reorganization, sentence splitting and merging are adopted to make the language expression forms of the translation more rich and diverse, and more easily accepted by the target language readers.&lt;br /&gt;
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3.2 translation skills and case analysis&lt;br /&gt;
When translating vocabulary, the author mostly adopts the literal translation method to convey the information of the original text more accurately. If the meaning of the translation is not accurate enough or does not conform to the Chinese expression habits after the literal translation, the author adopts the free translation method, while for the long and difficult sentences with complex structure, the translational translation method and split method are adopted to make them conform to the Chinese expression habits and more acceptable to the readers.&lt;br /&gt;
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=== Translation skills, methods and case studies===&lt;br /&gt;
Case 1: literal translation and free translation to achieve semantic equivalence in vocabularyIn the process of translation, it is the basic quality of every translator to correctly express the source language in the target language. In order to achieve this goal, the translator must start with the smallest unit of the source language—vocabulary. In project translation, the author follows the functional translation theory and pursues semantic equivalence. First, we must ensure the equivalence of lexical meaning. The author mainly discusses the semantic equivalence of words from two aspects: literal translation and free translation.&lt;br /&gt;
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1. Literal translation  &lt;br /&gt;
Literal translation emphasizes the consistency between the original text and the translation in form and content, which helps to maintain the style of the original text. Literal translation is not a dead translation, a hard translation, or a literal translation. Literal translation emphasizes retaining its form and reaching its meaning.&lt;br /&gt;
The example 1:&lt;br /&gt;
“Nothing could please her better than to see me humbled and trampled upon” is literally translated as ”没有什么比看到我恭顺谦卑、任人践踏更让她快活啦。”&lt;br /&gt;
Analysis: in this sentence, humbled and trampled upon is used to express the due psychology and living state of slaves in the eyes of slave owners. Here, it can be translated into obedience, humility and trampling, which can reflect the coldness of slave owners and the misery of slaves.&lt;br /&gt;
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2. Free translation&lt;br /&gt;
Paraphrase emphasizes divine similarity. When the original text is quite different from the translation in terms of lexical meaning, syntactic structure and style, it can not be confined to the original text. Free translation should be adopted to explain the form of the original language in another language form, so as to correctly express the ideological thrust of the original text. Free translation should conform to the grammatical norms and expression habits of the target language, so as to make the translation more fluent and natural. Free translation is not arbitrary addition and deletion, nor random translation. Free translation emphasizes &amp;quot;preaching its spirit&amp;quot; rather than &amp;quot;retaining its shape&amp;quot;. The work belongs to biographical literature. There are great differences between the source language culture and the target language culture. The translator can not adhere to literal translation from beginning to end, but should carry out free translation according to needs, so as to achieve better translation effect.&lt;br /&gt;
The example 2:&lt;br /&gt;
I resolved to give him no cause to accuse me of being too much of a lady, so far as work was concerned.&lt;br /&gt;
literal translation: 就工作而言，我决心让他找不到口实指责我过分淑女。&lt;br /&gt;
free translation: 就工作而言，我决心让他找不到口实指责我养尊处优。&lt;br /&gt;
Analysis: a lady originally means 女士或优雅的女子. Too much of a lady is often understood as 十分优雅. Because the author could read and write and looked dignified, he had not done heavy work like other slaves before, &amp;quot;I&amp;quot; guessed that the young master was disgusted with it. Here, too much of a lady is translated by free translation, which reflects the inner contempt of the young master for &amp;quot;me&amp;quot;.&lt;br /&gt;
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Case 2: addition, subtraction and part of speech conversion make the translation achieve sentence meaning equivalence, which is in line with the expression habit of the target language.&lt;br /&gt;
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3. Additional translation&lt;br /&gt;
The example 4:&lt;br /&gt;
One day, she sat under the window where I was at work, crying that weary cry which makes a mother's heart bleed. &lt;br /&gt;
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一天，她就坐在我干活的那个房间的窗户外哭，哭得声嘶力竭让任何一个做母亲的心里流血。&lt;br /&gt;
Analysis: A mother literally means &amp;quot;一个母亲&amp;quot;, but the following clause is translated into &amp;quot;哭得声嘶力竭让一个母亲的心里流血&amp;quot;. The emotion of the translation is weak. In this article, &amp;quot;I&amp;quot; as a slave must work and can't take into account children and family affection, because in the slave owner's view, slaves are low animals and don't deserve feelings. Although I heard my daughter crying, I couldn't get over it. Any mother would be distressed to hear her daughter's cry. In order to make up for the lack of emotion in literal translation, the method of additional translation should be adopted here, which is translated as &amp;quot;任何一个母亲&amp;quot;&lt;br /&gt;
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4. Omission &lt;br /&gt;
The example 5:&lt;br /&gt;
The doctor stamped his foot at him in a rage, and exclaimed, &amp;quot;Get out of the way, you little damned rascal! If you don't, I'll cut off your head.&amp;quot;&lt;br /&gt;
translated text：医生愤怒地跺了他一脚，厉声说道：“滚开!他妈的小坏蛋，如果不听话，我把你的头砍下来!”&lt;br /&gt;
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Analysis: Dr. flint twice went to the north to pursue the fugitive slave &amp;quot;I&amp;quot; without success. He spent a lot of money and was full of anger. At this time, my son asked him if he had brought his mother back. Dr. flint stamped his feet angrily, scolded and threatened the child. Through the vivid description of Dr. Flint's body movements and language, his angry image jumped onto the paper,In order to achieve the same effect and achieve the equivalence of language style, the author uses even verbs according to the original &amp;quot;stamped his foot at him in a rage, and exclaimed&amp;quot; and translates it into &amp;quot;stamp his foot angrily and say&amp;quot; you little damned rascal!!! &amp;quot;It is also a typical strong adult's words towards weak children. In order to be concise and powerful, the author omits &amp;quot;you&amp;quot; and translates it into &amp;quot;他妈的小坏蛋&amp;quot;.&lt;br /&gt;
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The example 6:&lt;br /&gt;
But when winter came, the cold penetrated through the thin shingle roof, and I was dreadfully chilled.&lt;br /&gt;
translated text：上次遭遇蛇咬，现在我对蛇更惧怕了，踏上这个藏身的地方，我不由心惊胆颤。&lt;br /&gt;
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Analysis: My fear of snakes is literally translated as &amp;quot;我对蛇的恐惧&amp;quot;, and the subject of the following clause is &amp;quot;我&amp;quot;. In order to give the target readers a unified reading perspective, my fear of snakes had been increased is translated as: 我对蛇更惧怕了. By transforming the noun of fear into a verb, the translation is more concise and more in line with Chinese expression habits than literal translation.&lt;br /&gt;
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Case 3: The stylistic style of the original text is reproduced by positive and negative translation.&lt;br /&gt;
5.The Positive and Negative Translation&lt;br /&gt;
The example 7:Nobody respects a mother who forsakes her children; and if you leave them, you will never have a happy moment.&lt;br /&gt;
translated text 1：没有人尊重抛弃孩子的母亲，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
translated text 2：抛弃孩子的母亲会遭人唾弃，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
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Analysis: This sentence contains a negative indefinite pronoun—nobody. In translation text 1, the first half of the original text (Nobody respects a mother who forsakes her children) is translated into &amp;quot;没有人尊重抛弃孩子的母亲&amp;quot;. Although the meaning is translated, the expression is not authentic. Translation text 2 uses the positive and negative translation method to change negative into positive, and “Nobody respects” into &amp;quot;being despised&amp;quot; can better express the speaker's (my grandmother's) eagerness to oppose &amp;quot;I&amp;quot; to escape.&lt;br /&gt;
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Case 4:The translation methods of reorganization, sentence splitting and merging are adopted to make the translation conform to the expression habits of the target language&lt;br /&gt;
There are great differences between English and Chinese syntactic structures. English is a linear language. Its syntax takes the subject predicate structure as the central axis, while other components form branch lines in the form of branches and connect with the main axis through connectives. The logical relationship between sentences tends to be explicit,; Chinese is more parataxis, and the combination between the components in a sentence or between sentences mostly depends on the connection of semantics and uses fewer connectives. Chinese sentences are arranged under the command of theme, that is, the structure of &amp;quot;topic description&amp;quot; has various forms and free combination. The logical relationship between sentences is more implicit (Yang Lin, 2007: Preface). There are few logical relational words between clauses and between sentences. Therefore, the author adopts the reorganization method, combining syntax and disassembling syntax to realize the semantic equivalence of sentences, and studies the influence of sentence structure on the translation. The significance is to better guide the translation practice.&lt;br /&gt;
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5.Recasting&lt;br /&gt;
The example 7: This was the good old lady who paid fifty dollars for my grandmother, for the purpose of making her free, when she stood on the auction block.&lt;br /&gt;
translated text：这个老太太是个好人，当年外祖母站在拍卖台上，为了让外祖母获得自由她花五十美元买下了我的外祖母。&lt;br /&gt;
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Analysis: The original text contains two compound structures, one is an attributive clause, the other is a time adverbial clause. Because Chinese sentences are constructed according to the law of logical order, the word order is arranged according to the actual sequence and event order, which is divided into sequence in time, and pay attention to the causality in logic. The author adjusts the time adverbial clause to the front, first explain the time, then explain the reason, and finally the result. This reorganized translation plays an important role in shaping the relationship between sentences, which is in line with the characteristics of Chinese sentence structure.&lt;br /&gt;
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6.Sentence-combining&lt;br /&gt;
The example 8: There was joy and there was sadness in the sound. It made my tears flow.&lt;br /&gt;
translated text：无论是哭声还是笑声都会让我泪流满面。&lt;br /&gt;
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Analysis: The original text is two sentences. Considering the close causal relationship between the two sentences, the author adopts the translation method of combined sentence to translate it into one sentence, so that the target language readers can read it more naturally.&lt;br /&gt;
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7.Dismantle the syntactic&lt;br /&gt;
The example 9: My hope was that the doctor would get discouraged, and, for fear of losing my value, and also of subsequently finding my children among the missing, he would consent to sell us; and I knew somebody would buy us.&lt;br /&gt;
translated text：损失一个女奴，再赔上我的两个孩子，这正是弗林特医生所担心的。他会泄气并同意卖掉我们，我知道有人会买下我们，而这正是我所希望的！  &lt;br /&gt;
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Analysis: When dealing with long English sentences, the method of splitting is generally used to divide the original sentence into several parts and combine them according to their internal logical relationship. The adverbial clause after the subject of “My hope” consists of three parallel sentences, the second of which has a more complex cause adverbial. The author first takes apart the subject clause, first translates the clause, and then presents the subject at the end, which is in line with the characteristics of Chinese presentation before topic.&lt;br /&gt;
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Case 5: Stylistic equivalence&lt;br /&gt;
The basic task of translation is to faithfully present the original text, so it is necessary for the translator to pursue the style of the original text. To achieve stylistic equivalence, the translator needs to analyze and identify the stylistic markers in the original. The original text contains national language characteristics, historical allusions and religious beliefs, so it has cultural differences. In translation, it should reflect the style of the original text and optimize it accordingly, so as to realize the re creation of style and adapt to the communication of the target language.&lt;br /&gt;
The original text has strong religious and cultural content, simple and pious faith, and shows their enthusiasm and passion for them. In translation, we should not only show the feeling of religious belief and culture, but also optimize the sentence style and deal with alienation appropriately, so that readers can feel the piety and understand the author's writing intention.&lt;br /&gt;
The key to shaping the problem role lies in its adaptability to the style of the original language. Only by adopting appropriate translation methods, deeply understanding the cultural background of the original text and skillfully changing the style of the original text, can the style meaning of the original text be reproduced in the target language and better reflect its charm and artistic conception.&lt;br /&gt;
In a word, a biographical text should be well expressed first to make it conform to the expression habits of the target language. First, we should deeply understand the creative intention of the original author and think of what we think from the perspective of the original author, so as to realize the central idea of the original text. The premise of translation is that the translator should have profound language and cultural skills and deeply understand the particularity of different background cultures, Have a good command of the target language, and then use it flexibly.&lt;br /&gt;
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The example 10: She hasn't so much feeling for her children as a cow has for its calf. If she had, she would have come back long ago, to get them out of jail, and save all this expense and trouble. &lt;br /&gt;
translated text：她对孩子的感情还不如母牛呢，母牛还知道护犊子。如果她有感情，她很久以前就会回来把他们救出去了，也就没有这些代价和麻烦了。&lt;br /&gt;
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Analysis: This sentence is a complaint made by Dr. Flint's wife—my mistress, about my escape. Considering that cows in Chinese culture also have the image of caring for their cubs, The author translates call “feeling for her children as a cow has for its calf” as：“母牛还知道护犊子”, This not only achieves cultural equivalence, but also sounds colloquial. On the other hand, it is in line with the speaker's identity as a mean slave owner.[He was &amp;quot;a chip of the old block.&amp;quot; If he found any slave out after nine o'clock, he could whip him as much as he liked; and that was a privilege to be coveted.如果他发现任何人九点后（宵禁时刻）跑出去，他就会抓住并鞭打此人，直到他满意为止。这是别人垂涎三尺的特权。]&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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Through the development of this project, the author believes that the translation of biographical works needs to have a full understanding of the differences between Chinese and English languages and cultures, thinking habits and expression methods. Only after having an accurate understanding and grasp of the language characteristics and contents of the original text, can words and sentences be carefully selected and constantly modified and polished in the process of translation, Make it an excellent translation. The author summarizes the following points in the whole translation process:&lt;br /&gt;
The translation method of biographical text. Biographical text has both information function and expression function (Zhang Meifang, 2006). Therefore, in translation, the translator should not only correctly express the information of the original text, but also reflect the literariness of biographical literature. In view of the differences in thinking and logic between Chinese and English, different translation methods should be adopted in the translation process. For example, literal translation can be used in terms of vocabulary, so as to simply, clearly and accurately convey the meaning of the original text. If literal translation is not possible, free translation, addition or subtraction, positive and negative translation, such transformation and other methods should be adopted to strive to achieve literal semantic equivalence. In terms of sentences, according to the respective characteristics of Chinese and English sentence structures, translation skills such as reorganization, disassembly and combination of syntax are adopted in order to meet the reading habits of target language readers. Experience the language style of biographical literature. In this project, the author's narrative language is simple and simple, and do a good job in the analysis of the characteristics of biographical literature materials. For a translator, the types of material translation can be diverse, literary or scientific, so the translator must do a good job in the analysis of text materials when he gets a relatively unfamiliar translated text, Only after analyzing the materials thoroughly and finding out the characteristics can the preparatory work be done adequately. This project adopts biographical text, which is characterized by many names and place names and strong local cultural characteristics. Therefore, in order to improve the accuracy of translation, the author has made a lot of preparations before translation, including finding the author's relevant background information, relevant historical facts, as well as the folk customs at that time. With reference to the new English Chinese dictionary, the names of people and places in the text are translated uniformly. Due to sufficient preparation, these problems encountered in translation have been solved.&lt;br /&gt;
The author has two experiences in maintaining problem awareness in the translation process. &lt;br /&gt;
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First, if you encounter an uncertain word and sentence in the translation process, you should consult the relevant reference books in time or use the Internet. &lt;br /&gt;
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Second, when dealing with cultural problems, I often ask my classmates or experts in this field for advice, so as to solve the problems in time.&lt;br /&gt;
At the same time, there are some problems in the process: My translation experience is still shallow and the cultural knowledge reserve is insufficient. There are some disadvantages in this project.Because my Chinese level needs to be further improved, the translated language is still immature and not concise enough. Second, the lack of relevant knowledge leads to the fact that the unique things of foreign culture can only be translated directly and hard in translation, resulting in the stiff and rigid translation. Such as a box, covered with sheepskin, is called the gumbo box. A dozen beat on this, while other strike triangles and jawbones, to which bands of dancers keep time.&lt;br /&gt;
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Third, in translation, we should not only maintain the meaning of the original text, but also reflect the style of the original text. We can't have both fish and bear's paw—鱼和熊掌不可兼得。Therefore, I believe that only through a lot of translation practice and summing up experience can we improve our translation level.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Beardslee, Karen E. Through Slave Culture's Lens Comes the Abundant Source: Harriet A. Jacobs's Incidents in the Life of a Slave Girl.&amp;quot; MELUS 24 (1999): 37-58.&lt;br /&gt;
&lt;br /&gt;
[2]Jacobs Incidents in the life of a Slave Girl: Written by herself.&amp;quot; Languages &amp;amp;Literature 15(2001):314-336.&lt;br /&gt;
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[3]Incidents in Life of a Slave Girl chapters 16 to 30&lt;br /&gt;
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[4]李小春. (2016). 浅析英语翻译技巧及方法的应用. 读天下(20), 1.&lt;br /&gt;
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[5]李亚云.《一名女奴的人生际遇》之黑人女性身份建构[J].文学教育(上),2015(07):30-31.p&lt;br /&gt;
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[6]李亚云. 《一名女奴的人生际遇》之黑人母性分析[D].中央民族大学,2016.&lt;br /&gt;
&lt;br /&gt;
[7]付娟. 英汉翻译中拆句法和合并法的有机结合探析[J]. 好家长, 2016(38):1.&lt;br /&gt;
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=邝艳丽 On the Translation Strategies of English Version of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hong-Ming and Xu Yuanchong=&lt;br /&gt;
[[Trans_Type_EN_9]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
''Lun Yu'', one of Chinese classics, records behavior and thoughts of Confucius and his disciples. ''Lun Yu'', intensively reflecting Chinese Confucianism, plays a significant role in Chinese culture. Dating from 1809, there are about sixty translations of ''Lun Yu'' during the two hundred years. This paper will study the two English versions of ''Lun Yu'' by Ku Hung-ming and Xu Yuanchong from the the theory of Horizon Fusion proposed by Hans-Georg Gadamer, mainly the core conceptual words in ''Lun Yu''. Besides, the paper will explore the translation strategies adopted by the two translators from different visions such as the horizons of the original text, the translator and the target culture. The better translation of core conceptual words will come to a conclusion through the contrastive analysis.&lt;br /&gt;
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===Keywords===&lt;br /&gt;
Fusion of horizons; Ku Hong-Ming; ''Lun Yu''; Xu Yuanchong&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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''Lun Yu'', as a carrier of Confucianism, has profound influence on the culture all over the world. Confucianism has largely influenced the development of European philosophy, which provide new theoretical basis for European Enlightenment in the eighteenth century (Li Zongzheng 2016: 112-116). In Voltaire’s opinion, the discovery of Chinese culture is important to the process of European society, just as what what has been discovered by Vasco da Dagama and Magellan to the nature (Bao Xiankuo 2001: 62-67). With the continuing development of China in the recent years, China exerts more and more significant influence on the world. In the meanwhile, more and more people would like to learn Chinese language and cultures. When it comes to Chinese culture, all the people, Chinese and foreigners, nearly think of Confucianism, which is generally regarded as the important components of Chinese traditional culture, as well as the mainstream of the spirit of national modern culture. Moreover, Confucianism is intensively embodied in the ancient work called ''Lun Yu'', which records the behaviors and thoughts of Confucius and his disciples mainly in the form of dialogues. ''Lun Yu'' involves so many aspects such as politics, education and so on. The wide and profound influence of Confucianism on the world attributes the success to the development of translations of ''Lun Yu'' by Chinese or foreign translators.&lt;br /&gt;
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''Lun Yu'' is a classic work. The reason why classics remains classics is that it can be translated and re-translated. The language itself of ''Lun Yu'' is difficult to be understood, and what are reflected by ''Lun Yu'' such as history, thoughts, culture and culture is also hard to be understood. Therefore, translators in different times produce different translations of ''Lun Yu'' due to different constrictions of subjective or objective factors. Derrida, holding the point of hermeneutics, considers that the understanding of works is open and that the understanding of text by the readers is always unfinished and uncertain for reading is the process of creation. ''Lun Yu'', acclaimed as one of the leading classics in the course of Chinese literature’s development, is always given new life by the scholars. Therefore, every translation version of classics deserves to be studiedin the different times. Moreover, the employment of fusion of horizons may not only be a reference for English translation of ancient Chinese classics, but also be beneficial foe the spread of traditional culture. &lt;br /&gt;
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This paper chooses two English translation versions of ''Lun Yu'', one by Ku Hung-ming, the other one by Xu Yuanchong. The paper mainly makes a contrastive study of different translation strategies adopted by the two translators from the perspective of fusion of horizons. In order to make an in-depth study, the thesis will focus on the analysis of the translation of core conceptual words of ''Lun Yu'', and aim to present a more appropriate translation to both fully express the content of Chinese culture and make western readers easier to understand.&lt;br /&gt;
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===Overview on the Theory of Fusion of Horizons===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====Fusion of Hrizons====&lt;br /&gt;
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Hans-Georg Gadamer is the greatest thinker in 20th century when his academic work ''Truth and Method'' was published. The publishment brought about widespread attention in the world and helped him reach the immortal status in the field of philosophy. Actually, the theory used in this paper is originated from ''Truth and Method''. “Horizon” was first proposed by Edmund Husserl, a great German philosopher. For the concept of “Horizon”, Husserl believed that “everything worldly giving is given under the horizon. Finally, everything given by the world itself has the horizon of the world, and it is only for this reason that it is realized as the world.” (Wei Fangyuan 2013: 134-136)&lt;br /&gt;
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It can be seen that “Horizon” in Husserl’s eye is related to consciousness. Husserl’s “Horizon” includes two ones, internal horizon and external horizon. Internal horizon refers to what previous knowledge people have grasped or not. External horizon refers to grasp or experience of another open horizon when people have internal horizon. Martin Heidegger, from the respective of Ontology, believed that “Horizon” is something real which has been known by human and exists previously. This becomes precondition of our understanding. Inspired by Martin Heidegger and Edmund Husserl, Hans-Georg Gadamer affirmed the importance of “Horizon”. In his Hermeneutic, “Horizon” refers to the process of understanding from a specific standpoint. And “Fusion of Horizons” means that the process of understanding in nature is open without fixed pattern and answer. “Fusion of Horizon is not onlly diachronic, but also synchronic. History and present, object and subject, self and other, all form an infinite unified entirety. (Wei Fangyuan 2013: 134-136 ) &lt;br /&gt;
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Gadamer thinks that, both the translator and the object which is explained by the translator have their own horizons. The object-- history, classics, personal life, philosophy or work of art—has its own historical horizons. When we understand historical classical works, philosophy or certain culture with the horizons given by the history, the conflict of two different horizons and historical background will inevitably happen. Translation neither demands the translator to totally give up his own horizon in order to get into the text’s horizons, nor allows the interpreter simply includes the text into his own horizons. Translator, starting from his original horizons, ceaselessly test his own “prejudice” and open his own horizons, in the contact with the object which is interpreted by the interpreter, then two different horizons forming a new horizon. This process is called “fusion of horizons”. The reason why it is possible to interpret historical text is the fusion of horizons of the readers and writers of the original text.&lt;br /&gt;
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====Fusion of Horizons in translation study====&lt;br /&gt;
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In the view of Hans-Georg Gadamer, any understandings is carried out in the stream of history for any interpreter and reader lives in the history in his or her own way. Historicity is the basic fact of human existence. People’s historical particularity and limitations cannot be eliminated and avoided. Both subject and object exist in historicity. History determines that people cannot get rid of historicity. Such question faced by Hermeneutics is not what we carry out but what caused on us by something beyond our willing and behavior. In the research of translation Gadamer’s “Fusion of Horizons” can be borrowed and reformed into views or perspective available to the translation study. (Li Ge 2020:50-63)&lt;br /&gt;
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To achieve such a horizon, means that we learn to see something beyond its restricted horizon. However, the reason why we do this is for watching the things in a more correct angle and in a bigger unity, rather than for avoid seeing it.(Gadamer, H. G. 2004: 304) We need to study translation from a higher point and in a more overall angle. Only in this way can we “full see” the parts of the integrity, which is the enlightenment brought by “fusion of horizons”. The precondition of translation is that the translator and the original text have the common horizons. If the translator does not know medicine, he cannot interpret some books about medicine, and vice versa. The translator need to understand the original text’s meanings at first, which means that he will get into the horizon of the original text, and overcome the difference to form a new horizon. This is the first fusion of horizons. The second one is that the translator gets into the horizons of the target readers. Then the third fusion of horizons, the final interpretation of the translator, is the fusion of the two texts after the first two fusions. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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During the process of translation, the horizons are produced in the history rather than in isolation. In the fusion of horizons, the past and the present, the subject and the object, form a unity. Everything exists in the point of history, and all the interpretation cannot be finished for good. The original text itself is historical. The language, content, thoughts and etc. in it are marked by characteristics of the times. The translator is also historical. He will be influenced by his identity, status and tradition. There does not exist “perfectness” and “standard” in the translation. It will vary with different historical period. So the study of translation also goes on. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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===Overview on the Translations of ''Lun Yu''===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====The history of translations of ''Lun Yu====&lt;br /&gt;
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''Lun Yu'' is as important to Chinese is the Bible is to Westerners. So ''Lun Yu''’s translation is hot in western countries. ''Lun Yu'', whose translation can be traced back as early as the end of 16th century, has been translated by lots of missionary, sinologist, philosopher, litterateur and other scholars. There have been more than 40 translation versions of ''Lun Yu'' so far. Its English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. In 1861 James Legge’s The Confucian Analects became the mark of the English translation of ''Lun Yu''. A Companion for Chinese Translators makes comments on the translation version that James Legge can roughly understand the meaning of the original text and that his enormous notes can show his serious and careful attitude to the translation of our Chinese classics. (Wang Hui 2003: 39-43) &lt;br /&gt;
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In 1898, Ku Hong-ming’s translation of Lun Yu was published in Shanghai. The reason why he retranslated Lun Yu is that he was not content with James Legge’s. Ku Hong-ming use the strategy of foreignization, trying to translate Lun Yu in the same way an educated British express his thoughts. And Ku thought the Chinese proper nouns should be omitted and some European writers’ saying in order to remove the feeling of strangeness of British readers. In 1938, Arthur Waley’s version of Lun Yu was published. Waley wrote long-winded introduction for the translation, which was accompanied by detailed notes for readers and was followed by the footnotes for in-depth discussion on the text. Cui Yonglu thought that Waley’s translation, retaining the original text’s meaning and culture and paying attention to the detail, is beneficial to scholars. In 1998, Roger Ames’ translation of Lun Yu was published. His retranslation, which is based on a philosophical perspective, exerted great influence in the world of translation at home and abroad. In 2005, Xu Yuanchong’s Thus Spoke the Master was published. The book’s title borrowed the name of well-known philosophical translation called Thus Spoke Zarathustra, which shows Chinese translators’ creative spirits. In addition, there are still so many translators, such as Ezra Pound, James Ware, Din Cheuk Lau, Lin Yu tang and so on. (Wang Hui 2003: 39-43) &lt;br /&gt;
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====Different angles of the study on the translations of ''Lun Yu''====&lt;br /&gt;
In the nearly 30 years, the study of ''Lun Yu''’s translation has become hot in the translation studies. Scholars have made lot of studies of ''Lun Yu''’s translation from different angles and theories. From the linguistic point of view, scholars focus on the equivalence of lexicon, syntax, text and style. Professor Liu Chongde wrote “A research into Waley’s English version of The Analects—And some comments on its English versions by Legge and D. C. Lau”. Professor Liu summarized the language features and style of the two translations by Waley and Legge. Besides, he compared James Legge’s version and D. C. Lau’s, and made a conclusion that the former one preferred the written English, complicated sentences and archaic words which were quite similar to the style of the original, while the latter one preferred using spoken English and simple sentences.(Liu Chongde 2001:15-17) &lt;br /&gt;
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From the cultural point of view, Yao Shun in Southwest Jiaotong University did “On English translation of Confucius notions from the perspective of Skopos theory—A case study on Legge’s and Waley’s Translation of ''Lun Yu''”. Yao concluded that translation cannot be measured only by the equivalence with the source text, other elements such as translators’ purposes and expectation of target readers should be taken allowance for and that amongst these factors, the intention of the target text ranks the first.(Yao Shun 2014: 42-43)&lt;br /&gt;
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From the sociological point of view, Zhang Xin in Jiangnan University did “A study on Xu Yuanchong’s English Translation of ''Lun Yu'' from the Sociological Perspective of Bourdieu”.   Zhang draw some tentative conclusions. Firstly, the original text must be valuable and unique with an international reputation to facilitate its dissemination in the world. Secondly, translators should pay full attention to the readability and acceptability of target readers to meet their anticipation. Thirdly, the success of a work is the combination of various social factors.(Zhang Xi 2020:80-89)&lt;br /&gt;
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=== The Translation of ''Lun Yu'' from Fusion of Horizons===&lt;br /&gt;
''Lun Yu'' has always been translated or retranslated into many languages. Before interpretation, interpreters are supposed to try to totally understand ''Lun Yu'' in the first step. However, in the matter of fact, the language of a text is really hard for translators to totally understand. Different cultural background and different translators may produce different translation version.&lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》） [8]”. In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. &lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
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Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》）”.In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. (Yao Sshun 2014:42-43) &lt;br /&gt;
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====Horizon of the translator====&lt;br /&gt;
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Ku Hung-ming (1857-1928) is not only a famous literary figure in modern China, but also a great translator. He became an influential scholar at the turn of the 20th century because of his works that advocated Confucianism. Ku’s traslated works, including Lun Yu and Zhong Yong, played a significant role in spreading traditional Chinese culture to the western world. Ku, well-versed in both Chinese and Western cultures, has a good command of nine languages such as English, French, Germany and so on. He is the first one was proficient in Western science and language in the late Qing Dynasty. Special background of growth and education makes his thoughts combine advantages between Chinese and Western cultures. He tried to translate Lun Yu as a work written by a educated English man in order to promote Chinese traditional culture to spread in Western countries. At the meanwhile, he added his thinking and understanding of Confucianism in order to express the truth and spirit of Confucian classics and Chinese belief system. In order to make Western readers accept to the most extent the Confucian culture, Ku adopted some special methods, such as using extreme translation strategy of Domestication to translate Chinese special expression; borrowing the expression in Western literature to translate some words; applying the strategy of combination of omission and addition.(Niu Xiyu 2021: 89-90)&lt;br /&gt;
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When translating Lun Yu, Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. Western readers are not familiar with Confucian core words whose total equivalence can not be found in the Wesern culture. Ku did not translate the core words according to the literal meaning, but according to his deep understanding of Confucian classics he adopted flexible methods to translate the words in different situation. Besides, in order to make the translation of Lun Yu more readable to Western readers, Ku adopted the stratedy of domestication to interprete Confucian thoughts in Western way of mind. On the one hand, Ku used Western terms to translate those Confucian concept words which is difficult to Western readers. For example, he translates “天” as “God”. On the other hand, he quoted those well-known writers and thinkers who are familiar to Western readers, such as Johann Wolfgang von Goethe, Ralph Waldo Emersonand so on. Ku tries to make the content and form of the translation to accord with the way of thinking and cognitive structure of Western people. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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Xu Yuanchong, professor in Peking University, has been devoting himself in Literature translation study. He accomplished numerous classical translations and proposed many translation theories. He makes contribution to the development of Chinese traditional career.In 1921, Xu Yuanchong was born in Jiangxi Province in China. Since he was a child, Xu Yuanchong had been deeply influenced by his families. His mother was well educated and his uncle worked as a translator. All of these inspired his passion of enjoying literature and going after beauty, as we can see the three-beauty-concept-concept proposed in his later books. His uncle succeeded in translating the play called Wang Baochuan into English, which caused a sensation when it was performed in England. Later on the British dramatist George Bernard Shaw interviewed his uncle, which inspired the great interests of Xu Yuanchong in learning English well. In 1938, he was admitted to the Foreign Languages Department of National Southwest United University with the seventh place. In 1939, he translated the book “别丢掉” written by Lin Huiyin at the first time in order to express his love for a girl. Then he fell in love with translation ever after. Although suffering a lot, he still insisted to be himself. Xu made a great contribution to the development of Chinese translation. Xu introduces the three-beauty-concept to translation theory. The theory of three beauty advocates that a translation should be as beautiful as the original in sense, in sound and in font. These three aspects call also be respectively called Beauty of Sense, Beauty of Sound, and Beauty of Form. Beauty of Sense, emphasizing the deeper meaning, is of the first-rate importance. Beauty of Sound, emphasizing rhyme and rhythm, is of the second-importance. Beauty of Form, emphasizing length, is of the third-rate importance. All of these have great influence on his translation. (Li Mi 2004: 83-84)&lt;br /&gt;
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====Horizon of the target language culture====&lt;br /&gt;
The purpose of translation is to be read by the target readers. However, the target individual is different. They differ from historical background, education, knowledge, and so on. Some foreign readers read Lun Yu just for broaden his vision and know Chinese culture, some study the translation just for doing academic researches. The ages of target readers also influence the translation. Some young readers with less knowledge need translation which can be easily understood. For those aged readers the sophisticated translations are needed. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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===Contrastive Analysis===&lt;br /&gt;
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As Confucian classics recording the words and deeds between Confucius and his disciples, Lun Yu deeply influences generations of Chinese people. Lun Yu combines Chinese rich culture from thousands of years and gathers immortal spirit of Eastern philosophy. Therefore, a number of scholars at home or abroad want to translate Lun Yu. Especially, the various academic conference that has taken place in the recent years attract many scholars to absorb Confucian wisdom and explore Chinese wisdom from the old classics.&lt;br /&gt;
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====Description of key conceptual words====&lt;br /&gt;
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''Lun Yu''’s English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. Since that many other scholars have thrown themselves in the wave of translation of ''Lun Yu''. The scholars at home and abroad attempt to know more about the Chinese society, language, and Chinese culture through ''Lun Yu''. However, in order to really understand and interpret ''Lun Yu'', we must be clear about the meaning of the core conceptual words in ''Lun Yu''. Whether the translation of the core conceptual words is right or not has something to do with whether the readers abroad can understand the real meaning of the classics ''Lun Yu''. The translation of core conceptual words is so critical that has drawn many scholars’ attention. However, in the present situation of translation, one core conceptual word has so many Chinese translation, and some translation is not very accurate, which will cause trouble for foreigner readers to understand the original meaning and its cultural meaning. For those core words concerning Chinese culture, if wrongly translated, will not cause foreigners’ misunderstanding Chinese traditional culture, but also influence the improvement of national cultural soft power. Thus, the discussion of the translation of ''Lun Yu'', especially that of the core words, is very important to the circles of translation and culture. There are lots of core conceptual words in Lun Yu, but This thesis will mainly discuss the five core words: “''ren''”, “''li''”, and “''junzi''”. &lt;br /&gt;
“''Ren''” is the supreme state of moral ideal advocated by Confucius, and the spirit and centre of Confucian theory. Xu Shen in the Eastern Han Dynasty made an explanation of the word “''ren''” in “Shuo-wen chieh-tzu”. He thought “''ren''” is combined by “''ren''”(man) and “er”(number 2), and that “''ren''” does not express the quantitative relation but the interpersonal relationship, more accurately the interpersonal relationship close to friendship. (Xu Shen 2013: 1458) According to The Notes of ''Lun Yu'' by Yang Bojun, “''ren''” appears 109 times in ''Lun Yu'' . (Yang Bojun, 2009)&lt;br /&gt;
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“''Li''” is another important concept in ''Lun Yu'' after “''ren''”. According to The Notes of ''Lun Yu'' by Yang Bojun, “''li''” appears 74 times. Obviously, “''li''” is one of main ideas repeated by Confucius. Its connotation has become one of the objects the scholars of every dynasty attempt to study and understand since the ''Lun Yu'' came out. Both “''ren''” and “''li''” work as the centre of Confucianism. They complement and perfect each other. Just as the saying in Lun Yu, “To Subdue Oneself and Return to the Proprieties is Perfect Virtue”. “Li” refers to external behavior, while “ren” refers to internal morality. “''Li''” is a general term the rules and regulation according to the moral demanding. “''Li''” can restrict personal behavior, improve interpersonal relationship and help building a harmony and orderly society. However, Confucius does not give an accurate explanation of “''li''”, but its meanings can be analyzed from the concrete sentences concerning “''li''”. (Yang Bojun 2009: 23)&lt;br /&gt;
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“''Junzi''”, first found in The Book of Songs, was roughly referred to noble man. Thereafter, “''junzi''” was widely used in many ancient classics such as The Book of Changes, Shangshu and so on. Based on the original meaning “the noble man”, “''junzi''”’s meaning was extended and expanded. In Lun Yu, the word “''junzi''” got extended meaning of morality. The core conceptual word “''junzi''” mainly placed emphasis on moral deeds, then developed into the important cultural icon in Confucianism. According to The Notes of ''Lun Yu'' by Yang Bojun, “''junzi''” appears 107 times in ''Lun Yu'' .(Yang Bojun 2009: 11)&lt;br /&gt;
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====Different translations of key conceptual words====&lt;br /&gt;
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Different translators will have different translation. &lt;br /&gt;
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“Ren” has rich meanings. Its translation will to the certain degree influence the understanding of Lun Yu and Chinese traditional culture. For example:&lt;br /&gt;
子曰：“巧言令色，鲜矣仁！”《学而》&lt;br /&gt;
Ku: Confucius remarked, “With plausible speech and fine manners will seldom be found moral character.” &lt;br /&gt;
Xu: A good man, said the Master, would rarely say what he does not believe, or pretend to appear better than he is.&lt;br /&gt;
From the translation above, it is seen that Ku adopts free translation, and the English sentence is in formal grammer and syntax which accords with Western readers’ language habits. While Xu’s translation is not in the form of direct speech and he changes the order of the target text and use the parenthesis so as to conform to the habits of target language readers. It can be easily seen that Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. And Xu employs free translation to make target readers better understand the meanings. For the translation of “ren”, Ku translated it into “moral character”. He thought “ren” is refers to all the morality, and that “ren” is the highest realm of life. The translation “moral character” is more in line with Western language habits. While Xu interpreted it into “a good person”, of which “good” has broad meanings just like “ren” which is a kind of moral category of extremely broad meanings in ancient China. By comparison, “mental character” is better translation for “ren”. (Yang Bojun 2009: 23) (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Li” is generally thought to have three main meanings. The first one is worshiping the God. The second one refers to a ceremony held to show respect or solemnity. The third one refers to the social and moral norms of the aristocratic hierarchy in slave society of feudal society. For example, &lt;br /&gt;
道之以道，齐之以礼，有耻且格 。（《为政》）&lt;br /&gt;
Ku: If, on the other hand, in government you depend upon the moral sentiment, and maintain order by encouragung education and good manners, the people will have a sense of shame for wrong – doing and, moreover, wil emulate what is good. &lt;br /&gt;
Xu: If they are led by virtue and order is kept by the rites, they would be conscientious and act in agreement with what is right. &lt;br /&gt;
Generally, “li” is rendered as “rites,” “customs,” “propriety,” “ritual,” “moral,” “rules of proper behavior,” and “worship.” However, Ku did not literally translated “li” but to fully understand its original meaning in such concrete situation to translated it into “education and good manners”. While Xu translated it into “rites”. In the Oxford dictionary, “rite” means a ceremony performed by a particular group, often for religious purpose. In Spring and Autumn and Warring States periods of China, the social order was in chaos. Actually, “rite” is a proper word full of Chinese speciality, which is really hard for Western readers to understand. Therefore, Ku’s translation “education and good manners” is better one. It not only convey Confucian thoughts but also make it readable to Western readers. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Junzi” is Confucian ideal character standard. Then what is “junzi”? In Confucian point of view, “junzi” should be erudite, which is an important standard of being “junzi”. First and the most, “junzi” should be a benevolent man. In addition, “junzi” and “xiaoren” form contrast. For example,&lt;br /&gt;
人不知，而不愠，不亦君子乎？（《学而》）&lt;br /&gt;
Ku: But he is truly a wise and good man who fees no discomposure even when he is not noticed of men.&lt;br /&gt;
Xu: Is he not an intelligentleman, who is careless alike of being known or unknown?&lt;br /&gt;
According to Oxford dictionary, the term “exemplary” refers to providing a good example for people to copy. Ku adopted free translation to interprete one word “junzi” into several words “wide and good man”, which is easy for Western peple to understand what “junzi” is. It can be seen that Ku had a thoroungh understanding of Confucian thoughts as well as well-versed in English. While, Xu translated it into “intelligentleman”, which cannot be found in dictionaries. It is a new word created by Xu. “Interlligentleman” is combined by “intelligent” and “gentleman”. In the Oxford dictionary, the term “intelligent” means good at learning, understanding and thinking in a logical way about things. “gentleman” refers to a man who is polite and well educated and who has excellent manners and always behaves well. “Intelligentlemen” seemly attempt to achieve formal equivalence with “junzi”. However, it is unfamiliar to Wetern readers. So Ku’s translation “a wise and goood man”. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
In this paper, we have talked over two translation versions of ''Lun Yu'' written by Ku Hung-ming and Xu Yuanchong, especially the core conceptual words in ''Lun Y''u. In the matter of fact, both of them had good command of Chinese and western cultures. But their interpretation of Lun Yu were quite different from each other. Here we use Gadamer’s “fusion of horizons” to explain why they had different understandings of Lun Yu. Understanding is regarded as the fusion of horizons between translator and the text in the hermeneutics, however, besides, the target readers should also be taken into consideration. Thus, in the paper, the horizons of the original text, two translators and target readers are expounded in detail. Under the contrast between the two translation versions, we could find out that Ku Hung-ming’s translation is better one which can more convey the meaning of original text and can be easier for the readers of the target culture from the perspective of the fusion of horizons. &lt;br /&gt;
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However, this paper could not give an in-depth research on the transaltion of ''Lun Yu'' because of the author’s limited knowledge and not thorough understanding of the theory of “fusion of horizons”. In addition, Confucianism has got more and more important influence on the world in the recent years. However, the study of translation of ''Lun Yu'' has not gone far enough. Though lots of scholars have achieved a lot in the field, there is still much work to do in the future. Written by --[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 03:41, 9 December 2021 (UTC)&lt;br /&gt;
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Li Zongzheng, Ma Haidong 李宗政,马海东. (2016)《论语》英译的当代价值研究[J] [A study on the contemporary value of the ''Analects of Confucius''] 112-116.&lt;br /&gt;
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Wei Yuanfang 韦芳元. (2020) 浅析伽达默尔的视域融合理论[J].[On the Gadamer’s Theory Fusion of Horizons] 2013(12):134-136.&lt;br /&gt;
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Gadamer, H. G. Truth and Method[M]. New York: Continuum, 2004: 304.&lt;br /&gt;
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Wang Hui 王辉. (2003) 理雅各与《中国经典》[J]. [James Legge and Chinese Classics] 2003: 39-43.&lt;br /&gt;
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Lieu Chongde 刘重德. (2003)《论语》韦利英译本之研究—兼议里雅各、刘殿爵英译本[J]. [A Study of Lun Yu by Whaley—Discussion on contrastive analysis between James Legge and D.C.Lau)  2001: 15-17.&lt;br /&gt;
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Yao Shun 姚舜. (2014) 目的论视角下的儒家思想核心概念英译研究—以理雅各和韦利《论语》英译对比分析为例[D]. [A Study of Lun Yu Translated by Xu Yuanchong in the perspective of Skopostheory] 2014: 42-43.&lt;br /&gt;
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Niu Xiyu 牛汐语. (2021) 辜鸿铭《论语》译本中译者主体性的体现[J]. [The Presentation of Translator’s Subjectivity in Ku Hung-ming’s Lun Yu’s Translation] 2021:89-90.&lt;br /&gt;
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Li Mi 李谧. (2004) 许渊冲的诗译“三美”之说[J]. [Three Beauty in Poetic Translation of Xu Yuanchong] 2004: 83-84.&lt;br /&gt;
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Xu Shen 许慎. (2013)《说文解字》[Z]. [Shut-wen chieh-tzu] 2013: 1458&lt;br /&gt;
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Yang Bojun 杨伯峻. (2009)《论语释注》[Z]. [Annotation Analects] 2009: 213, 214, 215,2, 11, 23,&lt;br /&gt;
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Ku Hungming 辜鸿铭.(2011)《辜鸿铭英译&amp;lt;论语&amp;gt;》[M]. [The Discourses And Sayings of Confucius] 2011&lt;br /&gt;
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Yuanchong, Xu. (2013) Thus Spoke the Master[M]. Beijing: Dolphin Books, 2013: 12, 18.&lt;br /&gt;
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=杨柳青 Bian Zhilin's Literary Translation Theories and Practice  ——Take His Translation of Romantic Poems as examples=&lt;br /&gt;
[[Trans_Type_EN_10]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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Bian Zhilin is a famous Chinese translator and poet. He absorbed traditional translation theories dialectically and created translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; from the perspective of literary translation. Specifically, &amp;quot;Replacing foot with dun&amp;quot; is his poetry translation strategy. This paper will analyze Bian Zhilin translations of some romantic poems and shows some critical thinking about his literary translation theories.&lt;br /&gt;
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===Key words===&lt;br /&gt;
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&amp;quot;Faithfulness, Similarity and Translation&amp;quot;; &amp;quot;Replacing Foot with Dun&amp;quot;; Romantic Poetry&lt;br /&gt;
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===题目===&lt;br /&gt;
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卞之琳文学翻译理论和实践 ——以其浪漫主义诗歌译作为例&lt;br /&gt;
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===摘要===&lt;br /&gt;
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卞之林是著名的中国翻译家、诗人。他辩证地吸收传统翻译理论，从文学翻译的角度创立了“信、似、译”的翻译理论。 具体而言，“以顿代步”是他的诗歌翻译策略。本文将对卞之琳的浪漫主义诗歌译作进行分析，并对其文学翻译理论提出一些批判性性思考。&lt;br /&gt;
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===关键词===&lt;br /&gt;
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“信、似、译”；“以顿代步”；浪漫主义诗歌&lt;br /&gt;
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===Chapter 1 Introduction of Bian Zhilin and Romanticism===&lt;br /&gt;
====Introduction of Bian Zhilin====&lt;br /&gt;
Bian Zhilin is a representative of Chinese modernist poetry, a famous literary critic and literary translator. He translated foreign literature especially poetry and Shakespeare's plays. He has devoted his whole life to the literature and cultural exchanges between China and foreign countries. He is known as &amp;quot;the master of Poetry and the leading scholar in translation in China&amp;quot;. He dialectically absorbed previous translation theories and formed his unique translation thoughts. His famous works include ''Leaves of Three Autumns'' which is his first volume of Poetry and contains verses filled with the melancholy and despair, ''Fish Eyes Collection'', ''The Han Garden Collection'' and ''Poems of a Decade'' and so on.&lt;br /&gt;
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====Introduction of Romanticism====&lt;br /&gt;
Romanticism is a reaction against the Enlightenment and rationalism in 18th century, and a rejection of the precepts of order, calm, harmony, balance, idealization, and rationality that typified in classicism and neoclassicism. English Romanticism is generally defined to begin in 1798 with the publication of William Wordsworth and Samuel Taylor Coleridge's Lyrical Ballads and end in 1832 with Walter Scott's death. Romanticists place the individual at the center of art and make literature most valuable as an expression of his or her unique feelings and particular attitudes and make its accuracy a portraying the individual's experience. &lt;br /&gt;
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Romanticism is a period of poetry. During this period, many poets created plenty of wonderful poems which vividly show the beauty of nature and humanistic thoughts. English romantic poets contain the elder generation and the younger generation. The elder generation, also called &amp;quot;lake poets&amp;quot; includes William Wordsworth, Samuel Taylor Coleridge and Robert Southey and so on. The younger generation includes George Gordon Byron, Percy Bysshe Shelley and John Keats and so on. Besides, William Blake also deserves attention. He is a pre-romanticist and a forerunner of the romantic poetry of the 19th century. In this paper, I will analyze poems of William Blake, William Wordsworth and Percy Bysshe Shelly to show Bian Zhilin's translation theories.&lt;br /&gt;
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===Chapter 2 Bian Zhilin's Literary Translation Theories===&lt;br /&gt;
====&amp;quot;Faithfulness, Similarity and Translation&amp;quot;====&lt;br /&gt;
Bian Zhilin is a famous poet, translator and literary researcher in China. For decades, he not only made remarkable achievements in the field of poetry and Chinese and foreign literature studies, but also left a valuable fortune in literary translation, especially in poetry translation. Bian Zhilin has formed clear and instructive translation thoughts and theoretical views through her long-term translation practice. These translation thoughts and theoretical views influenced his translation behavior and effect, formed his exquisite translation art, and also had a great influence in the field of translation. He broke through the traditional translation theories and put forward the translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot; which is based on dialectically absorbing and reasonably sublating the traditional translation theories.&lt;br /&gt;
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=====Faithfulness=====&lt;br /&gt;
It is well-known that &amp;quot;faithfulness, expressiveness and elegance&amp;quot; created by a modern Chinese translator Yan Fu has become the most widely spread and popular translation standards in history of modern Chinese translation. And it has always been in the mainstream in the field of translation in China. There has been a long debate in Chinese translation field around &amp;quot;faithfulness, expressive and elegance&amp;quot;. However, &amp;quot;faithfulness&amp;quot; put forward by Bian Zhilin has achieved the transcendence and unification of this debate. &lt;br /&gt;
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======Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
According to Yan Fu, &amp;quot;faithfulness&amp;quot; means a translation should be faithful to the content of the original which is the first requirement of translation. &amp;quot;Expressiveness&amp;quot; means a translation should be fluent and articulate. &amp;quot;Elegance&amp;quot; means a translation should use elegant words so as to make the translation literary (Luo Xinzhang 136). Yan Fu believed that only elegant words can express the essence of original text. And he advocated translator used classical Chinese before Han Dynasty, namely, pre-Qin period. In fact, Yan Fu translated a lot of works in accordance with this criterion. &lt;br /&gt;
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======Debates around Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
Many speakers thought highly of Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, and this criterion once became the only standard for evaluating the quality of translation. Many literary translators like Liang Qichao, Lu Xun praised this criterion.&lt;br /&gt;
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Though &amp;quot;Faithfulness, expressiveness and elegance&amp;quot; has been widely accepted, there were still many doubts about this criterion. Most translators acknowledged Yan Fu's &amp;quot;faithfulness,expressiveness and elegance&amp;quot;, but they doubted &amp;quot;elegance&amp;quot;. For example, Chen Xiying, a famous Chinese female translator, opposed &amp;quot;elegance&amp;quot; because she thought &amp;quot;faithfulness and expressiveness&amp;quot; is quite enough for non-literary works and &amp;quot;elegance&amp;quot; is not necessary. Even for literary works, &amp;quot;elegance&amp;quot; is not necessary since some characters in literary works are from countryside and their speeches apparently couldn't be elegant (Luo Xinzhang 401-402). &lt;br /&gt;
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However, though these opinions are different they have one thing in common: all these opinions divide &amp;quot;faithfulness, expressiveness and elegance&amp;quot; up and judge them separately. &lt;br /&gt;
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======Bian Zhilin's &amp;quot;faithfulness&amp;quot;======&lt;br /&gt;
Unlike most translators, Bian Zhilin has his own unique view. Bian Zhilin believes there is only one advisable standard in &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, that is &amp;quot;faithfulness&amp;quot;. According to Bian Zhilin, &amp;quot;faithfulness&amp;quot; means being loyal to the original text comprehensively, not only to the content of the original text, but also to the form (Bian Zhilin 503). It seems that there is no apparent difference between Yan Fu's faithfulness and Bian Zhilin's faithfulness. But that's not the case. &lt;br /&gt;
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Firstly, Bian Zhilin doesn't totally deny the value of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. His faithfulness is mainly for literary translation which aims to highlight the artistic features of literary translation. Bian Zhilin believes that literary translation is an artistic and creative activity which not only includes language conversion but also involves the knowledge of literature, aesthetics, literature and art. He thinks &amp;quot;faithfulness, expressiveness and elegance&amp;quot; lays too much emphasis on the content and form of language which is not suitable for literary translation. &lt;br /&gt;
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Secondly, Bian Zhilin opposed the artificial separation of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. He thinks this separation is a kind of false perception which may cause the emphasis of one aspect and the neglect of the others. He thinks that artistic translation standard, strictly speaking, is only &amp;quot;faithfulness&amp;quot; which means the full fidelity to content and form. Actually, Bian Zhilin doesn't deny the existence value of expressiveness and elegance; instead, he seems &amp;quot;faithfulness, expressiveness and elegance&amp;quot; as a whole and &amp;quot;faithfulness&amp;quot; includes &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot;. Therefore, his faithfulness is comprehensive: both &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot; are internalized in &amp;quot;faithfulness&amp;quot;.&lt;br /&gt;
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Thirdly, Bian Zhilin believes &amp;quot;faithfulness&amp;quot; in literary translation means translation should be loyal to original text both in content and form. In others words, it's not desirable that translation be better or worse than the original. Besides, he holds that &amp;quot;faithfulness&amp;quot; in translation is not absolute but relative and it needs artistic creation of translators(Li Changshuan 57). What's more, literary translators should have the confidence in translating the &amp;quot;spirit&amp;quot; of the original so as to make translation vivid and expressive.&lt;br /&gt;
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All in all, Bian Zhilin believes the content and form of literary works are unified and indivisible, so is &amp;quot;faithfulness, expressiveness and elegance&amp;quot;.  At the same time, he admits &amp;quot;faithfulness&amp;quot; is relative rather than absolute considering difference between language and culture. Therefore, Bian Zhilin's faithfulness is inheritance and innovation of traditional translation theory and has important theoretical value.&lt;br /&gt;
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=====Similarity=====&lt;br /&gt;
======Formal Similarity and Spiritual Similarity======&lt;br /&gt;
Formal similarity means translation preserves the linguistic form of the original which includes words, grammar, sentence structure, figures of speech and types or forms of literature and so on. Any two languages have something both common and different. Those common features are the bases of formal similarity of translation. &lt;br /&gt;
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Spiritual similarity, on the contrary to formal similarity, means getting rid of the bondage of language form such as words, grammar when it is necessary. And translators should use authentic translation to convey the artistic features of the original. Spiritual similarity was first put forward by Mao Dun and was further advocated and practiced by Fu Lei. It has become one of the dominant theories in Chinese translation theories.&lt;br /&gt;
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======Debates around Formal Similarity and Spiritual Similarity======&lt;br /&gt;
In the field of Chinese translation, translators debated a lot around formal translation and spiritual translation. Many translators believe formal translation is more advisable than spirit translation. But others think differently. For instance, Chen Xiying believed there were three kinds of &amp;quot;faithfulness&amp;quot;, namely spiritual similarity, meaning similarity and formal similarity, among which spiritual similarity is superior, meaning similarity is the second and formal similarity is inferior. Chen Xiying held that formal similarity ignores the writing style of the original though it conveys the meaning of the original completely. Meaning translation is better than formal translation because it focuses on not only what the original writer says but also how he says it. But meaning translation is much more like imitation which cannot grasp the &amp;quot;spirit&amp;quot; of the original. Spirit translation, however, is the exact way to convey the &amp;quot;spirit&amp;quot; of the original. Besides, Yan Fu is another representative who pays more attention to spirit similarity than to formal similarity (Luo Xinzhang 694).&lt;br /&gt;
======Bian Zhilin's &amp;quot;Similarity&amp;quot;======&lt;br /&gt;
Bian Zhilin took a stand against the long-standing debate around formal similarity and spiritual similarity. In his opinion, there is only one word between formal similarity and spiritual similarity that is advisable——&amp;quot;Similarity&amp;quot;. Bian Zhilin holds that literary work is a unity of content and form; &amp;quot;form&amp;quot; and &amp;quot;spirit&amp;quot; in literary translation is complementary. On the one hand, &amp;quot;form&amp;quot; is the basis of &amp;quot;spirit&amp;quot; which means without concrete form, the spirit and artistic value of literary works can only be empty talk. On the other hand, &amp;quot;spirit&amp;quot; is the life of &amp;quot;form&amp;quot; which means literary works without &amp;quot;spirit&amp;quot; likes people without soul, which can only be empty body and meaningless form (Bian Zhilin 551).&lt;br /&gt;
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&amp;quot;Similarity&amp;quot; which was put forward by Bian Zhilin, actually contains the similarity both in formal similarity and spiritual similarity. In other words, ideal literary translation should achieve the unity of form and spirit. Bian Zhilin thinks literary translation can only achieve similarity with the original but not sameness (Bian Zhilin 8-9), which not only recognizes the difference between the original and the translation, but also acknowledges translators' creative efforts.&lt;br /&gt;
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=====Translation=====&lt;br /&gt;
======Literal Translation and Free Translation======&lt;br /&gt;
Literal Translation means expression forms and syntactic structure of the translated text should be as consistent as possible with the original when translators convey the meaning of the original text. Free translation, however, means translators should break the linguistic form of the original text and express the meaning of the original by using the customary expressions of the target language.&lt;br /&gt;
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======Debates around Literal Translation and Free Translation======&lt;br /&gt;
The debates between literal translation and free translation in the history of western translation can be date back to Cicero (106BC-43BC). Cicero opposed &amp;quot;word for word translation&amp;quot; (literal translation) which was deemed as &amp;quot;interpreter's translation&amp;quot; and advocated &amp;quot;sense for sense translation&amp;quot; (free translation) which was deemed as &amp;quot;orator's translation&amp;quot;(Tan Zaixi 24). Cicero's distinction about translation paved the way for following translators. For example, John Dryden published his views on literal translation and free translation. Dryden made distinction between metaphrase, phrase and imitation which was an extension of literal translation and free translation. What's more, Newmark thinks literal translation is preferred when the effect is the same (Newmark 39). And Nabokov holds that literal translation is true translation because it can convey the exact contextual meaning of the text as accurately as possible (Nabokov viii).&lt;br /&gt;
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======Bian Zhilin's Translation======&lt;br /&gt;
Bian Zhilin thinks only &amp;quot;translation&amp;quot; is advisable over the long-standing dispute over literal translation and free translation. Translation contains following meanings (Bian Zhilin 8).&lt;br /&gt;
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Firstly, literal translation and free translation are not contradictory but complementary. Too much emphasis on either side will only have a bad effect on literary translation. Bian Zhilin also criticizes translations that put too much emphasis on the source language or the target language.&lt;br /&gt;
&lt;br /&gt;
Secondly, translation cannot be creation. Translation should be based on the original text, not personal creation. But Bian Zhilin doesn't deny the creativity in translation and thinks the creativity is the life of translation as long as it is based on the original.&lt;br /&gt;
&lt;br /&gt;
====Bian Zhilin's Poetry Translation Strategies====&lt;br /&gt;
Absorbed thoughts from former and contemporary poets, Bian Zhilin created his poetry translation strategies. That is to translate English poetry in a poetical and metrical way and replace foot with dun. These strategies not only consider the western poetry patterns, but also considers the characteristics of Chinese, which has strong feasibility. Bian Zhilin's poetry translation strategies are closely related with his literary translation theory of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
=====Translating Poetry in A Poetical and Metrical Way=====&lt;br /&gt;
Bian Zhilin thinks that poetry is more a unity of content and form than other literary forms. Therefore, poetry translation includes both translation of poetry content and form. Bian Zhilin thinks poetry translation should be loyal to the original poem not only in content but also in form. Poems should be translated into the form of poem rather than prose. If the original poem is free verse, then translated version also should be free verse. If the original poem is metrical poem, then translation also should be a metrical one. (Bian Zhilin, 319) The coincidence between form and content in poetry translation is an embodiment of translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Meter is an important feature of poetry, including rhythm, rhythm and arrangement of words and stanzas. There are many differences in meter among poetry of different languages. And different poets and works use different meters. These become major factors of difficulties in poetry translation. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin thinks translators should preserve the metrical features of the original poems. In other words, translators should translate poetry in a metrical way. Therefore, poems should be translated by using equivalent meter. To be more specific, translators should translate foreign poems by using commonalities between Chinese traditional metrical basis and foreign metrical basis. It's not just simple application of foreign poetry patterns nor of Chinese traditional poetry patterns. Instead, it's the crossover of the two poetry patterns.&lt;br /&gt;
&lt;br /&gt;
=====Replacing Foot with Dun=====&lt;br /&gt;
The key to the metrical problem of poetry translation is what is the metrical unit of the line, &amp;quot;word&amp;quot; (a syllable) as a unit or &amp;quot;dun&amp;quot; (syllables) as a unit. Bian Zhilin believes metrical poems should be translated in equivalent &amp;quot;duns&amp;quot; which can replace meters and this kind of translation is without the limit of word numbers. This theory is well thought out and based on rhythmic characteristics of Chinese. As Bian Zhilin analyzed that when we speak Chinese, we usually say two or three Chinese characters as a &amp;quot;dun&amp;quot; in most cases, one character at least as a &amp;quot;dun&amp;quot; and four characters at most as a &amp;quot;dun&amp;quot;. This is the internal rules of Chinese. Chinese poems constitute stanzas, stanzas constitute lines and lines constitutes &amp;quot;duns&amp;quot;. Therefore, &amp;quot;dun&amp;quot; is the natural rhythmic units of Chinese poetry and reveals poems' &amp;quot;inherent music-like rhythm and beat&amp;quot;.&lt;br /&gt;
 &lt;br /&gt;
However, that &amp;quot;dun&amp;quot; is the basic metrical unit of the Chinese poetry doesn't mean the number of duns in each line is exactly the same. Bian Zhilin advocates dun of two characters and dun of three characters should be arranged alternately and adjusted mutually to meet the needs of poetic expression and produce an effect similar to feet in western poetry.&lt;br /&gt;
&lt;br /&gt;
===Chapter 3 Analyses of Bian Zhilin's Translation Practice===&lt;br /&gt;
Bian Zhilin put his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and poetry translation strategies of &amp;quot;replacing foot with dun&amp;quot; into practice. Here are three poem excerpts of romantic poets and Bian Zhilin's translation of them.&lt;br /&gt;
&lt;br /&gt;
====William Blake's ''The Tiger'' in ''Songs of Experience''====&lt;br /&gt;
William Blake is a representative of English romantic literature. He was hailed by 20th century critics as &amp;quot;the great prophet&amp;quot; who was a pioneer of romanticism. He broke neoclassical traditions in the 18th century and emphasized instinct, passion and imagination. Besides, Blake is a revolutionary poet and expressed strong revolutionary passion and rebellious spirit in his poem. The Tiger is one of his earliest lyrical poems. It eulogizes the shape and strength of the tiger. Here is an excerpt of it:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Tiger! Tiger! Burning bright&lt;br /&gt;
&lt;br /&gt;
In the forests of the night,&lt;br /&gt;
&lt;br /&gt;
What immortal hand or eye&lt;br /&gt;
&lt;br /&gt;
Could frame thy fearful symmetry?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
老虎！|老虎！|火一样的辉煌，&lt;br /&gt;
&lt;br /&gt;
烧穿了|黑夜的|森林和|草莽，&lt;br /&gt;
&lt;br /&gt;
什么样|非凡的|手和|眼睛&lt;br /&gt;
&lt;br /&gt;
能塑造|你一身|惊人的|匀称？&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of dun.)&lt;br /&gt;
&lt;br /&gt;
The excerpt shows the praise for the tiger. In the poem, Blake uses symbolization and compares the tiger to a fire that destroys everything. Bian Zhilin represents the perfect creation of the creator with the symmetry of the tiger. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem on the guidance of his theory of &amp;quot;faithfulness, similarity and translation&amp;quot;. In the first line of the excerpt, the use of &amp;quot;Tiger&amp;quot; with exclamation marks is a kind of call of the tiger——the king of the forest. Bian Zhilin translates them faithfully into &amp;quot;老虎！老虎！&amp;quot;. The third line is a rhetorical sentence that asks without answering, which reminds readers of the Creator——God, thus making the poetry profound. Bian Zhilin follows the rhythmic characteristics of the original poem and translates it artistically.  &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin also makes his translation according to his theory of &amp;quot;replacing foot with dun”. The above stanza consists of four lines of trochaic tetrameter. Therefore, there are four feet in each line. And in translated version, there are four lines of four duns. Each duns contains two or three characters, thus make the structure of the translated poem neat and have a strong rhythm.&lt;br /&gt;
&lt;br /&gt;
====William Wordsworth's ''The“Lucy”Series''====&lt;br /&gt;
William Wordsworth is also an important poet in English romanticism. He was made poet laureate and he strongly promoted the innovation of English poetry and the development of the Romantic movement. He believes &amp;quot;Poetry is the spontaneous overflow of powerful feelings&amp;quot;. The following excerpt is taken from his &amp;quot;Lucy&amp;quot; series:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
A slumber did my spirit seal&lt;br /&gt;
&lt;br /&gt;
I had no human fears&lt;br /&gt;
&lt;br /&gt;
She seemed a thing that could not feel&lt;br /&gt;
&lt;br /&gt;
The touch of earthly years &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
No motion has she now, no force&lt;br /&gt;
&lt;br /&gt;
She neither hears nor sees&lt;br /&gt;
&lt;br /&gt;
Rolled round in earth's diurnal course&lt;br /&gt;
&lt;br /&gt;
With rocks, and stones, and trees.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
迷糊|封住了|我的|精神；&lt;br /&gt;
&lt;br /&gt;
我没有|人世的|忧惶：&lt;br /&gt;
&lt;br /&gt;
她似乎|超然|物外，|不可能&lt;br /&gt;
&lt;br /&gt;
感觉到|岁月的|影响。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
现在|她无力了，|也不能|动弹；&lt;br /&gt;
&lt;br /&gt;
她不再|耳闻|目睹；&lt;br /&gt;
&lt;br /&gt;
卷在|地球的|日程里|滚转，&lt;br /&gt;
&lt;br /&gt;
混同了|岩石、|树木。&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
The above poem was written when Wordsworth went and stayed in Germany with his sister Dorothy in 1798 and 1799. It uses simple words and the meaning of the poems is quite clear. And Bian Zhilin's translation of the poem is quite faithful and vivid. &amp;quot;Slumber&amp;quot; in the first line of the original is translated into &amp;quot;迷糊&amp;quot; rather than &amp;quot;沉睡&amp;quot;, which gives readers a sense of &amp;quot;lazy charm&amp;quot;. And &amp;quot;fears&amp;quot; in the second line was translated into &amp;quot;忧惶&amp;quot;；it’s quite vivid and pertinent. Besides, the original poem consists of two stanzas with four lines of iambus. In each stanza, the first and the third line have four feet and the second and the fourth line have three feet. The whole poem follows the rhyme scheme of &amp;quot;a-b-a-b, c-d-c-d&amp;quot;. Bian Zhilin replaces feet in the poem with duns. There are fours duns in the first and the third lines and three duns in the second and fourth lines in translation. And the translated version follows the same rhyme scheme with the original. The whole poem is translated and expressed in quite appropriate way.&lt;br /&gt;
&lt;br /&gt;
====Percy Bysshe Shelley's ''Song to the Men of England''====&lt;br /&gt;
Percy Bysshe Shelley, as one of the famous romantic poets, pursued freedom and resisted violence in his short life. He encouraged people to stand and fight for a better life and was branded a &amp;quot;complete revolutionary&amp;quot; by Marx. And Song to the Men of England was written by Shelley after &amp;quot;Peterloo incident&amp;quot; in Manchester in 1819 to reveal the cruel nature of reactionary rulers and call on people to revolt bravely. Here is an excerpt of Song to the Men of England:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Men of England, wherefore plough&lt;br /&gt;
&lt;br /&gt;
For the lords who lay ye low?&lt;br /&gt;
&lt;br /&gt;
Wherefore weave with toil and care&lt;br /&gt;
&lt;br /&gt;
The rich robes your tyrants wear?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Wherefore feed and clothe and save&lt;br /&gt;
&lt;br /&gt;
From the cradle to the grave&lt;br /&gt;
&lt;br /&gt;
Those ungrateful drones who would&lt;br /&gt;
&lt;br /&gt;
Drain your sweat——nay, drink your blood?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
英国的|人民，|为什么|犁地&lt;br /&gt;
&lt;br /&gt;
报答|老爷们|踩你们|成泥？&lt;br /&gt;
&lt;br /&gt;
为什么|辛勤|劳苦|去织布，&lt;br /&gt;
&lt;br /&gt;
让那些|恶霸|穿华丽|衣服？&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
为什么|你们|从摇篮|到坟冢&lt;br /&gt;
&lt;br /&gt;
尽供给|和保养|那许多|雄峰？&lt;br /&gt;
&lt;br /&gt;
他们|不感激，|还非常|坚决，&lt;br /&gt;
&lt;br /&gt;
要喝干|你们的汗|——再加|血；&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
This excerpt is about the clash between two classes of society, the poor working class and the rich nobles. The major theme of this poem is exploitation. People plow for the sake of the lords, who are like drone bees that do no work but live off of the works of others. The narrator is urging the workers to make a stand as they are being treated unfairly. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin practices his poetry translation strategies of &amp;quot;translating poetry in metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; in this poem. In the original poem, each of two stanzas consists of four lines of iambic tetrameter, rhyming &amp;quot;a-a-b-b, a-a-b-b&amp;quot;. In the translated version, there are also two stanzas composed of four lines. And in each line, there are four duns which replaces the four feet in the original poem. The rhyme scheme in translated version is the same as that in the original.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translate the poem faithfully and vividly. For example, he translates &amp;quot;lay ye low&amp;quot; into &amp;quot;踩你们成泥&amp;quot; which well preserves the images of the original work. And &amp;quot;tyrants&amp;quot; in the fourth line of the first stanza is translated into &amp;quot;恶霸&amp;quot; which is concise and accurate. In the second stanza, &amp;quot;From the cradle to the grave&amp;quot; modifies &amp;quot;the men of England&amp;quot; rather than those &amp;quot;ungrateful drones&amp;quot;, Bian Zhilin understands the linguistic structure of the poem and translates it into &amp;quot;你们从摇篮到坟冢&amp;quot;. &amp;quot;坟冢&amp;quot; is more formal than &amp;quot;坟墓&amp;quot; and it's suitable for poetry, from which we can see the precision of Bian Zhilin's choose of words. In the last line, Bian Zhilin uses a dash and the words &amp;quot;再加&amp;quot; to highlight the brutal nature of the rulers. Actually, this translation is a good practice of his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===Chapter 4 Critical Thinking of Bian Zhilin's Translation Theories===&lt;br /&gt;
There is no doubt that Bian Zhilin's translation theories greatly promoted the development of English poetry translation in China. His &amp;quot;faithfulness, similarity and translation&amp;quot; is the inheritance and innovation of Chinese traditional translation theories. And it indeed provides a new way for poetry translation. Besides, Bian Zhilin thinks poetry should be translated into poetry rather than prose. In other words, translators should translate poetry in a poetical and metrical way. He stresses the importance of the unity between form and content and thinks high quality translation should be a unity of content and artistic style of the original text.&lt;br /&gt;
&lt;br /&gt;
Despite Bian Zhilin's great contribution to literary translation theories, I think there are still some problems existing in Bian Zhilin's translation strategies. In Bian Zhilin's opinion, translators can replace foot with dun thus achieving similar rhythmical effect in Chinese version with the English original. It seems that it is a quite advisable and feasible method. Bur actually, it cannot be practiced widely. In English poetry, each foot consists of two syllables, which is fixed and regular. But things are changed in Chinese. The character numbers in each dun in Chinese are not fixed. There may be one or two or three or four characters in each dun, so different people may have different divisions of duns based on their different understanding of context. Therefore, the division of duns may be disordered and random, which makes &amp;quot;replacing foot with dun&amp;quot; not advisable in many cases.&lt;br /&gt;
&lt;br /&gt;
Another problem in Bian Zhilin's translation theories is the ignorance of metrical patterns of foot. In English poetry, there are different metrical patterns like iambus, trochee, spondee and pyrrhic and so on. But there are no such meters in Chinese. &amp;quot;Replacing foot with dun&amp;quot; only considers the correspondence of foot but ignores the correspondence of metrical patterns of foot, so Bian Zhilin's &amp;quot;translating poetry in metrical way&amp;quot; actually is not adequate. We know Chinese is a kind of tone language which has four tones. We can use four tones to correspond the metrical patterns of foot in English. But it's quite difficult in so far and still needs more exploration.&lt;br /&gt;
&lt;br /&gt;
===Chapter 5 Conclusion===&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. His literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and &amp;quot;translating poems in a poetical and metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; give us a lot of enlightenment in the translation of poems. This paper analyzes Bian Zhilin's translation of romantic poems to show his translation strategies. However, there are still some problems in his theories, for example, the division of duns are disordered and random which are based on the understanding of translators and there is no correspondence in metrical patterns of foot. These are the problems that are needed to be considered and solved.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Blake, William. Songs of Experience[M]. New York: Dover Publications, Inc., 1971.&lt;br /&gt;
&lt;br /&gt;
Durrant, Geoffrey. William Wordsworth [M]. Cambridge: Cambridge University Press, 1979.&lt;br /&gt;
&lt;br /&gt;
Nabokov, Vladimir. &amp;quot;Forward&amp;quot;, A.S.Pushkin, Eugene Onegin, Nabokov, V.trans. London: Routledge &amp;amp; Kegan Paul, 1964/1975, p.viii.&lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. Approaches to Translation. Oxford: Pergamon, 1981, p39.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2002).《卞之琳文集》（中卷）. 安徽教育出版社, p503.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2000).《卞之琳文集》（上卷）. 安徽教育出版社, p8.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(1994).《从&amp;lt;西窗集&amp;gt;到&amp;lt;西窗小书&amp;gt;》.[英] 克里斯托弗·衣修伍德《紫罗兰姑娘》, 卞之琳译. 中国工人出版社, p8-9.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2007).《人与诗：忆旧说新》（增订本）. 安徽教育出版社, p319.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2005). 《英国诗选》. 商务印书馆, p156.&lt;br /&gt;
&lt;br /&gt;
Chen Xiying陈西滢(1984).《论翻译》. 罗新璋编《翻译论集》. 商务印书馆, p401-402.&lt;br /&gt;
&lt;br /&gt;
Fu Lei傅雷(1984).《论文学翻译书》. 罗新璋编《翻译论集》. 商务印书馆, p694.&lt;br /&gt;
&lt;br /&gt;
Li Changshuan李长栓(2004). 《非文学翻译理论与实践》. 中国对外翻译出版公司, p57.&lt;br /&gt;
&lt;br /&gt;
Shen Suru沈苏儒(1998).《论信达雅：严复翻译理论研究》. 商务印书馆, p8.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜(1991).《西方翻译简史》.商务印书馆, p24.&lt;br /&gt;
&lt;br /&gt;
Yan Fu严复(1984).《&amp;lt;天演论&amp;gt;译例言》.罗新璋编《翻译论集》. 商务印书馆, p136.&lt;br /&gt;
&lt;br /&gt;
=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday, 2012) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær, 2015; von Flotow, 2010). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh (2015) argues that translation is one of the traditional communicating methods between communities all around the world. Jothiraj (2004) states that “translation plays an important role in the inter-lingual process of communication” (p. 1). Translation is essential for cultures and languages to exchange information. Newmark (1988) defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects. Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
&lt;br /&gt;
Nida (1964) indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style. Larson (1998) has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context. &lt;br /&gt;
&lt;br /&gt;
Culture plays a considerable role, Snell-Hornby (1988, p. 33) assumed that “Culture refers to all socially conditioned aspects of human life”. Another definition of culture is formulated by Goodenough (1957, p. 167). For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term. By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
&lt;br /&gt;
The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline (2003, p.16) thought that “religion is an important institutional network that binds people to one another.” But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
&lt;br /&gt;
This study is aimed to probe Newmark's (1988) translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion (1988, p. 81), seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL. &lt;br /&gt;
&lt;br /&gt;
===Translation and Culture===&lt;br /&gt;
&lt;br /&gt;
2. Translation and Culture &lt;br /&gt;
&lt;br /&gt;
Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.  &lt;br /&gt;
The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988, 7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988, 5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988, 7).  &lt;br /&gt;
&lt;br /&gt;
In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford (1965) defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language” (Catford 1965, 20). According to Venuti’s translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader” (Venuti 1995, 18). Schjoldager stated that “a translation is a text that expresses what another text has expressed in another language” (Schjoldager 2008, 19). Culture is a complex whole which includes knowledge, belief, art, law, morals, customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan (2014), claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014, 2). Hermanns (1999) contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures. Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014, 2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark (2001), illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001, 328). &lt;br /&gt;
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Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
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2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
&lt;br /&gt;
Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora, fauna, food, clothes, housing, work, leisure, politics, law, and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988, 327) Christine Nord names them “culturemes” (Nord 1997, 9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012, 1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Aixela, 1997; Davies, 2003), others choose cultural words (Newmark, 2003) or culture-bound phenomena/concepts (Baker, 1992, Newmark, 2003, Robinson, 2003). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker, 1992, 21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988, 94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988, 95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988, 95).&lt;br /&gt;
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2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
&lt;br /&gt;
The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85, P. 22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003, 16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.&lt;br /&gt;
&lt;br /&gt;
===Types of Translation ===&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
Newmark (1988) determines 8 types of translation which are: &lt;br /&gt;
 &lt;br /&gt;
3.1 Word-for-Word Translation &lt;br /&gt;
&lt;br /&gt;
This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
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3.2 Literal translation &lt;br /&gt;
&lt;br /&gt;
In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
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3.4 Semantic Translation &lt;br /&gt;
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Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
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3.5 Adaptation &lt;br /&gt;
&lt;br /&gt;
This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015, 15). &lt;br /&gt;
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3.6 Free Translation &lt;br /&gt;
&lt;br /&gt;
The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
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3.7 Idiomatic Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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3.8 Communicative Translation &lt;br /&gt;
&lt;br /&gt;
This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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===Translation Strategies  ===&lt;br /&gt;
&lt;br /&gt;
4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
&lt;br /&gt;
4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela (1996), translators need to choose several strategies based on the source language culture and target culture.  He distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, he tries to command by the level of their intercultural intervention. He divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies). &lt;br /&gt;
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4.1.1. Conservation: &lt;br /&gt;
In conservation, the less compelling process includes repetition, orthographic adaptation, linguistic translation, extratextual gloss and intratextual gloss. &lt;br /&gt;
&lt;br /&gt;
4.1.1.1 Repetition: In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus, the translator keeps as much as possible the original reference (Aixela, 1996, p. 61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
&lt;br /&gt;
4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
&lt;br /&gt;
4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
&lt;br /&gt;
4.1.1.4 Extra-textual Gloss: Here, the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes, endings, words, ideas, translators in dictionaries, italics and so on. &lt;br /&gt;
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4.1.1.5 Intra-textual Gloss: It's like the past but the translator feels that he/she can include the globe as an indirect part of the text, not to distract the reader. &lt;br /&gt;
&lt;br /&gt;
4.2.1 Substitution &lt;br /&gt;
In substitution, According (Aixela, 1996) “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here”. &lt;br /&gt;
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4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
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4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
&lt;br /&gt;
4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela, 1997, p.63). &lt;br /&gt;
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4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Shokri, Ketabi, 2015, p.8). &lt;br /&gt;
&lt;br /&gt;
4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela, 1996, p. 64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
&lt;br /&gt;
4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela, 1997). &lt;br /&gt;
&lt;br /&gt;
4.3 Mona Baker’s Translation Strategies &lt;br /&gt;
Baker’s strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation. (Baker, 1992). He suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies, which are the following: &lt;br /&gt;
&lt;br /&gt;
4.3.1 Translation by a more general word: According to Baker, this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
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4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
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4.3.3 Translation by cultural substitution: This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
&lt;br /&gt;
4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
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4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
&lt;br /&gt;
4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
&lt;br /&gt;
4.3.7 Translation by omission: Losing phrases or words that are not vital to text development. &lt;br /&gt;
&lt;br /&gt;
4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view, however, Baker's (1992) translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
&lt;br /&gt;
===Cultural Categories  ===&lt;br /&gt;
5. Cultural categories &lt;br /&gt;
 &lt;br /&gt;
5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
5.1.2 Material culture &lt;br /&gt;
Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.” &lt;br /&gt;
5.1.3 Social culture &lt;br /&gt;
The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
5.1.4 Organisation &lt;br /&gt;
Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
 &lt;br /&gt;
5.2 Newmark Classification CSIs &lt;br /&gt;
Newmark (1988) established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items.&lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
 &lt;br /&gt;
Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
&lt;br /&gt;
2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
&lt;br /&gt;
3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
&lt;br /&gt;
4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
&lt;br /&gt;
5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
&lt;br /&gt;
6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
&lt;br /&gt;
7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
&lt;br /&gt;
8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
&lt;br /&gt;
9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
&lt;br /&gt;
10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
&lt;br /&gt;
11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
&lt;br /&gt;
12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
&lt;br /&gt;
13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
&lt;br /&gt;
14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
&lt;br /&gt;
16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
&lt;br /&gt;
17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
&lt;br /&gt;
18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
&lt;br /&gt;
19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
&lt;br /&gt;
20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
&lt;br /&gt;
21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
&lt;br /&gt;
22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
&lt;br /&gt;
23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
&lt;br /&gt;
24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996, 31), “translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by (Newmark 1988, 81), “translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.” &lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation, then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions. &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity, as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts, the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term, and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part, but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark (1988) has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9. &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark’s strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                           	 قرُۡءٰنًا	Quran &lt;br /&gt;
 	                         ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference               	 يعَۡقوُۡب	Yaqub &lt;br /&gt;
 	                            اِسۡحٰق	Ishaq &lt;br /&gt;
 	                         يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
===8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
===      This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
===8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
===8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
===The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark (1988) were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
===This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However, the translator must be competent in using the translation procedures to provide an accurate translation. &lt;br /&gt;
&lt;br /&gt;
===8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
===The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abdi, H. (2019). Translating culture-specific items (CSIs) as a conundrum for Iranian MA translation students: Considering the level of study. Journal of new advances in English Language Teaching and Applied Linguistics, 1(1), 88-109. &lt;br /&gt;
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Aguado-Gimenez, P., &amp;amp; Pérez-Paredes, P. F. (2005). Translation-strategies use: A classroombased examination of Baker’s taxonomy. Meta: journal des traducteurs/Meta: &lt;br /&gt;
Translators' Journal, 50(1), 294-311. &lt;br /&gt;
&lt;br /&gt;
Ahmadi, M. R.S and Nosrati, Fatemah. (2012). Domestication and Foreignization Strategies in Translation of Culture-Specific Items. Translations of English-Persian Children’s Literature. San Francisco: Grin Publishing. Google Books. &lt;br /&gt;
&lt;br /&gt;
Al Saleh, R. A. (2019). An Application of Newmark's Procedures to Muhammad Abul Quasem's Alleman, J. C. Bee. W. Ulitkin, I. Files, F., Zetzsche, J., Chatonnet-Marton, P. &amp;amp; y del Árbol, E. V. Translation Strategies. &lt;br /&gt;
&lt;br /&gt;
Al-Sofi, B. B. M. A., &amp;amp; Abouabdulqader, H. (2020). Bridging the gap between translation and culture: towards a cultural dimension of translation. International journal of linguistics, literature and culture, 6(1), 1-13. &lt;br /&gt;
&lt;br /&gt;
Baker, M., 1992. In Other Words: A Coursebook on Translation. London: Routledge, p.20–42. &lt;br /&gt;
&lt;br /&gt;
Blažytė, D., &amp;amp; Liubinienė, V. (2016). Culture-specific items (CSI) and their translation strategies in Martin Lindstrom’s&amp;quot; Brand sense&amp;quot;. Kalbų studijos, (29), 42-57. &lt;br /&gt;
&lt;br /&gt;
Bush, P. (1998) &amp;quot;Literary Translation.&amp;quot; In: M. Baker, ed. Routledge Encyclopedia of Translation Studies, London: Routledge, pp.127-130. &lt;br /&gt;
&lt;br /&gt;
Catford. J. C. (1965). A linguistic theory of translation. Oxford: Oxford University Press. &lt;br /&gt;
English Translation of Mohammad Al-Ghazali's Islamic Guidance.Literature and Culture, 6(1), 1-13. &lt;br /&gt;
&lt;br /&gt;
Gečaitė, L. (2020). Culture-Specific Items and Their Translation Strategies in Victoria Hislop's Novel The Sunrise.” (2020). &lt;br /&gt;
&lt;br /&gt;
Hassan, B. E. A. (2014). Between English and Arabic: A practical course in translation. &lt;br /&gt;
Cambridge Scholars Publishing. &lt;br /&gt;
&lt;br /&gt;
Hermans, T. (1999). Translation in systems. Manchester: St. Jerome Publication  House, J. (Ed.). (2014). Translation: a multidisciplinary approach. Springer. &lt;br /&gt;
Issa, A. L. S. M., &amp;amp; Hammood, L. H. R.- Quranic-Specific Phrases under the Study of Translation; Significance and Applications. &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. (33), p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. 33, p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Lambert, J. (1998) Literary Translation. In: M. Baker, ed. Routledge Encyclopedia of Translation Studies. London: Routledge, 130-134. &lt;br /&gt;
&lt;br /&gt;
Landers, Clifford E. (2001) Literary Translation: A practical guide. New Jersey University Press: Multilingual Maters. &lt;br /&gt;
&lt;br /&gt;
Lustig, Myron, W. and Koeser, Joline  (2003), Intercultural Competence: Interpersonal Communication Across Cultures, Boston: Allyn and Bacon. &lt;br /&gt;
&lt;br /&gt;
Malmkjær, K. (1993). Who Can Make Nice A Better Word Than Pretty? Collocation, Translation, and Psycholoinguistics. In: Baker, M., Francis, G. and Tognini-Bonelli, E. &lt;br /&gt;
eds. Text and Technology. Philadelphia/Amsterdam: John Benjamins Publishing Company. pp.213-32. &lt;br /&gt;
&lt;br /&gt;
Mosavat, S., &amp;amp; Rahimpour, S. (2016). The Most and Least Used Translation Strategies for &lt;br /&gt;
Conveying Culture-Specific-Items in Young Adult Literature from English into Persian. International Journal of Humanities and Cultural Studies (IJHCS) ISSN 23565926, 1853-1873. &lt;br /&gt;
&lt;br /&gt;
Munday, J. (1997). Systems in Translation: A computer-assisted systemic approach to the analysis of translation of García Márquez. Ph.D thesis, University of Bradford. &lt;br /&gt;
&lt;br /&gt;
Newmark, P. (2001). A Textbook of Translation. Shanghai: Shanghai Foreign Language &lt;br /&gt;
Education Press &lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. (1988). A Textbook of Translation. New Jersey: Prentice-Halls &lt;br /&gt;
&lt;br /&gt;
Nord, Christiane. (1997). Translating as a Purposeful Activity: Functionalist Approaches &lt;br /&gt;
Explained. Manchester: St. Jerome. Accessed 10 November. 2018. Google Books Schjoldager, A. (2008). Understanding translation. Academica: Århus. &lt;br /&gt;
&lt;br /&gt;
Silalahi, M., &amp;amp; Lubis, S. (2013). Translation Procedures of Cultural Terms Found In Sejarah Bilingual For Students of Senior High School. &lt;br /&gt;
Valipoor, K., &amp;amp; andAzizeh Chalak, H. H. T. (2019). Cultural-specific items in translation of the Holy Quran by Irving: 43-51. &lt;br /&gt;
&lt;br /&gt;
Venuti, L. (1995). The translator’s invisibility: A history of translation. London and New York: &lt;br /&gt;
Routledge &lt;br /&gt;
&lt;br /&gt;
Widiarto, O. V. V. (2016). The translation procedures of cultural expressions applied in a game of thrones translated into Perebutan Tahta novel by Barokah Ruziati (Doctoral dissertation, Dian Nuswantoro University).&lt;br /&gt;
&lt;br /&gt;
=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
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[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
===An Overview on Translation Studies  ===&lt;br /&gt;
&lt;br /&gt;
===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
&lt;br /&gt;
=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the researcher wants to highlight the different concepts about the fundamental question &amp;quot;what is idiomatic expression&amp;quot; of different critics, theorists and linguistic experts, and prominent scholars of translation studies. Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
&lt;br /&gt;
Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda Corelli 2006, 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984, 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992, 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to (Newmark 1981, 11), “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”&lt;br /&gt;
.	The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to (Corelli 2006, 53), English has a sizeable idiomatic base.&lt;br /&gt;
About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.&lt;br /&gt;
The main issue that idiomatic and fixed expressions pose for translators, according to (Baker 1992, 65), is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.&lt;br /&gt;
&lt;br /&gt;
Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.&lt;br /&gt;
&lt;br /&gt;
===Literature Review ===&lt;br /&gt;
In this chapter, the author/researcher defines the strategy and its different definitions from the perspective of different subjects and fields. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented. Krings defines it as the content of the project, while Seguinet divided the term into three steps. However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. &lt;br /&gt;
&lt;br /&gt;
The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward.&lt;br /&gt;
Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint.&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to (Seguinot 1989, 27) (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.&lt;br /&gt;
 Furthermore, (Loescher 1991, 8) defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot; As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998, 4) claim moreover, (Bell 1998, 188) distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.&lt;br /&gt;
 According to (Venuti 1998, 240), &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot; He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to (Jaaskelainen 2005, 15), product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.&lt;br /&gt;
&lt;br /&gt;
Furthermore, (Jaaskelainen 2005, 16) distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making. (Newmark 1988, 221) distinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016, 13).&lt;br /&gt;
The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010, 15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017, 54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985, 9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female.&lt;br /&gt;
Several research articles are found on translated work (license and khol do) of Urdu famous short stories writer Sadat Hassan Manto's from a different perspective like psychoanalysis, postcolonial, feminist approaches but to explore the problem of translations strategies face by translator Aatish Taseer during the process of translation has not been mention till date. To summarize this, the research includes a critical, in-depth, comprehensive analysis of issues that previously did not address.&lt;br /&gt;
&lt;br /&gt;
=== Theoritical Framework ===&lt;br /&gt;
&lt;br /&gt;
===Discussion and Analysis===&lt;br /&gt;
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=== Findings===&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
===Ambiguity===&lt;br /&gt;
&lt;br /&gt;
===Lexical and Structural Mismatches===&lt;br /&gt;
&lt;br /&gt;
===Multiword units: Idioms and Collocations===&lt;br /&gt;
&lt;br /&gt;
===Summary===&lt;br /&gt;
&lt;br /&gt;
===Further Reading===&lt;/div&gt;</summary>
		<author><name>Atta Ur Rahman</name></author>
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		<title>Translation types, strategies, styles, methods</title>
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		<summary type="html">&lt;p&gt;Atta Ur Rahman: /* Literature Review */&lt;/p&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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==Abstract==&lt;br /&gt;
''Legend of Zhen Huan'', as an excellent Chinese TV series, has successfully entered the American market. However, the American version of Legend of Zhen Huan still has some shortcomings in translation. By comparing and analyzing the subtitle texts of the ''Legend of Zhen Huan'' in China and the United States, this paper aims to discuss the problems existing in the overseas translation of the ''legend of Zhen Huan'' and the translation strategies and methods adopted in the subtitle translation of the American version, so as to provide some enlightenment for Chinese costume dramas to reach the world in the future.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
Translation strategy and translation methods; ''Legend of Zhen Huan''; Subtitle translation&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
The TV series ''Legend of Zhen Huan'' is Imperial-harem competing play produced by the Beijing Television Arts Center in 2011. This play is adapted from a novel of the same name written by Liu Lianzi, which mainly tells the story of the young girl Zhen Huan growing up from an unsophisticated young girl to an empress dowager who is good at politics. Since its debut in China in 2012, ''the Legend of Zhen Huan'' has been a hit among Chinese audiences, with its ratings rising and even forming “Zhen Huan craze” for a time. The reason why the play has received so much praise, on the one hand, is that the film and television script is well-produced; on the other hand, it is because the plots and dialogues of the characters in the play cover a wealth of historical and cultural knowledge, embodying the profundity of Chinese culture.&lt;br /&gt;
Due to its great success in the domestic market, the series finally attracted the attention of foreign producers: the American team adapted the original ''Legend of Zhen Huan'', cutting the 76-episode original drama into six episodes,which was officially launched on Netflix’s paid website in the United States on March 15, 2015. It is the first Chinese TV series to be broadcast on mainstream TV stations in the United States. &lt;br /&gt;
However, the American version of the ''Legend of Zhen Huan'' failed to be sought after by audiences in the US, with most viewers abandoning the show after only one or two episodes.The English lines of the ''Legend of Zhen Huan''’s have ever been criticized by some Chinese audiences. After a deep study of the reason, in addition to the lack of content caused by a large amount of deletion and cutting, another important reason is the insufficiency of subtitle translation. This paper attempts to explore the translation strategies of the subtitle of ''Legend of Zhen Huan'', hoping to provide some inspiration for the subtitle translation of domestic film and television works of the same type.&lt;br /&gt;
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==Literature Review==&lt;br /&gt;
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===Previous studies in Subtitle Tranlation abroad===&lt;br /&gt;
In the early 1970s, Doller Up (1974) published a paper entitled “On Subtitle in TV Programs” on Babel, an authoritative journal of the International Association of Translators, which was the first time that scholars paid special attention to subtitle translation. In addition, he creatively pointed out the great value of TV subtitles to foreign language teaching, and then made contributions to the cause of education.&lt;br /&gt;
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In 1976, Istvan Fodor published a book called Film Dubbing: Aspects of Phonology, Semiotic Aesthetics, and Psychology, which centered on film dubbing from an acoustic perspective. Fodor argues that because each country’s language and culture are unique and irreplaceable, it is almost impossible to achieve perfect “synchronization” in all aspects of the translation of film(Fodor 1976:82).&lt;br /&gt;
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In 1982, Christopher Titford first proposed the concept of “restricted translation” in his article “Subtitling: Restricted Translation”. He believes that the limitations of film and television as a medium themselves are the main cause of problems encountered by translators in practice (Titford 1982:113).&lt;br /&gt;
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In 1992, Ivarsson, a Swedish subtitling translation scholar, published his book Subtitling for Media: A Handout of Art, which can be said to be the first comprehensive study of subtitling translation works in Europe. In this book, Ivarsson introduces the development of subtitle translation technology in detail. The most representative subtitle translation scholars are Gambill and Gottlieb, who are two translation theorists. Yves Gambill, a Finnish translator, is a very important expert in the field of film and television translation. Gambill has a wide range of research fields, he has compiled a large number of academic monographs, such as language transfer and Audiovisual Communication: bibliography, which discusses the classification of translation patterns, translation strategies, translation audience and so on (Gambill 1997).&lt;br /&gt;
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===Previous studies on Subtitle translation at home===&lt;br /&gt;
The research on subtitle translation in China mainly focuses on the English translation of Chinese films, and a large number of such papers and articles have been published, which are also the most representative research results of subtitle translation in China. In addition, with more and more domestic films moving toward the international stage, some attention has been paid to the study of Chinese subtitles.&lt;br /&gt;
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The study on Chinese and English subtitle translation can be divided into several fields, including film and television language characteristics, subtitle translation methods, subtitle translation history and so on.&lt;br /&gt;
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Subtitle translation methods can be broadly divided into two categories. One category refers to some practical translation methods and skills summed up by translators based on their years of translation experience, such as the seven kinds of experiences of film and television translation proposed by Qian Shaochang (2000), which stresses the importance of “translation” in the output of films and TV plays. The other is related to domestic MA papers. They usually start with some translation theories, such as German functional translation theory, Eugene Nida’s functional equivalence theory, relevance theory, and Susan Basnett’s cultural translation theory, and finally conclude translation methods such as domestication, foreignization, literal translation, free translation, omission and so on.&lt;br /&gt;
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In recent years, with the increasing popularity of American TV series in China, the phenomenon of online subtitle translation has begun to attract attention from all sides. As time went by, subtitle translation goes beyond the simple purpose of satisfying the entertainment needs of movie fans, and begin to be applied to teaching practice and students’ self-learning process. This phenomenon is bound to attract academic attention. For example, Wang Hui (2005) discussed this issue in his article “The Impact of Subtitling on Vocabulary Acquisition”. This paper draws some conclusions which are beneficial to foreign language teaching.&lt;br /&gt;
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However, there are still many deficiencies in the study on subtitle translation. The only literature we can refer to is few books on the translation of film and television subtitle. In other words, subtitle translation is not discussed in detail.&lt;br /&gt;
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==Subtitle translation features==&lt;br /&gt;
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===Subtitle translation needs to be brief and comprehensive===&lt;br /&gt;
Subtitle translation should not be lengthy for two reasons: First, because the screen keeps switching, each screen stay can not be very long, the scene with the character’s dialogue switches over more quickly, in a matter of seconds, which is fleeting. Second, whether it is the large screen in the cinema or the small screen in the home, due to space constraints, if the subtitle translation is not simple enough, it will lead to an increase in the number of words in the target language, not to mention the English words that take up more space than Chinese phrases. English words take up more space than Chinese phrases.&lt;br /&gt;
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Take the Chinese phrase “Computer”for example, the English equivalent word is computer. The Chinese verb “来”corresponds to the English word “Come”. In general, English words have more characters than their Chinese counterparts, except in rare cases. Since the length of the word can not be artificially controlled, subtitle translation will put a higher demand on the number of words. In a typical presentation, Chinese and English subtitles are displayed simultaneously at the bottom of the screen, up to two lines of Chinese and two lines of English.&lt;br /&gt;
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If there are too many words, the limited space can not accommodate in a few seconds, the audience will have a dazzling feeling as well. Therefore, one of the distinctive features of subtitle translation is its concise use of words.&lt;br /&gt;
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===Subtitling translation requires natural equivalence===&lt;br /&gt;
The subtitling of the target language should be as natural as the subtitling of the source language. The subtitle translation discussed in this paper is mainly about the dialogue of the characters in the play. On the one hand, the style of dialogue is colloquial, in this sense,It is important   for the translator to pay attention to whether the subtitle translation that the target language audience can hear and see is in line with their daily speaking style.If the original spoken language is translated formally and rigidly, the audience of the target language will feel less natural and fluent, and their movie-watching experience can not be comparable with that of the source language audience. On the other hand, the spoken language features of the characters can clearly shape the characters in the play. If the translator does not grasp the spoken features of the characters, the target audience can not understand the character’s connotation as well as the source audience.&lt;br /&gt;
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Therefore,if a character needs to say something filthy, or even taboo, to make the character stand out, the subtitle translator must also translate the same filthy and taboo.These taboos should inevitably appear in the subtitle translation, and we should not mince words about them. The same is true of English to Chinese subtitle translation and Chinese to English translation. Because these taboo words are the extension of the role connotation, improper handling will affect the target audience's understanding of the connotation of the role.&lt;br /&gt;
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===Subtitle translation needs to be easy to understand===&lt;br /&gt;
The film and Television Play is the Popular Entertainment Program, so subtitle translation should be clear at a glance. There are thousands of people watching TV dramas, and their knowledge and cultural level vary widely, and their appreciation level is naturally mixed.Film and TV series have such a wide audience, which requires subtitle translation to take care of the needs of the majority of the audience whether from the perspective of box office and Audience Rating, or from the perspective of cultural communication.&lt;br /&gt;
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==Theory of Domestication and Foreignization==&lt;br /&gt;
In the process of translation, the translator should determine the general direction of translation, cultivate a good sense of culture, and fully understand that translation is an important feature of information exchange across different languages and cultures. But how to achieve that? There are two opposite strategies in translation: foreignization and domestication. The terms of domestication and foreignization were put forward by Laurence Venutti in his book Translators’ invisibility in 1995:&lt;br /&gt;
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===Domestication===&lt;br /&gt;
The domestication strategy is to localize the source language, take the target language or target readers as the destination, and convey the content of the original text in the way that the target language readers are accustomed to.Domestication requires the translator to be closer to the target language reader, and the translator must speak like the native author.This translation strategy will often make the translation transparent, smooth, relaxed and natural, close to the reader to the greatest extent, so as to dilute the strangeness brought by the original text.In film and television subtitle translation, domestication is often used in order to make the audience understand the film smoothly.&lt;br /&gt;
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===Foreignization===&lt;br /&gt;
The foreignization strategy is completely opposite to the domestication strategy, which is oriented by the source language culture and that &amp;quot;the translator should not disturb the author as much as possible to make the reader close to the author&amp;quot;.Foreignization advocates believe that the main purpose of translation is cultural communication, so the translation should try its best to preserve the language and cultural information contained in the source language.Only in this way can the exchange and fusion of source and target cultures be achieved through translation. In addition, they believe that the translator should believe the reader’s imagination and intelligence to the utmost, and believe that when reading the translated version, the reader should not only understand the simple words, but also understand the foreign culture through the words, and they have the capacity to understand the culture. &lt;br /&gt;
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Of course, as two translation strategies, domestication and foreignization are the unity of opposites and they complement each other. Absolute domestication and absolute foreignization do not exist.&lt;br /&gt;
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==Case Study==&lt;br /&gt;
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===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
The essence of “foreignization”is “the tendency toward the original author”, that is, the translator tries to be close to the original author in his translation (Xiong Bing, 2014). In the words of the Friedrich Schleiermacher, this means that the translator“Tries not to disturb the original author, but to take the reader to the original author”(Robinson, 2006:229) . Specifically in Translation, the translator tries to retain the original language, literariness, cultural characteristics and exotic customs (Xiong Bing, 2014) . Therefore, the nature of foreignization strategy is mainly in favor of the original author, and its defects are mainly reflected in the readability of the translation. In other words, the translation may be blunt and not well received and understood by the audience. Therefore, the translation effect is not ideal for the target audience.&lt;br /&gt;
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====Literal Translation====&lt;br /&gt;
Literal translation means keeping both the content and the form of the original text in the translation when the language conditions permit, especially the metaphor, image, national and local color of the original text.The vast majority of subtitle translation of the Us version of ''Legend of Zhen Huan'' adopts literal translation. Look at the following example:&lt;br /&gt;
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Example 1&lt;br /&gt;
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Chinese version：嬛嬛一袅楚宫腰。&lt;br /&gt;
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American version：the slim waist of the concubines of the Chu palace.&lt;br /&gt;
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For the word “Huan”in the name of Zhen Huan, the American version uses the Foreignization method, which is translated literally as the slim waist of the concubines of the Chu palace.Western audiences may be confused by the subtitles,Western audiences may be confused by the subtitles, because Zhen Huan is clearly a woman from the Qing Dynasty, how come another Chu Palace? In terms of accuracy and the conveying of cultural context, this translation is well-done, but it creates a barrier for the audience to understand. Therefore, the translation can throw out on its real meaning, such as translated into As my name, Huan, means graceful women with slim waist, &amp;quot;Chu palace&amp;quot; here means can be omitted.&lt;br /&gt;
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Example 2&lt;br /&gt;
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Chinese version：一片冰心在玉壶&lt;br /&gt;
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American version：A jade vessel is the symbol of a pure heart.&lt;br /&gt;
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“Jade Vessel”in Chinese has a unique associative meaning, while the meaning of these words in English is vacant. Western audiences just think that Dr. Wen is evaluating his character, but they can’t hear his pure love for Zhen Huan, so on the basis of foreignization, it’s better to add some domestication translation to make it easier for the audience to understand.&lt;br /&gt;
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The American versions of examples 1 and 2 are very literal and concise translations, because the original subtitles have no hidden meaning.However, due to the wrong choice of translation methods, a small number of translated subtitles are just like translation cavities.If the cultural significance of the original text is lost, the translation may be regarded as a failure.In a sense, actors’ performances and lines are the &amp;quot;booster&amp;quot; of the plot development of the TV series.However, if the audience can not understand the original meaning, the story will be much less attractive in the eyes of the audience.For example:&lt;br /&gt;
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Example 3&lt;br /&gt;
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Chinese version：“赏你一丈红”&lt;br /&gt;
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American version：Then I will award Attendant Xia the Scarlet Red.&lt;br /&gt;
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In the original subtitle of example 3, “一丈红” (yi zhang hong,  literally “two-meter-long red”) is used to punish a palace maid or a  concubine who had done something wrong in China’s ancient imperial palace. The specific content of the penalty goes as follows: a two-meter-long and two-inch-thick board was used by the performer to give the guilty palace maid or concubine a good beating on their waist or the place below it until their bones were broken and the blood gushed out.   Looking from the distance, you will see that the blood covered a long distance. Thus, it is called “一丈红”. &lt;br /&gt;
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In the American version of Legend of Zhen Huan, it is translated into “the Scarlet Red”. the word Scarlet itself means “Lewd and sinful,”as in the Scarlet letter. It is very appropriate to translate &amp;quot;red&amp;quot; with scarlet. However, this partial literal translation runs counter to the American audience’s way of thinking, which they think it as nothing more than a horror show. In this way, the specific penalty content will be lost, and the target audience can't feel that the harem struggle is everywhere in the court, and can't get the equal effect for them.&lt;br /&gt;
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In this way, the specific content of the penalty will be lost, the target audience can not feel the Harem struggle existed everywhere in the imperial court and the equivalent effects cannot be obtained for them.&lt;br /&gt;
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====Zero Translation====&lt;br /&gt;
The so-called &amp;quot;zero translation&amp;quot; means that some elements of the source language are directly introduced into the target language without the ready-made words in the target language (Xiong Bing, 2014). This translation method is mainly used to translate the names of people and officials in the English version of the ''Legend of Zhen Huan''. That’s because in ancient China, there was a very strict patriarchal system with the ideas of three cardinal guides and the five constant virtues.&lt;br /&gt;
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In the eyes of the Chinese people, the distinction between the titles of concubines and concubines is clear at a glance, but it is difficult for foreigners to see these things, because medieval European monarchs were nominally allowed only one wife, there is no such complicated hierarchy of appellation among women. Therefore, such titles as &amp;quot;贵妃&amp;quot;, &amp;quot;妃&amp;quot;, &amp;quot;嫔&amp;quot;, &amp;quot;贵人&amp;quot;, &amp;quot;常在&amp;quot; and &amp;quot;答应&amp;quot; are presented in a dynamic equivalent way (words with similar functions in the source language), for example:&lt;br /&gt;
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Example 4&lt;br /&gt;
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熹贵妃——Noble Consort Xi    华妃——Consort Hua&lt;br /&gt;
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莞嫔 ——Concubine Huan       沈贵人——Lady Shen&lt;br /&gt;
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夏常在——Attendant Xia       小主——Young Mistress&lt;br /&gt;
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敦亲王：Prince Dun            舒太妃：Consort Dowager Shu&lt;br /&gt;
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Example 4 only shows a few official titles of the characters in the ''Legend of Zhen Huan''. However, the translation subtitles in this example reveal a subtitle rule that the American version of the ''Legend of Zhen Huan'' Uses Zero Translation for personal names and free translation for official titles. And we can clearly see the efforts of translators to represent this hierarchical culture in ancient China. However, this method of translation can not meet the needs of the current audience, because the ancient Chinese culture is broad and profound, and the official titles of emperors and concubines in the play conform to the traditional Chinese culture&lt;br /&gt;
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However, the cultural ideologies of the American people and the Chinese people are very different. Traditional translation can not convey the characteristics of the characters and the intensification of their contradictions. The American people have not experienced the five thousand years of slavery and feudalism in China, nor do English dictionaries or translation related books have Chinese cultural vocabulary. In addition, the current subtitle translation does not advocate the use of a large number of notes, which will have a negative impact on the effect of watching the drama.&lt;br /&gt;
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Therefore, notes are usually used only for the first appearance of a character, in order to provide the necessary introduction in enough subtitling space.When they appear a second time, the introduction will be omitted.As for the conflicts between the characters and the progress of the plot, it is difficult for the target audience unfamiliar with Chinese History to adapt to the culture and conflict in the play. Therefore, it is hard to arouse their interest in watching this drama.&lt;br /&gt;
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===Translation Methods under Domesticating Strategy===&lt;br /&gt;
Opposite to the foreignizing strategy, domestication is characterized by the “tendency toward the target recipients” (Xiong Bing, 2014). In other words, the translator tries to be as close to the target recipients in the translation as possible. In Schleiermacher’s words, it means that translators “try not to disturb the reader, but to bring the original author to the reader” (Robinson, 2006: 229). Specifically speaking, in the translation, the translator uses the language, literary devices, cultural elements that the target language readers love to replace the language, literary devices and cultural elements of the original language as much as possible, and abides by the language, literary devices and cultural norms of the original language (Xiong Bing, 2014). &lt;br /&gt;
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The domesticating strategy is a translation strategy just opposite to the foreignizing strategy. Its advantage is that the translation can be fluent, easy to understand, and easily accepted by the target recipients; or it tries to meet the specific needs of the target audience. However, the domesticating strategy also has some shortcomings. The first weakness of it is the loss of the language, literariness, culture and other important elements of the source text, so that the target audience cannot appreciate the exotic authentic language and cultural practices. This cannot help the cultural exchange and dissemination between different ethnic groups. The second weakness is that the domesticating strategy of the translated text may lead to semantic loss and semantic ambiguity in translated texts.&lt;br /&gt;
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====Omission====&lt;br /&gt;
Omission is a very important method in domestication strategy.The Syntactic structure of English emphasizes &amp;quot;hypotaxis&amp;quot;, and there are appropriate connecting elements between each component of a sentence to express their mutual relations, which emphasizes the consistency and coordination of grammatical relations.The structure of Chinese sentences is &amp;quot;parataxis&amp;quot;, and the relationship between each component of the sentence depends more on the intention, and less on the linking component. The structure form is relatively relaxed, and the words and sentences are relatively simple.Therefore, Omission is one of the most common methods in Chinese text translation.Word reduction means that in translation, the translator must grasp the differences between Chinese and English, omit the unnecessary linking elements in Chinese, make the translation smooth, avoid stiff and cumbersome, and eliminate unnecessary words and words as far as possible.There are many examples of reducing words in the translation of Legend of Zhen Huan.&lt;br /&gt;
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Example 1&lt;br /&gt;
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Chinese version:“先敬罗衣后敬人。” &lt;br /&gt;
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American version: “The clothing completes the person.”&lt;br /&gt;
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This Chinese idiom means that people will first look at the clothes they are wearing and judge their social status according to the clothes. There is a derogatory element in it.However, in the translation of this sentence, the translator adopted the word reduction method and did not translate every word.The word &amp;quot;complete&amp;quot; expresses the idea that &amp;quot;clothes make the man&amp;quot;, but fails to express the meaning intended in the original text.Therefore, the author thinks that can continue to use the Omission here, will change its translated into “According to clothing to estimate people’s status.”&lt;br /&gt;
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Example 2&lt;br /&gt;
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Chinese version: “花开堪折直须折，莫待无花空折枝。” &lt;br /&gt;
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American version: One must pick a flower at the prime of its bloom, Do not wait until the blossom fade and falls.&lt;br /&gt;
&lt;br /&gt;
There are three Chinese characters for &amp;quot;折&amp;quot; in this sentence, but the translator did not show any of them in the Process of English translation.Shall we say that he did not translate the Chinese meaning?Of course not. The translator must have noticed these three &amp;quot;fold&amp;quot; characters in the process of translation. If one of them is translated out, the sentence will appear too long-winded and not in line with the characteristics of subtitle translation.Therefore, the translator starts from the meaning of the original text to persuade people to cherish, and cleverly leaves out the word &amp;quot;折&amp;quot;, which not only avoids repetition, but also conveys the meaning of the original text.This reflects the three principles of Skopos theory: &amp;quot;Based on the source language, pay attention to the culture in the target language, the intention of translation activities and the acceptance state of the American audience&amp;quot;.&lt;br /&gt;
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====Addition====&lt;br /&gt;
Addition is also an important translation method in domestication strategy.Augmentation refers to the use of structural and semantic augmentation to compensate for linguistic and cultural deficiencies in the target text.Structural supplement refers to the addition of omitted words or replaced words to make the content of translation more complete.Semantic supplement refers to the translator's addition of nouns, verbs, summative words, explanatory words and conjunctions to compensate for the lack of language and culture in the target text so that readers can understand the original text.&lt;br /&gt;
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Example 1&lt;br /&gt;
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Chinese version:“他不忍叫你明珠暗投。”  &lt;br /&gt;
&lt;br /&gt;
American version:&amp;quot;You will not be granted an ordinary life when you can live an extraordinary one.&lt;br /&gt;
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In this example, the translator adopted Addition method to make a explanatory translation for &amp;quot;明珠暗投&amp;quot; , the translation of &amp;quot;be granted an ordinary life when you can live an extraordinary one.&amp;quot;As we know, Chinese idioms are one of the wonders of The Han culture, and they often show rich implicit meanings in condensed four-character sentences.In the translation of this sentence, it is easy for us to understand the meaning of &amp;quot; 明珠暗投&amp;quot;&amp;quot;, but how to make the American audience understand, the translator needs to make an explanation, so that the American audience can understand the implicit meaning of the original text, so as to reduce the cultural burden.&lt;br /&gt;
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Example 2&lt;br /&gt;
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Chinese version：“臣妾一与社稷无功，二与龙脉无助。” &lt;br /&gt;
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American version:“Firstly, I have made no contribution to the nation. Secondly, I have begotten no heirs.&lt;br /&gt;
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In example 2, the translator interprets &amp;quot;社稷&amp;quot; as &amp;quot;nation&amp;quot; for readers to understand.&amp;quot;社稷&amp;quot; has always been a synonym for &amp;quot;nation&amp;quot; in Chinese, just as &amp;quot;White House&amp;quot; is a synonym for &amp;quot;America&amp;quot;. In addition, there is no English equivalent for &amp;quot;nation&amp;quot;, so it is appropriate for the translator to use &amp;quot;nation&amp;quot;.Heirs to dragon vein, a Feng shui concept meaning undulating mountains, succeed.Later, the royal family regarded it as the lifeblood of the country, so they would call the royal blood &amp;quot;dragon vein&amp;quot;.Heirs to dragon Vein, which in this case means heirs to the emperor's children, succeed in translating it into Heirs to the emperor.It's less common and more advanced than the word &amp;quot;children&amp;quot;, which is often thrown around.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
The subtitle translation strategy of Legend of Zhen Huan generally focuses on domestication, and tends to transform implicit meaning into explicit meaning.When the meaning of the source language is complex and difficult to be understood by the target language audience, the translation strategy of domestication is usually adopted, and the expressions used in the target language are adopted.If there is an equivalent or similar expression between the target language and the source language, alienation should be considered, and a concise explanation should be added if conditions permit, so that the cultural essence of the source language can be preserved and the audience can experience the charm and national characteristics of traditional Chinese culture.&lt;br /&gt;
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As a translation strategy, absolute domestication and absolute foreignization do not exist in translation practice.The task of the translator is to make the best use of the two strategies in practice according to the specific language characteristics, the purpose, the language characteristics of the source language and the target language, and the national culture, so as to bridge the cultural differences between the two countries.&lt;br /&gt;
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==Reference==&lt;br /&gt;
[１]Dollerup, Cay. On Subtitles in Television Programs[J]. Babel, 1974, (20): 197-202. &lt;br /&gt;
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[２]Ivstor, Fordor. Film Dubbing: Phonetic Semiotic, Esthetic and Psychological Aspects[C]. John Benjamins, 1976. &lt;br /&gt;
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[３]Schleiermacher, F. On the Different Methods of Translation[A]. In Robinson, D.(ed.). Western Translation Theory: From Herodotus to Nietzsche[C]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
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[４]Titford, Christopher.Subtitling: Constrained Translation[J]. Lebende Sprachen, 1982, 27(3):113-116.  &lt;br /&gt;
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[５]钱绍昌. 影视翻译──翻译园地中愈来愈重要的领域[J]. 中国翻译, 2000(1):61-65.&lt;br /&gt;
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[６]汪徽.字幕对伴随性词汇习得的影响[J].外语电化教学,2005(2):47-52. &lt;br /&gt;
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[７]熊兵. 翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J]. 中国翻译, 2014(3):82-88.&lt;br /&gt;
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=2 刘晓 The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
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===Abstract===&lt;br /&gt;
With the rapid growth of economy, people's pursuit of life quality is gradually increasing. Travelling abroad has become a hot topic nowadays. The rapid development of overseas travel has increased the market demand for tourism translation, and more stringent requirements for tourism translators. How to deal with the translation problems caused by the cultural differences between Chinese and English during the translation process is of great importance to improve the quality of tourism translation. The communicative translation strategy in Newmark's translation theory focuses on the effect that the translation brings to the target language readers, which is of certain guiding significance to the E-C translation of tourism texts. Therefore, this paper takes ''Everglades National Park, Florida (Excerpt)'' as an example to analyze the specific translation strategies and methods in the application of Newmark's translation theory in tourism texts, so as to provide reference for other translators.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Translation strategy and translation methods; Peter Newmark; Tourism texts&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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This paper is based on the English-Chinese translation of ''Everglades National Park, Florida (Excerpt)''. By analyzing the application of Peter Newmark's communicative transaltion in the translation, the author proposes some translation methods, which can be provided for future references.  This chapter mainly introduces the background information and significance of the report, and the domestic research status.&lt;br /&gt;
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====Research background====&lt;br /&gt;
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With the development of the world, various kinds of tourism appear in people’s life, and has unprecedentedly, extremely widely spread a variety of culture and lifestyle. Tourism has become a rising sunrise industry in modern society (Jin Huikang, 2007). To a foreign country to enjoy the beautiful scenery can make people know the colorful world and further know what they want. And this activity also has made tourism translation a reality and a thriving discipline.&lt;br /&gt;
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However, due to the different geographical environments, cultural differences and historical backgrounds in different countries, many translators often ignore the disadvantages brought by differences in language and cultural habits in the process of translation, so that the original meaning of the original text will be lost in the process of transmission, which may cause confusion for tourists and cannot achieve the purpose of offering them accurate information and stimulating their interest.&lt;br /&gt;
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Therefore, in order to make it more convenient for domestic citizens to travel abroad, translators should choose appropriate translation strategies and methods according to the cultural differences between China and foreign countries in the process of tourism English translation, so that tourists can form an objective and correct understanding of scenic spots. The semantic translation and communicative translation strategies in Peter Newmark’s Theories respectively focus on whether the meaning of the original text is exactly reproduced and the effect and influence that the translation brings to the target language readers, which are of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
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====Research significance====&lt;br /&gt;
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In theory, based on Peter Newmark’s translation theories, this paper chooses the semantic translation strategy and puts forward appropriate translation methods for the English-Chinese translation of tourist text -- the ''Everglades National Park, Florida (Excerpt)'', which is of certain guiding significance for English - Chinese translation of tourist texts.&lt;br /&gt;
Based on the practice of the ''Everglades National Park, Florida (Excerpt)'' English - Chinese translation and the analysis of Newmark’s communicative translation strategy’s application, this paper sums up some translation methods, such as voice change, objective and personal subject changing, adding conjunctions, etc. And these methods can be provided for future references in the translation study and practice of others, which has a certain practical significance.&lt;br /&gt;
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====Literature review====&lt;br /&gt;
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Through the analysis of Newmark’s communicative translation in recent years, it can be found that there are many references for the guidance of communicative translation on tourism translation texts. He Xueyun (2005) proposes that the public notices and signs should belong to the vocative functional text and focus on the reader-centered communicative translation, which can give foreigners a better environment for travel, study and work in China. For such a style, the communicative translation theory should be chosen, the target readers put in the first place and always in mind, and their culture and receptivity taken into account. Jin Huikang (2006) believes that tour guide words must have a specific expected function, which are a kind of texts that integrate informative, expressive and vocative functions. Therefore, tourism translation should aim at effective attraction for overseas tourists, and the translator should grasp the group characteristics of overseas tourists and audiences when carrying out tourism propaganda or translating tourism materials. Ma Chen (2010) points out that the tourism text is a kind of article mainly based on vocative function, and the core of which is to accurately convey information for readers. Liu Anhong (2013) proposes tourism text as a kind of publicity material, aiming to stimulate tourists’ interest in visiting. According to the division of Newmark, the tourism text should belong to the text with the vocative function as its main function and the informative function as its secondary function. Therefore, the translation of tourism text should effectively achieve the effects similar to the original text.&lt;br /&gt;
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From the combing of previous literatures, it can be found that there are many studies on the translation of tourism texts guided by Newmark’s communicative translation strategy. However, at present, there are few studies on the translation of tourism texts from English to Chinese, and more studies focus on the Chinese- English translation. For this reason, this paper is based on the translation practice of ''Everglades National Park, Florida (Excerpt)'' to provide some reference for future English – Chinese translation of tourism.&lt;br /&gt;
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===Tourism Texts===&lt;br /&gt;
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====General Introduction====&lt;br /&gt;
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Tourism text is an important carrier for readers to obtain scenic spot information, and Tourism text is to stimulate readers' desire to travel by introducing tourist attractions and resources, and its ultimate purpose is to meet readers' expectations and arouse readers' enthusiasm by delivering tourism information. In other words, the dominant function of tourism text is vocative function. At the same time, tourism texts also provide readers with information they like, from which people can acquire relevant knowledge such as culture and customs, natural geography, etc. Therefore, informative function is also its important feature. It can be seen that the two most important functions of tourism texts are respectively informative and vocative one, whose premise is to provide information and purpose is to attract tourists. &lt;br /&gt;
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In addition, we should realize that translation of tourism texts is a professional translation of tourist attractions and resources for target readers, and its essence is a communicative behavior. If the translator fails to properly deal with the differences between cultures, it will often fail to achieve the expected results. Therefore, during the translation process, more attention should be paid to the accuracy and effectiveness of the information, so as to make the translation conform to the target readers’ reading habits and aesthetic expectation (Li Daosheng, 2000). This requires the translator to put the reader's acceptance first in the process of translation. That is, tourism text translation should not only realize the conversion from one language to another, but also take language barriers and cultural differences into account. Therefore, in order to achieve the goal of successful communication, translators should flexibly apply various translation strategies and adopt appropriate translation methods according to the text types of tourism texts.&lt;br /&gt;
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====Introduction to the ''Everglades National Park, Florida (Excerpt)''====&lt;br /&gt;
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Established in 1974, Everglades National Park covers 2,354 square miles, or 6,097 square kilometers (1.4 million acres). Located at the tip of southern Florida, it is the largest subtropical wildlife sanctuary in the continental United States. Everglades National Park protects an unparalleled landscape which provides important habitat for numerous rare and endangered species such as the manatee, American crocodile, and the elusive Florida panther.&lt;br /&gt;
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''Everglades National Park, Florida (Excerpt)'' is excerpted from a notice from U.S. National Park Service about the phased reopening of the park, including alerts of the reopening, activities, safety and accessibility. It can also be regarded as a travel guide, which describes the journey towards people and offers help to the tourists who want to go there, and which often includes the description of the best travel time, transportation, accommodation, scenic spots and matters needing attention. As a practical text, its main purpose is to introduce and promote tourist scenic spots, that is the Everglades National Park in Florida. Its vocative and informative function are very prominent, and it has the characteristics of reader-orientation, the effectiveness of information transmission and timeliness.&lt;br /&gt;
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===Newmark's Translation Theory===&lt;br /&gt;
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====General introduction of Peter Newmark's translation theories====&lt;br /&gt;
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Peter Newmark, a well-known translation theorist, is one of the main figures in the founding of translation studies in the English-speaking world in 20th century. Newmark devoted himself to studying the past and present of Western translation, and put forward his own views on this basis. Newmark’s translation theories mainly include three parts, that is, the classification of text types, translation approaches, and the lately correlative theory of translation.&lt;br /&gt;
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According to Karl Buhler’s knowledge of language features and Jacobson’s classification of them, Newmark proposed six functions of language informative function, expressive function, vocative function, phatic function, aesthetic function, and lastly metalingual function. (Hou Yingying, 2020) Then Newmark divided text types into three: expressive-functional texts, informative-functional texts, vocative-functional texts.&lt;br /&gt;
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After putting forward these three text types, Peter Newmark suggested eight translation approaches or strategies. Firstly, from the perspective of focusing on the source language, he suggested word-for-word translation, literal translation, faithful translation and semantic translation; Secondly, from the perspective of focusing on the target language, he suggested adaptation, free translation, idiomatic translation and communicative translation (Newmark, 2001:45).&lt;br /&gt;
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In 2007, Newmark came up with a new theory, that is, correlative theory of translation, which means that “The more serious and important the language of the original or source text, the more closely it should be translated.” (Newmark, 2007)&lt;br /&gt;
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In conclusion, Peter Newmark has proposed many significant theories and made extensive discussion on those concepts, which will have a great influence on the translation practice.&lt;br /&gt;
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====Semantic translation and communicative translation====&lt;br /&gt;
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Peter Newmark divided text genres into “expressive text”, “informative text” and “vocative text” in his classic work ''Approaches to Translation''. Imaginative literary works, such as poems, songs, novels and dramas, authoritative statements, autobiographies, essays and personal correspondence, etc. are expressive texts. All the formatted texts with science and technology, industry and commerce, and economy as themes belong to informative texts. And vocative text refers to all texts that can infect readers and make them “get information”.&lt;br /&gt;
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With reference to these three kinds of texts, Newmark further creatively proposed the concepts of semantic translation and communicative translation: “communicative translation” means that the effect of the target text on the reader of the target language is as much as the effect of the original text on the reader of the source language; “semantic translation” refers to the reproduction of the context of the source text as accurately as possible under the premise of the semantic and syntactic structure of the target language. He believed that only communicative translation and semantic translation can achieve the two major goals of translation: being accurate, and being economic (effective).&lt;br /&gt;
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In ''About Translation'', Newmark made a detailed comparison of the characteristics of semantic translation and communicative translation from different aspects, and pointed out that the fundamental difference between them lies in that when the information and the effect are in conflict, communicative translation lays more emphasis on effect than content, while semantic translation lays more emphasis on content than effect. Communicative translation can give the translator full freedom, the translator can reorganize the syntax, eliminate the original obscure places in the source language, and make the language conform to the standard of the target language. However, semantic translation emphasizes the content of the information itself, tries to make the form of the target text similar to the form of the original text, and retains the language characteristics and expressive style of the original author. Therefore, compared with semantic translation, communicative translation is more subjective and can better reflect the translator’s creativity and it attaches great importance to the communicative effect of translation, the key to which is to convey information, make readers of the target language think, act and feel, and play an inductive role in making the translation natural and smooth, and more readable. &lt;br /&gt;
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Newmark pointed out that the translation of expressive texts should employ semantic translation, while informative and vocative texts communicative translation which is reader-centered. The most direct purpose of tourism texts translation is to convey information to readers on the premise of attracting readers’ attention and leaving readers with deep memories, so that readers can take actions -- to visit tourist attractions and pay attention to matters that should be paid attention to. Thus, it can be seen that the tourism text belongs to the vocative text and the communicative translation should be applied. &lt;br /&gt;
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To sum up, Newmark’s communicative translation focus on the effect that the translation brings to the target language readers, which is of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
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===Case Study===&lt;br /&gt;
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The purpose of communicative translation is to try to make the translation have the same effect on the target reader as the original does on the source reader. That is to say, the key point of communicative translation is to be loyal to the target language and the target text reader, that is, the source language is required to obey the target language and culture, leaving no doubt or obscurity to the reader, and eliminating difficulties and obstacles in reading or communication for the reader as far as possible.&lt;br /&gt;
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Because the translator wants to achieve a certain communicative purpose, emphasizes the effect and has a specific target audience, the translation has inevitably broken the restrictions of the original text, pursuing smoothness, clarity, directness and conformity with conventions. In this part, the author analyzes the specific application of communicative translation in the translation practice of the ''Everglades National Park, Florida (Excerpt)'' from three aspects: lexical, syntactic and textual analysis.&lt;br /&gt;
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====At Lexical Level====&lt;br /&gt;
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Generally speaking, there is partial equivalence between English and Chinese, that is, similar expressions in Chinese can replace the meaning of English words or phrases (Liu Junping, 2009). In the following, two translation methods used in lexical translation will be introduced: conversion of part of speech and the translation of public signs.&lt;br /&gt;
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1)Conversion of part of speech&lt;br /&gt;
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Example 1:&lt;br /&gt;
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ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors.''&lt;br /&gt;
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TT: 个人、团体或家庭都能在这找到适合的户外活动。&lt;br /&gt;
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Analysis: As we all know, English belongs to the Indo-European language family, while Chinese the Sino-Tibetan language family. Many differences exist between English and Chinese in terms of vocabulary and grammatical structure. Therefore, in the process of translating English into Chinese, due to the different ways of expression between English and Chinese some sentences can be translated word by word, while most sentences cannot. In order to make the Chinese translation smooth and natural, some words in the original text need to be converted into different parts of speech in the target text without sticking to the surface structure of the original text. In other words, some words in the original text can be converted into other parts of speech in Chinese on the premise of being faithful to the original meaning and retaining the original effect. &lt;br /&gt;
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The original sentence uses a nominal phrase “no shortage of” to express the meaning that no matter how many people come together for outdoor activities, there are always options. The translator translates it into a verbal phrase, that is, everyone can find a suitable outdoor activity here, so that the meaning gets across and the whole sentence flows naturally.&lt;br /&gt;
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Example 2:&lt;br /&gt;
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ST: ''Accessibility: No immediate trails.''&lt;br /&gt;
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TT: 如何前往：没有路径可直接到达。&lt;br /&gt;
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Analysis: As English tends to use more nouns with static narratives, while Chinese tends to use more verbs with dynamic ones. The static tendency of English mainly comes from nominalization, a common phenomenon in English. Nominalization mainly refers to the use of nouns (phrases) to express the information originally expressed by verbs (phrases), such as the use of abstract nouns to express actions, behaviors, changes, states, etc (Lian Shuneng, 1993). For example, “accessibility” in Example 2 is an abstract noun, which is used to show the way to one place. Chinese, on the other hand, tends to use verbs. So, in order to better convey the effect and let the reader read without any doubt or discomfort, the translator converted the noun into a verb phrase, that is “如何前往”. Likewise, in the noun phrase “no immediate trails”, the author wants to say that there is no direct way (to arrive at the destination). When translating, if it is directly translated into a noun phrase “没有直达路”, the reader may feel difficult to read. So, if it is translated into “there is no direct path can reach that place”, the sentence will be more smoothly and convey the original information and the effect is also retained.&lt;br /&gt;
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2)Public signs&lt;br /&gt;
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Example 3 &amp;amp; 4:&lt;br /&gt;
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ST: ''Things To Do'' &lt;br /&gt;
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TT: 活动介绍&lt;br /&gt;
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ST: ''What you can do''&lt;br /&gt;
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TT: 解决措施&lt;br /&gt;
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Analysis: As mentioned in the theoretical framework above, tourism text belongs to vocative text. As a kind of tourism text, public signs are a special style for specific people to achieve a certain communicative purpose. Its application scope is very wide, almost involved in every aspect of our daily life, such as street signs, billboards, road signs, shop signs, warnings, propaganda, travel briefs and so on. As a communicative tool, it conveys necessary and useful information to the public by means of a few words, simple and easy to understand icons or the combination of both (He Xueyun, 2006). Therefore, it can be seen that public signs feature lots of nouns, verbs, phrases and abbreviations and more often, fixed expression, which means in translation, only concise and idiomatic expression can fully convey the effect of the original text.&lt;br /&gt;
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Just as the example 3, once the original text is translated literally, that is “要做的事情”, it sounds rather awkward, which not only does not convey the meaning of the source text that was intended as an introduction to the activities that can be done, but also may lead the reader to believe that this section is about what is required. However, if it is translated into “活动介绍”, readers can clearly know the main content of this part and can find out the activities they are interested in. This expression is very concise and also in line with the Chinese language habits. The same is true of example 4.&lt;br /&gt;
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Example 5 &amp;amp; 6:&lt;br /&gt;
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ST: ''Alligators and crocodiles - Crocodilians are one of the reasons people visit the park, however, these are wild animals that can be dangerous to humans.''&lt;br /&gt;
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TT: 小心短吻鳄和鳄鱼——鳄鱼是人们参观公园的原因之一，然而，这些野生动物对人类会很危险。&lt;br /&gt;
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ST: ''Poisonous plants - The park’s ecosystems support a variety of plant life including some that cause reactions to human skin.''&lt;br /&gt;
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TT: 警惕有毒植物——公园的生态系统支持多种植物的生长，包括一些会对是人类皮肤过敏的植物。&lt;br /&gt;
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Analysis: Tourist texts belong to the vocative text, emphasizing the transfer of the effect of the information and the empathy of the reader. This requires the translator to pay attention to the internal logic of the text, modify the translated text to make it clear in the process of tourism translation without sticking to the original form and give full consideration to the core position of readers. &lt;br /&gt;
Examples 5 and 6 are in the same sentence structure -- firstly species are given, and then that the species could be in some danger is pointed out. If it is translated in accordance with the original text word by word, then the front part is just posing out that species. However, if such warning words as “小心” or “警惕” are added, it can let the reader know before he continues reading that this species may be dangerous when visiting, and then with reading below, the reader will know why it is dangerous. This will prepare the reader mentally, and the reading will be smoother.&lt;br /&gt;
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====At Syntactical Level====&lt;br /&gt;
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Two aspects are included in syntactic analysis, which are change of subjects and passive voice, and the punctuation.&lt;br /&gt;
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1)Change of subjects and passive voice&lt;br /&gt;
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Example 7:&lt;br /&gt;
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ST: ''Wading birds, cormorants, Purple Gallinules, and nesting Anhingas may be found along the path anytime of the day during the winter (dry) season.''&lt;br /&gt;
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TT: 在冬季（旱季），任何时候您都可以在沿路发现涉水鸟类、鸬鹚、紫雀和筑巢的美洲蛇鸟。&lt;br /&gt;
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Analysis: English tends to use more impersonal subjects, which means it rarely uses the personal subject to describe but expresses how objective things act on people’s perception to things appear in an objective tone. So, the structure is often like this: inanimate subject + animate subject (Lian Shuneng, 2010). Chinese pays more attention to subjective thinking, and often describes objective things from the point of view of oneself, or tends to describe people and their behavior or state, so the personal subject is often used. When the personal subject is clear, Chinese often implies or omits it.&lt;br /&gt;
Passive voice is a common grammatical phenomenon in English. In some styles, the use of passive sentences has almost become a habit of expression. Passive sentences give rise to the tendency of using impersonal subjects, and vice versa. Chinese uses fewer passive forms. The main reason for this difference is that the use of passive forms in Chinese is limited, and the mark of the passive voice, such as “让”, “给”, “受”, mostly expresses displeasure.&lt;br /&gt;
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Therefore, in example 7, the translator transformed the passive voice into the active voice and the impersonal subjects “Wading birds, cormorants, Purple Gallinules, and nesting Anhingas” into the personal subjects “您”. What’s more, as this tourism text is written for readers, the use of the second person subject can shorten the distance. &lt;br /&gt;
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Example 8 &amp;amp; 9: &lt;br /&gt;
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ST: ''Wading birds, American Coots, Osprey, White-crowned Pigeons, warblers, Red-shouldered Hawks, Anhingas, rails, Painted Buntings and other transients are best viewed here in the morning.''&lt;br /&gt;
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TT: 早晨在这里观赏涉禽、美洲骨顶鸡、鱼鹰、白头鸽、莺、赤肩鹫、美洲蛇鸟、秧鸡、彩绘鹀和其他过路的鸟类的效果最好。&lt;br /&gt;
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ST: ''In the summer, fewer programs are offered.''&lt;br /&gt;
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TT: 夏季提供的项目较少。&lt;br /&gt;
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Analysis: Just as what has been said above, English has a tendency to use impersonal subjects and passive voice, while Chinese is exactly the opposite. And when the subject is clear, Chinese often implies or omits it, which is just like example 8 the personal subject “you” is omitted. &lt;br /&gt;
In example 9, the omitted subject is the national park, and the temporal adverbial phrase “in the summer” becomes the subject in form, which is a common expression in Chinese. That is because subjects in Chinese are not only in various forms, but also dispensable: it can denote giving, receiving, time, place.&lt;br /&gt;
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2)Punctuation&lt;br /&gt;
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Example 10:&lt;br /&gt;
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ST: ''Connecting trails through the Pinelands run 7 miles (11 km) west from the Long Pine Key campground to Pine Glades Lake along the main park road.''&lt;br /&gt;
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TT: 这些小道从长松岛营地向西延伸7英里（11公里），穿过一片松林地，连通公园主路边松林湖。&lt;br /&gt;
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Analysis: English sentences are complicated, and subordination is one of the most important characteristics of modern English, which features right-branching, sentences long and complex, made in “architecture style”. Conversely, Chinese sentences are relatively short, and commonly use scattered sentences, loose sentences, tight sentences or composite sentences with parallel structure. Chinese features left-branching, and sentences are made in “chronicle style”, using clauses to streamline the thoughts. &lt;br /&gt;
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So, when there are many prepositional phrases in the original English sentence, the translator can divide the long sentence into several short sentences and recognize those by adding comma, which can help readers to sort out the logic of the original text and get the main information. By using communicative translation, the translator divided the original sentence into three sentences. The logical sequence is that “The trails run seven miles (11 kilometers) west from the Long Pine Key campground. Passing through the Pinelands, they lead to Pine Glades Lake along the main park road.”, which shows the location of both the Long Pine Key campground, the Pinelands and Pine Glades Lake correctly, leaving no doubt to readers of the target language.&lt;br /&gt;
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Example 11:&lt;br /&gt;
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ST: ''In keeping with Monroe County’s closure order for beaches, North Nest Key and all waters within 100 yards from the shore will be closed for protection of park resources during the holiday weekend. The closure will begin on Friday, July 3 at 6 a.m.''&lt;br /&gt;
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TT: 根据门罗县对海滩的关闭安排，为保护公园资源，北巢岛和离海岸100码以内的所有水域将自7月3日星期五早上6点起暂停对外开放。&lt;br /&gt;
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Analysis: In the original text there are two sentences, which can be combined to make the meaning complete and language pithy in the target language. And it can be taken into consideration to reconstruct them by replacing full stop with comma. By considering communicative translation, the translator put two prepositional phrases in advance as adverbials, which are “in keeping with Monroe County’s closure order for beaches” and “for protection of park resources during the holiday weekend”, and then turned the second sentence into a temporal adverbial phrase and put it in the main clause as an adverbial. So, the whole structure is “In keeping with Monroe County’s closure order for beaches and for protection of park resources during the holiday weekend, North Nest Key and all waters within 100 yards from the shore will be closed from Friday, July 3 at 6 a.m.” By doing so, the information is concisely conveyed, and Chinese readers can well understand it.&lt;br /&gt;
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====At Textual Level====&lt;br /&gt;
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Discourse refers to the actual language unit used and is the whole language constituted by a series of consecutive paragraphs or sentences in the communication process. In general, a text consists of words, phrases, sentences and sentence cluster (Lan Lingyan, 2020), among which the components were cohesion in form and coherence in semantics.&lt;br /&gt;
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Example 12:&lt;br /&gt;
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ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors. The diverse habitats allow for enjoyable activities ranging from hiking, canoeing, kayaking, biking, fresh and saltwater fishing, and camping in the ultimate wilderness.''&lt;br /&gt;
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TT: 个人、团体或家庭都能在这找到适合的户外活动。无论是步行、乘坐独木舟、划皮划艇、骑自行车，还是在淡水或海水钓鱼、在终极荒野地露营，您都可以饱览多样的自然环境、尽享快乐。&lt;br /&gt;
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Analysis: Coherence in a piece of writing refers to the principle that all paragraphs, sentences or ideas are combined so well that they form a united whole. Coherent translation has smooth structural, grammatical, and logical movement from one sentence or idea to the next and the reader does not have to pause and guess at the meaning caused by gaps in development between ideas, sentences and paragraphs. &lt;br /&gt;
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In example 12, the last topic of the fist sentence in the original sentence is outdoor activities, while the subject of the second sentence is the diverse habitats. This is a shift in the topic, which may make the readers pause and guess at the logical relation between them. Therefore, in translation, guided by communicative translation, the translator needs to mind the text coherence and to make proper adjustments. Out of this, the translator put the activities in the second sentences as the subject of the second sentence in the target text, so that the first sentence can pass through smoothly to the next one, so does the understanding of readers.&lt;br /&gt;
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Example 13:&lt;br /&gt;
&lt;br /&gt;
ST: ''Everglades National Park is a popular spot for saltwater and freshwater sport fishing. Boats can be chartered at Flamingo. Be sure to check a visitor center for park fishing regulations and closed areas.''&lt;br /&gt;
&lt;br /&gt;
TT: 大沼泽地国家公园是一个很受欢迎的钓海水鱼和淡水鱼的地方。在弗拉明戈可以租船。在钓鱼之前，一定要阅读游客中心的公园捕鱼规定和封闭区域。&lt;br /&gt;
&lt;br /&gt;
Analysis: Cohesion can be thought of as all the grammatical and lexical links that link one part of a text to another. This includes the use of synonyms, lexical sets, pronouns, verb tenses, time references, grammatical reference, etc. For example, ‘it’, ‘neither’ and ‘this’ all refer to an idea previously mentioned.&lt;br /&gt;
&lt;br /&gt;
In example 13, this paragraph mainly talks about fishing in the Everglades National Park, with a topic sentence and two explanatory sentences: one introducing the place for chartering and the other cautions. There are no grammatical or lexical links within these three sentences, and the logic is connected by semantics. Considering well understanding of readers in the target language, the translator added one lexical link “before fishing” between the last two sentences, to make the reader understand that he or she should read the rules and precautions of fishing before going fishing. Also, with repeating the key word “fishing”, the central idea of this whole paragraph is prominent, and the sentences are logically and smoothly linked to express the intended meaning, thus making this paragraph a cohesive group.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
====Major findings====&lt;br /&gt;
For the text, the tourism text belongs to the vocative text, which focuses on conveying the information and effect, so the communicative translation theory should be adopted to this kind of translation. As for this original text, the first part that introduces the outdoor activities belongs to the tourism advertisements, which are descriptive with vivid words. Tourism advertising is infective, with short and concise words, full of creativity, lively and concise sentence structure, and strong attraction. While the announcement that informs of the operating status of the park is a quite different style. The wording is formal, standard, accurate and stylized. Secondly, the source text involves a wide range of knowledge and large vocabulary. For example, “hardwood hammock” for “硬木吊床” and “Geocaching” for “寻宝”. &lt;br /&gt;
&lt;br /&gt;
Based on the analysis of examples from lexical, syntactic and textual levels, some translation methods can be proposed. On one hand, when translating, some words in the target text can be converted into different parts of speech in the original text to make the language natural and idiomatic. On the other hand, when doing English – Chinese translation, in most cases, passive voice should be changed into active voice, personal subject is favored in Chinese, and subjects can also be omitted sometimes. Lastly, as English and Chinese have lots of differences in sentences, the translator should change the order of the sentences sometimes to make them smooth and fluent, and some words can be added to make the meaning coherent.&lt;br /&gt;
&lt;br /&gt;
====Limitations====&lt;br /&gt;
&lt;br /&gt;
Besides some major findings, there are also many limitations in this translation practice. Firstly, communicative translation focuses on the effect conveyed by the translation rather than the information, which can easily make the translator ignore some original. So, in the translation, other available translation theories should also be taken into account to achieve best translation. &lt;br /&gt;
&lt;br /&gt;
Then, when translating a text, whether it is a tourism text or a literary works, they cannot be translated immediately. Relevant information and background should be collected in advance, and otherwise some mistakes which should be avoided will be made. For example, “Snail Kite (蜗鸢)” might be translated as “蜗牛风筝” if the translator does not look it up in advance.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
[1] Newmark, Peter. About Translation[M]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
&lt;br /&gt;
[2] Newmark. Approaches to translation[M]. Shanghai Foreign Language Education Press, 2001. &lt;br /&gt;
&lt;br /&gt;
[3] Newmark, Peter. A New Theory of Translation[J]. Sborník Prací Filozofické Fakulty Brněnské Univerzity, 2007(13)&lt;br /&gt;
&lt;br /&gt;
[4] Newmark, Peter. A Textbook of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2001:39-42. &lt;br /&gt;
&lt;br /&gt;
[5] 贺学耘.汉英公示语翻译的现状及其交际翻译策略[J].外语与外语教学, 2006(03):57-59.&lt;br /&gt;
&lt;br /&gt;
[6] 侯莹莹.凯瑟琳娜·莱斯与彼得·纽马克文本类型翻译理论之比较研究[J].海外英语, 2020(22):49-50+60. &lt;br /&gt;
&lt;br /&gt;
[7] 金惠康.跨文化旅游翻译探讨[J].上海翻译, 2007(01):31-34.&lt;br /&gt;
&lt;br /&gt;
[8] 兰灵艳.交际翻译理论指导下《家庭生活》（节选）汉译实践报告[D].南昌大学, 2020.&lt;br /&gt;
&lt;br /&gt;
[9] 李道胜. 汉英语义对比分析[J]. 语言教育, 2000(4):4-5.&lt;br /&gt;
&lt;br /&gt;
[10] 连淑能.《英汉对比研究》[M]. 北京：高等教育出版社, 1993.&lt;br /&gt;
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[11] 刘安洪.跨文化交际视角下的旅游文本翻译策略研究[J].中华文化论坛, 2013(10):160-163. &lt;br /&gt;
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[12] 刘军平，西方翻译理论通史[M]. 武汉：武汉大学出版社, 2009.&lt;br /&gt;
&lt;br /&gt;
[13] 马忱.交际翻译策略对汉英旅游翻译的启示[J].郑州航空工业管理学院学报(社会科学版), 2010,29(06):119-121.&lt;br /&gt;
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=3 刘越 Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
[[Trans_Type_EN_3]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
There are many translation practices under the guidance of communicative translation theory, but there are not many translation practices in Korean novels. Through this translation practice, we hope to summarize the translation methods and strategies adopted in the translation of novel subject matter under the guidance of communicative translation theory in terms of vocabulary, sentence and rhetoric. In this paper, under the guidance of communicative translation theory of Korean novels &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; to analyze translation strategies and translation methods, let us hope that through the work of human changes in temperature to realize that the most warm affection and the most simple human feelings, seems to be the fact that more and more far from us, let us together to explore the history of the &amp;quot;family&amp;quot; gradually forgotten by us and meaning, Wake up our sense of affection, cause our emotional resonance.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
Communicative translation theory; Korean novels; Translation methods and strategies&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
===The emergence and development of communicative translation===&lt;br /&gt;
According to the function of language, that is, the purpose of language use, Newmark proposed the following three text types: Expression function, information function, Vocative function.&lt;br /&gt;
The core of the expressive function is that the speaker or author uses some words to express his thoughts and feelings. The author's unique form of language is as important as its content.&lt;br /&gt;
Expressive functional texts emphasize the authority of the original author, and translation should follow the principle of &amp;quot;original author first&amp;quot;, which should be faithful to both the ideological content expressed by the original author and the language style of the original author, without considering the reaction of the target readers.The core of the information function is the external situation, that is, all the information about a topic, or the reality beyond words. The core of informational text is the &amp;quot;authenticity&amp;quot; of the content, and the author's language is secondary. The principle of &amp;quot;authenticity first&amp;quot; should be followed in translation.Vocative text emphasizes reader-centered, with the purpose of &amp;quot;calling on readers to act, think and feel&amp;quot;. Translation should follow the principle of &amp;quot;reader first&amp;quot; and put the target language readers in the first place. The translator can make full use of the advantages of the target language and not stick to the way of expression of the original text, so that the target language can achieve the same effect as the original language.&lt;br /&gt;
&lt;br /&gt;
On this basis, two translation concepts, communicative translation and semantic translation, are proposed. Newmark said that communicative translation theory focuses on the understanding and response of the recipient and focuses on the reader of the target text, paying more attention to the effect of the expression of the target text than the content. Translators can give full play to the advantages of the target language and introduce foreign elements into the target language culture, which has the advantages of naturalization, free translation and idiomatic translation. Semantic translation attaches great importance to the original text, focuses on the semantic content of the original text, strives to preserve the culture of the source language, and has the advantages of word-for-word translation, literal translation and faithful translation. Communicative translation applies to informative and appealing texts, such as autobiographies, personal emotional venting, important political statements (or other statements), most non-literary articles, news, intellectual articles and books, textbooks, reports, scientific and technological literature, official correspondence, propaganda, advertisements, bulletins, popular novels. His communicative translation and semantic translation have enriched the theoretical study of translation to a great extent, and also influenced the field of translation.&lt;br /&gt;
&lt;br /&gt;
===The applicability of communicative translation theory to the translation of popular novels===&lt;br /&gt;
First of all, the core content of communicative translation theory is that on the basis of being faithful to the content of the original text, it focuses on the readers' understanding ability and feelings, and pays more attention to the expression effect of the target text than the content. For the translator, the translator can give full play to the advantages of the target language and get rid of the constraints of the language structure of the original text. If the original text is illogical, ambiguous, and there are redundant words and ambiguities in the sentence, as well as dialects, coarse slang and other phenomena in the article, the translator has the right to reorganize the syntax and improve it by using collocation and common sentence patterns in accordance with the habits of the target language, so as to make the language more standardized. Translators also have the right to correct errors and omissions in the original text.&lt;br /&gt;
&lt;br /&gt;
Secondly, according to Newmark's text type, communicative translation theory is applicable to vocative texts, which focus on the inspiring effect and take the target readers as the center. The purpose of translation is to elicit the desired response, including popular books and best-selling novels. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. The novel is mainly composed of characters, plots and descriptions of the environment to reflect the social reality. Novel is a literary genre that conveys thoughts and feelings and arouses readers' resonance. It belongs to appeal text, so communicative translation theory is suitable for novel translation.&lt;br /&gt;
&lt;br /&gt;
The most important thing in novel translation is to convey the content of the original text and the author's thoughts and feelings to the readers, and to arouse the readers' deep thinking and empathy. When translating a novel, we should describe the plot of the original text to the readers and try to get close to the literary image described by the author and the literary artistic conception created in the novel.&lt;br /&gt;
&lt;br /&gt;
If only follow the content style and text structure of the original text, it will violate the original intention of translation, making the translation obscure and unclear. Under the guidance of communicative translation theory, the translator can give full play to the advantages of the target language, modify and polish the original text, adjust the logic of expression, eliminate the differences between the original text and the target text, and get a smooth translation. At the same time, the translator can also pay more attention to the target readers, fully consider the reading habits and thinking mode of the target readers, and use easy to understand language vocabulary to convey the information of the source text and the thoughts and feelings of the source text author to the readers, so that the target text readers and the source text readers get the same effect.&lt;br /&gt;
&lt;br /&gt;
=== Case study under the guidance of communicative translation theory===&lt;br /&gt;
Guided by Peter Newmark's communicative translation theory, the author carries out translation practice on two short stories &amp;quot;The Innocent Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. Under the guidance of communicative translation theory, this section adopts the strategies of translation modification and meaning extension to solve the problems of ambiguous and implicit sentences in novels. At the sentence level, the strategy of paraphrase, syntactic and translation is adopted. In the aspect of rhetoric, this paper adopts the translation strategies of addition and repetition, and makes a case study to explore and summarize the translation methods and strategies applicable to novel subject matter under the guidance of communicative translation theory.&lt;br /&gt;
&lt;br /&gt;
=== The application of communicative translation theory at lexical level===&lt;br /&gt;
'''Transliteration'''&lt;br /&gt;
&lt;br /&gt;
The translation method refers to the conversion of parts of speech in the original text, such as changing nouns into verbs, adjectives into verbs, etc., so as to make the translation conform to the expression habits of the target language. Different languages have different linguistic phenomena and cultural backgrounds. In order to make the translation more in line with the language expression habits of The Chinese people and convey the correct meaning of the original text to The Chinese readers, every word in the Korean sentence cannot be translated dead, and some parts of speech in The Korean language have to be changed in translation.&lt;br /&gt;
&lt;br /&gt;
The following is a case study of translating a part of speech in the original text into another part of speech in Chinese.&lt;br /&gt;
&lt;br /&gt;
Eg.1 그럴 때의 아이는 이제 노인이 아니라 소년가장 같았다.&lt;br /&gt;
First translation：那一刻我觉得孩子不像老人，而像少年家长。&lt;br /&gt;
Retranslation：那一刻我觉得他不像一个历经沧桑的老人，而像一个饱经世故的孩子。&lt;br /&gt;
&lt;br /&gt;
&amp;quot;소 년 가 장&amp;quot; is a noun, the author looked up Chinese dictionary, found &amp;quot;소 년 가 장&amp;quot; in Korean means &amp;quot;가 정 의 생 계 를 실 질 적 으 로 책 임 지 고, 어 렵 게 생 계 를 유 지 하 는 소 년&amp;quot;, at the beginning of translation, in accordance with the original literal translation is &amp;quot;young parents&amp;quot;, but is not in conformity with the Chinese expression habit, it is not easy to let Chinese readers understand, The author in the guidance of communicative translation theory, through the network search and found the dictionary lookup &amp;quot;소 년 가 장&amp;quot; and Chinese proverb &amp;quot;the poor children early master&amp;quot; has the same effect, but here can make statements impassability, in order not to cause the reader to understand the problems, the author give full play to the advantages of the Chinese, the author by using the method of adaptation, Phrases collocation and considering the Chinese habit, the term &amp;quot;소 년 가 장&amp;quot; divided &amp;quot;소 년&amp;quot; and &amp;quot;가 장&amp;quot; two nouns, and the term &amp;quot;가 장&amp;quot; translated into adjectives &amp;quot;world&amp;quot;, the &amp;quot;소 년&amp;quot; translated into &amp;quot;children&amp;quot;, both to convey the meaning of the original, and can make readers easily understand the content.&lt;br /&gt;
&lt;br /&gt;
Eg.2：거기에 아이가 자신을 만나려 하지 않기 때문에 돈을 주지 않는 것이라는 비난의 말이 반복해서 쓰여 있었기 때문이다.&lt;br /&gt;
Translation ：文件上反复指责说孩子不想认他这个父亲，所以不给抚养费。&lt;br /&gt;
In the original text 비 난&amp;quot; is a noun, the author according to the original text in translation translated into &amp;quot;document and is accused of child, father didn't want to see him the accused, so not to support&amp;quot;, at the same time with the two accused, groundwork or at the back of the verb &amp;quot;blame&amp;quot;, also make the repetitive, so the author under the guidance of communicative translation theory, When translated again, the noun &amp;quot;비 project-oriented&amp;quot; is translated into the verb &amp;quot;blame&amp;quot;, so that the translation is easy to understand.&lt;br /&gt;
&lt;br /&gt;
'''Extension of meaning&lt;br /&gt;
Extension translation method is refers to according to the specific context of contact and words in the original context, starting from the basic meaning of Korean original words, through the letter of the word or phrase in the sentence, its excellent implied meaning appropriately, use some conforms to the Chinese expression habit of character words, the content of the original essence of accurate expression.&lt;br /&gt;
&lt;br /&gt;
Eg.3：①텔레비전을 쳐다보던 아이가 대뜸 내밷었다.&lt;br /&gt;
②동식이 집을 나서자마자 엄마는 휴이히히히, 하는 기괴한 한숨을 길게 내뱉었다.&lt;br /&gt;
Translation：①正在看电视的儿子突然吐槽道：“妈，你快看，电视里那个人真像我爸”。&lt;br /&gt;
②母亲就“唉！”长长地叹了一口气。&lt;br /&gt;
&lt;br /&gt;
The author by looking up the dictionary, in the original &amp;quot;내 밷 다&amp;quot; has two meanings: (1) 입 안 에 있 던 것 을 입 밖 으 로 뱉 어 내 보 내 다. (2) 마 음 에 내 키 지 아 니 하 거 나 못 마 땅 한 어 조 로 불 쑥 말 하 다. Chinese meaning is &amp;quot;vomit, and said,&amp;quot; the author under the guidance of communicative translation theory, reader's expressions and words in Chinese habit as the center, contact the original context and context, considering the words collocation, adopt the method of the extension, the &amp;quot;내 밷 다&amp;quot; translated into &amp;quot;fun&amp;quot; and &amp;quot;sigh&amp;quot;, not only conforms to the present context, and in accordance with the Chinese language habits.&lt;br /&gt;
&lt;br /&gt;
Eg.4: ①그러니까 엄마는 내가 돈 얘기 할 것을 미리 알고서 지금 차단막을 치는&lt;br /&gt;
것이리라.&lt;br /&gt;
②형이 옆구리를 툭 치며.&lt;br /&gt;
③까지는 살큼 익혀서 찬지름 치고 조선간장으로 조물조물 무쳐노면 고기반찬보다 낫드라.&lt;br /&gt;
Translation：①但母亲好像早已看透了我的心思，先堵住了我的口。&lt;br /&gt;
②大哥用胳膊肘戳了我一下。&lt;br /&gt;
③蒸个七八分熟的时候撒上香油好好拌一下就行了，这样比那些荤食都好吃。&lt;br /&gt;
&lt;br /&gt;
The verb &amp;quot;치&amp;quot; would give many different meanings with different words, such as ①&amp;quot;beating, beating, beating, playing&amp;quot;.② take, base, wrap, erect, ③ feed, feed, etc. On the basis of communicative translation theory, and fully understand the original meaning, context, and considering Chinese words collocation is used, depending on the context, the extension method was adopted, will &amp;quot;치 다&amp;quot; translated into &amp;quot;blocking&amp;quot;, &amp;quot;stamp&amp;quot;, &amp;quot;and&amp;quot; verb, such as to conform to the Chinese habits of expression.&lt;br /&gt;
&lt;br /&gt;
===The expression of communicative translation theory at the sentence level===&lt;br /&gt;
Communicative translation theory is pointed out that to the readers, the translator should give full play to the advantages of the target language, to make the translation conform to the target language expression of habit, not to leave any arcane to readers, while Korean and Chinese belong to different language families, there are differences in expression habit, this summary is mainly under the guidance of communicative translation theory, This paper analyzes the translation of sentences in The Pure Man and The Goat Family by means of paraphrase, syntactic and combined translation.&lt;br /&gt;
&lt;br /&gt;
'''Interpretation method'''&lt;br /&gt;
&lt;br /&gt;
Hermeneutic method is also an interpretative translation method. Because Chinese and Korean have different expression habits, in the process of translation, we can use the paraphrase method to explain some ambiguous sentences, which can not only make the translation clear, but also accurately convey the original purpose.&lt;br /&gt;
&lt;br /&gt;
Eg.5：어느날, 아이가 눈에 보이는 사물들을 가리켜 얼마짜리냐고 물었을 때, 어떤 행위를 가리켜 얼마 받느냐고 물었을 때, 나는 어린것이 별걸다 궁금해한다고 면박을 줬다. 면박을 주는 것으로 마음에 이는 민망함을 무마시켰다. 아이의 입에서 처음 돈 얘기가 나왔을 때, 그때 나는 이미 알아챘어야 했는지도 모른다.&lt;br /&gt;
First Translation: 当某一天，孩子们指着各种东西问花了多少钱，挣了多少钱时，我当面斥责说“小孩子家家的，真是什么都好奇”。我以这种当面驳斥的方式来掩饰心中的尴尬。当我第一次从孩子嘴里听到关于钱的话题时,我可能就已经觉察到了些什么。&lt;br /&gt;
Retranslation: 当某一天，孩子们指着各种东西问价格时，我当面斥责说‘小孩子家的，问这个做什么’，以此来掩饰我内心的尴尬。当我第一次从孩子嘴里听到关于钱的话题时，我可能已经觉察到时代变了，我那‘不知钱为何物’的时代过去了。&lt;br /&gt;
&lt;br /&gt;
The author at the beginning of the translation of &amp;quot;그 때 나 는 이 미 알 아 챘 어 야 했 는 지 도 모 른 다&amp;quot;, literal translation is &amp;quot;I may already have noticed what&amp;quot;, but the specific perceive what is not clear, causing distress to Chinese readers, by contacting the above learned that the &amp;quot;I&amp;quot; as a child is the hairpin, objects such as pottery fragments, But now the child is the &amp;quot;money&amp;quot;, the author under the guidance of communicative translation theory, to the readers, adopting the tactics of interpretation method, interpreted &amp;quot;I perceived that the&amp;quot; content &amp;quot;I might have been aware of The Times have changed, I that 'I don't know the money was the era of the past&amp;quot;, thus the author want to convey the original concept of the era of the change of the clear expression come out.&lt;br /&gt;
&lt;br /&gt;
Eg.6：영호야, 명절 때만이라도 꼭 아빠한데 가봐, 가기 싫으면 연락이라도 드리고.아빠가 아무리 네 맘에 안 들더라도 너는 네 할 도리를 해야 떳떳한 사람이 되는 거야,알았지?&lt;br /&gt;
First Translation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。只有做了自已应该做的才能做一个光明磊落的人，知道吗？&lt;br /&gt;
Retranslation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。为人处事和忠孝贤良是亘古不变的，要想做一个光明磊落的人，就要做好自己的分内之事，知道吗？阿姨的话要记住哦。&lt;br /&gt;
&lt;br /&gt;
Early in the translation of &amp;quot;너 는 네 할 도 리 를 해 야 떳 떳 한 사 람 이 되 는 거 야&amp;quot;, the corresponding Chinese literal translation is &amp;quot;only do oneself should do can do a aboveboard person&amp;quot;, but &amp;quot;할 도 리&amp;quot; what, did not explain clearly in the original, need the reader to consider, in order not to leave readers obscure place, The author puts the advantage of Chinese into full play and interprets &amp;quot;up 도 wish to be good&amp;quot; into English by means of context and translation theory. At the same time, I also think that this is the advice of adults. It is necessary to tell him this truth in a soft and powerful tone. After this sentence, &amp;quot;Remember what aunt said&amp;quot; is added to make the original meaning clearly conveyed to readers, so that readers can better understand the original content.&lt;br /&gt;
&lt;br /&gt;
'''demolition syntax'''&lt;br /&gt;
Deconstruction is the breaking down of a long sentence into several shorter sentences. As Korean and Chinese belong to different language families, there are many differences in syntax. The word order of Korean sentences is the structure of SOV, and narration is the main body and focus of the sentence, and there are a large number of long sentences, which rely on word endings to express various grammatical meanings. No amount of sentence elements will cause meaning confusion.&lt;br /&gt;
&lt;br /&gt;
However, the word order of Chinese sentences is the SVO structure, which depends on vocabulary, function words and word order to distinguish sentence components, so the sentence structure is simple, mainly short sentences. The translation of Korean long sentences into Chinese sentence groups can make the translation logical, smooth and accurate.&lt;br /&gt;
&lt;br /&gt;
Eg.7：동식의 이혼에 책임이 없다고 할 수는 없는 형제들이 돈을 모아 동식에게 새집을 지어줬는데 집안 새것이면 뭐 하냐고 동식이 폭력을 휘두를 조짐을 보이자 그 팔아 종류의 폭력을 아버지에게 당해본 엄마는 지레 겁을 먹고 소를 팔아 동식에게 새장가 갈 자금을 쥐여줄 수밖에 없었다.&lt;br /&gt;
First Translation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子。挨过父亲打的母亲因为对东植这种动不动就挥拳头打人的行为心有余悸，并觉得只有新房子没用，就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
Retranslation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子，母亲因为挨过父亲的打，所以对东植这种动不动就挥拳头打人的行为心有余悸，觉得只有新房子无济于事，改不了他的暴力行为，索性就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
&lt;br /&gt;
The original text Is a long sentence, &amp;quot;는 데&amp;quot; is a long attributive clause, behind the author under the guidance of communicative translation theory, using the translation, in the resolution of a sentence, adjust the structure of the sentence, but his father mother &amp;quot;dragged&amp;quot; compared to read man translationese is too heavy, have the taste of Korean Chinese, is not in conformity with the Chinese expression habit, the author on the basis of this, The translation has been revised and polished to make it smooth and smooth.&lt;br /&gt;
&lt;br /&gt;
'''Cotranslation'''&lt;br /&gt;
Cotranslation refers to the combined translation of two or more sentences in the original text. Using the combined translation method to translate, will reduce the long winded translation, obtain a smooth and smooth translation.&lt;br /&gt;
&lt;br /&gt;
Eg.8 ：나는 큰오빠와 작은오빠가 아버지가 남긴 논을 가져간 것을 알고 있었다. 큰언니, 작은언니가 결혼할 때 밭을 가져 갔다는 것도. 동식은 제 몫이 논도 밭도 아닌 집인 것에 불만을 품고 쓰러져가는 슬레이트집에 불을 질렀다.&lt;br /&gt;
First Translation：我知道大哥和二哥结婚时分走了家里的水田，大姐和二姐结婚时分走了家里的旱地，东植因为分到的不是田和地，而是即将坍塌的的石板屋，一气之下就在屋里放了火。&lt;br /&gt;
Retranslation：哥哥姐姐们结婚时把家里的水田和旱地都分走了。而东植分到的是即将坍塌的的石板屋，他对此很不满，一气之下就放火烧了房子。&lt;br /&gt;
&lt;br /&gt;
Are two sentences in the original, the author first translation, according to the original text translated into two other subject-predicate bin structure of the sentence, but &amp;quot;big sister&amp;quot; &amp;quot;big brother&amp;quot; &amp;quot;sister&amp;quot; &amp;quot;second brother&amp;quot; will be read repetitive, so the author under the guidance of communicative translation theory, adopt the method of r the appellation of original elements became the &amp;quot;brothers and sisters&amp;quot;, and the two sentence elements into a simple sentence, Reduce redundant redundant.&lt;br /&gt;
&lt;br /&gt;
===The embodiment of communicative translation at the rhetorical level===&lt;br /&gt;
Communicative translation theory points out that should take the readers as heavy, compared to convey to the readers the article content, pay more attention to the expression effect, good expression effect can cause the resonance of the readers, caused the reader's thinking, and good expression effect depends on the use of rhetoric, this summary is mainly under the guidance of communicative translation theory, adopt different translation strategies, The rhetorical translation in The Innocent Man and The Goat Family is analyzed.&lt;br /&gt;
&lt;br /&gt;
'''Addition'''&lt;br /&gt;
&lt;br /&gt;
Addition is a translation method that adds content to the target text in order to accurately express the meaning of the source text, meet the needs of the target text readers and make the target text conform to the expression habits of the target language. Since Chinese and Korean have different pragmatic ways and expressive habits, some words or sentences should be added in the translation to make the translation more consistent with the Chinese context, the reader's expressive habits and the exact meaning of the original text.&lt;br /&gt;
&lt;br /&gt;
Eg.9：나는 아이 아빠의 돈을 ‘그깟 돈’이라고 표현했다.&lt;br /&gt;
First Translation：我把孩子爸爸的钱称为“那么点儿钱”。&lt;br /&gt;
Retranslation：我把孩子爸爸给的钱称为“塞牙缝的钱”。&lt;br /&gt;
&lt;br /&gt;
&amp;quot;그깟&amp;quot; is a contraction of &amp;quot;그까짓&amp;quot;. It means so little, so little. The amount of money given by the father of the child is very small. The author under the guidance of communicative translation theory, give full play to the advantages of target language, adopt the method of thickening of translation, the use of metaphor, the &amp;quot;그 깟 돈&amp;quot; translated into accord with the readers expression habit &amp;quot;for all of the money&amp;quot;, making it easy to understand, more intuitive said the little amount, so as to impress the reader.&lt;br /&gt;
&lt;br /&gt;
'''Repetition'''&lt;br /&gt;
&lt;br /&gt;
Repetition refers to the translation technique of appropriately repeating a part of words or sentences in translation. The repetition method can make the meaning of the translation more clear, further strengthen the appeal of the article, highlight the thoughts and feelings of the article, and achieve a good rhetorical effect.&lt;br /&gt;
&lt;br /&gt;
Eg.10：아비를 한번도 찾지 않다가 돈 달라고, 그것도 법정에서 애 얼굴을 봐야 하는 아비 된 자의 참담한 심정을 당신들이 아느냐고.&lt;br /&gt;
First Translation：孩子一次也没来看过我这个父亲，却开口要钱？而且只有上了法院，我才好不容易看孩子一眼，你们理解我这个做父亲的心情和处境吗！&lt;br /&gt;
Retranslation：孩子一次也没来看过我就跟我开口要钱，只有上了法院，我才好不容易看孩子一眼，我这个做父亲的苦楚，悲凉的的心情，你们理解吗！理解吗！&lt;br /&gt;
&lt;br /&gt;
The author by contacting the specific context, as a father, no contact for many years but children themselves to court, the state of mind should be both angry and sad, based on the theory of communicative translation, using the skill of verb repetition, to &amp;quot;알 다&amp;quot; repeated translation, to emphasize my angry tone, in order to make the article more vivid and accurate meaning.&lt;br /&gt;
&lt;br /&gt;
=== conclusion===&lt;br /&gt;
This paper selected the south Korean writer Kong Shanyu stories &amp;quot;well bead film&amp;quot; in the two novel &amp;quot;pure people&amp;quot; and &amp;quot;the goat family&amp;quot; has carried on the translation practice, the two novels are using the simple nature of language and a small amount of dialect vocabulary, shape lifelike characters, are described by family members of the past, let the past and reality contrast, It reflects the social reality that with the development of society, people have become selfish and indifferent, and the most simple family and human feelings seem to be more and more far away from us, so as to explore the history and significance of the &amp;quot;family&amp;quot; and the simple social atmosphere, which are gradually forgotten by Koreans.&lt;br /&gt;
&lt;br /&gt;
The core of Peter Newmark's communicative translation theory is that on the basis of being faithful to the content of the original text, the translator can give full play to the advantages of the target language, get rid of the constraints of the language structure of the original text, and pay attention to the effect of the expression of the target text. According to Newmark's text type, communicative translation theory applies to appeal texts, which focus on the target reader and aim to elicit the desired response, including popular books, popular novels and so on. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. Under the guidance of Peter Newmark's communicative translation theory, the author analyzes and discusses the translation strategies in the Pure Man and The Goat Family, which are complicated sentences, ambiguous meanings and implicit expressions.&lt;br /&gt;
&lt;br /&gt;
From the lexical level analysis, the author mainly combined with the context, to Chinese readers as the center, to comply with the Chinese expression and language habits, consider the reader's understanding ability, on the basis of Chinese used to translation and translation methods of extension, so as to satisfy the to the original readers and the translation of the original dual need of the readers have the same effect, At the same time, it also ensures the accuracy and flexibility of the translation words, so as to conform to the translator's lexical habits.&lt;br /&gt;
From the statement level analysis, &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; appeared in the text of the long sentence and attributive clause, at the same time, some relatively obscure sentences substance, so the author adopted the method of interpretation, syntax and translation of translation strategies, to explain the sentence, split, reorganization, thus reducing the sentence's mad outages and ideographic unclear, The translation is in line with the habits of Chinese readers and effectively conveys the essence of the original text. From the rhetoric analysis, communicative translation theory points out that compared with the content, should attach great importance to the expression of the translation effect, good expression effect depends on the use of rhetoric, so the author USES the translation strategy of work and repetition, has carried on the modification to the original and polishing, to strengthen the artistic effect and influence of the translation, make readers for the characters vivid impression, Arouse readers' reflection and emotional resonance.&lt;br /&gt;
&lt;br /&gt;
Therefore, the results of this study indicate that the communicative translation theory is of guiding significance to the Chinese translation of Korean novels and can provide a reference for similar translation practices. Communicative translation theory is pointed out that to the reader as the center, the translator can get rid of the original text, giving full play to the advantages of target language to adjust the structure and logic, to make the translation easy to understand, but there may be lack of scattering situation, so the translator should properly our subjective initiative, to insure the effect of readers in at the same time, also used to avoid the above situation. In addition, there are also shortcomings in the translation, but the author still hopes that this translation practice can provide reference for the future Korean-Chinese translation practice. At the same time, through this translation practice, the author has realized his own shortcomings. In the future, the author will continue to learn, accumulate practical experience, and strive to improve his literary accomplishment and language foundation, and improve his translation level.&lt;br /&gt;
&lt;br /&gt;
===Reference===&lt;br /&gt;
'''English Literature:'''&lt;br /&gt;
&lt;br /&gt;
[1]. GAO Chang. The Application of Peter Newmark's Communicative Translation Theory to the Translation of Chinese Historical Allusions [J]. Overseas English, 2013(11).&lt;br /&gt;
&lt;br /&gt;
[2]. LI xin, ZHANG zhe. On Peter Newmark’s Semanic Translation &amp;amp; Communicative Translation[J]. Overseas English, 2015（03）.&lt;br /&gt;
&lt;br /&gt;
[3]. JIAN fang. Newmark's Translation Theory and Film Names [J]. Overseas English, 2010(08).&lt;br /&gt;
&lt;br /&gt;
'''Korean literature:'''&lt;br /&gt;
&lt;br /&gt;
[4]. 강영미. 1970-1980 년대 노래운동에 대한 예비적 고찰 [J]. 정신문화연구41(3), 2018.(09).&lt;br /&gt;
&lt;br /&gt;
[5]. 공선옥. 80 년대와 나의 문학 광주,그리고 내인생의 수난기 [J]. 역사비평사,1995(08)&lt;br /&gt;
&lt;br /&gt;
[6]. 김영희. 근대체험과 여성--박완서ㆍ김인숙ㆍ공선옥의 소설 [J]. 창작과비평23(3),1995(09).&lt;br /&gt;
&lt;br /&gt;
[7]. 오순방. 中國 近代의 小說 飜譯과 中韓小說의 雙方向 飜譯 硏究 [J]. 서울 :숭실대학교 출판부,2008.&lt;br /&gt;
&lt;br /&gt;
'''Chinese Literature:'''&lt;br /&gt;
&lt;br /&gt;
[8] 冯庆华.实用翻译教程[M].上海：上海外语教育出版社，2002.&lt;br /&gt;
&lt;br /&gt;
[9] 芒迪（著），李德凤（译）.《翻译学导论：理论与应用》[M].北京：外语教学与研究出版社，2018.&lt;br /&gt;
&lt;br /&gt;
[10] 张敏.《韩国语翻译概论》[M].北京：外语教学与研究出版社，2017.&lt;br /&gt;
&lt;br /&gt;
[11] 蔡萍.纽马克翻译理论浅析[J].电子科技大学学报(社科版)，2009(06)：78-81.&lt;br /&gt;
&lt;br /&gt;
[12] 陈琳.尤金A·奈达和彼得·纽马克翻译理论之比较[J].湘潭大学学报(社会科学版)，1994,(08)：87-91.&lt;br /&gt;
&lt;br /&gt;
=毛雅文On Translation Strategies and Methods in Chinese Translation of English Prose --- Chinese Translation of Robert Lynd’s ''Pleasures of Ignorance'' as an example=&lt;br /&gt;
[[Trans_Type_EN_4]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Prose, together with poetry, novel and drama, is a kind of literary form. It is not limited to rhythm, plot and characters, flexible in form, real and natural. English prose has a long history and various types, so it becomes an important object in translation practice and research. In China, the most famous English prose writers are Francis Bacon and Charles Lamb, hence, their works can be regarded as the focus of studies on Chinese translation of English prose. In fact, Chinese translation of English prose draws less attention in translation circle of China, compared with that of English poetry and drama. With English prose as the starting point, this paper will introduce the characteristics of English prose and the domestic studies on its Chinese translation, and take the Chinese translation of ''Pleasures of Ignorance'', the representative work of English modern prose writer Robert Lynd, as an example to analyze its translation strategies and methods.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
&lt;br /&gt;
''Pleasures of Ignorance''; Chinese translation of English prose; translation strategies; translation methods; translation techniques&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
This chapter will point to the research background and its significance, and briefly set forth the structure of this paper and the methods used.&lt;br /&gt;
&lt;br /&gt;
'''Research Background and Significance'''&lt;br /&gt;
&lt;br /&gt;
In recent years, with the deepening of the reform and opening-up, the channels of international cultural exchange have become increasingly unblocked, and China's translation industry has also flourished. The studies on translation theory, drawing lesson from western translation studies, have yielded fruitful results, and more noteworthily, remarkable achievements have been made in studies on literary translation for all to see.&lt;br /&gt;
Prose is a basic literary form in written or spoken language that typically exhibits a natural flow of speech and grammatical structure. A large number of works in philosophy, history, economics, journalism, etc, are examples of works written in prose. It can be seen that prose, which is widely used for creation, occupies an important position in literature. However, there are few researchers majoring in prose translation, still fewer ones who specialize in Chinese translation of English prose. In view of the above, this paper, based on previous studies, will study the Chinese translation of English prose, and take the Chinese translation by Liu Bingshan of ''The Pleasures of Ignorance'' created by the English prose writer Robert Lynd, exploring its characteristics in translation strategies and methods, so as to provide better understanding and some reference for the appreciation and translation of English prose.&lt;br /&gt;
&lt;br /&gt;
'''Methodology and Structure'''&lt;br /&gt;
&lt;br /&gt;
This paper will employ the methods of literature research and case analysis. The paper consists of three parts. The first section is literature review, explicating the distinctive properties and linguistic features of English prose, and the prose translation with its principles, as well as introducing the previous studies on Chinese translation of English prose at home. The second part, the core of this paper, will take Liu Bingshan's Chinese translation version of Robert Lynd's prose work ''Pleasures of Ignorance'' as an example, carry out the interpretation of this translation in terms of its types, styles as well as strategies and methods employed. Lastly, the conclusion will point to the findings in this study and the weaknesses in the paper.&lt;br /&gt;
&lt;br /&gt;
===Literature Review===&lt;br /&gt;
&lt;br /&gt;
This part will draw into the domestic previous studies on Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
With regard to Chinese translation of English prose, at present, there are few domestic scholars dedicated to its systematic research. According to the different perspectives,  the relevant researches at home can be roughly divided into three categories.&lt;br /&gt;
&lt;br /&gt;
First, concerning research on the theory of Chinese translation of English prose into Chinese, there are relatively small number of studies in this direction. One of the most fruitful works is ''The Study and Translation of British and American Prose'' co-authored by Zhao Xiuming and Zhao Zhangjin (2010), which makes a detailed investigation of the literary characteristics, historical evolution and style evolution of British and American prose. The work also discusses the basic principles of English prose translation in terms of pre-translation text analysis, historical and cultural context, artistic principles, and styles, etc., which can offer a reference for the further study of the theories and practices of English prose translation.&lt;br /&gt;
&lt;br /&gt;
Second, regarding research on the famous translators of English and American prose with their translation styles and skills, Xia Ying explored the style of Professor Cao's translation of Francis Bacon with the essay titled &amp;quot;Research on Professor Cao Minglunss Chinese translation of bacon prose&amp;quot;. (Xia Ying, 2012:165-166) Some others probed into Liu Bingshanss and Li Shicong’s thoughts on prose translation which have guiding significance for prose translation practice.&lt;br /&gt;
&lt;br /&gt;
Third, as regards research on the practice of Chinese translation English prose based on translation theory, Huang Jianling (2021) analyzed the Chinese translation of Bacon's essays from the perspective of translation aesthetics. Hu Hongyun (2013) translates and elaborates on the British prose Farewell in vocabulary, semantics, style and cultural transmission, on the basis of Eugene Nida's Functional Equivalence theory.&lt;br /&gt;
&lt;br /&gt;
===Overview of English Prose===&lt;br /&gt;
&lt;br /&gt;
Prose can be defined in broad sense and in narrow sense. In broad sense, prose refers to all the written and oral works in a loose form free from parallelism; and in narrow sense, it specifically means the writings with certain literary qualities, such as essays, and a literary genre juxtaposed with poetry, novel, drama and movie-television literature.&lt;br /&gt;
&lt;br /&gt;
'''Distinctive Features of English Prose'''&lt;br /&gt;
&lt;br /&gt;
As an independent literary genre, English prose has its own distinctive characteristics.&lt;br /&gt;
&lt;br /&gt;
The first characteristic is its expression of sincere feeling. Prose mostly depicts the real people, things and scenery, and is generated based on record and recollection of life. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. So in this sense, prose can be considered as an earnest conversation between the author and the readers.&lt;br /&gt;
&lt;br /&gt;
Secondly, English prose is characterized by the wide material selection. In English prose, one detail, episode and facet of life can be used to display the author’s specific emotions and circumstances, and all materials related to the theme can also be employed. It places no emphasis on rhythm and rhyme, like poetry, as well as to plot and characters, like drama.&lt;br /&gt;
&lt;br /&gt;
Besides, English prose features the free and loose structure. The structure of prose writings is free and flexible. Prose is elastic and natural and boasts descriptive, argumentative and lyrical qualities, thereof constituting its most distinctive advantage. There are no strict restrictions and fixed patterns in the prose structure, but its flexibility and randomness is not tantamount to disorder and scatter, and its choice of theme and expression of feelings should be closely centered on one main line.&lt;br /&gt;
&lt;br /&gt;
'''Linguistic Features of English Prose'''&lt;br /&gt;
&lt;br /&gt;
Compared with other literary forms, prose has no more skills to resort to. Therefore, as regards the form of artistic expression, English prose mainly has recourse to its own language features.&lt;br /&gt;
&lt;br /&gt;
First and foremost, succinctness and fluency characterize English prose language. The concise prose language not only fully delivers the content that the author intends to convey, but effectively shows the author's emotions and attitude towards persons and things. This is not the result of the author's deliberate elaboration, but the natural overflow of his or her plain and pure emotion. The fluency of prose language refers to both the informal use of words and phrases, and the author's sound expression of feelings.&lt;br /&gt;
&lt;br /&gt;
Meanwhile, colloquial style and literary grace are characteristic of prose language. As prose mainly focuses on description of the author's personal stories and sentiments, thus, he speaks or writes with his own posture, style and tone, as if he is confiding to the readers, so as to highlight the agreeable conversation style and unique colloquial style. Colloquial prose language is natural due to its simplicity, friendly owing to its ease of communication, and true thanks to its individuality.&lt;br /&gt;
&lt;br /&gt;
Furthermore, another linguistic feature of English prose is the smooth rhythm and reading. The rhythmic beauty of prose language is reflected in phonetic respect and in sentence patterns. The prose reading is catchy, with no obstacles and awkwardness, and its rhythm is in line with the natural law of oral breathing pauses as well as with the ups and downs of feelings.&lt;br /&gt;
&lt;br /&gt;
'''Principles of English Prose Translation'''&lt;br /&gt;
&lt;br /&gt;
The beauty of prose lies in its language and artistic conception, the two permeating each other and jointly creating the artistic charm of prose. In prose translation practice, the following principles can be observed to reproduce the artistic appeal.&lt;br /&gt;
&lt;br /&gt;
Keep an eye on sound and rhythm. Despite that the sound and rhythm of prose are often internal, not as obvious, regular and musical as that of poetry, they are not disordered with no aesthetic purpose. On the contrary, they effectively represent the variation of emotion in the prose, and are consistent with its unique aesthetic interest. This illustrates that in prose translation, on the one hand, the translators should recognize the great value and significance of prose sound and rhythm; on the other hand, with the intention of reproducing the linguistic subtleties of the original text, the translators can fully touch its aesthetic interest from the cadence between the lines, and perceive its inner rhythm from sentence length and speech speed.&lt;br /&gt;
&lt;br /&gt;
Pay attention to personalized mode of discourse. Different writers with various discourse modes bring about manifold writing styles. Not only is the personalized mode of discourse reflected in the author's choice of words and sentences as well as layout of the prose, but also in his thoughts and aesthetic interest. As a result, the translators can start with analyzing the original writer's one classic work and then his anthology and even look closely at the literary features of his age, in order to grasping the writer's personalized discourse mode, which is of particular importance to reproduce his artistic personality and the characteristics of his emotional expression in translation practice.&lt;br /&gt;
&lt;br /&gt;
Place a premium on the unity of scene and emotion. The unity of scene and interest in prose is embodied in diverse ways of language expression and structure, as well as the images or settings created by the author. In translation practice, based on the unity of scene and interest in the prose, it is beneficial to preserve and reproduce the overall aesthetic orientation of the original text through aesthetic reconstruction in word selection and layout, so that the translated text can obtain the aesthetic taste similar to the original prose.&lt;br /&gt;
&lt;br /&gt;
===Case Study of Chinese Translation of ''Pleasures of Ignorance''===&lt;br /&gt;
&lt;br /&gt;
The selected source text is ''The Pleasures of Ignorance'', written by Robert Lynd. &lt;br /&gt;
&lt;br /&gt;
Robert Lynd (1879-1949), born in Belfast, Northern Ireland, was a modern critic and prose writer. He, together with E. V. Lucas, was a pioneer in reviving the tradition of Charles Lamb's prose. And The Pleasures of Ignorance is one of his notable prose works.&lt;br /&gt;
&lt;br /&gt;
This prose points out that it is because ignorance that people are interested in the nature and the world and their pursue knowledge, and the process of seeking knowledge is full of pleasure, by which the author emphasizes the importance of learning more and gaining insight. The article reveals somewhat erudition and aesthetic sensibility, as well as love for nature and and passion for life. From his leisurely writing, the author's maturity of thought and capability in usage of words is unveiled. Though the tone of the original text makes the readers feel that the author is chatting with them, giving people familiarity and closeness, it is not particularly colloquial. On the contrary, there is a kind of exactness and elegance of the learned between the lines, thus it can be seen that the case text is a typical scholar prose.&lt;br /&gt;
&lt;br /&gt;
The translator Professor Liu Bingshan firmly grasps these features of the original text and conveys the original style by carefully choosing words and sentences, with the principles of faithfulness, smoothness and expressiveness. His Chinese translation of ''The Pleasures of Ignorance'' will be analyzed in terms of translation strategies and methods.&lt;br /&gt;
&lt;br /&gt;
There is the natural connection between translation strategies and translation methods, but the two concepts are often confused. It is generally believed that translation strategies (such as foreignization and domestication) are at the cultural level, while the translation methods (such as literal translation and free translation) are at the textual level. According to Xiong Bing, (2014: 83-86) translation methods are the approaches, steps and techniques used to achieve a specific translation purpose based on a certain translation strategy in translation activities, whereas translation strategies are a collection of principles and methods. Consequently, this paper will enunciate the translation text on the basis of translation methods under foreignization strategy and domestication strategy respectively.&lt;br /&gt;
&lt;br /&gt;
====Translation Methods under Foreignizing Strategy====&lt;br /&gt;
&lt;br /&gt;
Foreignization is a strategy in which a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. This strategy is &amp;quot;an ethnodeviant pressure on target-language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad&amp;quot; to have alien reading experience. (Venuti, 1995: 20) The translation methods under foreignization employed in Professor Liu's target text include literal translation, zero-translation and transliteration.&lt;br /&gt;
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=====Literal Translation=====&lt;br /&gt;
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Literal translation is in fact looser renditions that replace individual source language words with individual target language wors wherever possible, and cling as closely as possible to the source language word order in the target language. Specifically, in the case translation text, the translator faithfully retains some personal pronouns and demonstrative pronouns in the original text. For example, &lt;br /&gt;
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(1)It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance.&lt;br /&gt;
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同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
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(2)This ignorance, however, is not altogether miserable.&lt;br /&gt;
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不过，这种无知也并非全然不幸。&lt;br /&gt;
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(3)But your and my ignorance is not confined to cuckoos.&lt;br /&gt;
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但是，你我的无知并不仅限于杜鹃这一方面。&lt;br /&gt;
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(4)A contemporary English novelist was once asked by a foreigner what was the most important crop in England.&lt;br /&gt;
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一个外国人问一位当代英国小说家，英国最重要的农作物是什么。&lt;br /&gt;
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The translation of these sentences, though properly altering the word order and voice with the adherence to the target-language syntactic norms, does not adopt the usage of transferred meaning in dealing with lexical sense.&lt;br /&gt;
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The use of literal translation, especially the retaining of the personal pronouns, like &amp;quot;we&amp;quot; and &amp;quot;you and I&amp;quot;, conveys the style of the original text, showing friendliness and intimacy.&lt;br /&gt;
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=====Zero-Translation=====&lt;br /&gt;
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Zero translation refers to the translation in which the translators do not use the ready-made words in the target language to translate the source language words. This translation phenomenon occurs when adjustments must be made due to the differences in the syntactic structures of the two languages. For example, some articles and personal pronouns are not translated in E-C translation. In Professor Liu’s Translation, zero-translation is particularly displayed by omission, a translation technique. For instance,&lt;br /&gt;
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Omission of the expletives ''It'' and ''There'':&lt;br /&gt;
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(5)''It'' is impossible to take a walk in the country oneself without being amazed at the vast continent of one's own ignorance.&lt;br /&gt;
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任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
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(6)''There'' are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy.&lt;br /&gt;
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这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。&lt;br /&gt;
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Omission of English articles:&lt;br /&gt;
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(7)Thousands of men and women live and die without knowing the difference between ''a'' beech and ''an'' elm, between ''the'' song of ''a'' thrush and ''the'' song of ''a'' blackbird.&lt;br /&gt;
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成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
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Omission of pronouns:&lt;br /&gt;
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(8)... as she (the cuckoo) lays ''her'' egg on the ground and takes it in ''her'' bill to the nest in which it is destined to breed infanticide.&lt;br /&gt;
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把蛋下到地面上，然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。&lt;br /&gt;
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The application of zero-translation can render the translation text concise, neat and fluent, and make the rhythm of the prose more natural and flexible, conforming to the principle of prose translation.&lt;br /&gt;
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=====Transliteration=====&lt;br /&gt;
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Proper names such as the names of persons and places of foreign countries, are, as a rule, to be transliterated, i.e., to be translated by using Chinese characters to represent the sound in articulating these names.&lt;br /&gt;
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In transliteration, the translators should follow the original pronunciation of proper names, in Liu's translation, for example,&lt;br /&gt;
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(9)Hamlet 哈姆雷特 Pickwick 匹克威克 (both transliterated from English)&lt;br /&gt;
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Besides, in transliteration, the translators sometimes should also use the standard pronunciation of the Chinese characters. One of the difficulties in transliterating a foreign name in Chinese characters lies in the lack of many foreign sounds in Chinese, and the variation in the pronunciation of the Chinese characters causes confusion. The remedy is to fix certain Chinese characters for a certain syllable of foreign names. And many long-standing translated names, though not named after the original sounds, have been recognized by the world and are generally invariable. For example, in the translation in case study. For example, in the translation in case study,&lt;br /&gt;
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(10)Montaigne 蒙田 (not 蒙泰涅)&lt;br /&gt;
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Transliteration plays a crucial role in translation of proper nouns and technical terms, which ensures the correct conveyance of information.&lt;br /&gt;
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The translation methods under foreignization are able to make the translation process more visible, by means of showing how translators are deeply involved in the construction of culture and ideology. The use of these methods can retain the foreignness of the source text and produce on the target-language readers an effect as close as possible to that obtained on the readers of the original, through which the readers can further understand the foreign expressions and cultures, realizing the differences between the two countries.&lt;br /&gt;
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====Translation Methods under Domesticating Strategy====&lt;br /&gt;
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Domestication is a strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for target language readers. This strategy is &amp;quot;an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home&amp;quot; (Venuti, 1995: 20). In other words, as regards the use of domesticating strategy, the translators are required to make target-language readers feel familiar and close through conveying the content of the original text with the expressions to which TL readers are accustomed. And in Liu Bingshan's Chinese translation of ''Pleasures of Ignorance'', free translation method and imitation method under domestication are used and displayed in several translation techniques.&lt;br /&gt;
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=====Free Translation=====&lt;br /&gt;
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Free translation, also known as sense-for-sense translation, emphasizes transfer of the meaning or &amp;quot;spirit&amp;quot; of a source text over accurate reproduction of the original wording. The purpose of this method is to accommodate the needs of the target-language readers by producing a text which conforms to the linguistic and textual norms of the target language and culture which does not therefore sound 'foreign&amp;quot; (Shuttleworth &amp;amp; Cowie, 1997: 151). Such a method, in this case study, is specifically embodied in the choice of words packed with Chinese characteristics, that is, diction, also a translation technique. For example,&lt;br /&gt;
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(11)Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is ''the exception''.&lt;br /&gt;
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在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是''凤毛麟角''。&lt;br /&gt;
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(12)It is not that we have not seen the birds. It is simply that we ''have not noticed'' them.&lt;br /&gt;
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所以如此，并不是因为这些鸟我们没有见过，而只是因为我们''习焉不察''。&lt;br /&gt;
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(13)When in the oak’s green arms the cuckoo ''sings'', &lt;br /&gt;
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And first delights men in the ''lovely springs''.&lt;br /&gt;
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杜鹃在橡树的绿色怀抱里''啭啼''，&lt;br /&gt;
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第一个为人们带来''欢欣、美好的春意''。&lt;br /&gt;
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In translating these sentences, the translator transfers some words into vocabulary or phrases with conspicuously Chinese features. For instance, the transfer of &amp;quot;the exception&amp;quot; and &amp;quot;have not noticed&amp;quot; to Chinese idioms &amp;quot;凤毛麟角&amp;quot; (that describes rare and precious items) and &amp;quot;习焉不察&amp;quot; (which means that one is too accustomed to something to call it in questions), respectively, exemplifies the typical Chinese four-character structure. Moreover, the verb &amp;quot;sings&amp;quot; is transferred to &amp;quot;啭啼&amp;quot; (that describes birds' melodious chirp), a Chinese term composed of two words with the same left side, which is one of common and special linguistic phenomena in Chinese language. Meanwhile, &amp;quot;the lovely springs&amp;quot; is transferred to &amp;quot;欢欣、美好的春意&amp;quot; (a joyful and wonderful feeling brought by the spring) through abstraction.&lt;br /&gt;
Thus, it can be seen that the application of free translation can reproduce the sense of the original text more smoothly and idiomatically. And the wide adoption of the four-character structures enhance the academic atmosphere of the translation version.&lt;br /&gt;
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=====Imitation=====&lt;br /&gt;
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With regard to the use of imitation, the translators do not stick to the meaning details of the original text, let alone its vocabulary and syntactic structure, but take the original text as a reference model, either by deleting and condensing to only translate its gist and key information, or by adding and expanding to deliver more information than that in the original text. For instance,&lt;br /&gt;
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(14)Thousands of ''men and women'' ''live and die'' ''without knowing'' the difference between a beech and an elm, between the song of a thrush and the song of a blackbird.&lt;br /&gt;
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成千上万的''男男女女''，''从生到死''，''一辈子''也''说不出''山毛榉和榆树有什么区别，''听不出''画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
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In the translation of this sentence, a variety of translation techniques are employed. &lt;br /&gt;
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①　Conversion:&lt;br /&gt;
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The translator uses conversion to alter the syntactic structure of the original sentence. &lt;br /&gt;
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The predicate &amp;quot;live and die&amp;quot; is converted into the preposition phrase &amp;quot;从生到死&amp;quot; as the adverbial in Chinese.&lt;br /&gt;
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And the adverbial preposition phrase in the source text &amp;quot;without knowing&amp;quot; is converted into the predicate in Chinese translation.&lt;br /&gt;
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②　Division:&lt;br /&gt;
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In accordance with the need of Chinese expression, &amp;quot;without knowing&amp;quot; is divided into two verb phrases &amp;quot;说不出&amp;quot; and &amp;quot;听不出&amp;quot; in Chinese as the predicate.&lt;br /&gt;
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③　Addition:&lt;br /&gt;
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With the addition of the expression &amp;quot;一辈子&amp;quot;, the translator highlights the long time between life and death.&lt;br /&gt;
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④　Repetition:&lt;br /&gt;
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The plural form &amp;quot;men and women&amp;quot; is translated into the reiterative locution &amp;quot;男男女女&amp;quot; by repetition. &lt;br /&gt;
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The change of sentence structure via techniques such as conversion and division as well as of vocabulary via repetition and addition render the translation natural and smooth, showing the translator's superb handling of the original text.&lt;br /&gt;
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(15)...we are all the ''more'' delighted ''at the spectacle of'' its runaway flight as it (the cuckoo) ''hurries'' from wood to wood conscious of its crimes ...&lt;br /&gt;
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一日''看见''它（杜鹃）因为自己犯了罪而''煌惶不安地''从这个林子飞''逃''向那个林子 ... 我们才会觉得''大大''开心。&lt;br /&gt;
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In this example, there are also various translation techniques used.&lt;br /&gt;
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①　Conversion:&lt;br /&gt;
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Firstly, the preposition phrase &amp;quot;at the spectacle of&amp;quot; is converted into the verb &amp;quot;看见&amp;quot; in Chinese. &lt;br /&gt;
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Secondly, the noun phrase &amp;quot;runaway flight&amp;quot; is converted into Chinese verbs &amp;quot;飞&amp;quot; (fly) and &amp;quot;逃&amp;quot; (escape). &lt;br /&gt;
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Besides, the verb &amp;quot;hurries&amp;quot; (that means to move quickly in a particular direction) is converted into &amp;quot;惶惶不安地&amp;quot; (which means to feel panic, afraid and utterly uneasy), a Chinese adverb to modify the verbs &amp;quot;飞&amp;quot; and &amp;quot;逃&amp;quot;, which endows the subject cuckoo with somewhat human characteristic.&lt;br /&gt;
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②　Repetition:&lt;br /&gt;
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The adjective &amp;quot;more&amp;quot; is translated into the reiterative locution &amp;quot;大大&amp;quot;, a Chinese adverb equivalent to &amp;quot;very&amp;quot; or &amp;quot;extremely&amp;quot; in English to modify the adjective &amp;quot;delighted&amp;quot;.&lt;br /&gt;
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In this example, the adjustment of the sentence order and conversion of parts of speech make the translation more consistent with the word sequence in Chinese. Meanwhile, the choice of words such as the Chinese four-character structure &amp;quot;惶惶不安&amp;quot; conveys the romantic charm beyond the original text. And there are also indicators of use of repetition embodied in the typical Chinese reiterative locutions like &amp;quot;惶惶&amp;quot; and &amp;quot;大大&amp;quot;.&lt;br /&gt;
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(16)I have myself a ''capricious'' and ''leaking'' memory.&lt;br /&gt;
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我自己的记忆力也是''漏洞百出''、''不听使唤''。&lt;br /&gt;
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Although this is a short sentence, it still contains the flexible use of translation techniques.&lt;br /&gt;
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①　Conversion:&lt;br /&gt;
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At first, the original object &amp;quot;memory&amp;quot; is converted to the subject in the Chinese translation.&lt;br /&gt;
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And then, the subject &amp;quot;I&amp;quot; with its appositive &amp;quot;myself&amp;quot; is converted into the attribute &amp;quot;我自己的&amp;quot; to modify the subject in the translation &amp;quot;记忆&amp;quot;.&lt;br /&gt;
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②　Addition:&lt;br /&gt;
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On account of the conversion of the subject and the verb, the original predicate &amp;quot;have&amp;quot; is inappropriate. The addition of &amp;quot;也是&amp;quot; that is equivalent to the verb &amp;quot;be&amp;quot; in English enforces the completeness of sentence structure. And this is a structural addition mainly due to the structural difference between Chinese and English.&lt;br /&gt;
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③　Diction:&lt;br /&gt;
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The two vivid adjective &amp;quot;capricious&amp;quot; and &amp;quot;leaking&amp;quot; are translated as &amp;quot;不听使唤&amp;quot; and &amp;quot;漏洞百出&amp;quot; respectively which are typical Chinese four-character structures. The Chinese adjective &amp;quot;漏洞百出(的)&amp;quot; means that the loopholes appear one after another, which is often used to describe that one's writing or speech is untenable because of lack of sufficient reasons and grounds. And here, this word shows the author's weak memory with which he forgets things time and again. And the other adjective &amp;quot;不听使唤(的)&amp;quot; generally depicts that someone loses control and is not obedient to the rules or instructions. Here, the word properly demonstrates that the author cannot manipulate his memory well and also cannot preclude it from being weaker. The use of these two words conforms to the choice of affective and stylistic meanings.&lt;br /&gt;
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In this example, the conversion of the subject and object as well as the change of the predicate enable the translation to be more closely accord with the Chinese sentential structure. Moreover, the two figurative adjectives packed with personified traits not only fully  convey the author's intention, but also enhance literariness of the translation and even display a lively mood beyond the original text.&lt;br /&gt;
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(17)We know, again, that, the blossom precedes and ''not succeeds'' the fruit of the apple-tree, but ''this does not lessen our amazement at'' the beautiful holiday of a May orchard.&lt;br /&gt;
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另外，我们知道苹果树''先''开花，''后''结果，可是五月''一旦''到来，果园里一片欢闹的花海。''我们不是仍然惊为奇观吗？''&lt;br /&gt;
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This is a typical example of the imitation method embodied in the use of diverse translation techniques.&lt;br /&gt;
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①　Conversion:&lt;br /&gt;
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Regarding the conversion of word classes, the noun &amp;quot;blossom&amp;quot; is converted into the Chinese verb &amp;quot;开花&amp;quot;.&lt;br /&gt;
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Concerning the conversion of sentence members, the object in the clause &amp;quot;apple-tree&amp;quot; is converted into the subject &amp;quot;苹果树&amp;quot; in the Chinese translation. And the attribute &amp;quot;May&amp;quot; is converted into the adverbial in Chinese as &amp;quot;五月一旦到来&amp;quot;.&lt;br /&gt;
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Considering the conversion of sentence patterns, the negative sentence &amp;quot;this does not lessen our amazement at...&amp;quot; is converted into a interrogative sentence &amp;quot;我们不是仍然惊为奇观吗？&amp;quot;.&lt;br /&gt;
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②　Negation:&lt;br /&gt;
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The negative form &amp;quot;not succeeds&amp;quot; in English is translated into the affirmative form &amp;quot;后结果&amp;quot; in Chinese, intensifying a positive tone on which Chinese language often places emphasis.&lt;br /&gt;
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③　Division:&lt;br /&gt;
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The original complicated sentence in English is divided into several simplex clauses and phrases in Chinese, which underlines the &amp;quot;chronicle style&amp;quot; of Chinese language with frequent use of shorter or composite structures.&lt;br /&gt;
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④　Addition:&lt;br /&gt;
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Now that the original sentence is divided into smaller components, it is necessary to supply connectors for better cohesion. The addition of the logical connectors in Chinese such as &amp;quot;先&amp;quot;, &amp;quot;后&amp;quot;, &amp;quot;一旦&amp;quot; and &amp;quot;仍然&amp;quot; render the translation more smooth and expressive.&lt;br /&gt;
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In this instance, the translator flexibly takes advantage of the techniques such as conversion, negation and division, not only contributing to the diversity of sentence patterns but also adding sense of warmth and vividness of the translation. Additionally, the semantic addition of logical connectors render the translation more cohesive and coherent.&lt;br /&gt;
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(18)Once more I shall see the world as a garden through the eyes of a stranger, my breath taken away with surprise by the painted fields.&lt;br /&gt;
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那时，我像一个陌生者进人大花园，放眼四望，五色缤纷的原野再一次使我''目不暇接''，''心迷神醉''。&lt;br /&gt;
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As regards this example, the translator enriches the meaning of the original text and creates a more balmy atmosphere by employing various translation techniques.&lt;br /&gt;
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①　Division:&lt;br /&gt;
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The long complex sentence, composed of two clauses, is divided into several separated clauses in arranged in a certain order, which renders the translation rhythmic and highlights the focus of expression.&lt;br /&gt;
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②　Addition:&lt;br /&gt;
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The addition of the Chinese set phrase &amp;quot;目不暇接&amp;quot; (which means that so many wonderful things and so swift change of scenery come into sight that the eyes are kept fully occupied) makes the context more coherent, as it echoes &amp;quot;see&amp;quot; and &amp;quot;the eyes&amp;quot; in the preceding and connects the &amp;quot;painted fields&amp;quot; in the following that greet the author's eyes and take his breath away.&lt;br /&gt;
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③　Diction:&lt;br /&gt;
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The verb &amp;quot;see&amp;quot; is translated into &amp;quot;放眼四望” (to look around), the noun phrase &amp;quot;breath taken away with surprise&amp;quot; into &amp;quot;心醉神迷&amp;quot; (to be thrown into ecstasies), and the adjective &amp;quot;painted&amp;quot; into &amp;quot;五彩缤纷&amp;quot; (colorful). These recurring four-character structures in translation are loaded with positive meanings, and proper to depict the attractive scenery and to be used in scholar prose.&lt;br /&gt;
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④　Conversion:&lt;br /&gt;
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The original clause &amp;quot;my breath taken away with surprise by the painted fields&amp;quot; is in passive voice, and is converted into the active voice in Chinese translation &amp;quot;五色缤纷的原野再一次使我目不暇接，心迷神醉&amp;quot;. This kind of conversion is due to the fact that the Chinese passive form marked by &amp;quot;被&amp;quot; is traditionally felt to be an &amp;quot;inflictive voice&amp;quot;, mainly expressing things unpleasant or undesirable, contrasted with the cheerful aura overflowing the original text. &lt;br /&gt;
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The translator employs short clauses separated from the original complex sentence to  bestow smoothness and naturalness on the translation and strengthen its artistic appeal. Furthermore, the translator selects the words that tally with the affective, contextual and stylistic meanings of the original. And the opportune addition of words and change of voice also polish the translation.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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This paper makes an analysis of translation strategies and translation methods in English prose, with translator Liu Bingshan's Chinese translation of ''Pleasures of Ignorance'' created by Robert Lynd as an example. With translation strategies and methods as the starting point, this paper considers Chinese translation of English prose as the research subject. The paper first introduces English prose along with its distinctive properties, linguistics features and principles of its translation. And then this paper carries out the interpretation of translation strategies and methods in Liu Bingshan's Chinese translation of ''Pleasures of Ignorance'' in which the application of translation methods as well as techniques under foreignizing and domesticating strategies are elaborated, and the concrete effects they exert are also elucidated.&lt;br /&gt;
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====Major Findings====&lt;br /&gt;
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Based on the above study of translation strategies and methods employed in Liu Bingshan's Chinese translation of ''Pleasures of Ignorance'', the features or common ground of Chinese translation of English prose in terms of translation strategies and methods can be generally summarized.&lt;br /&gt;
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In Chinese translation of English prose, foreignization strategy and domestication strategy are both used in the light of the style, linguistic features, and syntactic structures of the source text.&lt;br /&gt;
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But, on the whole, the domesticating translation strategy which includes translation methods such as free translation and imitation is applied more frequently compared with foreignization. This is because that prose translation actually falls into literary translation that is special on the grounds of the unique characteristics of the original literary works. In literary works, or specifically, in English prose, some words are not used with their literal meanings but their connotative or extension meanings, so literal translation under foreignization may not correctly convey the real significance of the original text. Meanwhile, in English prose, there are complex syntactic structures whose translation cannot be carried out with no proper conversion and alteration. Additionally, multiple rhetoric devices such as metaphor, metonymy and allusion are used in English literary works, and the literal translation of these figures of speech may elude the target-language readers because of the cultural differences and the obscurity of the translation. However, the appropriate adoption of translation methods under domestication strategy, to some extent, can give the target-language readers a sense of closeness and deliver the aesthetic charm with the premise that the real meaning of the original text can be ensured.&lt;br /&gt;
&lt;br /&gt;
In terms of translation methods under foreignizing strategy, literal translation is used when the lexical meaning of the source text is lucid and the syntactic structures in it are relatively simple and clear, so the translators need not find a new path in the mode of expression in order to be faithful to the source text. And the use of literal translation can convey the information more objectively and avoid the interference of translators' subjective factors. Meanwhile, in Chinese translation of English prose, the use of zero-translation is frequent but imperceptible, with the omission of some words peculiar to English, such as expletives it and there, English articles and pronouns, but sometimes the English pronouns can also be retained to show a sense of closeness and friendliness. Besides, transliteration is used for the translation of proper nouns and technical terms not only in English prose but also in almost all text types, with conforming to the principles of being named after the original sound and of the translated names accepted through common practice. In a word, translation methods under foreignization can ensure the objective conveyance of information of the original text and preserve its foreignness and unique cultural values that can enrich the target-language readers' knowledge and their languages.&lt;br /&gt;
&lt;br /&gt;
With regard to translation methods under domesticating strategy, in Chinese translation English prose, free translation and imitation method are oftentimes employed. English prose, as one of the English literary genres, boasts distinctive features of literature, such as aesthetic value, language with hidden meanings and the usual use of figures of speech as well as culturally loaded images, which may not be shown vividly and be easily understood by target-language readers via literal or word-for-word translation. Thus, translation methods under domestication, with careful choice of words, proper adjustment of syntactic structures and sentence sequence, and appropriate sublimation of the original text, can express the original author's feelings more lively, render the translation more fluent, idiomatic and expressive, and display the aesthetic charm of the source text.&lt;br /&gt;
&lt;br /&gt;
At the lexical level, in Chinese translation of English prose, the translation techniques --- diction, addition, conversion and repetition --- are usually used. The typical Chinese four-character structures appear time from time in Chinese translation, and the translators choose the words in line with the affectionate, contextual and stylistic meanings of the original prose, which intensify literariness and satisfy the characteristics of scholar prose. Moreover, the addition of Chinese conjunctive words and logical connectors by which sentences in translation are connected into a text can create better cohesion. Furthermore, the conversion of word classes in translation is based on the contrastive studies of English and Chinese, viz., English with its nominal style is static whereas Chinese with its verbal style is dynamic. Besides, it is one of the peculiarities of Chinese to reduplicate characters or words in word-formation and to repeat the similar or same word or expression in a discourse for expressiveness and parallelism, which can render translation more appealing to Chinese readers and produce rhetorical and grammatical effect.&lt;br /&gt;
&lt;br /&gt;
At the syntactic level, the translation techniques --- conversion and division--- are often employed in Chinese translation of English prose. To start with, conversion in the syntactic respect involves conversions of sentence members, sentence patterns and the voice. The conversion of word classes often results in the conversion of sentence members, and the alteration of sentences patterns like the inter-conversion between assertive or negative sentences and question sentences can variegate sentence types in translation. The conversion of passive voice in English prose into active voice in Chinese translation is due to the preference for active forms that can produce positive effect in Chinese language. What's more, part of sentences in English prose are longer and complicated because of subordination, a fundamental feature of English, and it may be hard to reproduce the original thought with following the original sentence structure in translation, hence the division of complex English sentences into word-groups, clauses or simplex sentences in Chinese can endow Chinese translation of English prose with more naturalness, fluency and sense of rhythm.&lt;br /&gt;
&lt;br /&gt;
The research on the features of translation strategies and methods in Chinese translation of English prose, theoretically can offer a deeper insight into English prose and its translation, and practically can help to some extent improve the quality of Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
====Limitations and Suggestions====&lt;br /&gt;
&lt;br /&gt;
There are drawbacks in this paper: firstly, the paper takes only one piece of English prose as an example in case study, so it lacks strong persuasiveness; secondly, since there are few researchers on prose translation at home and abroad, especially those specializing in Chinese translation of English prose, this paper resorts to insufficient literature guidance and reference; thirdly, owing to the confined conditions and narrow academic capacity, this paper is devoid of enough depth and breadth as well as favorable insight and acuity, thus the theoretical support and practical assistance it provides are bound to be limited. As a consequence, it is expected that researchers in this field can cooperate well to build up a system to minimize the possible errors and create more thorough and holistic works to enunciate and improve Chinese translation of English prose.&lt;br /&gt;
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===References===&lt;br /&gt;
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[1] Lawrence Venuti. Rethinking Translation: Discourse, Subjectivity, Ideology [C]. London and New York: Routledge, 1992: 5-20.&lt;br /&gt;
&lt;br /&gt;
[2] Lawrence Venuti. The Translator's Invisibility: A History of Translation [M]. 上海: 上海教育出版社, 2004: 7-25.&lt;br /&gt;
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[3] Mark Shuttleworth. Moira Cowie. Dictionary of Translation Studies [M]. London and New York: Routledge, 2014: 59-163.&lt;br /&gt;
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[4] 方梦之. 中国译学大辞典 [M]. 上海: 上海教育出版社, 2011: 96-118.&lt;br /&gt;
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[5] 侯强. 英语散文汉译策略研究 --- 以“韩素音青年翻译奖”参赛文本为例 [D]. 厦门: 厦门大学, 2014.&lt;br /&gt;
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[6] 何秀琴. 期待视角下的英语散文汉译研究 --- 以《散文佳作108篇》 为例 [D]. 南昌: 南昌大学, 2018.&lt;br /&gt;
&lt;br /&gt;
[7] 连淑能. 英译汉教程 [M]. 北京: 高等教育出版社, 2006: 67-262,&lt;br /&gt;
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[8] 宋颉. 翻译美学视角下的民国散文英译风格研究 [D]. 上海: 上海外国语大学, 2018.&lt;br /&gt;
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[9] 熊兵. 翻译研究中的概念混淆 [J]. 中国翻译, 2014(3): 82-88.&lt;br /&gt;
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[10] 张保红. 文学翻译 [M]. 北京: 外语教学与研究出版社, 2011: 28-88.&lt;br /&gt;
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[11] 朱明炬. 英汉名篇名译 [M]. 南京: 译林出版社, 2007: 319-328.&lt;br /&gt;
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===Appendix===&lt;br /&gt;
&lt;br /&gt;
(The original text:)&lt;br /&gt;
&lt;br /&gt;
The Pleasures of Ignorance&lt;br /&gt;
&lt;br /&gt;
By Robert Lynd&lt;br /&gt;
&lt;br /&gt;
It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance. It is impossible to take a walk in the country oneself without being amazed at the vast continent of one’s own ignorance. Thousands of men and women live and die without knowing the difference between a beech and an elm, between the song of a thrush and the song of a blackbird. Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is the exception. It is not that we have not seen the birds. It is simply that we have not noticed them. We have been surrounded by birds all our lives, yet so feeble is our observation that many of us could not tell whether or not the chaffinch sings, or the colour of the cuckoo. We argue like small boys as to whether the cuckoo always sings as he flies or sometimes in the branches of a tree-whether Chapman drew on his fancy or his knowledge of nature in the lines:&lt;br /&gt;
&lt;br /&gt;
When in the oak's green arms the cuckoo sings, &lt;br /&gt;
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And first delights men in the lovely springs.&lt;br /&gt;
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This ignorance, however, is not altogether miserable. Out of it we get the constant pleasure of discovery. Every fact of nature comes to us each spring, if only we are sufficiently ignorant, with the dew still on it. If we have lived half a lifetime without having ever seen a cuckoo, and know it only as a wandering voice, we are all the more delighted at the spectacle of its runaway flight as it hurries from wood to wood conscious of its crimes and at the way in which it halts hawk-like in the wind, its long tail quivering, before it dares descend on a hillside of fir-trees where avenging presences may lurk. It would be absurd to pretend that the naturalist does not also find pleasure in observing the life of the birds, but his is a steady pleasure, almost a sober and plodding occupation, compared to the morning enthusiasm of the man who sees a cuckoo for the first time, and, behold, the world is made new.&lt;br /&gt;
&lt;br /&gt;
And, as to that, the happiness even of the naturalist depends in some measure upon his ignorance,which still leaves him new worlds of this kind to conquer. He may have reached the very Z of knowledge in the books, but he still feels half ignorant until he has confirmed each bright particular with his eyes. He wishes with his own eyes to see the female cuckoo—rare spectacle!—as she lays her egg on the ground and takes it in her bill to the nest in which it is destined to breed infanticide. He would sit day after day with a field-glass against his eyes in order personally to endorse or refute the evidence suggesting that the cuckoo does lay on the ground and not in a nest.And, if he is so far fortunate as to discover this most secretive of birds in the very act of laying, there still remain for him other fields to conquer in a multitude of such disputed questions as whether the cuckoo’s egg is always of the same colour as the other eggs in the nest in which she abandons it. Assuredly the men of science have no reason as yet to weep over their lost ignorance. If they seem to know everything, it is only because you and I know almost nothing. There will always be a fortune of ignorance waiting for them under every fact they turn up. They will never know what song the Sirens sang to Ulysses any more than Sir Thomas Browne did.&lt;br /&gt;
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If I have called in the cuckoo to illustrate the ordinary man's ignorance, it is not because I can speak with authority on that bird. It is simply because, passing the spring in a parish that seemed to have been invaded by all the cuckoos of Africa, I realized how exceedingly little I, or anybody else I met, knew about them. But your and my ignorance is not confined to cuckoos. It dabbles in all created things, from the sun and moon down to the names of the flowers. I once heard a clever lady asking whether the new moon always appears on the same day of the week. She added that perhaps it is better not to know, because, if one does not know when or in what part of the sky to expect it,its appearance is always a pleasant surprise. I fancy, however, the new moon always comes as a surprise even to those who are familiar with her time-tables. And it is the same with the coming-in of spring and the waves of the flowers. We are not the less delighted to find an early primrose because we are sufficiently learned in the services of the year to look for it in March or April rather than in October. We know, again, that, the blossom precedes and not succeeds the fruit of the apple-tree, but this does not lessen our amazement at the beautiful holiday of a May orchard.&lt;br /&gt;
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At the same time there is, perhaps, a special pleasure in relearning the names of many of the flowers every spring. It is like rereading a book that one has almost forgotten. Montaigne tells us that he had so bad a memory that he could always read an old book as though he had never read it before. I have myself a capricious and leaking memory. I can read Hamlet itself and The Pickwick Papers as though they were the work of new authors and had come wet from the press, so much of them fades between one reading and another. There are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy. But this is only when life has an object beyond entertainment. In respect of mere luxury, it may be doubted whether there is not as much to be said for a bad memory as for a good one. With a bad memory one can go on reading Plutarch and The Arabian Nights all one's life. Little shreds and tags, it is probable, will stick even in the worst memory, just as a succession of sheep cannot leap through a gap in a hedge without leaving a few wisps of wool on the thorns. But the sheep themselves escape,and the great authors leap in the same way out of an idle memory and leave little enough behind.&lt;br /&gt;
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And, if we can forget books, it is as easy to forget the months and what they showed us, when once they are gone. Just for a moment I tell myself that I know May like the multiplication table and could pass an examination on its flowers, their appearance and their order. Today I can affirm confidently that the buttercup has five petals. (Or is it Six? I knew for certain last week.) But next year I shall probably have forgotten my arithmetic, and may have to learn once more not to confuse the buttercup with the celandine. Once more I shall see the world as a garden through the eyes of a stranger, my breath taken away with surprise by the painted fields. I shall find myself wondering whether it is science or ignorance which affirms that the swift (that black exaggeration of the swallow and yet a kinsman of the humming-bird) never settles even on a nest, but disappears at night into the heights of the air. I shall learn with fresh astonishment that it is the male, and not the female,cuckoo that sings. I may have to learn again not to call the champion a wild geranium, and to rediscover whether the ash comes early or late in the etiquette of the trees. A contemporary English novelist was once asked by a foreigner what was the most important crop in England. He answered without a moment's hesitation: &amp;quot;Rye&amp;quot;. Ignorance so complete as this seems to me to be touched with magnificence; but the ignorance even of illiterate persons is enormous. The average man who uses a telephone could not explain how a telephone works. He takes for granted the telephone, the railway train, the linotype, the aeroplane, as our grandfathers took for granted the miracles of the gospels. He neither questions nor understands them. It is as though each of us investigated and made his own only a tiny circle of facts. Knowledge outside the day's work is regarded by most men as a gewgaw. Still we are constantly in reaction against our ignorance. We rouse ourselves at intervals and speculate. We revel in speculations about anything at all—about life after death or about such questions as that which is said to have puzzled Aristotle, &amp;quot;why sneezing from noon to midnight was good, but from night to noon unlucky.&amp;quot; One of the greatest joys known to man is to take such a flight into ignorance in search of knowledge. The great pleasure of ignorance is, after all, the pleasure of asking questions. The man who has lost this pleasure or exchanged it for the pleasure of dogma, which is the pleasure of answering, is already beginning to stiffen. One envies so inquisitive a man as Jowett, who sat down to the study of physiology in his sixties. Most of us have lost the sense of our ignorance long before that age. We even become vain of our squirrel’s hoard of knowledge and regard increasing age itself as a school of omniscience. We forget that Socrates was famed for wisdom not because he was omniscient but because he realized at the age of seventy that he still knew nothing.&lt;br /&gt;
&lt;br /&gt;
(Liu Bingshan's Chinese translation:)&lt;br /&gt;
&lt;br /&gt;
无知常乐&lt;br /&gt;
&lt;br /&gt;
刘炳善 译&lt;br /&gt;
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同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是凤毛麟角。所以如此，并不是因为这些鸟我们没有见过，而只是因为我们习焉不察。在我们一生中，鸟类始终就在我们周围，然而我们对于它们的观察总是那样马马虎虎，所以我们当中许多人都说不清花鸡到底会不会知，也不知道杜鹃究竟是什么颜色。对于有些问题、我们像小孩子一样争论不休、譬如说，杜鹃在飞着或栖身于树枝间的时候，是否一直不停地鸣，而查普曼下面两行诗的灵感究竟是来自他的想像还是来自他的自然知识∶&lt;br /&gt;
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杜鹃在橡树的绿色怀抱里啭啼，&lt;br /&gt;
&lt;br /&gt;
第一个为人们带来欢欣、美好的春意。&lt;br /&gt;
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不过，这种无知也并非全然不幸，因为正是由于它，我们才能不断尝到发现的乐趣。只要我们是的的确确地无知，那么每年大地春回，自然界的每一种事物都会带着它那清新的露珠重新出现在我们面前。如果我们活了半辈子，对于杜鹃除了听过它那飘忽不定的叫声，从来没有见过它是什么模样，那么，一日看见它因为自己犯了罪而煌惶不安地从这个林子飞逃向那个林子。或是看见它顶着风、像老鹰似的停留在半空中，它那长长的尾巴颤动着，不敢落下来，生怕有什么鸟儿藏在那山坡上的枞树林里等着要找它报仇。我们才会觉得大大开心。有人想着，博物学家整天观察鸟类，大概就不会觉得有什么趣儿了吧？其实大谬不然--他那持续不断的乐趣几平已经变成一种安详的职业习惯了，不像有人某天早晨突然第一次看见一只杜鹃，不胜雀跃之至，于是，看哪，天地也为之焕然一新了。&lt;br /&gt;
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说到这儿，甚至连博物学家的快乐在一定程度上也有赖于自己的无知；只有如此。才能给他留出一些新的领域有待他去征服。即使他已经攀登了书本知识的顶峰，他仍会感到自己不过是半通不通，每一个引人注目的细节还必须用自己的亲眼观察来加以一一证实。他盼着能亲眼看到雌杜鹃（这可是个稀罕物儿！）把蛋下到地面上。然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。因此，博物学家就要戴上望远镜，日复一日地坐在那里等待着亲眼证实或者否定那种认为杜鹃确实是在地面上而非在窠里下蛋的说法。而日，即使他很幸运，能够发现杜鹃下蛋实况，这个在鸟类来说算是极大的秘密，其他一大批有争议的问题还依然存在。就像新的领土有待他去开拓，例如，杜鹃的蛋跟它占用的窠里其他鸟的蛋是否总是一样颜色？自然，科学家没有理由为了自己失去无知而哭泣。如果他们看起来似乎是精通一切的话，那也不过因为你我差不多是一无所知罢了。实际上，当他们要把一件事实的盖子揭开的时候，某种命定的无知就在等待着他们。海妖们向尤利塞斯唱的究竟是什么歌儿？——他们永远不可能知道，正像托马斯·勃朗爵士也不知道一样。&lt;br /&gt;
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我请杜鹃来做例子以说明普通人的无知，并不是因为我有什么权威可以对这种鸟儿发发议论。不过，我曾在某个教区暂住，而那年春天从非洲飞来的杜鹃似乎全集合在那个地方，因此我也就有机会了解到我自己以及我所碰见的每一个人对于这种鸟儿的知识是如何地微不足道。但是，你我的无知并不仅限于杜鹃这一方面。它涉及到宇宙万物，从太阳、月亮一直到花卉的名字。有一天，我听见一位聪明伶俐的太太提出了这样一个问题∶新月是不是总在星期几露面？她接着又说：不知道倒好，正因为人不知道在什么时候、在天空的哪一带能看见它，新月一出现才给人带来一场惊喜。然而我想、哪怕入把月亮盈亏时间表记得再熟。看见新月出现还是不免又惊又喜，春回大地，花开花落，也莫不如此。尽管我们对一年四季草本节令了如指掌，知道樱草开花在三月四月而不在十月，不过看见一株早开花的樱草，我们还是照样地高兴。另外，我们知道苹果树先开花，后结果，可是五月一旦到来，果园里一片欢闹的花海。我们不是仍然惊为奇观吗？&lt;br /&gt;
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倘在每年春天，把许多花卉之名重温一遍，还另有一番风味。那就像把一本差不多忘得干干净净的书再重新念一遍。蒙田说过，他的记忆力很坏，所以他随时都能拿起一本旧书，像从未读过的新书一样地念。我自己的记忆力也是漏洞百出、不听使唤。我甚至能拿起《哈姆雷特》和《匹克威克外传》，当作是初登文坛的新作家刚刚印成白纸黑字的作品来念，因为自从上回念过以后，这两部书在我脑子里的印象已经模模糊糊了。这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。不过，在这种时候，人不仅想得到娱乐，还追求着什么目的。如果只讲享受的话，记忆力坏比记忆力好究竟差到哪里去，还真是大可怀疑哩。记忆力坏的人可以一辈子不断地念普卢塔克的《英雄传》和《天方夜谭》，而永远感到新鲜。很可能，最坏的记忆力也难免粘粘连连地留下一星半点的印象，恰如一只只绵羊从篱笆洞里接连通过，总不免在那刺条上留下一丝半缕的羊毛。然而，绵羊终归逃出去了，正像伟大的作家从我们不争气的记忆中消失。所留下的东西简直微不足道。&lt;br /&gt;
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既然读过的书我们可以忘得一干二净，那么一年十二个月以及每个月的风物，一旦时过境迁。我们同样可以轻而易举地把它们忘在脑后。在某个短暂时刻，我可以说自己对于五月就像对于乘法表那样熟悉，关于五月里的花木、开花时间乃至前后次序，我能通过考试。今天，我就敢肯定金凤花有五瓣。（难道是六瓣吗？上个礼拜我还记得清清楚楚来着。）可是，到了明年，我也许连算术也忘个干干净净;我得从头学起，以免把金凤花误认成白屈菜。那时，我像一个陌生者进人大花园，放眼四望，五色缤纷的原野再一次使我目不暇接，心迷神醉。那时，我也许要对这么一个问题拿不定注意，就是; 认为雨燕（那种简直像大号小燕子、又和蜂鸟沾点儿亲戚的黑鸟儿）从来不在窠里歇着，一到夜里就飞向高高的天空，到底是一种科学论断，还是一种无知妄说？当我知道了会唱歌的并不是雌杜鹃，而是雄杜鹃。我还要再次感到惊讶。我得重新学习，以免把剪秋罗当作野大竺葵；还要去重新发现白杨在树木生长的习惯法中究章算是早成材还是晚成材。某天。一个外国人问一位当代英国小说家，英国最重要的农作物是什么。他毫不犹豫地回答：“稞麦。”在我看来，这是一种堂而皇之派头的彻头彻尾的无知；不过，大大无知的也包括那些没有文化的人。普通人只会使用电话，却无法解释电话的工作原理。他把电话、火车、铸造排字机、飞机都看作当然之事，就像我们的祖父一代把福音书里的奇迹故事视为理所当然一样。对于这些事，他既不去怀疑，也不去了解。我们每个人似乎只对很小范围内的某几件事才真正下工夫去了解、弄清楚。大部分人把日常工作以外的一切知识统统当作花哨无用的玩意儿。然面，对于我们的无知，我们还是时时抗拒着，我们}有时振作起来，进行思索。我们随便找一个什么题目，对之思考，甚至入迷——关于死后的生命，或者关于某些据说亚里士多德也感到大惑不解的问题，例如“打喷嚏，从中午到子夜则吉，从夜晚至中午则凶，其故安在？”为求知识而陷入无知，这是人类所欣赏的最大乐事之一。归根结底，无知的极大乐趣即在于提出问题。一个人，如果失去了这种提问的乐趣，或者把它换成了教条的答案，并且以此为乐，那么，他的头脑已经开始僵化了。我们羡慕像裘伊特这样勤学好问之人，他到了六十多岁居然还能坐下来研究生理学。我们多数人不到他这么大的岁数就早已丧失了自己无知的感觉了。我们甚全像松鼠似的对自己小小的知识储存感到沾沾自喜，把与日俱增的年龄看作是培养无所不知的天然学堂。我们忘记了∶苏格拉底之所以以智慧名垂后世，并非因为他无所不知，而是因为他到了七十高龄还能明白自己仍然一无所知。&lt;br /&gt;
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=毛优Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
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毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
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=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
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从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。	&lt;br /&gt;
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Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
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Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
翻译风格，巴黎的忧郁，郭宏安，亚丁&lt;br /&gt;
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==Introduction==&lt;br /&gt;
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The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
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Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations. Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
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==Liu Miqing’s theory of translation style==&lt;br /&gt;
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Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
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Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.&lt;br /&gt;
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In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
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==Form Markers==&lt;br /&gt;
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According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
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===Register Markers===&lt;br /&gt;
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“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
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The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
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Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
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Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
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Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
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This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
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===Lexical Markers===&lt;br /&gt;
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Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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'''Eg. (b)'''&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence, translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
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==Non-formal Markers==&lt;br /&gt;
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The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
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Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
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According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
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Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
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The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
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The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
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Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
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Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.&lt;br /&gt;
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==References==&lt;br /&gt;
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[1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[3] 刘宓庆 Liu Mingqing. 新编当代翻译理论[M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp;amp; Publishing Corporation, 2005.&lt;br /&gt;
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[4] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.&lt;br /&gt;
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[5] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.&lt;br /&gt;
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=秦建安 A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
[[Trans_Type_EN_7]]&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Lu Xun, chief commander of China's modern cultural revolution, is not only a great thinker and political commentator but the founder of modern Chinese literature. Kong I-Chi is one of the masterpieces of Lu Xun's novels. Although the total number of characters is less than 3,000 words, Lu Xun exposes the nature of feudal ethics and its negative influence through his character portrayal, which is loved by many readers home and aboard. The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but so as close as possible to the original text in terms of syntactic structure and wording. Therefore, his translations once became the authoritative version of Lu Xun's novels. From the perspective of Nida’s functional equivalence theory, this thesis conducts translation research on the English translation of the famous writer Yang Xianyi, analyzing whether the translation is functionally equivalent to the original text and construe the English translation of prose from the lexical, syntactic, and semantic level to try to explore the translation strategies, styles and methods of Kong I-Chi which aims to explain the functional equivalents in Lu Xun's short novel translation.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Functional Equivalence Theory; Lu Xun; Kong I-Chi;translation method&lt;br /&gt;
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===Introduction===&lt;br /&gt;
This chapter will be expanded with respect to the research background, its significance and the methodology. The literature review will also be included which describes the previous studies on the Functional Equivalence Theory and previous translation versions of ''Kong I-Chi''.&lt;br /&gt;
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'''Research Background and Significance'''&lt;br /&gt;
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As the most famous writer in modern China, Lu Xun has a decisive bearing on the modern history of Chinese literature. Lu Xun settled in a period of transformation in Chinese literature. His short stories are different from modern short stories in terms of text and expression. ''Kong I-Chi'' was written in 1918 when there was a turmoil in China. At that time, although the imperial examination system had been abolished, the education system had not changed, and many scholars had not shaken off the shackles of feudal tenets. &lt;br /&gt;
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''Kong I-Chi'' enjoys high reputation at home and abroad and has been translated into English, Japanese, French, Russian and other languages. Compared with other language versions, the English versions enjoy a wider spread and have deeper influence. In 1954, the couple Yang and Dai translated it into English and published Selected Stories of Lu Xun in which ''Kong I-Chi'' was included. Yang Xianyi and his wife Gladys Yang are great translator beyond all doubt. They are knowledgeable and familiar with Chinese and Western cultures also have devoted their life to translating excellent Chinese and Western literary works. Through their translation, we can better master the author's own novel intentions.&lt;br /&gt;
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'''Methodology'''&lt;br /&gt;
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In recent years, the translation of traditional Chinese literary works was attached great significance by both Chinese and foreign scholars. As an important part of ancient Chinese culture, though, it is a common genre in Chinese and foreign literature, the short novels cannot be neglected. For translators, how to deal with the modern and balance Chinese and Western cultural differences has become a salient problem. It is not only necessary to understand the characteristics of modern Chinese literature, but also to be very familiar with Chinese and Western cultures for the translator. Functional Equivalence Theory is put forward by American linguists Eugene Nida. According to him, two different languages represent two different cultures which will never be the same, but translation is a kind of communication between the two cultures and translators should try their best to achieve functional equivalence between the two languages rather than seek for rigid correspondence when making translation, which can accurately reproduce the source culture in the target language and eliminate cultural differences. It puts forward a new attitude to treat different languages and cultures, promoting language communication and mutual understandings among people. Thus, taking Nida’s theory as guidance, this research is meaningful not only for translation studies, but also for cultural exchanges.&lt;br /&gt;
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'''Literature Review'''&lt;br /&gt;
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As one of Nida’s major contribution to contemporary translation studies, Functional Equivalence Theory has brought about heated discussion among scholars at home and abroad since its birth. Many momentous works of Nida also have been translated and introduced into China, such as Nida on Translation edited and translated by Tan Zaixi (1999) and Language and Translation translated by Cai Yi (1985) which of them aroused great repercussions in Chinese translation field. As the prototypical member of Functional Equivalence Theory, receptor’s response theory draws scholars’ attention. Zhang Xiujuan (2015) points out that “receptor’s response theory breaks the tradition of Chinese translation that translators pay much attention to the text but may ignore the response of readers, and provides a new perspective for Chinese scholars to make studies on translation theories”.&lt;br /&gt;
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Kong I-Chi, as the most typical character in Lu Xun's novels in the teaching textbooks of Chinese junior high school students, has left an indelible impression in the hearts of Chinese people. The most recognized translators of ''Kong I-Chi'' include Yang and Dai, Lyle William and Edgar Snow. The translation of Lu Xun's novels during the period of Yang and Dai reach its heyday. For a long time, domestic and foreign publishing houses have published works translated by the couple. Since Edgar Snow lived in the same age as Lu Xun, his translation is closer to Lu Xun's life background. It wasn't until 1990 that the American scholar William Lyell's new American translation was published, and the new stage of the English translation of Lu Xun's novels began. The British English version translated by Yang and Dai is elegant and idiomatic, giving readers the good impression of pure British English.&lt;br /&gt;
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=== Theoretical Framework: Nida’s Functional Equivalence Theory ===&lt;br /&gt;
==== Introduction of Functional Equivalence Theory ==== &lt;br /&gt;
===== The Original of Functional Equivalence Theory  =====&lt;br /&gt;
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Nida's main academic activities unfold around the translation of the Bible. In the process of &amp;quot;Bible&amp;quot; translation, Nida started from reality and developed a set of his own translation theory, which eventually became one of the classics in translation studies. In 1964, Nida (1964) put forward “dynamic equivalence” in ''Toward a Science of Translating'', and gave it specific definition in ''The Theory and Practice of Translation'' (1969). In the mid-1980s, “dynamic equivalence” was replaced by “functional equivalence” to avoid misunderstandings on the term “dynamic”, which was the origin of Functional Equivalence Theory.&lt;br /&gt;
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=====The Development of Functional Equivalence Theory  =====&lt;br /&gt;
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The most important and the most intractable part in Functional Equivalence Theory is the disposal of message. The theory requires that the message in receptor’s language must be consistent with the source language. In such a translation, translators should strive to “reproduce as literally and meaningfully as possible the form and content of the original” (Nida 1964:159). Later he successfully applied the research results of modern linguistics to translation theory which also reciprocally pushed his theory forward. There are three stages in the development of Functional Equivalence Theory.&lt;br /&gt;
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The first stage is that starting from the essence of language; he used semantic theory to make an objective and accurate analysis of the referent and associative meaning of words. In Nida's point of view, various language structures have great similarities, and the deep structure is far more common than the surface structure. Therefore, the translation of the deep structure between languages can ensure the fidelity of the translation to the greatest extent. At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensue smoothness of the translation as much as possible. The faithful and fluent translation presupposes conditions for the equivalence of receptor’s response, which makes it possible to realize functional equivalence.&lt;br /&gt;
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The second stage is that the theory was prone to lay its foundation on information theory. Nida held the view that translation is the activity of converting information expressed in one language into information in another language, which is, converting information of one code into information of another code. The translation plays a communicative role in transmitting information. Only when the target reader obtains the same amount of information as the original reader can the relationship between the target language recipient and the target language information be basically the same as the relationship between the original language recipient and the original source information. Nida noticed that there is a receptive gap between the original reader and target reader especially when the original language and the target language belong to different language families and different cultures. Thus, in order to improve the amount of the receptor’s information as much as the original reader’s, Nida emphasizes the translator can moderately change the form of the original text to provide a better understanding for receptors.&lt;br /&gt;
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On third stage, Nida tended to embellish his theory from the perspective of social semiotics. Nida insisted that the translation means translation meaning, and semiotics is the most comprehensive system for analyzing meaning. In the book &amp;quot;''Language, Culture, and Translation''&amp;quot;, Nida pointed out that social semiotics studies all codes and codes of human society, and its focus is on the most comprehensive and complex symbol system used by mankind-Language. Therefore, in terms of decoding and encoding, no translation method is as comprehensive as the social semiotic translation method.&lt;br /&gt;
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Nida also recognized that there would never be complete equivalence and it was just a quaesitum. With further development of Functional Equivalence Theory, he thought that it has different degrees of adequacy and on that basis he put forward two levels of functional equivalence — the maximal level and the minimal level of equivalence. The former refers to “the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did” (Nida 1993:118), but this is just an ideal state which cannot be achieved especially when there are huge cultural and aesthetic differences between the two languages. While the latter means “the readers of a translated text should be able to comprehend it to point that they can conceive of how the original readers of the text must have understood and appreciated it” (Nida 1993: 118), and translation below this level can never be accepted. According to Nida, if a translation is between these two levels, it can be regarded as a good one.&lt;br /&gt;
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==== Basics of Functional Equivalence Theory  ==== &lt;br /&gt;
=====Receptor’s Response  =====&lt;br /&gt;
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In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s responce. When translators are working on translation, they are increasingly unable to ignore the reader's feedback on the translation. From the perspective of reception aesthetics, translation theorist Nida said that only when the reader accepts the translation can the translation be truly completed. Therefore, when translating, the translator cannot ignore the acceptability of the translation. The translator builds a bridge between the original author and the reader of the target language through translation, and it is the translation that can clearly reflect this bridge role.&lt;br /&gt;
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Receptor’s Response Theory draws attention to the reader and the reading process, rather than the author or the text. Pat Mora and James Welch define it as: &amp;quot;The theory emphasizes the importance of the reader's role in text understanding.&amp;quot; The same description also appears in many of Nida’s works in which the importance of “receptor’s response” is emphasized repeatedly. &lt;br /&gt;
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There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which was pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information need to be filled in by the reader himself. Such uncertainty occupies another very important position in this theory. This concept includes those vague factors, such as gaps and blanks. This kind of uncertainty encourages readers to add their own ideas when reading, so there is usually more than one understanding of a literal work. The third point is implicit reader also proposed by Isel, as opposed to the actual reader, which refers to the intended reader set by the writer himself who can concretize the text. Isel points out that the implicit reader is not the actual reader, but a reader that the author expects to design in the creative process, that is, the implicit recipient. It is a certain character that the artist conceives and pre-sets based on his experience or hobbies. The forth part is the identity theme. In other words, the work itself has no fixed objective meaning; only when the reader reshapes the work out of his own identity theme and the reader replicates his own fantasies during the reading process, the work can be given meaning. The last point is the interpretative group which was put forward by Stanley Fish. It refers to people who share the same interpretation strategy as we have. In a known context or reader group, the interpretation of the work meaning is the product from the group.&lt;br /&gt;
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===== Principles for Producing Functional Equivalence  =====&lt;br /&gt;
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To achieve the closest natural equivalence between the source language and target language, Nida put forward six principles as the guidance of different kinds and degrees of adjustments:&lt;br /&gt;
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1.	When the translation that strictly keeps the form of the source text makes receptors misunderstand the designative meaning, changes need to be made in the translated text, or a footnote should be added for further explanation if literal translation is still be selected.&lt;br /&gt;
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2.	When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aim to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.&lt;br /&gt;
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3.	When the translation that strictly keeps the form of the source text is so semantically and syntactically difficult that average readers may give up the attempt to understand it, changes should be made in the translated text and the nature of the changes needs to be indicated in the introduction or footnote.&lt;br /&gt;
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4.	When the translation that strictly keeps the form of the source text causes significant misconceptions on the associative meanings of the source text or huge loss in the appreciation for the stylistic values of the source text, changes should be made to reflect the associative meanings of the source text.&lt;br /&gt;
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5.	The way that a translation is to be used (such as a drama to be read or acted on the stage) is of great significance to the extent to which changes are to be made.&lt;br /&gt;
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6.	A source text that must be translated together with accompanying codes (such as songs and operas) generally requires numerous adjustments in all aspects, including phonology, lexicon, syntax, and discourse. (Nida 1993: 125-128).&lt;br /&gt;
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=== Introduction to Lu Xun and ''Kong I-Ch''i  === &lt;br /&gt;
==== Lu Xun and the values of ''Kong I-Chi'' ====&lt;br /&gt;
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To read and translate Kong I-Chi, you must first understand its author-Lu Xun.&lt;br /&gt;
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Lu Xun is a great writer. Mentioning classical literary works, no matter what innovative methods are adopted, whether realistic, romantic, or magical, the content should be close to life, reflect the reality of times and speak for the people. In terms of form, literary works should conform to the inherent rules of literary creation-forming a unique artistic style and achieving the perfect unity of truth, goodness, and beauty. Lu Xun's works fully meet the above requirements. &lt;br /&gt;
Lu Xun is also a famous thinker. Indeed, Lu Xun did not specifically study thinking or modes of thinking, nor did he have advanced theoretical monographs, but he, like thinkers in ancient and modern times, both at home and abroad, used suspicion and criticism as spiritual swords to explore truth and reveal. He held the view that it was his duty to awaken the sleeping souls of the Chinese people with literary works of various genres. The depth and breadth of his thinking is even higher than that of some contemporary thinkers. This is well reflected in his work Kong I-Chi.&lt;br /&gt;
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Lu Xun, who is a revolutionary, has a precious characteristic, that is, the purity of his revolutionary original intention. Lu Xun leaned towards socialism under the white horror of the low ebb of the Chinese revolution. What's more commendable is that as a sober realist, Lu Xun never conceives any romantic illusions about the revolution. No matter what difficulties the revolution encounters, Lu Xun always has an optimistic belief in the prospects of the revolution.&lt;br /&gt;
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From a general perspective, Lunatic's Diary is more macro and image specific than Kong I-Chi, while Kong I-Chi starts from the micro level, depicting the poor people at the bottom of society who was bullied and oppressed and lost their dignity as human beings. In addition, there are many opinions in the critics. For example, Mr. Lu Xun's Kong I-Chi was written to criticize the feudal imperial examination system, and some people think that it was sent out to criticize the “dark” old society. The famous critic Lin Zhihao believes that this novel is not only to assail at the corruption of the feudal imperial examination system, but also to reveal the persecution of people’s spiritual and ideology by the feudal education system in the dark old society. The social reality was that most scholars had been ruthlessly “eaten” up by the environment. When the shackles of thinking have been broken, we can dig into the deep meaning under the surface of Kong I-Chi, that is, the process of literati's loss of personality and the process of redemption under the background of the dark society of feudalism. Although the tragedy is redemptive, the process is also accompanied by a fall.&lt;br /&gt;
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==== Study on the Translation of ''Kong I-Chi''  ====&lt;br /&gt;
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''Kong I-Chi'' is a masterpiece of Lu Xun. The novel was created in the winter of 1918, published in the sixth volume of &amp;quot;''Italic text''New Youth&amp;quot; in April 1919. (刘家鸣1992: 15). ''Kong I-Chi'' is Lu Xun's most satisfying work (孙伏园等2000: 58), and it is also one of Lu Xun's novels that English translators are vying to translate resulting in an amount of English translation. &lt;br /&gt;
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So far, there are eight translations of ''Kong I-Chi'': 1)A British man E.H.F.Mills translated ''Con Y Ki'' from Jing Yinyu's French translation (Mills 1930: 42-50), included in ''The Tragedy of Ah Q and Other Contemporary Chinese Short Stories'' published by George Rutridge Bookstore in London in 1930; 2) The English translation of ''K’ung I-chi'' by the American Jin Shouzhuo (G.A.Kennedy 1932: 14-15), which was later included in ''Isaacs'' (Isaacs 1974: 25-32) edited by Yi Luosheng; 3) ''K’ung I-chi'' translated by Lin Jijin (Lin 1935:3-4); 4) Unsigned version of The Tragedy of ''K'ung I-Chi'' (Anonymous 1936: 2-3); 5) ''K’ung I-chi'' was co-translated by American journalists Edgar Snow and Yao Xinnong; 6) later comes to Yang Xianyi and Gladys's translation ''K'ung I-chi'' (hereinafter referred to as &amp;quot;Yang Translation&amp;quot;) (Yang &amp;amp; Gladys 1960: 40-46); 7)Then, famous American sinologist William Lyell translated ''Kong Yiji'' (Lyell 1990: 42-48); 8) other translation of ''Kong Yiji'' was produced by British sinologist Lan Shiling ( Lovell 2009: 32-36).&lt;br /&gt;
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This article focuses on Yang's translation, trying to explore Yang and Dai's translation strategies, styles and methods of ''Kong I-Chi'' from the lexical, syntactic and semantic levels, and aims to explain the functional equivalence in the English translation of Lu Xun's short stories.&lt;br /&gt;
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=== Analysis of the Translation of ''Kong I-Chi'' from the Perspective of Functional Equivalence  === &lt;br /&gt;
==== Lexical Analysis ====&lt;br /&gt;
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There are many cultural-loaded words in the original Kong I-Chi text, such as this. Culture-loaded words are deeply imprinted by the region and era of a certain language society which express things and concepts peculiar to a certain culture. Such words as “进学” and “秀才” not only carry rich cultural connotations, but also exist only in a certain culture which may be blank in another culture. It is this characteristic which is “I have and you do not have” that often becomes an obstacle to cross-cultural communication and translation. From the perspective of Functional Equivalence, this thesis will analyze how these words are handled in Yang's translation.&lt;br /&gt;
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In the sentence “幸亏荐头的情面大，辞退不得”, the word “荐头” was translated into “someone influential” by Yang and Dai. “荐头” is the person who introduces works to other people in ancient China. Such person is absolutely influential. But for reader, such influential people may be a nobleman or someone who is very authoritative in the area which may result in discrimination. The job introducers also can be regarded as common people instead of the influential. From the perspective of Functional Equivalence, Yang’s translation explicitly showed the deep meaning with loss of cultural characteristic.&lt;br /&gt;
The phrase “之乎者也” was translated into “archaisms” which stands for the use of an archaic expression. In Chinese, the original meaning of “之乎者也” is four auxiliary words commonly used in classical Chinese. Therefore, the word &amp;quot;之乎&amp;quot; also refers to the basic abilities that a scholar should possess. Later, it is used to ridicule the scholar who only knows how to analyze words while cannot solve practical problems. Functional equivalence theory requires efforts to create translations that not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. The word “archaisms” corresponds exactly to the description of Kong I-Chi in Lu Xun’s story who is a nerd.&lt;br /&gt;
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Other prototypical cultural-loaded word is “进学”. Yang translated it into “pass the official examination”. As a link in the imperial examination system in ancient China, “进学” means that the children of the Qing dynasties who can pass the examination will be admitted to the prefectural and county schools. Such system is unique to China. To achieve functional equivalence, that is, to allow non-native readers to understand this special cultural mark, the translator must explain this cultural phenomenon as much as possible or find a corresponding expression in the foreign language culture. The same in the word “秀才” on this sentence “你怎的连半个秀才也捞不到呢?” “秀才” also belong to the imperial system. “秀才” is a subject for selecting officials in ancient China, and it was once used as a special name for school students. Yang translated it into “passed the lowest official examination”. As the minimum requirement of the ancient imperial examination system, those who passed the selection examination were called  “秀才”. According to Nida’s theory, it perfectly expresses the ancient Chinese imperial examination system, and at the same time allows foreign language readers to understand Kong I-Chi’s knowledge background.&lt;br /&gt;
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==== Syntax Analysis ====&lt;br /&gt;
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In terms of syntax, the differences in sentence patterns between English and Chinese are the most salient. English emphasizes hypothesis while Chinese emphasizes parataxis, which leads to the conversion of sentence patterns in the process of translation. According to Nida's Functional Equivalence Theory, if the change in form is still insufficient to express the meaning and culture of the original text, the translation technique of &amp;quot;reconstruction&amp;quot; can be used to resolve cultural differences and make the source language and the target language equal in meaning. &amp;quot;Reconstruction&amp;quot; refers to the conversion of the deep structure of the source language into the surface structure of the target language (郭建中,2000 , P67), that is, the cultural connotation of the source language article is explained by the vocabulary of the target language.&lt;br /&gt;
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In ''Kong I-Chi'', when Kong I-Chi took our his money and ordered some food, other people started to sneer at his revenue sources and said “你一定又偷了人家东西了!” The exclamatory sentence in the original text showed others' affirmation of Kong I-Chi's theft. Yang translated it into “You must have been stealing again!” Here we can notice the tense of the two sentences. Lu Xun used the past tense in original text, which expresses that Kong I-Chi's stealing is an established fact. However, Yang used the present perfect continuous tense when translating. In English, the present perfect continuous tense manifests that something the subject has done in the past is still being done, and may continue in the future, expressing the continuation of an action. There is no need to add any other additional descriptions, just from this tense, readers can realize everyone's thoughts on Kong I-Chi's theft. Such reconstruction of tense verifies the application of Functional Equivalence Theory in turn.&lt;br /&gt;
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Afterwards, these people who deprecated him refuted Kong I-Chi's maintenance of himself, saying: “什么清白?” In Yang's translation, it is translated as “Pooh, good name indeed!” In the original text, it is originally an interrogative sentence, but Yang transformed it into an exclamation sentence, added English slang “pooh” in it and translated “清白” into good name. If the interrogative sentence in the original text is literally translated into &amp;quot;what’s the innocence&amp;quot;, the comic effect, that is, everyone's disdain for Kong I-Chi in the exclamatory sentence will not be achieved. The sentiment contained in the original text is successfully conveyed through the conversion of sentence patterns.&lt;br /&gt;
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When describing Kong I-Chi’s knowledge background, the original text mentioned: “幸而写得一笔好字，便替人家钞钞书”. In Yang’s translation, he didn’t directly translate it into a verb phrase instead of into a noun phrase which was “Happily, he was a good calligrapher.” Knowing the characteristics of English and Chinese languages, he metonymically recreated dynamic Chinese verb clauses into static noun clauses.&lt;br /&gt;
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==== Semantic Analysis ====&lt;br /&gt;
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How to eliminate cultural differences as much as possible so that the semantics of the original language can be perfectly embodied? From the perspective of Functional Equivalence Theory, the translator needs to transform the deep structure of the source language into the surface structure of the target language which requires translator to use the corresponding vocabulary in the target language to directly explain the connotation of the original text, so that the target readers can accept the translation more easily. For example, in the original text, the sentence “因为他姓孔，别人便从描红纸上的 ‘上大人孔乙己’这半懂不懂的话里，替他取下一个绰号，叫作孔乙己” includes an allusion: 上大人孔乙己 which refers to a character in the card game popular in ancient China. In such card game, the characters always are drawn in a red paper. For children in ancient China, the card game was easy to play and was a childhood memory.&lt;br /&gt;
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In Yang’s translation, he translated it into “As his surname was Kung, he was nicknamed ‘Kung I-chi’, the first three characters in a children's copybook.” Such translation omits a lot of information from the original text, such as “描红纸上” and “半懂不懂”. But Yang gave a substitute for the omission: he explained the game allusion about children which can be regarded as a strategy that helps foreign readers better understand how Kong I-Chi comes. &lt;br /&gt;
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Another illustration is the translation of this sentence: “孔乙己，你当真认识字么？” It seems fairly easy for common people to translate it with “Kong I-Chi, do you really know words?” , while Yang gave a different version: “Kung I-chi, do you really know how to read?” In our cognitive concepts, if a man knows how to read a word, then he must know this word. But if he knows the word, he may not only know how to read it, but even know how to write it. Such special mechanism is called conceptual metonymy. Yang metonymically narrowed the scope of the meaning of the word “认识”and accurately positioned the meaning of this understanding according to the context. The translator abandons the equivalence of form and achieves the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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This article selects Yang’s translation of &amp;quot;''Kong I-Chi''&amp;quot; as the study case, and analyzes the translation effect from three aspects: lexicon, syntax and semantics, combined with Nida’s Functional Equivalence Theory. It is believed that the translator flexibly uses a variety of translation methods to deal with the differences between English and Chinese languages, and the translation has realized functional equivalence as a whole.&lt;br /&gt;
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At the lexical level, the translator adopts the naturalization method when translating the proper nouns of &amp;quot; ''Kong I-Chi'' &amp;quot;, adding notes to individual words. The translation perfectly conveys the meaning of the original vocabulary. &lt;br /&gt;
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At the syntactic level, when there are differences in the expression of English and Chinese sentences, the translator will split the sentence, adjust the subject and object of the sentence, change the sentence structure and the sentence order to make the translation conform to the expression of the target language where the translation is smooth and natural. When translating the allusions of &amp;quot; ''Kong I-Chi'' &amp;quot;, the translator adopts literal translation and annotations. &lt;br /&gt;
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In terms of semantics, the translator uses the mechanism of conceptual metaphors to accurately show the original flavor.&lt;br /&gt;
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This article believes that the success of Yang’s English translation of &amp;quot;''Kong I-Chi''&amp;quot; lies in its fluent, natural language and exotic flavor. The author and translator of &amp;quot; ''Kong I-Chi'' &amp;quot; are both famous artists. The translation case from the English translation of &amp;quot;''Kong I-Chi''&amp;quot; reflects the practical application of the Functional Equivalence Theory in Lu Xun's novels. The writer also hopes that this thesis can provide ideas and inspirations for the English translation of other Lu Xun's novels.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Nida E.A. ''Language and Culture: Contexts in translating''. Shanghai: Shanghai Foreign Language Education Press.2001. &lt;br /&gt;
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[2]Nida, Eugene A.1964. Towardsa ''Science of Translating'', Leiden: E.J.Brill. &lt;br /&gt;
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[3]Nida, Eugene A.&amp;amp;Charles R.Taber, 1969, ''The Theory and Practice of Translation'', Leiden: E.J.Brill&lt;br /&gt;
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[4]鲁迅Lu Xun.鲁迅全集(第一卷)Selected Work of Lu Xun(volume Ⅰ）[M].北京Beijing:人民文学出版社People's Literature Publishing House ,1982.&lt;br /&gt;
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[5]谭载喜Tan Zaixi．新编奈达论翻译New Nida's Translation[M]．北京Beijing：中国对外翻译出版公司China Translation &amp;amp; Publishing Corporation，1999.&lt;br /&gt;
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[6]杨坚定Yang Jianding，孙鸿仁Sun Hongren．鲁迅小说英译版本综述A Summary of the English Versions of Lu Xun's Novels[J]．鲁迅研究月刊Lu Xun Research Monthly，2021(4)．&lt;br /&gt;
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[7]伊塞尔Iser.本文中的读者 Readers in this article[A]．二十世纪西方美学名著选（下）Selected Works of Western Aesthetics in the Twentieth Century (Part 2)[C]．上海Shanghai：复旦大学出版社Fudan University press,1998.&lt;br /&gt;
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[8]杨宪益.Yang Xianyi,戴乃迭 Dai Naidie译.鲁迅选集英文版(一) Selected Works of Lu Xun (1)[M].北京:外文出版社 Beijing: Foreign Languages Press,1980.&lt;br /&gt;
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[9]https://baike.baidu.com/item/%E5%8A%9F%E8%83%BD%E5%AF%B9%E7%AD%89%E7%90%86%E8%AE%BA/3373397?fr=aladdin&lt;br /&gt;
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[10]https://www.zhihu.com/question/29965932&lt;br /&gt;
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=颜子涵 Translation methods and strategies applicable to the style of biographical literature -- Taking Incidents in Life of Slave Girl (excerpt) as an example=&lt;br /&gt;
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[[Trans_Type_EN_8]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
The translated text of this article is a part of the English biography Incidents in Life of Slave Gir. The author of this work is Harriet Jacobs. This translation mainly takes the translation functional equivalence theory of American linguist Eugene A.Nida as the theoretical framework, adopts some translation skills in translation practice, and discusses the translation skills and Strategies of Chinese translation of such texts by analyzing the stylistic characteristics of biographical literature, especially African American autobiography. Through the Chinese translation of this autobiography, we can have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Autobiographical Literature; Black female slaves; Translation methods and Strategies&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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This paper is divided into four parts. The first part is an overview of the translation project, which mainly introduces the relevant situation of the translation project, the author and works of the translated text; The second part is the preliminary preparation of translation, including project text analysis and translation plan formulation; The third part, translation theory and case analysis, including functional equivalence theory, translation strategies and case analysis; The fourth part is the summary of the project, mainly on the problems encountered in translation, the experience and inspiration gained in the process of translation.&lt;br /&gt;
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This work belongs to the category of biographical literature. Biographical literature is a literary genre in which the author reproduces the characters' life stories and experiences, shows the characters' spiritual outlook and values, and depicts the characters' distinct love and hate and vivid personality through documentary writing and a variety of literary and artistic techniques. There are more than 50 characters involved in the biography. In the author's works, these characters are very vivid, such as the forbearance of a strong grandmother to the slave owner, the loyalty of a hard-working aunt to the slave owner, the oppression of female slaves by a crafty and sinister doctor, and the wit of Linda Brent, the heroine who pursues freedom and courage. In particular, the author's description of the heroine's seven years spent in a &amp;quot;cage&amp;quot; like cabin before she fled to the North more ruthlessly castigates the evil of slavery. The heroine's experience deeply moved her relatives and friends, including white slave owners. With the help of her relatives and friends, the heroine was able to escape to the north.&lt;br /&gt;
Taking the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework, this paper adopts the following translation skills in the process of translation: 1. The translation methods of foreignization and domestication are used to achieve partial functional equivalence between the source language and the target language, so as to reduce the lack of culture after translation. 2. According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to make the translation conform to the expression habits of the target language. 3. The methods of addition and subtraction are adopted to make the translation consistent with the original in grammar and language form, as well as in cultural background and word association. 4. The Conversion Transformation is adopted to make the translation more acceptable to the target language readers. By analyzing the stylistic characteristics of biographical literature, especially African American autobiography, the author discusses the translation skills and Strategies of Chinese translation of such texts.&lt;br /&gt;
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=== Text background===&lt;br /&gt;
From the beginning of the British northern colony to the early 20th century, blacks were brutally exploited and oppressed by the slavery system. In particular, female slaves not only had to bear heavy labor, but also suffered the destruction and abuse of supervisors. Since the publication of the first Autobiography of black slaves in 1760, some advanced elements in black slaves denounced and denounced the evils of slavery with their own experience, and made outstanding contributions to the abolition movement. The author of this work is Harriet Jacobs, whose pseudonym is Linda Brent. Born in a slave family, she fought tirelessly because she could not bear the persecution of slave owners on her and her children. After fleeing to the north, the author wrote a biography of his personal experience of being enslaved, exploited, persecuted, fleeing to the north and realizing freedom, which was published in 1861. Through the Chinese translation of this autobiography, more people have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves.&lt;br /&gt;
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===Research Purpose and Significance===&lt;br /&gt;
This autobiography of black women starts from the experience of childhood from the perspectives of black slaves and women. In the process of growing up, the author experienced different masters of good and evil. When she was a child, her hostess let the author learn to read and write. Later, she died of illness. Then the new owner, Dr. flint and his wife tortured and framed her. Later, for the freedom of her children, the author resolutely decided to flee to the north and enjoy the right to freedom with her children. In the process of pursuing freedom, he went through escape, pursuit, hiding until he went north by boat. The author selects simple but typical examples in daily life, through the description of characters' psychology and language, the contradictory struggle between the interests of opposite classes, the criminal complaint of slave trafficking, and the process of slaves fleeing to the north, reveals the slave owner's naked exploitation and fraud of slaves, and reveals the slave's sincerity, courage and longing for freedom. The simple language and narrative techniques of the work fully shape the tenacity, courage, intelligence and clear love and hate of the female slave Linda Brent, and show the readers the misfortune and suffering of many slaves.&lt;br /&gt;
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=== Translation theory and case analysis===&lt;br /&gt;
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3.1 functional equivalence theory&lt;br /&gt;
This translation practice report takes the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework. Eugene Nida is an American linguist and a famous translation theorist. From the perspective of etymology, according to the essence of translation, he put forward the famous dynamic equivalence translation theory, namely &amp;quot;functional equivalence&amp;quot;. In this theory, he pointed out that &amp;quot;translation is to reproduce the information of the source language from semantics to style in the most appropriate, natural and equivalent language&amp;quot;. He believes that translation is not only the equivalence of lexical meaning, but also the equivalence of semantic style and style. The information conveyed by translation includes both surface lexical information and deep cultural information. Equivalence in dynamic equivalence includes lexical equivalence, syntactic equivalence, textual equivalence and stylistic equivalence. Nida pointed out that the translation should be functionally equivalent to the original text. Judging whether the translation is equivalent to the original text should be based on the psychological response of the readers, that is, the translator should not only stay in the equivalence of structure and semantics, but strive to make the target readers produce the functions and effects that the original author wants to achieve through his works, so as to make the target readers after reading the translation, Get the same feelings as the original readers, and make translation really become a converter of thoughts, feelings and cultural information. Therefore, in literary translation, according to Nida's theory, the translator should take the four aspects of dynamic equivalence as the translation principle to accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
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The core of Nida's functional equivalence theory is &amp;quot;content is greater than form&amp;quot;, which emphasizes that when there is a conflict between content and form, content must precede form (Nida, 2004:203). Due to the differences between Chinese and Western ways of thinking and logical habits, in order to make the translation conform to the habits of readers in the target country and make it easier for readers in the target country to accept, the author has adopted different translation methods and strategies. According to the specific content of Nida theory, this paper intends to analyze its application in English-Chinese translation practice from four aspects. 1、 According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to achieve lexical semantic equivalence between the source language and the target language; second, addition and subtraction and part of speech conversion are used to make the translation conform to the expression habits of target slogans in grammar and language form and consistent with the original text in terms of cultural background and word association; third, forward and reverse translation is used to reproduce the original text Fourth, for the long and difficult sentences of the original text, the translation methods such as reorganization, sentence splitting and merging are adopted to make the language expression forms of the translation more rich and diverse, and more easily accepted by the target language readers.&lt;br /&gt;
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3.2 translation skills and case analysis&lt;br /&gt;
When translating vocabulary, the author mostly adopts the literal translation method to convey the information of the original text more accurately. If the meaning of the translation is not accurate enough or does not conform to the Chinese expression habits after the literal translation, the author adopts the free translation method, while for the long and difficult sentences with complex structure, the translational translation method and split method are adopted to make them conform to the Chinese expression habits and more acceptable to the readers.&lt;br /&gt;
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=== Translation skills, methods and case studies===&lt;br /&gt;
Case 1: literal translation and free translation to achieve semantic equivalence in vocabularyIn the process of translation, it is the basic quality of every translator to correctly express the source language in the target language. In order to achieve this goal, the translator must start with the smallest unit of the source language—vocabulary. In project translation, the author follows the functional translation theory and pursues semantic equivalence. First, we must ensure the equivalence of lexical meaning. The author mainly discusses the semantic equivalence of words from two aspects: literal translation and free translation.&lt;br /&gt;
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1. Literal translation  &lt;br /&gt;
Literal translation emphasizes the consistency between the original text and the translation in form and content, which helps to maintain the style of the original text. Literal translation is not a dead translation, a hard translation, or a literal translation. Literal translation emphasizes retaining its form and reaching its meaning.&lt;br /&gt;
The example 1:&lt;br /&gt;
“Nothing could please her better than to see me humbled and trampled upon” is literally translated as ”没有什么比看到我恭顺谦卑、任人践踏更让她快活啦。”&lt;br /&gt;
Analysis: in this sentence, humbled and trampled upon is used to express the due psychology and living state of slaves in the eyes of slave owners. Here, it can be translated into obedience, humility and trampling, which can reflect the coldness of slave owners and the misery of slaves.&lt;br /&gt;
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2. Free translation&lt;br /&gt;
Paraphrase emphasizes divine similarity. When the original text is quite different from the translation in terms of lexical meaning, syntactic structure and style, it can not be confined to the original text. Free translation should be adopted to explain the form of the original language in another language form, so as to correctly express the ideological thrust of the original text. Free translation should conform to the grammatical norms and expression habits of the target language, so as to make the translation more fluent and natural. Free translation is not arbitrary addition and deletion, nor random translation. Free translation emphasizes &amp;quot;preaching its spirit&amp;quot; rather than &amp;quot;retaining its shape&amp;quot;. The work belongs to biographical literature. There are great differences between the source language culture and the target language culture. The translator can not adhere to literal translation from beginning to end, but should carry out free translation according to needs, so as to achieve better translation effect.&lt;br /&gt;
The example 2:&lt;br /&gt;
I resolved to give him no cause to accuse me of being too much of a lady, so far as work was concerned.&lt;br /&gt;
literal translation: 就工作而言，我决心让他找不到口实指责我过分淑女。&lt;br /&gt;
free translation: 就工作而言，我决心让他找不到口实指责我养尊处优。&lt;br /&gt;
Analysis: a lady originally means 女士或优雅的女子. Too much of a lady is often understood as 十分优雅. Because the author could read and write and looked dignified, he had not done heavy work like other slaves before, &amp;quot;I&amp;quot; guessed that the young master was disgusted with it. Here, too much of a lady is translated by free translation, which reflects the inner contempt of the young master for &amp;quot;me&amp;quot;.&lt;br /&gt;
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Case 2: addition, subtraction and part of speech conversion make the translation achieve sentence meaning equivalence, which is in line with the expression habit of the target language.&lt;br /&gt;
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3. Additional translation&lt;br /&gt;
The example 4:&lt;br /&gt;
One day, she sat under the window where I was at work, crying that weary cry which makes a mother's heart bleed. &lt;br /&gt;
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一天，她就坐在我干活的那个房间的窗户外哭，哭得声嘶力竭让任何一个做母亲的心里流血。&lt;br /&gt;
Analysis: A mother literally means &amp;quot;一个母亲&amp;quot;, but the following clause is translated into &amp;quot;哭得声嘶力竭让一个母亲的心里流血&amp;quot;. The emotion of the translation is weak. In this article, &amp;quot;I&amp;quot; as a slave must work and can't take into account children and family affection, because in the slave owner's view, slaves are low animals and don't deserve feelings. Although I heard my daughter crying, I couldn't get over it. Any mother would be distressed to hear her daughter's cry. In order to make up for the lack of emotion in literal translation, the method of additional translation should be adopted here, which is translated as &amp;quot;任何一个母亲&amp;quot;&lt;br /&gt;
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4. Omission &lt;br /&gt;
The example 5:&lt;br /&gt;
The doctor stamped his foot at him in a rage, and exclaimed, &amp;quot;Get out of the way, you little damned rascal! If you don't, I'll cut off your head.&amp;quot;&lt;br /&gt;
translated text：医生愤怒地跺了他一脚，厉声说道：“滚开!他妈的小坏蛋，如果不听话，我把你的头砍下来!”&lt;br /&gt;
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Analysis: Dr. flint twice went to the north to pursue the fugitive slave &amp;quot;I&amp;quot; without success. He spent a lot of money and was full of anger. At this time, my son asked him if he had brought his mother back. Dr. flint stamped his feet angrily, scolded and threatened the child. Through the vivid description of Dr. Flint's body movements and language, his angry image jumped onto the paper,In order to achieve the same effect and achieve the equivalence of language style, the author uses even verbs according to the original &amp;quot;stamped his foot at him in a rage, and exclaimed&amp;quot; and translates it into &amp;quot;stamp his foot angrily and say&amp;quot; you little damned rascal!!! &amp;quot;It is also a typical strong adult's words towards weak children. In order to be concise and powerful, the author omits &amp;quot;you&amp;quot; and translates it into &amp;quot;他妈的小坏蛋&amp;quot;.&lt;br /&gt;
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The example 6:&lt;br /&gt;
But when winter came, the cold penetrated through the thin shingle roof, and I was dreadfully chilled.&lt;br /&gt;
translated text：上次遭遇蛇咬，现在我对蛇更惧怕了，踏上这个藏身的地方，我不由心惊胆颤。&lt;br /&gt;
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Analysis: My fear of snakes is literally translated as &amp;quot;我对蛇的恐惧&amp;quot;, and the subject of the following clause is &amp;quot;我&amp;quot;. In order to give the target readers a unified reading perspective, my fear of snakes had been increased is translated as: 我对蛇更惧怕了. By transforming the noun of fear into a verb, the translation is more concise and more in line with Chinese expression habits than literal translation.&lt;br /&gt;
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Case 3: The stylistic style of the original text is reproduced by positive and negative translation.&lt;br /&gt;
5.The Positive and Negative Translation&lt;br /&gt;
The example 7:Nobody respects a mother who forsakes her children; and if you leave them, you will never have a happy moment.&lt;br /&gt;
translated text 1：没有人尊重抛弃孩子的母亲，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
translated text 2：抛弃孩子的母亲会遭人唾弃，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
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Analysis: This sentence contains a negative indefinite pronoun—nobody. In translation text 1, the first half of the original text (Nobody respects a mother who forsakes her children) is translated into &amp;quot;没有人尊重抛弃孩子的母亲&amp;quot;. Although the meaning is translated, the expression is not authentic. Translation text 2 uses the positive and negative translation method to change negative into positive, and “Nobody respects” into &amp;quot;being despised&amp;quot; can better express the speaker's (my grandmother's) eagerness to oppose &amp;quot;I&amp;quot; to escape.&lt;br /&gt;
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Case 4:The translation methods of reorganization, sentence splitting and merging are adopted to make the translation conform to the expression habits of the target language&lt;br /&gt;
There are great differences between English and Chinese syntactic structures. English is a linear language. Its syntax takes the subject predicate structure as the central axis, while other components form branch lines in the form of branches and connect with the main axis through connectives. The logical relationship between sentences tends to be explicit,; Chinese is more parataxis, and the combination between the components in a sentence or between sentences mostly depends on the connection of semantics and uses fewer connectives. Chinese sentences are arranged under the command of theme, that is, the structure of &amp;quot;topic description&amp;quot; has various forms and free combination. The logical relationship between sentences is more implicit (Yang Lin, 2007: Preface). There are few logical relational words between clauses and between sentences. Therefore, the author adopts the reorganization method, combining syntax and disassembling syntax to realize the semantic equivalence of sentences, and studies the influence of sentence structure on the translation. The significance is to better guide the translation practice.&lt;br /&gt;
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5.Recasting&lt;br /&gt;
The example 7: This was the good old lady who paid fifty dollars for my grandmother, for the purpose of making her free, when she stood on the auction block.&lt;br /&gt;
translated text：这个老太太是个好人，当年外祖母站在拍卖台上，为了让外祖母获得自由她花五十美元买下了我的外祖母。&lt;br /&gt;
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Analysis: The original text contains two compound structures, one is an attributive clause, the other is a time adverbial clause. Because Chinese sentences are constructed according to the law of logical order, the word order is arranged according to the actual sequence and event order, which is divided into sequence in time, and pay attention to the causality in logic. The author adjusts the time adverbial clause to the front, first explain the time, then explain the reason, and finally the result. This reorganized translation plays an important role in shaping the relationship between sentences, which is in line with the characteristics of Chinese sentence structure.&lt;br /&gt;
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6.Sentence-combining&lt;br /&gt;
The example 8: There was joy and there was sadness in the sound. It made my tears flow.&lt;br /&gt;
translated text：无论是哭声还是笑声都会让我泪流满面。&lt;br /&gt;
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Analysis: The original text is two sentences. Considering the close causal relationship between the two sentences, the author adopts the translation method of combined sentence to translate it into one sentence, so that the target language readers can read it more naturally.&lt;br /&gt;
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7.Dismantle the syntactic&lt;br /&gt;
The example 9: My hope was that the doctor would get discouraged, and, for fear of losing my value, and also of subsequently finding my children among the missing, he would consent to sell us; and I knew somebody would buy us.&lt;br /&gt;
translated text：损失一个女奴，再赔上我的两个孩子，这正是弗林特医生所担心的。他会泄气并同意卖掉我们，我知道有人会买下我们，而这正是我所希望的！  &lt;br /&gt;
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Analysis: When dealing with long English sentences, the method of splitting is generally used to divide the original sentence into several parts and combine them according to their internal logical relationship. The adverbial clause after the subject of “My hope” consists of three parallel sentences, the second of which has a more complex cause adverbial. The author first takes apart the subject clause, first translates the clause, and then presents the subject at the end, which is in line with the characteristics of Chinese presentation before topic.&lt;br /&gt;
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Case 5: Stylistic equivalence&lt;br /&gt;
The basic task of translation is to faithfully present the original text, so it is necessary for the translator to pursue the style of the original text. To achieve stylistic equivalence, the translator needs to analyze and identify the stylistic markers in the original. The original text contains national language characteristics, historical allusions and religious beliefs, so it has cultural differences. In translation, it should reflect the style of the original text and optimize it accordingly, so as to realize the re creation of style and adapt to the communication of the target language.&lt;br /&gt;
The original text has strong religious and cultural content, simple and pious faith, and shows their enthusiasm and passion for them. In translation, we should not only show the feeling of religious belief and culture, but also optimize the sentence style and deal with alienation appropriately, so that readers can feel the piety and understand the author's writing intention.&lt;br /&gt;
The key to shaping the problem role lies in its adaptability to the style of the original language. Only by adopting appropriate translation methods, deeply understanding the cultural background of the original text and skillfully changing the style of the original text, can the style meaning of the original text be reproduced in the target language and better reflect its charm and artistic conception.&lt;br /&gt;
In a word, a biographical text should be well expressed first to make it conform to the expression habits of the target language. First, we should deeply understand the creative intention of the original author and think of what we think from the perspective of the original author, so as to realize the central idea of the original text. The premise of translation is that the translator should have profound language and cultural skills and deeply understand the particularity of different background cultures, Have a good command of the target language, and then use it flexibly.&lt;br /&gt;
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The example 10: She hasn't so much feeling for her children as a cow has for its calf. If she had, she would have come back long ago, to get them out of jail, and save all this expense and trouble. &lt;br /&gt;
translated text：她对孩子的感情还不如母牛呢，母牛还知道护犊子。如果她有感情，她很久以前就会回来把他们救出去了，也就没有这些代价和麻烦了。&lt;br /&gt;
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Analysis: This sentence is a complaint made by Dr. Flint's wife—my mistress, about my escape. Considering that cows in Chinese culture also have the image of caring for their cubs, The author translates call “feeling for her children as a cow has for its calf” as：“母牛还知道护犊子”, This not only achieves cultural equivalence, but also sounds colloquial. On the other hand, it is in line with the speaker's identity as a mean slave owner.[He was &amp;quot;a chip of the old block.&amp;quot; If he found any slave out after nine o'clock, he could whip him as much as he liked; and that was a privilege to be coveted.如果他发现任何人九点后（宵禁时刻）跑出去，他就会抓住并鞭打此人，直到他满意为止。这是别人垂涎三尺的特权。]&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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Through the development of this project, the author believes that the translation of biographical works needs to have a full understanding of the differences between Chinese and English languages and cultures, thinking habits and expression methods. Only after having an accurate understanding and grasp of the language characteristics and contents of the original text, can words and sentences be carefully selected and constantly modified and polished in the process of translation, Make it an excellent translation. The author summarizes the following points in the whole translation process:&lt;br /&gt;
The translation method of biographical text. Biographical text has both information function and expression function (Zhang Meifang, 2006). Therefore, in translation, the translator should not only correctly express the information of the original text, but also reflect the literariness of biographical literature. In view of the differences in thinking and logic between Chinese and English, different translation methods should be adopted in the translation process. For example, literal translation can be used in terms of vocabulary, so as to simply, clearly and accurately convey the meaning of the original text. If literal translation is not possible, free translation, addition or subtraction, positive and negative translation, such transformation and other methods should be adopted to strive to achieve literal semantic equivalence. In terms of sentences, according to the respective characteristics of Chinese and English sentence structures, translation skills such as reorganization, disassembly and combination of syntax are adopted in order to meet the reading habits of target language readers. Experience the language style of biographical literature. In this project, the author's narrative language is simple and simple, and do a good job in the analysis of the characteristics of biographical literature materials. For a translator, the types of material translation can be diverse, literary or scientific, so the translator must do a good job in the analysis of text materials when he gets a relatively unfamiliar translated text, Only after analyzing the materials thoroughly and finding out the characteristics can the preparatory work be done adequately. This project adopts biographical text, which is characterized by many names and place names and strong local cultural characteristics. Therefore, in order to improve the accuracy of translation, the author has made a lot of preparations before translation, including finding the author's relevant background information, relevant historical facts, as well as the folk customs at that time. With reference to the new English Chinese dictionary, the names of people and places in the text are translated uniformly. Due to sufficient preparation, these problems encountered in translation have been solved.&lt;br /&gt;
The author has two experiences in maintaining problem awareness in the translation process. &lt;br /&gt;
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First, if you encounter an uncertain word and sentence in the translation process, you should consult the relevant reference books in time or use the Internet. &lt;br /&gt;
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Second, when dealing with cultural problems, I often ask my classmates or experts in this field for advice, so as to solve the problems in time.&lt;br /&gt;
At the same time, there are some problems in the process: My translation experience is still shallow and the cultural knowledge reserve is insufficient. There are some disadvantages in this project.Because my Chinese level needs to be further improved, the translated language is still immature and not concise enough. Second, the lack of relevant knowledge leads to the fact that the unique things of foreign culture can only be translated directly and hard in translation, resulting in the stiff and rigid translation. Such as a box, covered with sheepskin, is called the gumbo box. A dozen beat on this, while other strike triangles and jawbones, to which bands of dancers keep time.&lt;br /&gt;
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Third, in translation, we should not only maintain the meaning of the original text, but also reflect the style of the original text. We can't have both fish and bear's paw—鱼和熊掌不可兼得。Therefore, I believe that only through a lot of translation practice and summing up experience can we improve our translation level.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Beardslee, Karen E. Through Slave Culture's Lens Comes the Abundant Source: Harriet A. Jacobs's Incidents in the Life of a Slave Girl.&amp;quot; MELUS 24 (1999): 37-58.&lt;br /&gt;
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[2]Jacobs Incidents in the life of a Slave Girl: Written by herself.&amp;quot; Languages &amp;amp;Literature 15(2001):314-336.&lt;br /&gt;
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[3]Incidents in Life of a Slave Girl chapters 16 to 30&lt;br /&gt;
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[4]李小春. (2016). 浅析英语翻译技巧及方法的应用. 读天下(20), 1.&lt;br /&gt;
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[5]李亚云.《一名女奴的人生际遇》之黑人女性身份建构[J].文学教育(上),2015(07):30-31.p&lt;br /&gt;
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[6]李亚云. 《一名女奴的人生际遇》之黑人母性分析[D].中央民族大学,2016.&lt;br /&gt;
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[7]付娟. 英汉翻译中拆句法和合并法的有机结合探析[J]. 好家长, 2016(38):1.&lt;br /&gt;
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=邝艳丽 On the Translation Strategies of English Version of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hong-Ming and Xu Yuanchong=&lt;br /&gt;
[[Trans_Type_EN_9]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
''Lun Yu'', one of Chinese classics, records behavior and thoughts of Confucius and his disciples. ''Lun Yu'', intensively reflecting Chinese Confucianism, plays a significant role in Chinese culture. Dating from 1809, there are about sixty translations of ''Lun Yu'' during the two hundred years. This paper will study the two English versions of ''Lun Yu'' by Ku Hung-ming and Xu Yuanchong from the the theory of Horizon Fusion proposed by Hans-Georg Gadamer, mainly the core conceptual words in ''Lun Yu''. Besides, the paper will explore the translation strategies adopted by the two translators from different visions such as the horizons of the original text, the translator and the target culture. The better translation of core conceptual words will come to a conclusion through the contrastive analysis.&lt;br /&gt;
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===Keywords===&lt;br /&gt;
Fusion of horizons; Ku Hong-Ming; ''Lun Yu''; Xu Yuanchong&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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''Lun Yu'', as a carrier of Confucianism, has profound influence on the culture all over the world. Confucianism has largely influenced the development of European philosophy, which provide new theoretical basis for European Enlightenment in the eighteenth century (Li Zongzheng 2016: 112-116). In Voltaire’s opinion, the discovery of Chinese culture is important to the process of European society, just as what what has been discovered by Vasco da Dagama and Magellan to the nature (Bao Xiankuo 2001: 62-67). With the continuing development of China in the recent years, China exerts more and more significant influence on the world. In the meanwhile, more and more people would like to learn Chinese language and cultures. When it comes to Chinese culture, all the people, Chinese and foreigners, nearly think of Confucianism, which is generally regarded as the important components of Chinese traditional culture, as well as the mainstream of the spirit of national modern culture. Moreover, Confucianism is intensively embodied in the ancient work called ''Lun Yu'', which records the behaviors and thoughts of Confucius and his disciples mainly in the form of dialogues. ''Lun Yu'' involves so many aspects such as politics, education and so on. The wide and profound influence of Confucianism on the world attributes the success to the development of translations of ''Lun Yu'' by Chinese or foreign translators.&lt;br /&gt;
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''Lun Yu'' is a classic work. The reason why classics remains classics is that it can be translated and re-translated. The language itself of ''Lun Yu'' is difficult to be understood, and what are reflected by ''Lun Yu'' such as history, thoughts, culture and culture is also hard to be understood. Therefore, translators in different times produce different translations of ''Lun Yu'' due to different constrictions of subjective or objective factors. Derrida, holding the point of hermeneutics, considers that the understanding of works is open and that the understanding of text by the readers is always unfinished and uncertain for reading is the process of creation. ''Lun Yu'', acclaimed as one of the leading classics in the course of Chinese literature’s development, is always given new life by the scholars. Therefore, every translation version of classics deserves to be studiedin the different times. Moreover, the employment of fusion of horizons may not only be a reference for English translation of ancient Chinese classics, but also be beneficial foe the spread of traditional culture. &lt;br /&gt;
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This paper chooses two English translation versions of ''Lun Yu'', one by Ku Hung-ming, the other one by Xu Yuanchong. The paper mainly makes a contrastive study of different translation strategies adopted by the two translators from the perspective of fusion of horizons. In order to make an in-depth study, the thesis will focus on the analysis of the translation of core conceptual words of ''Lun Yu'', and aim to present a more appropriate translation to both fully express the content of Chinese culture and make western readers easier to understand.&lt;br /&gt;
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===Overview on the Theory of Fusion of Horizons===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====Fusion of Hrizons====&lt;br /&gt;
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Hans-Georg Gadamer is the greatest thinker in 20th century when his academic work ''Truth and Method'' was published. The publishment brought about widespread attention in the world and helped him reach the immortal status in the field of philosophy. Actually, the theory used in this paper is originated from ''Truth and Method''. “Horizon” was first proposed by Edmund Husserl, a great German philosopher. For the concept of “Horizon”, Husserl believed that “everything worldly giving is given under the horizon. Finally, everything given by the world itself has the horizon of the world, and it is only for this reason that it is realized as the world.” (Wei Fangyuan 2013: 134-136)&lt;br /&gt;
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It can be seen that “Horizon” in Husserl’s eye is related to consciousness. Husserl’s “Horizon” includes two ones, internal horizon and external horizon. Internal horizon refers to what previous knowledge people have grasped or not. External horizon refers to grasp or experience of another open horizon when people have internal horizon. Martin Heidegger, from the respective of Ontology, believed that “Horizon” is something real which has been known by human and exists previously. This becomes precondition of our understanding. Inspired by Martin Heidegger and Edmund Husserl, Hans-Georg Gadamer affirmed the importance of “Horizon”. In his Hermeneutic, “Horizon” refers to the process of understanding from a specific standpoint. And “Fusion of Horizons” means that the process of understanding in nature is open without fixed pattern and answer. “Fusion of Horizon is not onlly diachronic, but also synchronic. History and present, object and subject, self and other, all form an infinite unified entirety. (Wei Fangyuan 2013: 134-136 ) &lt;br /&gt;
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Gadamer thinks that, both the translator and the object which is explained by the translator have their own horizons. The object-- history, classics, personal life, philosophy or work of art—has its own historical horizons. When we understand historical classical works, philosophy or certain culture with the horizons given by the history, the conflict of two different horizons and historical background will inevitably happen. Translation neither demands the translator to totally give up his own horizon in order to get into the text’s horizons, nor allows the interpreter simply includes the text into his own horizons. Translator, starting from his original horizons, ceaselessly test his own “prejudice” and open his own horizons, in the contact with the object which is interpreted by the interpreter, then two different horizons forming a new horizon. This process is called “fusion of horizons”. The reason why it is possible to interpret historical text is the fusion of horizons of the readers and writers of the original text.&lt;br /&gt;
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====Fusion of Horizons in translation study====&lt;br /&gt;
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In the view of Hans-Georg Gadamer, any understandings is carried out in the stream of history for any interpreter and reader lives in the history in his or her own way. Historicity is the basic fact of human existence. People’s historical particularity and limitations cannot be eliminated and avoided. Both subject and object exist in historicity. History determines that people cannot get rid of historicity. Such question faced by Hermeneutics is not what we carry out but what caused on us by something beyond our willing and behavior. In the research of translation Gadamer’s “Fusion of Horizons” can be borrowed and reformed into views or perspective available to the translation study. (Li Ge 2020:50-63)&lt;br /&gt;
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To achieve such a horizon, means that we learn to see something beyond its restricted horizon. However, the reason why we do this is for watching the things in a more correct angle and in a bigger unity, rather than for avoid seeing it.(Gadamer, H. G. 2004: 304) We need to study translation from a higher point and in a more overall angle. Only in this way can we “full see” the parts of the integrity, which is the enlightenment brought by “fusion of horizons”. The precondition of translation is that the translator and the original text have the common horizons. If the translator does not know medicine, he cannot interpret some books about medicine, and vice versa. The translator need to understand the original text’s meanings at first, which means that he will get into the horizon of the original text, and overcome the difference to form a new horizon. This is the first fusion of horizons. The second one is that the translator gets into the horizons of the target readers. Then the third fusion of horizons, the final interpretation of the translator, is the fusion of the two texts after the first two fusions. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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During the process of translation, the horizons are produced in the history rather than in isolation. In the fusion of horizons, the past and the present, the subject and the object, form a unity. Everything exists in the point of history, and all the interpretation cannot be finished for good. The original text itself is historical. The language, content, thoughts and etc. in it are marked by characteristics of the times. The translator is also historical. He will be influenced by his identity, status and tradition. There does not exist “perfectness” and “standard” in the translation. It will vary with different historical period. So the study of translation also goes on. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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===Overview on the Translations of ''Lun Yu''===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====The history of translations of ''Lun Yu====&lt;br /&gt;
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''Lun Yu'' is as important to Chinese is the Bible is to Westerners. So ''Lun Yu''’s translation is hot in western countries. ''Lun Yu'', whose translation can be traced back as early as the end of 16th century, has been translated by lots of missionary, sinologist, philosopher, litterateur and other scholars. There have been more than 40 translation versions of ''Lun Yu'' so far. Its English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. In 1861 James Legge’s The Confucian Analects became the mark of the English translation of ''Lun Yu''. A Companion for Chinese Translators makes comments on the translation version that James Legge can roughly understand the meaning of the original text and that his enormous notes can show his serious and careful attitude to the translation of our Chinese classics. (Wang Hui 2003: 39-43) &lt;br /&gt;
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In 1898, Ku Hong-ming’s translation of Lun Yu was published in Shanghai. The reason why he retranslated Lun Yu is that he was not content with James Legge’s. Ku Hong-ming use the strategy of foreignization, trying to translate Lun Yu in the same way an educated British express his thoughts. And Ku thought the Chinese proper nouns should be omitted and some European writers’ saying in order to remove the feeling of strangeness of British readers. In 1938, Arthur Waley’s version of Lun Yu was published. Waley wrote long-winded introduction for the translation, which was accompanied by detailed notes for readers and was followed by the footnotes for in-depth discussion on the text. Cui Yonglu thought that Waley’s translation, retaining the original text’s meaning and culture and paying attention to the detail, is beneficial to scholars. In 1998, Roger Ames’ translation of Lun Yu was published. His retranslation, which is based on a philosophical perspective, exerted great influence in the world of translation at home and abroad. In 2005, Xu Yuanchong’s Thus Spoke the Master was published. The book’s title borrowed the name of well-known philosophical translation called Thus Spoke Zarathustra, which shows Chinese translators’ creative spirits. In addition, there are still so many translators, such as Ezra Pound, James Ware, Din Cheuk Lau, Lin Yu tang and so on. (Wang Hui 2003: 39-43) &lt;br /&gt;
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====Different angles of the study on the translations of ''Lun Yu''====&lt;br /&gt;
In the nearly 30 years, the study of ''Lun Yu''’s translation has become hot in the translation studies. Scholars have made lot of studies of ''Lun Yu''’s translation from different angles and theories. From the linguistic point of view, scholars focus on the equivalence of lexicon, syntax, text and style. Professor Liu Chongde wrote “A research into Waley’s English version of The Analects—And some comments on its English versions by Legge and D. C. Lau”. Professor Liu summarized the language features and style of the two translations by Waley and Legge. Besides, he compared James Legge’s version and D. C. Lau’s, and made a conclusion that the former one preferred the written English, complicated sentences and archaic words which were quite similar to the style of the original, while the latter one preferred using spoken English and simple sentences.(Liu Chongde 2001:15-17) &lt;br /&gt;
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From the cultural point of view, Yao Shun in Southwest Jiaotong University did “On English translation of Confucius notions from the perspective of Skopos theory—A case study on Legge’s and Waley’s Translation of ''Lun Yu''”. Yao concluded that translation cannot be measured only by the equivalence with the source text, other elements such as translators’ purposes and expectation of target readers should be taken allowance for and that amongst these factors, the intention of the target text ranks the first.(Yao Shun 2014: 42-43)&lt;br /&gt;
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From the sociological point of view, Zhang Xin in Jiangnan University did “A study on Xu Yuanchong’s English Translation of ''Lun Yu'' from the Sociological Perspective of Bourdieu”.   Zhang draw some tentative conclusions. Firstly, the original text must be valuable and unique with an international reputation to facilitate its dissemination in the world. Secondly, translators should pay full attention to the readability and acceptability of target readers to meet their anticipation. Thirdly, the success of a work is the combination of various social factors.(Zhang Xi 2020:80-89)&lt;br /&gt;
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=== The Translation of ''Lun Yu'' from Fusion of Horizons===&lt;br /&gt;
''Lun Yu'' has always been translated or retranslated into many languages. Before interpretation, interpreters are supposed to try to totally understand ''Lun Yu'' in the first step. However, in the matter of fact, the language of a text is really hard for translators to totally understand. Different cultural background and different translators may produce different translation version.&lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》） [8]”. In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. &lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
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Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》）”.In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. (Yao Sshun 2014:42-43) &lt;br /&gt;
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====Horizon of the translator====&lt;br /&gt;
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Ku Hung-ming (1857-1928) is not only a famous literary figure in modern China, but also a great translator. He became an influential scholar at the turn of the 20th century because of his works that advocated Confucianism. Ku’s traslated works, including Lun Yu and Zhong Yong, played a significant role in spreading traditional Chinese culture to the western world. Ku, well-versed in both Chinese and Western cultures, has a good command of nine languages such as English, French, Germany and so on. He is the first one was proficient in Western science and language in the late Qing Dynasty. Special background of growth and education makes his thoughts combine advantages between Chinese and Western cultures. He tried to translate Lun Yu as a work written by a educated English man in order to promote Chinese traditional culture to spread in Western countries. At the meanwhile, he added his thinking and understanding of Confucianism in order to express the truth and spirit of Confucian classics and Chinese belief system. In order to make Western readers accept to the most extent the Confucian culture, Ku adopted some special methods, such as using extreme translation strategy of Domestication to translate Chinese special expression; borrowing the expression in Western literature to translate some words; applying the strategy of combination of omission and addition.(Niu Xiyu 2021: 89-90)&lt;br /&gt;
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When translating Lun Yu, Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. Western readers are not familiar with Confucian core words whose total equivalence can not be found in the Wesern culture. Ku did not translate the core words according to the literal meaning, but according to his deep understanding of Confucian classics he adopted flexible methods to translate the words in different situation. Besides, in order to make the translation of Lun Yu more readable to Western readers, Ku adopted the stratedy of domestication to interprete Confucian thoughts in Western way of mind. On the one hand, Ku used Western terms to translate those Confucian concept words which is difficult to Western readers. For example, he translates “天” as “God”. On the other hand, he quoted those well-known writers and thinkers who are familiar to Western readers, such as Johann Wolfgang von Goethe, Ralph Waldo Emersonand so on. Ku tries to make the content and form of the translation to accord with the way of thinking and cognitive structure of Western people. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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Xu Yuanchong, professor in Peking University, has been devoting himself in Literature translation study. He accomplished numerous classical translations and proposed many translation theories. He makes contribution to the development of Chinese traditional career.In 1921, Xu Yuanchong was born in Jiangxi Province in China. Since he was a child, Xu Yuanchong had been deeply influenced by his families. His mother was well educated and his uncle worked as a translator. All of these inspired his passion of enjoying literature and going after beauty, as we can see the three-beauty-concept-concept proposed in his later books. His uncle succeeded in translating the play called Wang Baochuan into English, which caused a sensation when it was performed in England. Later on the British dramatist George Bernard Shaw interviewed his uncle, which inspired the great interests of Xu Yuanchong in learning English well. In 1938, he was admitted to the Foreign Languages Department of National Southwest United University with the seventh place. In 1939, he translated the book “别丢掉” written by Lin Huiyin at the first time in order to express his love for a girl. Then he fell in love with translation ever after. Although suffering a lot, he still insisted to be himself. Xu made a great contribution to the development of Chinese translation. Xu introduces the three-beauty-concept to translation theory. The theory of three beauty advocates that a translation should be as beautiful as the original in sense, in sound and in font. These three aspects call also be respectively called Beauty of Sense, Beauty of Sound, and Beauty of Form. Beauty of Sense, emphasizing the deeper meaning, is of the first-rate importance. Beauty of Sound, emphasizing rhyme and rhythm, is of the second-importance. Beauty of Form, emphasizing length, is of the third-rate importance. All of these have great influence on his translation. (Li Mi 2004: 83-84)&lt;br /&gt;
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====Horizon of the target language culture====&lt;br /&gt;
The purpose of translation is to be read by the target readers. However, the target individual is different. They differ from historical background, education, knowledge, and so on. Some foreign readers read Lun Yu just for broaden his vision and know Chinese culture, some study the translation just for doing academic researches. The ages of target readers also influence the translation. Some young readers with less knowledge need translation which can be easily understood. For those aged readers the sophisticated translations are needed. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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===Contrastive Analysis===&lt;br /&gt;
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As Confucian classics recording the words and deeds between Confucius and his disciples, Lun Yu deeply influences generations of Chinese people. Lun Yu combines Chinese rich culture from thousands of years and gathers immortal spirit of Eastern philosophy. Therefore, a number of scholars at home or abroad want to translate Lun Yu. Especially, the various academic conference that has taken place in the recent years attract many scholars to absorb Confucian wisdom and explore Chinese wisdom from the old classics.&lt;br /&gt;
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====Description of key conceptual words====&lt;br /&gt;
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''Lun Yu''’s English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. Since that many other scholars have thrown themselves in the wave of translation of ''Lun Yu''. The scholars at home and abroad attempt to know more about the Chinese society, language, and Chinese culture through ''Lun Yu''. However, in order to really understand and interpret ''Lun Yu'', we must be clear about the meaning of the core conceptual words in ''Lun Yu''. Whether the translation of the core conceptual words is right or not has something to do with whether the readers abroad can understand the real meaning of the classics ''Lun Yu''. The translation of core conceptual words is so critical that has drawn many scholars’ attention. However, in the present situation of translation, one core conceptual word has so many Chinese translation, and some translation is not very accurate, which will cause trouble for foreigner readers to understand the original meaning and its cultural meaning. For those core words concerning Chinese culture, if wrongly translated, will not cause foreigners’ misunderstanding Chinese traditional culture, but also influence the improvement of national cultural soft power. Thus, the discussion of the translation of ''Lun Yu'', especially that of the core words, is very important to the circles of translation and culture. There are lots of core conceptual words in Lun Yu, but This thesis will mainly discuss the five core words: “''ren''”, “''li''”, and “''junzi''”. &lt;br /&gt;
“''Ren''” is the supreme state of moral ideal advocated by Confucius, and the spirit and centre of Confucian theory. Xu Shen in the Eastern Han Dynasty made an explanation of the word “''ren''” in “Shuo-wen chieh-tzu”. He thought “''ren''” is combined by “''ren''”(man) and “er”(number 2), and that “''ren''” does not express the quantitative relation but the interpersonal relationship, more accurately the interpersonal relationship close to friendship. (Xu Shen 2013: 1458) According to The Notes of ''Lun Yu'' by Yang Bojun, “''ren''” appears 109 times in ''Lun Yu'' . (Yang Bojun, 2009)&lt;br /&gt;
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“''Li''” is another important concept in ''Lun Yu'' after “''ren''”. According to The Notes of ''Lun Yu'' by Yang Bojun, “''li''” appears 74 times. Obviously, “''li''” is one of main ideas repeated by Confucius. Its connotation has become one of the objects the scholars of every dynasty attempt to study and understand since the ''Lun Yu'' came out. Both “''ren''” and “''li''” work as the centre of Confucianism. They complement and perfect each other. Just as the saying in Lun Yu, “To Subdue Oneself and Return to the Proprieties is Perfect Virtue”. “Li” refers to external behavior, while “ren” refers to internal morality. “''Li''” is a general term the rules and regulation according to the moral demanding. “''Li''” can restrict personal behavior, improve interpersonal relationship and help building a harmony and orderly society. However, Confucius does not give an accurate explanation of “''li''”, but its meanings can be analyzed from the concrete sentences concerning “''li''”. (Yang Bojun 2009: 23)&lt;br /&gt;
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“''Junzi''”, first found in The Book of Songs, was roughly referred to noble man. Thereafter, “''junzi''” was widely used in many ancient classics such as The Book of Changes, Shangshu and so on. Based on the original meaning “the noble man”, “''junzi''”’s meaning was extended and expanded. In Lun Yu, the word “''junzi''” got extended meaning of morality. The core conceptual word “''junzi''” mainly placed emphasis on moral deeds, then developed into the important cultural icon in Confucianism. According to The Notes of ''Lun Yu'' by Yang Bojun, “''junzi''” appears 107 times in ''Lun Yu'' .(Yang Bojun 2009: 11)&lt;br /&gt;
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====Different translations of key conceptual words====&lt;br /&gt;
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Different translators will have different translation. &lt;br /&gt;
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“Ren” has rich meanings. Its translation will to the certain degree influence the understanding of Lun Yu and Chinese traditional culture. For example:&lt;br /&gt;
子曰：“巧言令色，鲜矣仁！”《学而》&lt;br /&gt;
Ku: Confucius remarked, “With plausible speech and fine manners will seldom be found moral character.” &lt;br /&gt;
Xu: A good man, said the Master, would rarely say what he does not believe, or pretend to appear better than he is.&lt;br /&gt;
From the translation above, it is seen that Ku adopts free translation, and the English sentence is in formal grammer and syntax which accords with Western readers’ language habits. While Xu’s translation is not in the form of direct speech and he changes the order of the target text and use the parenthesis so as to conform to the habits of target language readers. It can be easily seen that Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. And Xu employs free translation to make target readers better understand the meanings. For the translation of “ren”, Ku translated it into “moral character”. He thought “ren” is refers to all the morality, and that “ren” is the highest realm of life. The translation “moral character” is more in line with Western language habits. While Xu interpreted it into “a good person”, of which “good” has broad meanings just like “ren” which is a kind of moral category of extremely broad meanings in ancient China. By comparison, “mental character” is better translation for “ren”. (Yang Bojun 2009: 23) (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Li” is generally thought to have three main meanings. The first one is worshiping the God. The second one refers to a ceremony held to show respect or solemnity. The third one refers to the social and moral norms of the aristocratic hierarchy in slave society of feudal society. For example, &lt;br /&gt;
道之以道，齐之以礼，有耻且格 。（《为政》）&lt;br /&gt;
Ku: If, on the other hand, in government you depend upon the moral sentiment, and maintain order by encouragung education and good manners, the people will have a sense of shame for wrong – doing and, moreover, wil emulate what is good. &lt;br /&gt;
Xu: If they are led by virtue and order is kept by the rites, they would be conscientious and act in agreement with what is right. &lt;br /&gt;
Generally, “li” is rendered as “rites,” “customs,” “propriety,” “ritual,” “moral,” “rules of proper behavior,” and “worship.” However, Ku did not literally translated “li” but to fully understand its original meaning in such concrete situation to translated it into “education and good manners”. While Xu translated it into “rites”. In the Oxford dictionary, “rite” means a ceremony performed by a particular group, often for religious purpose. In Spring and Autumn and Warring States periods of China, the social order was in chaos. Actually, “rite” is a proper word full of Chinese speciality, which is really hard for Western readers to understand. Therefore, Ku’s translation “education and good manners” is better one. It not only convey Confucian thoughts but also make it readable to Western readers. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Junzi” is Confucian ideal character standard. Then what is “junzi”? In Confucian point of view, “junzi” should be erudite, which is an important standard of being “junzi”. First and the most, “junzi” should be a benevolent man. In addition, “junzi” and “xiaoren” form contrast. For example,&lt;br /&gt;
人不知，而不愠，不亦君子乎？（《学而》）&lt;br /&gt;
Ku: But he is truly a wise and good man who fees no discomposure even when he is not noticed of men.&lt;br /&gt;
Xu: Is he not an intelligentleman, who is careless alike of being known or unknown?&lt;br /&gt;
According to Oxford dictionary, the term “exemplary” refers to providing a good example for people to copy. Ku adopted free translation to interprete one word “junzi” into several words “wide and good man”, which is easy for Western peple to understand what “junzi” is. It can be seen that Ku had a thoroungh understanding of Confucian thoughts as well as well-versed in English. While, Xu translated it into “intelligentleman”, which cannot be found in dictionaries. It is a new word created by Xu. “Interlligentleman” is combined by “intelligent” and “gentleman”. In the Oxford dictionary, the term “intelligent” means good at learning, understanding and thinking in a logical way about things. “gentleman” refers to a man who is polite and well educated and who has excellent manners and always behaves well. “Intelligentlemen” seemly attempt to achieve formal equivalence with “junzi”. However, it is unfamiliar to Wetern readers. So Ku’s translation “a wise and goood man”. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
In this paper, we have talked over two translation versions of ''Lun Yu'' written by Ku Hung-ming and Xu Yuanchong, especially the core conceptual words in ''Lun Y''u. In the matter of fact, both of them had good command of Chinese and western cultures. But their interpretation of Lun Yu were quite different from each other. Here we use Gadamer’s “fusion of horizons” to explain why they had different understandings of Lun Yu. Understanding is regarded as the fusion of horizons between translator and the text in the hermeneutics, however, besides, the target readers should also be taken into consideration. Thus, in the paper, the horizons of the original text, two translators and target readers are expounded in detail. Under the contrast between the two translation versions, we could find out that Ku Hung-ming’s translation is better one which can more convey the meaning of original text and can be easier for the readers of the target culture from the perspective of the fusion of horizons. &lt;br /&gt;
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However, this paper could not give an in-depth research on the transaltion of ''Lun Yu'' because of the author’s limited knowledge and not thorough understanding of the theory of “fusion of horizons”. In addition, Confucianism has got more and more important influence on the world in the recent years. However, the study of translation of ''Lun Yu'' has not gone far enough. Though lots of scholars have achieved a lot in the field, there is still much work to do in the future. Written by --[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 03:41, 9 December 2021 (UTC)&lt;br /&gt;
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Gadamer, H. G. Truth and Method[M]. New York: Continuum, 2004: 304.&lt;br /&gt;
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Wang Hui 王辉. (2003) 理雅各与《中国经典》[J]. [James Legge and Chinese Classics] 2003: 39-43.&lt;br /&gt;
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Lieu Chongde 刘重德. (2003)《论语》韦利英译本之研究—兼议里雅各、刘殿爵英译本[J]. [A Study of Lun Yu by Whaley—Discussion on contrastive analysis between James Legge and D.C.Lau)  2001: 15-17.&lt;br /&gt;
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Yao Shun 姚舜. (2014) 目的论视角下的儒家思想核心概念英译研究—以理雅各和韦利《论语》英译对比分析为例[D]. [A Study of Lun Yu Translated by Xu Yuanchong in the perspective of Skopostheory] 2014: 42-43.&lt;br /&gt;
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Yuanchong, Xu. (2013) Thus Spoke the Master[M]. Beijing: Dolphin Books, 2013: 12, 18.&lt;br /&gt;
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=杨柳青 Bian Zhilin's Literary Translation Theories and Practice  ——Take His Translation of Romantic Poems as examples=&lt;br /&gt;
[[Trans_Type_EN_10]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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Bian Zhilin is a famous Chinese translator and poet. He absorbed traditional translation theories dialectically and created translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; from the perspective of literary translation. Specifically, &amp;quot;Replacing foot with dun&amp;quot; is his poetry translation strategy. This paper will analyze Bian Zhilin translations of some romantic poems and shows some critical thinking about his literary translation theories.&lt;br /&gt;
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===Key words===&lt;br /&gt;
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&amp;quot;Faithfulness, Similarity and Translation&amp;quot;; &amp;quot;Replacing Foot with Dun&amp;quot;; Romantic Poetry&lt;br /&gt;
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===题目===&lt;br /&gt;
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卞之琳文学翻译理论和实践 ——以其浪漫主义诗歌译作为例&lt;br /&gt;
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===摘要===&lt;br /&gt;
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卞之林是著名的中国翻译家、诗人。他辩证地吸收传统翻译理论，从文学翻译的角度创立了“信、似、译”的翻译理论。 具体而言，“以顿代步”是他的诗歌翻译策略。本文将对卞之琳的浪漫主义诗歌译作进行分析，并对其文学翻译理论提出一些批判性性思考。&lt;br /&gt;
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===关键词===&lt;br /&gt;
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“信、似、译”；“以顿代步”；浪漫主义诗歌&lt;br /&gt;
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===Chapter 1 Introduction of Bian Zhilin and Romanticism===&lt;br /&gt;
====Introduction of Bian Zhilin====&lt;br /&gt;
Bian Zhilin is a representative of Chinese modernist poetry, a famous literary critic and literary translator. He translated foreign literature especially poetry and Shakespeare's plays. He has devoted his whole life to the literature and cultural exchanges between China and foreign countries. He is known as &amp;quot;the master of Poetry and the leading scholar in translation in China&amp;quot;. He dialectically absorbed previous translation theories and formed his unique translation thoughts. His famous works include ''Leaves of Three Autumns'' which is his first volume of Poetry and contains verses filled with the melancholy and despair, ''Fish Eyes Collection'', ''The Han Garden Collection'' and ''Poems of a Decade'' and so on.&lt;br /&gt;
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====Introduction of Romanticism====&lt;br /&gt;
Romanticism is a reaction against the Enlightenment and rationalism in 18th century, and a rejection of the precepts of order, calm, harmony, balance, idealization, and rationality that typified in classicism and neoclassicism. English Romanticism is generally defined to begin in 1798 with the publication of William Wordsworth and Samuel Taylor Coleridge's Lyrical Ballads and end in 1832 with Walter Scott's death. Romanticists place the individual at the center of art and make literature most valuable as an expression of his or her unique feelings and particular attitudes and make its accuracy a portraying the individual's experience. &lt;br /&gt;
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Romanticism is a period of poetry. During this period, many poets created plenty of wonderful poems which vividly show the beauty of nature and humanistic thoughts. English romantic poets contain the elder generation and the younger generation. The elder generation, also called &amp;quot;lake poets&amp;quot; includes William Wordsworth, Samuel Taylor Coleridge and Robert Southey and so on. The younger generation includes George Gordon Byron, Percy Bysshe Shelley and John Keats and so on. Besides, William Blake also deserves attention. He is a pre-romanticist and a forerunner of the romantic poetry of the 19th century. In this paper, I will analyze poems of William Blake, William Wordsworth and Percy Bysshe Shelly to show Bian Zhilin's translation theories.&lt;br /&gt;
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===Chapter 2 Bian Zhilin's Literary Translation Theories===&lt;br /&gt;
====&amp;quot;Faithfulness, Similarity and Translation&amp;quot;====&lt;br /&gt;
Bian Zhilin is a famous poet, translator and literary researcher in China. For decades, he not only made remarkable achievements in the field of poetry and Chinese and foreign literature studies, but also left a valuable fortune in literary translation, especially in poetry translation. Bian Zhilin has formed clear and instructive translation thoughts and theoretical views through her long-term translation practice. These translation thoughts and theoretical views influenced his translation behavior and effect, formed his exquisite translation art, and also had a great influence in the field of translation. He broke through the traditional translation theories and put forward the translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot; which is based on dialectically absorbing and reasonably sublating the traditional translation theories.&lt;br /&gt;
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=====Faithfulness=====&lt;br /&gt;
It is well-known that &amp;quot;faithfulness, expressiveness and elegance&amp;quot; created by a modern Chinese translator Yan Fu has become the most widely spread and popular translation standards in history of modern Chinese translation. And it has always been in the mainstream in the field of translation in China. There has been a long debate in Chinese translation field around &amp;quot;faithfulness, expressive and elegance&amp;quot;. However, &amp;quot;faithfulness&amp;quot; put forward by Bian Zhilin has achieved the transcendence and unification of this debate. &lt;br /&gt;
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======Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
According to Yan Fu, &amp;quot;faithfulness&amp;quot; means a translation should be faithful to the content of the original which is the first requirement of translation. &amp;quot;Expressiveness&amp;quot; means a translation should be fluent and articulate. &amp;quot;Elegance&amp;quot; means a translation should use elegant words so as to make the translation literary (Luo Xinzhang 136). Yan Fu believed that only elegant words can express the essence of original text. And he advocated translator used classical Chinese before Han Dynasty, namely, pre-Qin period. In fact, Yan Fu translated a lot of works in accordance with this criterion. &lt;br /&gt;
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======Debates around Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
Many speakers thought highly of Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, and this criterion once became the only standard for evaluating the quality of translation. Many literary translators like Liang Qichao, Lu Xun praised this criterion.&lt;br /&gt;
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Though &amp;quot;Faithfulness, expressiveness and elegance&amp;quot; has been widely accepted, there were still many doubts about this criterion. Most translators acknowledged Yan Fu's &amp;quot;faithfulness,expressiveness and elegance&amp;quot;, but they doubted &amp;quot;elegance&amp;quot;. For example, Chen Xiying, a famous Chinese female translator, opposed &amp;quot;elegance&amp;quot; because she thought &amp;quot;faithfulness and expressiveness&amp;quot; is quite enough for non-literary works and &amp;quot;elegance&amp;quot; is not necessary. Even for literary works, &amp;quot;elegance&amp;quot; is not necessary since some characters in literary works are from countryside and their speeches apparently couldn't be elegant (Luo Xinzhang 401-402). &lt;br /&gt;
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However, though these opinions are different they have one thing in common: all these opinions divide &amp;quot;faithfulness, expressiveness and elegance&amp;quot; up and judge them separately. &lt;br /&gt;
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======Bian Zhilin's &amp;quot;faithfulness&amp;quot;======&lt;br /&gt;
Unlike most translators, Bian Zhilin has his own unique view. Bian Zhilin believes there is only one advisable standard in &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, that is &amp;quot;faithfulness&amp;quot;. According to Bian Zhilin, &amp;quot;faithfulness&amp;quot; means being loyal to the original text comprehensively, not only to the content of the original text, but also to the form (Bian Zhilin 503). It seems that there is no apparent difference between Yan Fu's faithfulness and Bian Zhilin's faithfulness. But that's not the case. &lt;br /&gt;
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Firstly, Bian Zhilin doesn't totally deny the value of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. His faithfulness is mainly for literary translation which aims to highlight the artistic features of literary translation. Bian Zhilin believes that literary translation is an artistic and creative activity which not only includes language conversion but also involves the knowledge of literature, aesthetics, literature and art. He thinks &amp;quot;faithfulness, expressiveness and elegance&amp;quot; lays too much emphasis on the content and form of language which is not suitable for literary translation. &lt;br /&gt;
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Secondly, Bian Zhilin opposed the artificial separation of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. He thinks this separation is a kind of false perception which may cause the emphasis of one aspect and the neglect of the others. He thinks that artistic translation standard, strictly speaking, is only &amp;quot;faithfulness&amp;quot; which means the full fidelity to content and form. Actually, Bian Zhilin doesn't deny the existence value of expressiveness and elegance; instead, he seems &amp;quot;faithfulness, expressiveness and elegance&amp;quot; as a whole and &amp;quot;faithfulness&amp;quot; includes &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot;. Therefore, his faithfulness is comprehensive: both &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot; are internalized in &amp;quot;faithfulness&amp;quot;.&lt;br /&gt;
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Thirdly, Bian Zhilin believes &amp;quot;faithfulness&amp;quot; in literary translation means translation should be loyal to original text both in content and form. In others words, it's not desirable that translation be better or worse than the original. Besides, he holds that &amp;quot;faithfulness&amp;quot; in translation is not absolute but relative and it needs artistic creation of translators(Li Changshuan 57). What's more, literary translators should have the confidence in translating the &amp;quot;spirit&amp;quot; of the original so as to make translation vivid and expressive.&lt;br /&gt;
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All in all, Bian Zhilin believes the content and form of literary works are unified and indivisible, so is &amp;quot;faithfulness, expressiveness and elegance&amp;quot;.  At the same time, he admits &amp;quot;faithfulness&amp;quot; is relative rather than absolute considering difference between language and culture. Therefore, Bian Zhilin's faithfulness is inheritance and innovation of traditional translation theory and has important theoretical value.&lt;br /&gt;
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=====Similarity=====&lt;br /&gt;
======Formal Similarity and Spiritual Similarity======&lt;br /&gt;
Formal similarity means translation preserves the linguistic form of the original which includes words, grammar, sentence structure, figures of speech and types or forms of literature and so on. Any two languages have something both common and different. Those common features are the bases of formal similarity of translation. &lt;br /&gt;
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Spiritual similarity, on the contrary to formal similarity, means getting rid of the bondage of language form such as words, grammar when it is necessary. And translators should use authentic translation to convey the artistic features of the original. Spiritual similarity was first put forward by Mao Dun and was further advocated and practiced by Fu Lei. It has become one of the dominant theories in Chinese translation theories.&lt;br /&gt;
&lt;br /&gt;
======Debates around Formal Similarity and Spiritual Similarity======&lt;br /&gt;
In the field of Chinese translation, translators debated a lot around formal translation and spiritual translation. Many translators believe formal translation is more advisable than spirit translation. But others think differently. For instance, Chen Xiying believed there were three kinds of &amp;quot;faithfulness&amp;quot;, namely spiritual similarity, meaning similarity and formal similarity, among which spiritual similarity is superior, meaning similarity is the second and formal similarity is inferior. Chen Xiying held that formal similarity ignores the writing style of the original though it conveys the meaning of the original completely. Meaning translation is better than formal translation because it focuses on not only what the original writer says but also how he says it. But meaning translation is much more like imitation which cannot grasp the &amp;quot;spirit&amp;quot; of the original. Spirit translation, however, is the exact way to convey the &amp;quot;spirit&amp;quot; of the original. Besides, Yan Fu is another representative who pays more attention to spirit similarity than to formal similarity (Luo Xinzhang 694).&lt;br /&gt;
======Bian Zhilin's &amp;quot;Similarity&amp;quot;======&lt;br /&gt;
Bian Zhilin took a stand against the long-standing debate around formal similarity and spiritual similarity. In his opinion, there is only one word between formal similarity and spiritual similarity that is advisable——&amp;quot;Similarity&amp;quot;. Bian Zhilin holds that literary work is a unity of content and form; &amp;quot;form&amp;quot; and &amp;quot;spirit&amp;quot; in literary translation is complementary. On the one hand, &amp;quot;form&amp;quot; is the basis of &amp;quot;spirit&amp;quot; which means without concrete form, the spirit and artistic value of literary works can only be empty talk. On the other hand, &amp;quot;spirit&amp;quot; is the life of &amp;quot;form&amp;quot; which means literary works without &amp;quot;spirit&amp;quot; likes people without soul, which can only be empty body and meaningless form (Bian Zhilin 551).&lt;br /&gt;
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&amp;quot;Similarity&amp;quot; which was put forward by Bian Zhilin, actually contains the similarity both in formal similarity and spiritual similarity. In other words, ideal literary translation should achieve the unity of form and spirit. Bian Zhilin thinks literary translation can only achieve similarity with the original but not sameness (Bian Zhilin 8-9), which not only recognizes the difference between the original and the translation, but also acknowledges translators' creative efforts.&lt;br /&gt;
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=====Translation=====&lt;br /&gt;
======Literal Translation and Free Translation======&lt;br /&gt;
Literal Translation means expression forms and syntactic structure of the translated text should be as consistent as possible with the original when translators convey the meaning of the original text. Free translation, however, means translators should break the linguistic form of the original text and express the meaning of the original by using the customary expressions of the target language.&lt;br /&gt;
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======Debates around Literal Translation and Free Translation======&lt;br /&gt;
The debates between literal translation and free translation in the history of western translation can be date back to Cicero (106BC-43BC). Cicero opposed &amp;quot;word for word translation&amp;quot; (literal translation) which was deemed as &amp;quot;interpreter's translation&amp;quot; and advocated &amp;quot;sense for sense translation&amp;quot; (free translation) which was deemed as &amp;quot;orator's translation&amp;quot;(Tan Zaixi 24). Cicero's distinction about translation paved the way for following translators. For example, John Dryden published his views on literal translation and free translation. Dryden made distinction between metaphrase, phrase and imitation which was an extension of literal translation and free translation. What's more, Newmark thinks literal translation is preferred when the effect is the same (Newmark 39). And Nabokov holds that literal translation is true translation because it can convey the exact contextual meaning of the text as accurately as possible (Nabokov viii).&lt;br /&gt;
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======Bian Zhilin's Translation======&lt;br /&gt;
Bian Zhilin thinks only &amp;quot;translation&amp;quot; is advisable over the long-standing dispute over literal translation and free translation. Translation contains following meanings (Bian Zhilin 8).&lt;br /&gt;
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Firstly, literal translation and free translation are not contradictory but complementary. Too much emphasis on either side will only have a bad effect on literary translation. Bian Zhilin also criticizes translations that put too much emphasis on the source language or the target language.&lt;br /&gt;
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Secondly, translation cannot be creation. Translation should be based on the original text, not personal creation. But Bian Zhilin doesn't deny the creativity in translation and thinks the creativity is the life of translation as long as it is based on the original.&lt;br /&gt;
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====Bian Zhilin's Poetry Translation Strategies====&lt;br /&gt;
Absorbed thoughts from former and contemporary poets, Bian Zhilin created his poetry translation strategies. That is to translate English poetry in a poetical and metrical way and replace foot with dun. These strategies not only consider the western poetry patterns, but also considers the characteristics of Chinese, which has strong feasibility. Bian Zhilin's poetry translation strategies are closely related with his literary translation theory of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
=====Translating Poetry in A Poetical and Metrical Way=====&lt;br /&gt;
Bian Zhilin thinks that poetry is more a unity of content and form than other literary forms. Therefore, poetry translation includes both translation of poetry content and form. Bian Zhilin thinks poetry translation should be loyal to the original poem not only in content but also in form. Poems should be translated into the form of poem rather than prose. If the original poem is free verse, then translated version also should be free verse. If the original poem is metrical poem, then translation also should be a metrical one. (Bian Zhilin, 319) The coincidence between form and content in poetry translation is an embodiment of translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
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Meter is an important feature of poetry, including rhythm, rhythm and arrangement of words and stanzas. There are many differences in meter among poetry of different languages. And different poets and works use different meters. These become major factors of difficulties in poetry translation. &lt;br /&gt;
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Bian Zhilin thinks translators should preserve the metrical features of the original poems. In other words, translators should translate poetry in a metrical way. Therefore, poems should be translated by using equivalent meter. To be more specific, translators should translate foreign poems by using commonalities between Chinese traditional metrical basis and foreign metrical basis. It's not just simple application of foreign poetry patterns nor of Chinese traditional poetry patterns. Instead, it's the crossover of the two poetry patterns.&lt;br /&gt;
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=====Replacing Foot with Dun=====&lt;br /&gt;
The key to the metrical problem of poetry translation is what is the metrical unit of the line, &amp;quot;word&amp;quot; (a syllable) as a unit or &amp;quot;dun&amp;quot; (syllables) as a unit. Bian Zhilin believes metrical poems should be translated in equivalent &amp;quot;duns&amp;quot; which can replace meters and this kind of translation is without the limit of word numbers. This theory is well thought out and based on rhythmic characteristics of Chinese. As Bian Zhilin analyzed that when we speak Chinese, we usually say two or three Chinese characters as a &amp;quot;dun&amp;quot; in most cases, one character at least as a &amp;quot;dun&amp;quot; and four characters at most as a &amp;quot;dun&amp;quot;. This is the internal rules of Chinese. Chinese poems constitute stanzas, stanzas constitute lines and lines constitutes &amp;quot;duns&amp;quot;. Therefore, &amp;quot;dun&amp;quot; is the natural rhythmic units of Chinese poetry and reveals poems' &amp;quot;inherent music-like rhythm and beat&amp;quot;.&lt;br /&gt;
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However, that &amp;quot;dun&amp;quot; is the basic metrical unit of the Chinese poetry doesn't mean the number of duns in each line is exactly the same. Bian Zhilin advocates dun of two characters and dun of three characters should be arranged alternately and adjusted mutually to meet the needs of poetic expression and produce an effect similar to feet in western poetry.&lt;br /&gt;
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===Chapter 3 Analyses of Bian Zhilin's Translation Practice===&lt;br /&gt;
Bian Zhilin put his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and poetry translation strategies of &amp;quot;replacing foot with dun&amp;quot; into practice. Here are three poem excerpts of romantic poets and Bian Zhilin's translation of them.&lt;br /&gt;
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====William Blake's ''The Tiger'' in ''Songs of Experience''====&lt;br /&gt;
William Blake is a representative of English romantic literature. He was hailed by 20th century critics as &amp;quot;the great prophet&amp;quot; who was a pioneer of romanticism. He broke neoclassical traditions in the 18th century and emphasized instinct, passion and imagination. Besides, Blake is a revolutionary poet and expressed strong revolutionary passion and rebellious spirit in his poem. The Tiger is one of his earliest lyrical poems. It eulogizes the shape and strength of the tiger. Here is an excerpt of it:&lt;br /&gt;
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Tiger! Tiger! Burning bright&lt;br /&gt;
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In the forests of the night,&lt;br /&gt;
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What immortal hand or eye&lt;br /&gt;
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Could frame thy fearful symmetry?&lt;br /&gt;
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'''Bian Zhilin's Translation:'''&lt;br /&gt;
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老虎！|老虎！|火一样的辉煌，&lt;br /&gt;
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烧穿了|黑夜的|森林和|草莽，&lt;br /&gt;
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什么样|非凡的|手和|眼睛&lt;br /&gt;
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能塑造|你一身|惊人的|匀称？&lt;br /&gt;
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(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of dun.)&lt;br /&gt;
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The excerpt shows the praise for the tiger. In the poem, Blake uses symbolization and compares the tiger to a fire that destroys everything. Bian Zhilin represents the perfect creation of the creator with the symmetry of the tiger. &lt;br /&gt;
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Bian Zhilin translates the poem on the guidance of his theory of &amp;quot;faithfulness, similarity and translation&amp;quot;. In the first line of the excerpt, the use of &amp;quot;Tiger&amp;quot; with exclamation marks is a kind of call of the tiger——the king of the forest. Bian Zhilin translates them faithfully into &amp;quot;老虎！老虎！&amp;quot;. The third line is a rhetorical sentence that asks without answering, which reminds readers of the Creator——God, thus making the poetry profound. Bian Zhilin follows the rhythmic characteristics of the original poem and translates it artistically.  &lt;br /&gt;
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Bian Zhilin also makes his translation according to his theory of &amp;quot;replacing foot with dun”. The above stanza consists of four lines of trochaic tetrameter. Therefore, there are four feet in each line. And in translated version, there are four lines of four duns. Each duns contains two or three characters, thus make the structure of the translated poem neat and have a strong rhythm.&lt;br /&gt;
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====William Wordsworth's ''The“Lucy”Series''====&lt;br /&gt;
William Wordsworth is also an important poet in English romanticism. He was made poet laureate and he strongly promoted the innovation of English poetry and the development of the Romantic movement. He believes &amp;quot;Poetry is the spontaneous overflow of powerful feelings&amp;quot;. The following excerpt is taken from his &amp;quot;Lucy&amp;quot; series:&lt;br /&gt;
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A slumber did my spirit seal&lt;br /&gt;
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I had no human fears&lt;br /&gt;
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She seemed a thing that could not feel&lt;br /&gt;
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The touch of earthly years &lt;br /&gt;
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No motion has she now, no force&lt;br /&gt;
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She neither hears nor sees&lt;br /&gt;
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Rolled round in earth's diurnal course&lt;br /&gt;
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With rocks, and stones, and trees.&lt;br /&gt;
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'''Bian Zhilin's translation:'''&lt;br /&gt;
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迷糊|封住了|我的|精神；&lt;br /&gt;
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我没有|人世的|忧惶：&lt;br /&gt;
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她似乎|超然|物外，|不可能&lt;br /&gt;
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感觉到|岁月的|影响。&lt;br /&gt;
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现在|她无力了，|也不能|动弹；&lt;br /&gt;
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她不再|耳闻|目睹；&lt;br /&gt;
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卷在|地球的|日程里|滚转，&lt;br /&gt;
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混同了|岩石、|树木。&lt;br /&gt;
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(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
The above poem was written when Wordsworth went and stayed in Germany with his sister Dorothy in 1798 and 1799. It uses simple words and the meaning of the poems is quite clear. And Bian Zhilin's translation of the poem is quite faithful and vivid. &amp;quot;Slumber&amp;quot; in the first line of the original is translated into &amp;quot;迷糊&amp;quot; rather than &amp;quot;沉睡&amp;quot;, which gives readers a sense of &amp;quot;lazy charm&amp;quot;. And &amp;quot;fears&amp;quot; in the second line was translated into &amp;quot;忧惶&amp;quot;；it’s quite vivid and pertinent. Besides, the original poem consists of two stanzas with four lines of iambus. In each stanza, the first and the third line have four feet and the second and the fourth line have three feet. The whole poem follows the rhyme scheme of &amp;quot;a-b-a-b, c-d-c-d&amp;quot;. Bian Zhilin replaces feet in the poem with duns. There are fours duns in the first and the third lines and three duns in the second and fourth lines in translation. And the translated version follows the same rhyme scheme with the original. The whole poem is translated and expressed in quite appropriate way.&lt;br /&gt;
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====Percy Bysshe Shelley's ''Song to the Men of England''====&lt;br /&gt;
Percy Bysshe Shelley, as one of the famous romantic poets, pursued freedom and resisted violence in his short life. He encouraged people to stand and fight for a better life and was branded a &amp;quot;complete revolutionary&amp;quot; by Marx. And Song to the Men of England was written by Shelley after &amp;quot;Peterloo incident&amp;quot; in Manchester in 1819 to reveal the cruel nature of reactionary rulers and call on people to revolt bravely. Here is an excerpt of Song to the Men of England:&lt;br /&gt;
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Men of England, wherefore plough&lt;br /&gt;
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For the lords who lay ye low?&lt;br /&gt;
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Wherefore weave with toil and care&lt;br /&gt;
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The rich robes your tyrants wear?&lt;br /&gt;
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Wherefore feed and clothe and save&lt;br /&gt;
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From the cradle to the grave&lt;br /&gt;
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Those ungrateful drones who would&lt;br /&gt;
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Drain your sweat——nay, drink your blood?&lt;br /&gt;
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'''Bian Zhilin's Translation:'''&lt;br /&gt;
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英国的|人民，|为什么|犁地&lt;br /&gt;
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报答|老爷们|踩你们|成泥？&lt;br /&gt;
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为什么|辛勤|劳苦|去织布，&lt;br /&gt;
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让那些|恶霸|穿华丽|衣服？&lt;br /&gt;
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为什么|你们|从摇篮|到坟冢&lt;br /&gt;
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尽供给|和保养|那许多|雄峰？&lt;br /&gt;
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他们|不感激，|还非常|坚决，&lt;br /&gt;
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要喝干|你们的汗|——再加|血；&lt;br /&gt;
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(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
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This excerpt is about the clash between two classes of society, the poor working class and the rich nobles. The major theme of this poem is exploitation. People plow for the sake of the lords, who are like drone bees that do no work but live off of the works of others. The narrator is urging the workers to make a stand as they are being treated unfairly. &lt;br /&gt;
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Bian Zhilin practices his poetry translation strategies of &amp;quot;translating poetry in metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; in this poem. In the original poem, each of two stanzas consists of four lines of iambic tetrameter, rhyming &amp;quot;a-a-b-b, a-a-b-b&amp;quot;. In the translated version, there are also two stanzas composed of four lines. And in each line, there are four duns which replaces the four feet in the original poem. The rhyme scheme in translated version is the same as that in the original.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translate the poem faithfully and vividly. For example, he translates &amp;quot;lay ye low&amp;quot; into &amp;quot;踩你们成泥&amp;quot; which well preserves the images of the original work. And &amp;quot;tyrants&amp;quot; in the fourth line of the first stanza is translated into &amp;quot;恶霸&amp;quot; which is concise and accurate. In the second stanza, &amp;quot;From the cradle to the grave&amp;quot; modifies &amp;quot;the men of England&amp;quot; rather than those &amp;quot;ungrateful drones&amp;quot;, Bian Zhilin understands the linguistic structure of the poem and translates it into &amp;quot;你们从摇篮到坟冢&amp;quot;. &amp;quot;坟冢&amp;quot; is more formal than &amp;quot;坟墓&amp;quot; and it's suitable for poetry, from which we can see the precision of Bian Zhilin's choose of words. In the last line, Bian Zhilin uses a dash and the words &amp;quot;再加&amp;quot; to highlight the brutal nature of the rulers. Actually, this translation is a good practice of his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===Chapter 4 Critical Thinking of Bian Zhilin's Translation Theories===&lt;br /&gt;
There is no doubt that Bian Zhilin's translation theories greatly promoted the development of English poetry translation in China. His &amp;quot;faithfulness, similarity and translation&amp;quot; is the inheritance and innovation of Chinese traditional translation theories. And it indeed provides a new way for poetry translation. Besides, Bian Zhilin thinks poetry should be translated into poetry rather than prose. In other words, translators should translate poetry in a poetical and metrical way. He stresses the importance of the unity between form and content and thinks high quality translation should be a unity of content and artistic style of the original text.&lt;br /&gt;
&lt;br /&gt;
Despite Bian Zhilin's great contribution to literary translation theories, I think there are still some problems existing in Bian Zhilin's translation strategies. In Bian Zhilin's opinion, translators can replace foot with dun thus achieving similar rhythmical effect in Chinese version with the English original. It seems that it is a quite advisable and feasible method. Bur actually, it cannot be practiced widely. In English poetry, each foot consists of two syllables, which is fixed and regular. But things are changed in Chinese. The character numbers in each dun in Chinese are not fixed. There may be one or two or three or four characters in each dun, so different people may have different divisions of duns based on their different understanding of context. Therefore, the division of duns may be disordered and random, which makes &amp;quot;replacing foot with dun&amp;quot; not advisable in many cases.&lt;br /&gt;
&lt;br /&gt;
Another problem in Bian Zhilin's translation theories is the ignorance of metrical patterns of foot. In English poetry, there are different metrical patterns like iambus, trochee, spondee and pyrrhic and so on. But there are no such meters in Chinese. &amp;quot;Replacing foot with dun&amp;quot; only considers the correspondence of foot but ignores the correspondence of metrical patterns of foot, so Bian Zhilin's &amp;quot;translating poetry in metrical way&amp;quot; actually is not adequate. We know Chinese is a kind of tone language which has four tones. We can use four tones to correspond the metrical patterns of foot in English. But it's quite difficult in so far and still needs more exploration.&lt;br /&gt;
&lt;br /&gt;
===Chapter 5 Conclusion===&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. His literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and &amp;quot;translating poems in a poetical and metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; give us a lot of enlightenment in the translation of poems. This paper analyzes Bian Zhilin's translation of romantic poems to show his translation strategies. However, there are still some problems in his theories, for example, the division of duns are disordered and random which are based on the understanding of translators and there is no correspondence in metrical patterns of foot. These are the problems that are needed to be considered and solved.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Blake, William. Songs of Experience[M]. New York: Dover Publications, Inc., 1971.&lt;br /&gt;
&lt;br /&gt;
Durrant, Geoffrey. William Wordsworth [M]. Cambridge: Cambridge University Press, 1979.&lt;br /&gt;
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Nabokov, Vladimir. &amp;quot;Forward&amp;quot;, A.S.Pushkin, Eugene Onegin, Nabokov, V.trans. London: Routledge &amp;amp; Kegan Paul, 1964/1975, p.viii.&lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. Approaches to Translation. Oxford: Pergamon, 1981, p39.&lt;br /&gt;
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Bian Zhilin卞之琳(2002).《卞之琳文集》（中卷）. 安徽教育出版社, p503.&lt;br /&gt;
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Bian Zhilin卞之琳(2000).《卞之琳文集》（上卷）. 安徽教育出版社, p8.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(1994).《从&amp;lt;西窗集&amp;gt;到&amp;lt;西窗小书&amp;gt;》.[英] 克里斯托弗·衣修伍德《紫罗兰姑娘》, 卞之琳译. 中国工人出版社, p8-9.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2007).《人与诗：忆旧说新》（增订本）. 安徽教育出版社, p319.&lt;br /&gt;
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Bian Zhilin卞之琳(2005). 《英国诗选》. 商务印书馆, p156.&lt;br /&gt;
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Chen Xiying陈西滢(1984).《论翻译》. 罗新璋编《翻译论集》. 商务印书馆, p401-402.&lt;br /&gt;
&lt;br /&gt;
Fu Lei傅雷(1984).《论文学翻译书》. 罗新璋编《翻译论集》. 商务印书馆, p694.&lt;br /&gt;
&lt;br /&gt;
Li Changshuan李长栓(2004). 《非文学翻译理论与实践》. 中国对外翻译出版公司, p57.&lt;br /&gt;
&lt;br /&gt;
Shen Suru沈苏儒(1998).《论信达雅：严复翻译理论研究》. 商务印书馆, p8.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜(1991).《西方翻译简史》.商务印书馆, p24.&lt;br /&gt;
&lt;br /&gt;
Yan Fu严复(1984).《&amp;lt;天演论&amp;gt;译例言》.罗新璋编《翻译论集》. 商务印书馆, p136.&lt;br /&gt;
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=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday, 2012) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær, 2015; von Flotow, 2010). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh (2015) argues that translation is one of the traditional communicating methods between communities all around the world. Jothiraj (2004) states that “translation plays an important role in the inter-lingual process of communication” (p. 1). Translation is essential for cultures and languages to exchange information. Newmark (1988) defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects. Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
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Nida (1964) indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style. Larson (1998) has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context. &lt;br /&gt;
&lt;br /&gt;
Culture plays a considerable role, Snell-Hornby (1988, p. 33) assumed that “Culture refers to all socially conditioned aspects of human life”. Another definition of culture is formulated by Goodenough (1957, p. 167). For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term. By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
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The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline (2003, p.16) thought that “religion is an important institutional network that binds people to one another.” But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
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This study is aimed to probe Newmark's (1988) translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion (1988, p. 81), seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL. &lt;br /&gt;
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===Translation and Culture===&lt;br /&gt;
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2. Translation and Culture &lt;br /&gt;
&lt;br /&gt;
Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.  &lt;br /&gt;
The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988, 7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988, 5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988, 7).  &lt;br /&gt;
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In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford (1965) defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language” (Catford 1965, 20). According to Venuti’s translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader” (Venuti 1995, 18). Schjoldager stated that “a translation is a text that expresses what another text has expressed in another language” (Schjoldager 2008, 19). Culture is a complex whole which includes knowledge, belief, art, law, morals, customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan (2014), claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014, 2). Hermanns (1999) contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures. Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014, 2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark (2001), illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001, 328). &lt;br /&gt;
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Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
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2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
&lt;br /&gt;
Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora, fauna, food, clothes, housing, work, leisure, politics, law, and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988, 327) Christine Nord names them “culturemes” (Nord 1997, 9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012, 1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Aixela, 1997; Davies, 2003), others choose cultural words (Newmark, 2003) or culture-bound phenomena/concepts (Baker, 1992, Newmark, 2003, Robinson, 2003). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker, 1992, 21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988, 94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988, 95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988, 95).&lt;br /&gt;
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2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
&lt;br /&gt;
The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85, P. 22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003, 16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.&lt;br /&gt;
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===Types of Translation ===&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
Newmark (1988) determines 8 types of translation which are: &lt;br /&gt;
 &lt;br /&gt;
3.1 Word-for-Word Translation &lt;br /&gt;
&lt;br /&gt;
This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
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3.2 Literal translation &lt;br /&gt;
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In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
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3.4 Semantic Translation &lt;br /&gt;
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Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
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3.5 Adaptation &lt;br /&gt;
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This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015, 15). &lt;br /&gt;
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3.6 Free Translation &lt;br /&gt;
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The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
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3.7 Idiomatic Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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3.8 Communicative Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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===Translation Strategies  ===&lt;br /&gt;
&lt;br /&gt;
4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
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4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela (1996), translators need to choose several strategies based on the source language culture and target culture.  He distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, he tries to command by the level of their intercultural intervention. He divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies). &lt;br /&gt;
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4.1.1. Conservation: &lt;br /&gt;
In conservation, the less compelling process includes repetition, orthographic adaptation, linguistic translation, extratextual gloss and intratextual gloss. &lt;br /&gt;
&lt;br /&gt;
4.1.1.1 Repetition: In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus, the translator keeps as much as possible the original reference (Aixela, 1996, p. 61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
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4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
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4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
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4.1.1.4 Extra-textual Gloss: Here, the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes, endings, words, ideas, translators in dictionaries, italics and so on. &lt;br /&gt;
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4.1.1.5 Intra-textual Gloss: It's like the past but the translator feels that he/she can include the globe as an indirect part of the text, not to distract the reader. &lt;br /&gt;
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4.2.1 Substitution &lt;br /&gt;
In substitution, According (Aixela, 1996) “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here”. &lt;br /&gt;
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4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
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4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
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4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela, 1997, p.63). &lt;br /&gt;
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4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Shokri, Ketabi, 2015, p.8). &lt;br /&gt;
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4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela, 1996, p. 64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
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4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela, 1997). &lt;br /&gt;
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4.3 Mona Baker’s Translation Strategies &lt;br /&gt;
Baker’s strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation. (Baker, 1992). He suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies, which are the following: &lt;br /&gt;
&lt;br /&gt;
4.3.1 Translation by a more general word: According to Baker, this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
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4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
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4.3.3 Translation by cultural substitution: This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
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4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
&lt;br /&gt;
4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
&lt;br /&gt;
4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
&lt;br /&gt;
4.3.7 Translation by omission: Losing phrases or words that are not vital to text development. &lt;br /&gt;
&lt;br /&gt;
4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view, however, Baker's (1992) translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
&lt;br /&gt;
===Cultural Categories  ===&lt;br /&gt;
5. Cultural categories &lt;br /&gt;
 &lt;br /&gt;
5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
5.1.2 Material culture &lt;br /&gt;
Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.” &lt;br /&gt;
5.1.3 Social culture &lt;br /&gt;
The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
5.1.4 Organisation &lt;br /&gt;
Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
 &lt;br /&gt;
5.2 Newmark Classification CSIs &lt;br /&gt;
Newmark (1988) established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items.&lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
 &lt;br /&gt;
Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
&lt;br /&gt;
2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
&lt;br /&gt;
3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
&lt;br /&gt;
4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
&lt;br /&gt;
5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
&lt;br /&gt;
6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
&lt;br /&gt;
7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
&lt;br /&gt;
8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
&lt;br /&gt;
9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
&lt;br /&gt;
10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
&lt;br /&gt;
11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
&lt;br /&gt;
12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
&lt;br /&gt;
13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
&lt;br /&gt;
14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
&lt;br /&gt;
16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
&lt;br /&gt;
17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
&lt;br /&gt;
18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
&lt;br /&gt;
19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
&lt;br /&gt;
20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
&lt;br /&gt;
21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
&lt;br /&gt;
22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
&lt;br /&gt;
23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
&lt;br /&gt;
24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996, 31), “translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by (Newmark 1988, 81), “translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.” &lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation, then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions. &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity, as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts, the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term, and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part, but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark (1988) has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9. &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark’s strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                           	 قرُۡءٰنًا	Quran &lt;br /&gt;
 	                         ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference               	 يعَۡقوُۡب	Yaqub &lt;br /&gt;
 	                            اِسۡحٰق	Ishaq &lt;br /&gt;
 	                         يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
===8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
===      This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
===8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
===8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
===The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark (1988) were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
===This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However, the translator must be competent in using the translation procedures to provide an accurate translation. &lt;br /&gt;
&lt;br /&gt;
===8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
===The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abdi, H. (2019). Translating culture-specific items (CSIs) as a conundrum for Iranian MA translation students: Considering the level of study. Journal of new advances in English Language Teaching and Applied Linguistics, 1(1), 88-109. &lt;br /&gt;
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Aguado-Gimenez, P., &amp;amp; Pérez-Paredes, P. F. (2005). Translation-strategies use: A classroombased examination of Baker’s taxonomy. Meta: journal des traducteurs/Meta: &lt;br /&gt;
Translators' Journal, 50(1), 294-311. &lt;br /&gt;
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Ahmadi, M. R.S and Nosrati, Fatemah. (2012). Domestication and Foreignization Strategies in Translation of Culture-Specific Items. Translations of English-Persian Children’s Literature. San Francisco: Grin Publishing. Google Books. &lt;br /&gt;
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Al Saleh, R. A. (2019). An Application of Newmark's Procedures to Muhammad Abul Quasem's Alleman, J. C. Bee. W. Ulitkin, I. Files, F., Zetzsche, J., Chatonnet-Marton, P. &amp;amp; y del Árbol, E. V. Translation Strategies. &lt;br /&gt;
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Al-Sofi, B. B. M. A., &amp;amp; Abouabdulqader, H. (2020). Bridging the gap between translation and culture: towards a cultural dimension of translation. International journal of linguistics, literature and culture, 6(1), 1-13. &lt;br /&gt;
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Baker, M., 1992. In Other Words: A Coursebook on Translation. London: Routledge, p.20–42. &lt;br /&gt;
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Blažytė, D., &amp;amp; Liubinienė, V. (2016). Culture-specific items (CSI) and their translation strategies in Martin Lindstrom’s&amp;quot; Brand sense&amp;quot;. Kalbų studijos, (29), 42-57. &lt;br /&gt;
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Bush, P. (1998) &amp;quot;Literary Translation.&amp;quot; In: M. Baker, ed. Routledge Encyclopedia of Translation Studies, London: Routledge, pp.127-130. &lt;br /&gt;
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Catford. J. C. (1965). A linguistic theory of translation. Oxford: Oxford University Press. &lt;br /&gt;
English Translation of Mohammad Al-Ghazali's Islamic Guidance.Literature and Culture, 6(1), 1-13. &lt;br /&gt;
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Gečaitė, L. (2020). Culture-Specific Items and Their Translation Strategies in Victoria Hislop's Novel The Sunrise.” (2020). &lt;br /&gt;
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Hassan, B. E. A. (2014). Between English and Arabic: A practical course in translation. &lt;br /&gt;
Cambridge Scholars Publishing. &lt;br /&gt;
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Hermans, T. (1999). Translation in systems. Manchester: St. Jerome Publication  House, J. (Ed.). (2014). Translation: a multidisciplinary approach. Springer. &lt;br /&gt;
Issa, A. L. S. M., &amp;amp; Hammood, L. H. R.- Quranic-Specific Phrases under the Study of Translation; Significance and Applications. &lt;br /&gt;
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Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. (33), p. 83-87). &lt;br /&gt;
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Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. 33, p. 83-87). &lt;br /&gt;
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Lambert, J. (1998) Literary Translation. In: M. Baker, ed. Routledge Encyclopedia of Translation Studies. London: Routledge, 130-134. &lt;br /&gt;
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Landers, Clifford E. (2001) Literary Translation: A practical guide. New Jersey University Press: Multilingual Maters. &lt;br /&gt;
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Lustig, Myron, W. and Koeser, Joline  (2003), Intercultural Competence: Interpersonal Communication Across Cultures, Boston: Allyn and Bacon. &lt;br /&gt;
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Malmkjær, K. (1993). Who Can Make Nice A Better Word Than Pretty? Collocation, Translation, and Psycholoinguistics. In: Baker, M., Francis, G. and Tognini-Bonelli, E. &lt;br /&gt;
eds. Text and Technology. Philadelphia/Amsterdam: John Benjamins Publishing Company. pp.213-32. &lt;br /&gt;
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Mosavat, S., &amp;amp; Rahimpour, S. (2016). The Most and Least Used Translation Strategies for &lt;br /&gt;
Conveying Culture-Specific-Items in Young Adult Literature from English into Persian. International Journal of Humanities and Cultural Studies (IJHCS) ISSN 23565926, 1853-1873. &lt;br /&gt;
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Munday, J. (1997). Systems in Translation: A computer-assisted systemic approach to the analysis of translation of García Márquez. Ph.D thesis, University of Bradford. &lt;br /&gt;
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Newmark, P. (2001). A Textbook of Translation. Shanghai: Shanghai Foreign Language &lt;br /&gt;
Education Press &lt;br /&gt;
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Newmark, Peter. (1988). A Textbook of Translation. New Jersey: Prentice-Halls &lt;br /&gt;
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Nord, Christiane. (1997). Translating as a Purposeful Activity: Functionalist Approaches &lt;br /&gt;
Explained. Manchester: St. Jerome. Accessed 10 November. 2018. Google Books Schjoldager, A. (2008). Understanding translation. Academica: Århus. &lt;br /&gt;
&lt;br /&gt;
Silalahi, M., &amp;amp; Lubis, S. (2013). Translation Procedures of Cultural Terms Found In Sejarah Bilingual For Students of Senior High School. &lt;br /&gt;
Valipoor, K., &amp;amp; andAzizeh Chalak, H. H. T. (2019). Cultural-specific items in translation of the Holy Quran by Irving: 43-51. &lt;br /&gt;
&lt;br /&gt;
Venuti, L. (1995). The translator’s invisibility: A history of translation. London and New York: &lt;br /&gt;
Routledge &lt;br /&gt;
&lt;br /&gt;
Widiarto, O. V. V. (2016). The translation procedures of cultural expressions applied in a game of thrones translated into Perebutan Tahta novel by Barokah Ruziati (Doctoral dissertation, Dian Nuswantoro University).&lt;br /&gt;
&lt;br /&gt;
=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
===An Overview on Translation Studies  ===&lt;br /&gt;
&lt;br /&gt;
===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
&lt;br /&gt;
=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the researcher wants to highlight the different concepts about the fundamental question &amp;quot;what is idiomatic expression&amp;quot; of different critics, theorists and linguistic experts, and prominent scholars of translation studies. Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
&lt;br /&gt;
Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda Corelli 2006, 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984, 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992, 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to (Newmark 1981, 11), “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”&lt;br /&gt;
.	The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to (Corelli 2006, 53), English has a sizeable idiomatic base.&lt;br /&gt;
About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.&lt;br /&gt;
The main issue that idiomatic and fixed expressions pose for translators, according to (Baker 1992, 65), is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.&lt;br /&gt;
&lt;br /&gt;
Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.&lt;br /&gt;
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===Literature Review ===&lt;br /&gt;
In this chapter, the author/researcher defines the strategy and its different definitions from the perspective of different subjects and fields. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented. Krings defines it as the content of the project, while Seguinet divided the term into three steps. However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. &lt;br /&gt;
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The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward.&lt;br /&gt;
Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint.&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to (Seguinot 1989, 27) (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.&lt;br /&gt;
 Furthermore, (Loescher 1991, 8) defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot; As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998, 4) claim moreover, (Bell 1998, 188) distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.&lt;br /&gt;
 According to (Venuti 1998, 240), &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot; He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to (Jaaskelainen 2005, 15), product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.&lt;br /&gt;
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Furthermore, (Jaaskelainen 2005, 16) distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making. (Newmark 1988, 221) distinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;&lt;br /&gt;
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Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016, 13).&lt;br /&gt;
The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010, 15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017, 54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985, 9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female.&lt;br /&gt;
Several research articles are found on translated work (license and khol do) of Urdu famous short stories writer Sadat Hassan Manto's from a different perspective like psychoanalysis, postcolonial, feminist approaches but to explore the problem of translations strategies face by translator Aatish Taseer during the process of translation has not been mention till date. To summarize this, the research includes a critical, in-depth, comprehensive analysis of issues that previously did not address.&lt;br /&gt;
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===Discussion and Analysis===&lt;br /&gt;
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=== Findings===&lt;br /&gt;
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===Conclusion ===&lt;br /&gt;
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=== References ===&lt;br /&gt;
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= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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===Key words ===&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
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===Ambiguity===&lt;br /&gt;
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===Lexical and Structural Mismatches===&lt;br /&gt;
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===Multiword units: Idioms and Collocations===&lt;br /&gt;
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===Summary===&lt;br /&gt;
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===Further Reading===&lt;/div&gt;</summary>
		<author><name>Atta Ur Rahman</name></author>
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